What’s Going on at San Francisco’s Mexican Museum?
‘25 Years Later’ Revisits the ‘Trancestors’ of 2005’s ‘The Aggressives’ Documentary
Zoë Boston, the Artistic Alchemist
These Sacramento Tacos Are So Good, They Inspired an NBA Player's New Shoes
This San Jose Rapper Recreates the Streets in Hyper-Realistic Dioramas
Sabreena Haque on Marking Transitional Milestones with Henna
The Bring Your Own Big Wheel Race is Back, So Dust Off Those Plastic Trikes
Photographer David Johnson, Who Chronicled San Francisco’s Black Culture, Dies at 97
The Earthquakes, SF's LGBTQ+ Hockey Team, Get Ready for Their Comeback
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It has been without a director since 2015, and without a home since 2018, when it left Fort Mason Center after falling behind on rent. Its new building at the corner of Third and Mission, adjacent to the Contemporary Jewish Museum, SFMOMA and other cultural instituions, remains empty. \u003c/p>\n\u003cp>The audit’s findings, based on a yearlong investigation requested by Supervisor Aaron Peskin, raise questions about the museum’s ability to fundraise for or manage planned interior improvements at 706 Mission St., a city-owned space at the base of a luxury condo building. \u003c/p>\n\u003cp>Despite the findings, and a subsequent \u003ca href=\"https://www.sfchronicle.com/sf/article/s-f-mexican-museum-audit-19324002.php\">\u003ci>San Francisco Chronicle\u003c/i> story\u003c/a>, the museum, currently without dedicated fundraising staff, is determined to open the first phase of its space by the end of 2025. To do so, its board chair Andrew M. Klugman said in an interview with KQED, requires the cooperation of the city. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Supporting and clearing a path for the museum is a no-brainer for the city,” board secretary Xochitl Casteñeda told KQED. “It’s going to be a win-win situation.”\u003c/p>\n\u003cfigure id=\"attachment_13955001\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TEN_201_RD_05.jpg\" alt=\"\" width=\"1500\" height=\"1000\" class=\"size-full wp-image-13955001\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TEN_201_RD_05.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TEN_201_RD_05-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TEN_201_RD_05-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TEN_201_RD_05-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TEN_201_RD_05-768x512.jpg 768w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">A rendering of the Mexican Museum’s planned interior improvements. \u003ccite>(Courtesy of the Mexican Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The history of the Mexican Museum’s move downtown\u003c/h2>\n\u003cp>The Mexican Museum was founded in 1975 at the corner of Folsom and 15th Streets by the late artist Peter Rodriguez. In 1982, it moved to Fort Mason Center, where it remained for 36 years, amassing a collection of over 16,500 objects, mostly through donations. \u003c/p>\n\u003cp>Museum holdings span 2,500 years of history, from pre-Hispanic objects to contemporary artworks. The museum is dedicated to “the complexity and richness of Latino art and culture throughout the Americas.” \u003c/p>\n\u003cp>[aside postID='arts_13654906']The Mexican Museum has had periods of instability over the past three decades. A planned move to the Yerba Buena neighborhood to join the city’s other major cultural institutions has been in the works since 1993. In the mid-’90s, the museum was rocked by major staff turnover, accusations of misspent grant funds and lackluster fundraising for the planned move. \u003c/p>\n\u003cp>Then, in 2017, a \u003ca href=\"https://www.kqed.org/arts/13654906/mexican-museum-defends-collection-over-authenticity-concerns\">report commissioned by the museum board\u003c/a> found that only 83 of 2,000 artifacts from the museum’s pre-Hispanic collection could be authenticated. But those 80-some objects, the museum argued in a subsequent press release, are “significant and rare — one piece in the collection being so unique that nothing like it exists in Mexico.” \u003c/p>\n\u003cp>Since leaving Fort Mason in 2018, the collection has been in storage. The museum finally took possession of the first four floors of 706 Mission in July 2023. \u003c/p>\n\u003ch2>Were grant funds misused?\u003c/h2>\n\u003cp>The city audit, officially titled “The Mexican Museum Has Not Demonstrated That It Can Meet the City’s Contractual Obligations, and OCII Has Not Effectively Enforced the Museum’s Grant Agreement” has two main findings: misuse of city grant funds and fundraising shortfalls.\u003c/p>\n\u003cp>In 2010, the museum entered into a $10.6 million grant agreement with the city’s \u003ca href=\"https://sfocii.org/homepage-landing\">Office of Community Investment and Infrastructure\u003c/a> (OCII) — funds meant to go towards “predevelopment and interior improvements” at the new location. \u003c/p>\n\u003cp>Only $4 million of that grant has been spent, but the grant agreement expires June 14, 2024, leaving the museum less than three months to spend the remaining $6.6 million. (During the period of the audit, which began in March 2022, the museum says OCII paused all grant reimbursements.)\u003c/p>\n\u003cfigure id=\"attachment_13955004\" class=\"wp-caption aligncenter\" style=\"max-width: 900px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TMM-INTERIOR-5_A.jpg\" alt=\"\" width=\"900\" height=\"600\" class=\"size-full wp-image-13955004\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TMM-INTERIOR-5_A.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TMM-INTERIOR-5_A-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TMM-INTERIOR-5_A-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TMM-INTERIOR-5_A-768x512.jpg 768w\" sizes=\"(max-width: 900px) 100vw, 900px\">\u003cfigcaption class=\"wp-caption-text\">A rendering of planned gallery space in the Mexican Museum. \u003ccite>(Courtesy of the Mexican Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The audit found that the museum has spent nearly $1 million of that grant on “ineligible and questionable activities,” including duplicate expenses, artwork storage and staff salaries. But a response from OCII tempers those findings, explaining that “some level of funding for [the museum’s] current operations was necessary to ‘benefit’ the proposed project in the former Yerba Buena Center Project Area.”\u003c/p>\n\u003cp>In other words, OCII argues, the grant \u003ci>should\u003c/i> cover things like storage and some operational costs — so that there might still \u003ci>be\u003c/i> a museum to move into 706 Mission.\u003c/p>\n\u003cp>For their part, the Mexican Museum says “all budgets and scope of work were not only approved by OCII staff, but also by the OCII commission.” Its representatives refute one duplicate expense and acknowledge the other as a clerical error “out of hundreds of submittals to OCII.”\u003c/p>\n\u003ch2>Does the museum have adequate funds to reopen?\u003c/h2>\n\u003cp>The audit found that the museum has raised only 2% of the nearly $49.8 million it’s estimated to need to reopen. But the museum says this is an old number, and that the new, lower estimate for construction is actually $38 million.\u003c/p>\n\u003cp>By their calculations, the museum says it still has $19.9 million left to raise. But it has made some progress in its search for new funding sources. “We’re the only museum outside of the Republic of Mexico that was granted a tax deductible status” by Mexico, says board chair Andrew Klugman. That means Mexican companies and individuals can donate up to 7% of the taxes they owe to the museum as a write-off.\u003c/p>\n\u003cp>Castañeda admits fundraising for the museum has an uphill journey to her dream goal of $100 million. “I need an army of people to help us,” she says. “You know, how many of the museums today — and I’m not just talking about construction, but operations — are in the red area? We need 10 pesos, $10, you know? Any contribution is welcome and will add to our dream of $100 million.”\u003c/p>\n\u003cfigure id=\"attachment_13955002\" class=\"wp-caption aligncenter\" style=\"max-width: 1901px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/OCII-RED-The-Mexican-Museum-Audit.jpg\" alt=\"Composite image with empty building at left and gallery renderings at right\" width=\"1901\" height=\"1814\" class=\"size-full wp-image-13955002\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/OCII-RED-The-Mexican-Museum-Audit.jpg 1901w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/OCII-RED-The-Mexican-Museum-Audit-800x763.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/OCII-RED-The-Mexican-Museum-Audit-1020x973.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/OCII-RED-The-Mexican-Museum-Audit-160x153.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/OCII-RED-The-Mexican-Museum-Audit-768x733.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/OCII-RED-The-Mexican-Museum-Audit-1536x1466.jpg 1536w\" sizes=\"(max-width: 1901px) 100vw, 1901px\">\u003cfigcaption class=\"wp-caption-text\">An exhibit included in the audit, showing the museum premises in July 2023 (left) and design plans (right). \u003ccite>(City Services Auditor)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Why hasn’t the museum started construction?\n\u003c/h2>\u003cp>The Mexican Museum has a 66-year-lease with the city on the first four floors of 706 Mission (with the option to extend another 33 years), for what breaks down to about ¢.02 a year. But all interior improvements on the 48,000 square-foot space — turning the shell of the building into a climate-controlled art institution — are on the museum. So far, it has made no material progress on those improvements.\u003c/p>\n\u003cp>The museum received keys to the space in July 2023. That was after a lawsuit over a missing staircase was dismissed, with the museum and the city agreeing to work out their differences. The space was built without a public staircase connecting two floors of the museum, as originally planned.\u003c/p>\n\u003cp>As the \u003cem>\u003ca href=\"https://www.bizjournals.com/sanfrancisco/news/2023/07/24/mexican-museum-lawsuit-dismissed-audit-s-f.html\">San Francisco Business Times\u003c/a>\u003c/em> reported last year, the city acknowledged that it had intentionally not built the staircase, saying it “planned to sublease only half the space to the Mexican Museum due to growing concerns that the museum’s financial health would not allow it to build out the entire 48,000 square feet as envisioned.”\u003c/p>\n\u003cp>What also hindered interior improvements, the museum says, was the audit itself. “We are all prepared to construct,” says Castañeda. “This audit was impeding us from doing a lot of things … and now we are being blamed for not doing that.”\u003c/p>\n\u003cp>While museum representatives say the OCII’s pause on grant reimbursement did not prevent them from approaching donors over the past year, the audit did cast a shadow over fundraising efforts, causing some donors to put certain time and milestone requirements on their pledges.\u003c/p>\n\u003ch2>What happens now?\u003c/h2>\n\u003cp>The museum says it now needs the support of OCII. In order for their contractors to submit permit applications, it needs to know that OCII will reimburse those expenses.\u003c/p>\n\u003cp>The Controller’s Office will continue to monitor the museum’s progress, following up every six months on the implementation of their recommendations for record-keeping and grant disbursal. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Meanwhile, the Mexican Museum’s representatives affirm that its rightful place is downtown, alongside institutions like the Yerba Buena Center for the Arts and the Museum of the African Diaspora. “We want to decolonize this idea of a museum, traditionally, that is for the elite,” Castañeda says. “This museum is for everybody.”\u003c/p>\n\n","blocks":[],"excerpt":"A city audit raises questions about the museum’s future; museum leaders say the audit has delayed their progress on reopening.","status":"publish","parent":0,"modified":1711673045,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":30,"wordCount":1468},"headData":{"title":"What’s Going on at San Francisco’s Mexican Museum? | KQED","description":"A city audit raises questions about the museum’s future; museum leaders say the audit has delayed their progress on reopening.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13954980/san-francisco-mexican-museum-audit-reopening","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Last week, San Francisco’s city auditor released a \u003ca href=\"https://www.sf.gov/sites/default/files/2024-03/OCII-RED%20The%20Mexican%20Museum%20Audit%20-%20Final%20Report%2003.21.24.pdf\">bombshell report\u003c/a> on San Francisco’s \u003ca href=\"https://www.mexicanmuseum.org/\">Mexican Museum\u003c/a>, claiming the 49-year-old nonprofit has misused city grant funds and made little progress on fundraising to reopen.\u003c/p>\n\u003cp>The museum, meanwhile, says it “respectfully disagrees with much of the purported conclusions.” \u003c/p>\n\u003cp>To even an average observer, the Mexican Museum has had noticeable troubles. It has been without a director since 2015, and without a home since 2018, when it left Fort Mason Center after falling behind on rent. Its new building at the corner of Third and Mission, adjacent to the Contemporary Jewish Museum, SFMOMA and other cultural instituions, remains empty. \u003c/p>\n\u003cp>The audit’s findings, based on a yearlong investigation requested by Supervisor Aaron Peskin, raise questions about the museum’s ability to fundraise for or manage planned interior improvements at 706 Mission St., a city-owned space at the base of a luxury condo building. \u003c/p>\n\u003cp>Despite the findings, and a subsequent \u003ca href=\"https://www.sfchronicle.com/sf/article/s-f-mexican-museum-audit-19324002.php\">\u003ci>San Francisco Chronicle\u003c/i> story\u003c/a>, the museum, currently without dedicated fundraising staff, is determined to open the first phase of its space by the end of 2025. To do so, its board chair Andrew M. Klugman said in an interview with KQED, requires the cooperation of the city. \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>“Supporting and clearing a path for the museum is a no-brainer for the city,” board secretary Xochitl Casteñeda told KQED. “It’s going to be a win-win situation.”\u003c/p>\n\u003cfigure id=\"attachment_13955001\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TEN_201_RD_05.jpg\" alt=\"\" width=\"1500\" height=\"1000\" class=\"size-full wp-image-13955001\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TEN_201_RD_05.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TEN_201_RD_05-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TEN_201_RD_05-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TEN_201_RD_05-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TEN_201_RD_05-768x512.jpg 768w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">A rendering of the Mexican Museum’s planned interior improvements. \u003ccite>(Courtesy of the Mexican Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The history of the Mexican Museum’s move downtown\u003c/h2>\n\u003cp>The Mexican Museum was founded in 1975 at the corner of Folsom and 15th Streets by the late artist Peter Rodriguez. In 1982, it moved to Fort Mason Center, where it remained for 36 years, amassing a collection of over 16,500 objects, mostly through donations. \u003c/p>\n\u003cp>Museum holdings span 2,500 years of history, from pre-Hispanic objects to contemporary artworks. The museum is dedicated to “the complexity and richness of Latino art and culture throughout the Americas.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13654906","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>The Mexican Museum has had periods of instability over the past three decades. A planned move to the Yerba Buena neighborhood to join the city’s other major cultural institutions has been in the works since 1993. In the mid-’90s, the museum was rocked by major staff turnover, accusations of misspent grant funds and lackluster fundraising for the planned move. \u003c/p>\n\u003cp>Then, in 2017, a \u003ca href=\"https://www.kqed.org/arts/13654906/mexican-museum-defends-collection-over-authenticity-concerns\">report commissioned by the museum board\u003c/a> found that only 83 of 2,000 artifacts from the museum’s pre-Hispanic collection could be authenticated. But those 80-some objects, the museum argued in a subsequent press release, are “significant and rare — one piece in the collection being so unique that nothing like it exists in Mexico.” \u003c/p>\n\u003cp>Since leaving Fort Mason in 2018, the collection has been in storage. The museum finally took possession of the first four floors of 706 Mission in July 2023. \u003c/p>\n\u003ch2>Were grant funds misused?\u003c/h2>\n\u003cp>The city audit, officially titled “The Mexican Museum Has Not Demonstrated That It Can Meet the City’s Contractual Obligations, and OCII Has Not Effectively Enforced the Museum’s Grant Agreement” has two main findings: misuse of city grant funds and fundraising shortfalls.\u003c/p>\n\u003cp>In 2010, the museum entered into a $10.6 million grant agreement with the city’s \u003ca href=\"https://sfocii.org/homepage-landing\">Office of Community Investment and Infrastructure\u003c/a> (OCII) — funds meant to go towards “predevelopment and interior improvements” at the new location. \u003c/p>\n\u003cp>Only $4 million of that grant has been spent, but the grant agreement expires June 14, 2024, leaving the museum less than three months to spend the remaining $6.6 million. (During the period of the audit, which began in March 2022, the museum says OCII paused all grant reimbursements.)\u003c/p>\n\u003cfigure id=\"attachment_13955004\" class=\"wp-caption aligncenter\" style=\"max-width: 900px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TMM-INTERIOR-5_A.jpg\" alt=\"\" width=\"900\" height=\"600\" class=\"size-full wp-image-13955004\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TMM-INTERIOR-5_A.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TMM-INTERIOR-5_A-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TMM-INTERIOR-5_A-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TMM-INTERIOR-5_A-768x512.jpg 768w\" sizes=\"(max-width: 900px) 100vw, 900px\">\u003cfigcaption class=\"wp-caption-text\">A rendering of planned gallery space in the Mexican Museum. \u003ccite>(Courtesy of the Mexican Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The audit found that the museum has spent nearly $1 million of that grant on “ineligible and questionable activities,” including duplicate expenses, artwork storage and staff salaries. But a response from OCII tempers those findings, explaining that “some level of funding for [the museum’s] current operations was necessary to ‘benefit’ the proposed project in the former Yerba Buena Center Project Area.”\u003c/p>\n\u003cp>In other words, OCII argues, the grant \u003ci>should\u003c/i> cover things like storage and some operational costs — so that there might still \u003ci>be\u003c/i> a museum to move into 706 Mission.\u003c/p>\n\u003cp>For their part, the Mexican Museum says “all budgets and scope of work were not only approved by OCII staff, but also by the OCII commission.” Its representatives refute one duplicate expense and acknowledge the other as a clerical error “out of hundreds of submittals to OCII.”\u003c/p>\n\u003ch2>Does the museum have adequate funds to reopen?\u003c/h2>\n\u003cp>The audit found that the museum has raised only 2% of the nearly $49.8 million it’s estimated to need to reopen. But the museum says this is an old number, and that the new, lower estimate for construction is actually $38 million.\u003c/p>\n\u003cp>By their calculations, the museum says it still has $19.9 million left to raise. But it has made some progress in its search for new funding sources. “We’re the only museum outside of the Republic of Mexico that was granted a tax deductible status” by Mexico, says board chair Andrew Klugman. That means Mexican companies and individuals can donate up to 7% of the taxes they owe to the museum as a write-off.\u003c/p>\n\u003cp>Castañeda admits fundraising for the museum has an uphill journey to her dream goal of $100 million. “I need an army of people to help us,” she says. “You know, how many of the museums today — and I’m not just talking about construction, but operations — are in the red area? We need 10 pesos, $10, you know? Any contribution is welcome and will add to our dream of $100 million.”\u003c/p>\n\u003cfigure id=\"attachment_13955002\" class=\"wp-caption aligncenter\" style=\"max-width: 1901px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/OCII-RED-The-Mexican-Museum-Audit.jpg\" alt=\"Composite image with empty building at left and gallery renderings at right\" width=\"1901\" height=\"1814\" class=\"size-full wp-image-13955002\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/OCII-RED-The-Mexican-Museum-Audit.jpg 1901w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/OCII-RED-The-Mexican-Museum-Audit-800x763.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/OCII-RED-The-Mexican-Museum-Audit-1020x973.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/OCII-RED-The-Mexican-Museum-Audit-160x153.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/OCII-RED-The-Mexican-Museum-Audit-768x733.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/OCII-RED-The-Mexican-Museum-Audit-1536x1466.jpg 1536w\" sizes=\"(max-width: 1901px) 100vw, 1901px\">\u003cfigcaption class=\"wp-caption-text\">An exhibit included in the audit, showing the museum premises in July 2023 (left) and design plans (right). \u003ccite>(City Services Auditor)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Why hasn’t the museum started construction?\n\u003c/h2>\u003cp>The Mexican Museum has a 66-year-lease with the city on the first four floors of 706 Mission (with the option to extend another 33 years), for what breaks down to about ¢.02 a year. But all interior improvements on the 48,000 square-foot space — turning the shell of the building into a climate-controlled art institution — are on the museum. So far, it has made no material progress on those improvements.\u003c/p>\n\u003cp>The museum received keys to the space in July 2023. That was after a lawsuit over a missing staircase was dismissed, with the museum and the city agreeing to work out their differences. The space was built without a public staircase connecting two floors of the museum, as originally planned.\u003c/p>\n\u003cp>As the \u003cem>\u003ca href=\"https://www.bizjournals.com/sanfrancisco/news/2023/07/24/mexican-museum-lawsuit-dismissed-audit-s-f.html\">San Francisco Business Times\u003c/a>\u003c/em> reported last year, the city acknowledged that it had intentionally not built the staircase, saying it “planned to sublease only half the space to the Mexican Museum due to growing concerns that the museum’s financial health would not allow it to build out the entire 48,000 square feet as envisioned.”\u003c/p>\n\u003cp>What also hindered interior improvements, the museum says, was the audit itself. “We are all prepared to construct,” says Castañeda. “This audit was impeding us from doing a lot of things … and now we are being blamed for not doing that.”\u003c/p>\n\u003cp>While museum representatives say the OCII’s pause on grant reimbursement did not prevent them from approaching donors over the past year, the audit did cast a shadow over fundraising efforts, causing some donors to put certain time and milestone requirements on their pledges.\u003c/p>\n\u003ch2>What happens now?\u003c/h2>\n\u003cp>The museum says it now needs the support of OCII. In order for their contractors to submit permit applications, it needs to know that OCII will reimburse those expenses.\u003c/p>\n\u003cp>The Controller’s Office will continue to monitor the museum’s progress, following up every six months on the implementation of their recommendations for record-keeping and grant disbursal. \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>Meanwhile, the Mexican Museum’s representatives affirm that its rightful place is downtown, alongside institutions like the Yerba Buena Center for the Arts and the Museum of the African Diaspora. “We want to decolonize this idea of a museum, traditionally, that is for the elite,” Castañeda says. “This museum is for everybody.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13954980/san-francisco-mexican-museum-audit-reopening","authors":["61"],"categories":["arts_1","arts_835","arts_235","arts_70"],"tags":["arts_10278","arts_3648","arts_1146"],"featImg":"arts_13955000","label":"arts"},"arts_13954702":{"type":"posts","id":"arts_13954702","meta":{"index":"posts_1591205157","site":"arts","id":"13954702","score":null,"sort":[1711663471000]},"guestAuthors":[],"slug":"beyond-aggressives-25-years-later-streaming-review-kisha-chin-trevon-octavio-gender","title":"‘25 Years Later’ Revisits the ‘Trancestors’ of 2005’s ‘The Aggressives’ Documentary","publishDate":1711663471,"format":"standard","headTitle":"‘25 Years Later’ Revisits the ‘Trancestors’ of 2005’s ‘The Aggressives’ Documentary | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>“I’m comfortable being a woman who likes women. I live my life as a man, yes, but the reality does not change. You’re born a woman and that’s how you’re going to die.”\u003c/p>\n\u003cp>So said \u003ca href=\"https://nmaahc.si.edu/lgbtq/marquise-vilson\">Marquise Vilsón\u003c/a>, one of the subjects of 2005 documentary \u003cem>The Aggressives.\u003c/em> The film captured the lives of a group of genderqueer people of color living in New York City between 1997 and 2003. A quarter century on, Vilson’s starkly resigned statement feels lightyears away from where he is today — a successful actor, mentor and activist who is, unquestionably, a man.\u003c/p>\n\u003cp>Given the strides forward that Vilsón has publicly made over the years, it’s no wonder \u003cem>Aggressives\u003c/em> director Daniel Peddle felt the need to check in with some of the other subjects of the film. In 2018, he reconnected with four of the original cast: Octavio Sanders, Trevon Haynes, Kisha Batista and Chin Tsui. He spent the next five years documenting their continuing evolutions, as well as capturing Gen Z perspectives on how these “trancestors” have positively impacted the lives of queer youth now. The result is Paramount+ and Showtime documentary, \u003cem>Beyond the Aggressives: 25 Years Later\u003c/em>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=FI2zkgQ79n4\u003c/p>\n\u003cp>In many ways, reconnecting with these subjects as older, more established adults is a relief, and issues of crime, racism and poverty are not as present here as they were in \u003cem>The Aggressives\u003c/em>. Kisha in particular appears to be living her best life: one full of love, joy, art and motorcycles. She is the philosophical heart of the movie and lights up the screen every time she’s on it — a quality that’s allowed her to snag roles on TV shows like \u003cem>Orange is the New Black\u003c/em>, \u003cem>Law & Order\u003c/em> and \u003cem>Manifest.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That’s not to say our protagonists are not still experiencing hardship as a direct result of their gender identities. At the outset of the film, because of a series of calamitous events, Chin is detained by ICE. Worse, agents put him in long-term solitary confinement because he’s transgender. His struggle for freedom and independence is at the center of his story arc.\u003c/p>\n\u003cp>[aside postid='arts_13952433']When we see Trevon, he’s getting ready to start a family with his girlfriend Jade. As the couple works together to overcome medical issues, it’s clear that doctors’ misunderstandings of gender-nonconforming people only exacerbate their fertility struggles. Trevon is frustrated but determined. One gets the sense that, together, he and Jade could conquer pretty much anything.\u003c/p>\n\u003cp>Octavio gives us a powerful reflection on how growing up around prejudice continues to impact his self-image. Looking back on the first movie, he says he didn’t come out as trans because he was still living with family then and didn’t want to lose his home. Later, we see that fear of familial rejection has lingered.\u003c/p>\n\u003cp>At one point, Octavio notes: “If I had a choice to change my gender, I would. The reason why I don’t is because I have a son … I don’t want society judging him because of who his parent is.”\u003c/p>\n\u003cp>His son’s support later in the film provides the movie with some of its most touching moments.\u003c/p>\n\u003cp>Despite social progress in the years between \u003cem>The Aggressives\u003c/em> and \u003cem>25 Years Later\u003c/em>, self-identification continues to be a point of contention. In the original film, everyone identified as “femme aggressive” at some point, but mostly found themselves outgrowing the term. In the new documentary, Trevon uses male pronouns, but swings between referring to himself as trans, nonbinary and no label at all. It goes to show that language around gender needs to be ever-evolving.\u003c/p>\n\u003cp>[aside postid='arts_13954796']Kisha is still eschewing labels too, but does so with a refreshing sense of joy. “I define myself,” she says, “and I choose to be free.”\u003c/p>\n\u003cp>In the end, that’s what\u003cem> Beyond The Aggressives: 25 Years Later\u003c/em> is really about: growth, evolution, self-expression and the bravery inherent in pushing back against limitations. Its theme of self-realization is a universal one, but it is Kisha who most beautifully sums up the still-developing stories of our four old friends on screen.\u003c/p>\n\u003cp>“Identity is something that you create yourself — something like art. It’s a process. It’s always changing,” she says. “It’s an alignment of self and soul.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Beyond The Aggressives: 25 Years Later’ premieres on Showtime on March 30, 2024. The movie will also be available to stream via Paramount+ for subscribers with a Showtime add-on.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"The new Showtime/Paramount+ film shows how far transgender visibility and culture has progressed this century.","status":"publish","parent":0,"modified":1711663471,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":17,"wordCount":813},"headData":{"title":"How to Stream 'The Aggressives: 25 Years Later’ Documentary | KQED","description":"The new Showtime/Paramount+ film shows how far transgender visibility and culture has progressed this century.","ogTitle":"‘25 Years Later’ Revisits the ‘Trancestors’ of 2005’s ‘The Aggressives’ Documentary","ogDescription":"","ogImgId":"","twTitle":"‘25 Years Later’ Revisits the ‘Trancestors’ of 2005’s ‘The Aggressives’ Documentary","twDescription":"","twImgId":"","socialTitle":"How to Stream 'The Aggressives: 25 Years Later’ Documentary %%page%% %%sep%% KQED"},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13954702/beyond-aggressives-25-years-later-streaming-review-kisha-chin-trevon-octavio-gender","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>“I’m comfortable being a woman who likes women. I live my life as a man, yes, but the reality does not change. You’re born a woman and that’s how you’re going to die.”\u003c/p>\n\u003cp>So said \u003ca href=\"https://nmaahc.si.edu/lgbtq/marquise-vilson\">Marquise Vilsón\u003c/a>, one of the subjects of 2005 documentary \u003cem>The Aggressives.\u003c/em> The film captured the lives of a group of genderqueer people of color living in New York City between 1997 and 2003. A quarter century on, Vilson’s starkly resigned statement feels lightyears away from where he is today — a successful actor, mentor and activist who is, unquestionably, a man.\u003c/p>\n\u003cp>Given the strides forward that Vilsón has publicly made over the years, it’s no wonder \u003cem>Aggressives\u003c/em> director Daniel Peddle felt the need to check in with some of the other subjects of the film. In 2018, he reconnected with four of the original cast: Octavio Sanders, Trevon Haynes, Kisha Batista and Chin Tsui. He spent the next five years documenting their continuing evolutions, as well as capturing Gen Z perspectives on how these “trancestors” have positively impacted the lives of queer youth now. The result is Paramount+ and Showtime documentary, \u003cem>Beyond the Aggressives: 25 Years Later\u003c/em>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/FI2zkgQ79n4'\n title='//www.youtube.com/embed/FI2zkgQ79n4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In many ways, reconnecting with these subjects as older, more established adults is a relief, and issues of crime, racism and poverty are not as present here as they were in \u003cem>The Aggressives\u003c/em>. Kisha in particular appears to be living her best life: one full of love, joy, art and motorcycles. She is the philosophical heart of the movie and lights up the screen every time she’s on it — a quality that’s allowed her to snag roles on TV shows like \u003cem>Orange is the New Black\u003c/em>, \u003cem>Law & Order\u003c/em> and \u003cem>Manifest.\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>That’s not to say our protagonists are not still experiencing hardship as a direct result of their gender identities. At the outset of the film, because of a series of calamitous events, Chin is detained by ICE. Worse, agents put him in long-term solitary confinement because he’s transgender. His struggle for freedom and independence is at the center of his story arc.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13952433","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>When we see Trevon, he’s getting ready to start a family with his girlfriend Jade. As the couple works together to overcome medical issues, it’s clear that doctors’ misunderstandings of gender-nonconforming people only exacerbate their fertility struggles. Trevon is frustrated but determined. One gets the sense that, together, he and Jade could conquer pretty much anything.\u003c/p>\n\u003cp>Octavio gives us a powerful reflection on how growing up around prejudice continues to impact his self-image. Looking back on the first movie, he says he didn’t come out as trans because he was still living with family then and didn’t want to lose his home. Later, we see that fear of familial rejection has lingered.\u003c/p>\n\u003cp>At one point, Octavio notes: “If I had a choice to change my gender, I would. The reason why I don’t is because I have a son … I don’t want society judging him because of who his parent is.”\u003c/p>\n\u003cp>His son’s support later in the film provides the movie with some of its most touching moments.\u003c/p>\n\u003cp>Despite social progress in the years between \u003cem>The Aggressives\u003c/em> and \u003cem>25 Years Later\u003c/em>, self-identification continues to be a point of contention. In the original film, everyone identified as “femme aggressive” at some point, but mostly found themselves outgrowing the term. In the new documentary, Trevon uses male pronouns, but swings between referring to himself as trans, nonbinary and no label at all. It goes to show that language around gender needs to be ever-evolving.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13954796","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Kisha is still eschewing labels too, but does so with a refreshing sense of joy. “I define myself,” she says, “and I choose to be free.”\u003c/p>\n\u003cp>In the end, that’s what\u003cem> Beyond The Aggressives: 25 Years Later\u003c/em> is really about: growth, evolution, self-expression and the bravery inherent in pushing back against limitations. Its theme of self-realization is a universal one, but it is Kisha who most beautifully sums up the still-developing stories of our four old friends on screen.\u003c/p>\n\u003cp>“Identity is something that you create yourself — something like art. It’s a process. It’s always changing,” she says. “It’s an alignment of self and soul.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Beyond The Aggressives: 25 Years Later’ premieres on Showtime on March 30, 2024. The movie will also be available to stream via Paramount+ for subscribers with a Showtime add-on.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13954702/beyond-aggressives-25-years-later-streaming-review-kisha-chin-trevon-octavio-gender","authors":["11242"],"programs":["arts_140"],"categories":["arts_1","arts_835","arts_74"],"tags":["arts_13672","arts_3226","arts_21825","arts_769","arts_8404","arts_585","arts_702"],"featImg":"arts_13954925","label":"arts_140"},"arts_13954854":{"type":"posts","id":"arts_13954854","meta":{"index":"posts_1591205157","site":"arts","id":"13954854","score":null,"sort":[1711620027000]},"guestAuthors":[],"slug":"muralist-vocalist-and-all-around-artist-zoe-boston","title":"Zoë Boston, the Artistic Alchemist","publishDate":1711620027,"format":"audio","headTitle":"Zoë Boston, the Artistic Alchemist | KQED","labelTerm":{"term":8720,"site":"arts"},"content":"\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">A full transcript will be available 1–2 workdays after the episode’s publication.\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ca href=\"https://linktr.ee/ZoeBoston\" target=\"_blank\" rel=\"noopener\">Zoë Boston\u003c/a> is a talented artist who takes the highs and lows of life, and creates moving works of art of all sorts.\u003c/p>\n\u003cp>She paints huge, brightly-colored murals depicting otherworldly beings, with elements of Afrocentrism and scenes inspired by nature. She also does acrylic-based paintings on canvas, smaller in stature but just as powerful. She’s a fashionista, who knows how to put an outfit together– accessories and all. She’s a writer, of both short journal-like essays and profound lyrics for songs. Plus she’s a talented vocalist.\u003c/p>\n\u003cfigure id=\"attachment_13954859\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13954859\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Zoe%CC%88Boston_PhotoBy_JoeCarranza_TakeIn_DetroitMI-800x556.jpg\" alt=\"Zoë Boston wears sunglasses and a denim outfit as she stands in front of a mural depicting a beautiful purple being on a blue background.\" width=\"800\" height=\"556\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/ZoëBoston_PhotoBy_JoeCarranza_TakeIn_DetroitMI-800x556.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/ZoëBoston_PhotoBy_JoeCarranza_TakeIn_DetroitMI-1020x709.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/ZoëBoston_PhotoBy_JoeCarranza_TakeIn_DetroitMI-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/ZoëBoston_PhotoBy_JoeCarranza_TakeIn_DetroitMI-768x533.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/ZoëBoston_PhotoBy_JoeCarranza_TakeIn_DetroitMI-1536x1067.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/ZoëBoston_PhotoBy_JoeCarranza_TakeIn_DetroitMI-2048x1423.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/ZoëBoston_PhotoBy_JoeCarranza_TakeIn_DetroitMI-1920x1334.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Zoë Boston poses for a photo in front of her mural in Detroit, Michigan. \u003ccite>(Joe Carranza)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In her 2023 single, “\u003ca href=\"https://www.youtube.com/watch?v=bGIO82wzsEE\" target=\"_blank\" rel=\"noopener\">Murky Waters\u003c/a>,” Zoë sings, “We said ‘friends for life,’ didn’t know I was signing mine over,” as she unpacks her experience of surviving an abusive relationship.\u003c/p>\n\u003cp>Zoë, who was born in Southern California and spent some time on the East Coast, found a home in Oakland nearly a decade ago. She initially moved here to be part of a media production team. During that time, however, Zoë says she had unintentionally become a part of a cult and was also sexually assaulted.\u003c/p>\n\u003cp>From that low point she’s built herself up, as well as her art and her community. And it’s this community, namely members of the \u003ca href=\"https://www.thebamp.org/\" target=\"_blank\" rel=\"noopener\">Bay Area Mural Program\u003c/a>, who’ve come to truly see Zoë when she needed it the most.\u003c/p>\n\u003cfigure id=\"attachment_13954860\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13954860\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Zoe%CC%88Boston_MuralinOakland_TakenBy_Zoe%CC%88Boston-800x1066.jpg\" alt=\"\" width=\"800\" height=\"1066\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/ZoëBoston_MuralinOakland_TakenBy_ZoëBoston-800x1066.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/ZoëBoston_MuralinOakland_TakenBy_ZoëBoston-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/ZoëBoston_MuralinOakland_TakenBy_ZoëBoston-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/ZoëBoston_MuralinOakland_TakenBy_ZoëBoston-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/ZoëBoston_MuralinOakland_TakenBy_ZoëBoston.jpg 1087w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A mural showcasing some of the elements of Oakland: the Bay Bridge, the cranes from the port and a California Poppy– the state flower. \u003ccite>(Zoë Boston)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Earlier this year, as bills piled up and money got tight, Zoë created a GoFundMe campaign in order to stay afloat as an artist in the Bay Area. People rushed to her aid, offering over the amount that she asked. A few days later Zoë got some news that was a bit of a cherry on top, as she and fellow visual artist \u003ca href=\"https://www.kqed.org/arts/13868502/from-d-boys-to-dope-art\" target=\"_blank\" rel=\"noopener\">Timothy B\u003c/a>. were awarded a contract through the East Bay Asian Local Development Corporation (\u003ca href=\"https://ebaldc.org/\" target=\"_blank\" rel=\"noopener\">EBALDC\u003c/a>) to paint a mural on a forthcoming low-incoming housing project in West Oakland.\u003c/p>\n\u003cp>Through all of the ups-and-downs of life in the Bay Area, Zoë has relied on community, art and a commitment to personal growth. And this week on Rightnowish, we talk about it all.\u003c/p>\n\u003cfigure id=\"attachment_13954861\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13954861 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Zoe%CC%88Boston_AtCasaSuenosApartments_-35thAveInOakland-California_TakenBy_-B-DeVeaux-800x1044.jpg\" alt=\"Zoë Boston wears a plaid long-sleeve shirt as she poses for a photo in front of her mural on the Casa Sueños Apartments in East Oakland.\" width=\"800\" height=\"1044\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/ZoëBoston_AtCasaSuenosApartments_-35thAveInOakland-California_TakenBy_-B-DeVeaux-800x1044.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/ZoëBoston_AtCasaSuenosApartments_-35thAveInOakland-California_TakenBy_-B-DeVeaux-1020x1332.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/ZoëBoston_AtCasaSuenosApartments_-35thAveInOakland-California_TakenBy_-B-DeVeaux-160x209.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/ZoëBoston_AtCasaSuenosApartments_-35thAveInOakland-California_TakenBy_-B-DeVeaux-768x1003.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/ZoëBoston_AtCasaSuenosApartments_-35thAveInOakland-California_TakenBy_-B-DeVeaux.jpg 1110w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Zoë Boston poses for a photo in front of her mural on the Casa Sueños Apartment Building in East Oakland. \u003ccite>(B DeVeaux)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp> \u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC4128307044\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]=\u003c/p>\n\u003cp>\u003c/p>\n","blocks":[],"excerpt":"Zoë Boston is a talented artist who takes the highs and lows of life, and creates moving works of art.","status":"publish","parent":0,"modified":1711652428,"stats":{"hasAudio":true,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":13,"wordCount":509},"headData":{"title":"Zoë Boston, the Artistic Alchemist | KQED","description":"Zoë Boston is a talented artist who takes the highs and lows of life, and creates moving works of art of all sorts. She paints huge, brightly-colored murals depicting otherworldly beings, with elements of Afrocentrism and scenes inspired by nature. She also does acrylic-based paintings on canvas, smaller in stature but just as powerful. She's a fashionista, who knows how to put an outfit together-- accessories and all. She's a writer, of both short journal-like essays and profound lyrics for songs. Plus she's a talented vocalist.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","socialDescription":"Zoë Boston is a talented artist who takes the highs and lows of life, and creates moving works of art of all sorts. She paints huge, brightly-colored murals depicting otherworldly beings, with elements of Afrocentrism and scenes inspired by nature. She also does acrylic-based paintings on canvas, smaller in stature but just as powerful. She's a fashionista, who knows how to put an outfit together-- accessories and all. She's a writer, of both short journal-like essays and profound lyrics for songs. Plus she's a talented vocalist."},"audioUrl":"https://www.podtrac.com/pts/redirect.mp3/chrt.fm/track/G6C7C3/traffic.megaphone.fm/KQINC4128307044.mp3?updated=1711588257","sticky":false,"excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13954854/muralist-vocalist-and-all-around-artist-zoe-boston","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">A full transcript will be available 1–2 workdays after the episode’s publication.\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ca href=\"https://linktr.ee/ZoeBoston\" target=\"_blank\" rel=\"noopener\">Zoë Boston\u003c/a> is a talented artist who takes the highs and lows of life, and creates moving works of art of all sorts.\u003c/p>\n\u003cp>She paints huge, brightly-colored murals depicting otherworldly beings, with elements of Afrocentrism and scenes inspired by nature. She also does acrylic-based paintings on canvas, smaller in stature but just as powerful. She’s a fashionista, who knows how to put an outfit together– accessories and all. She’s a writer, of both short journal-like essays and profound lyrics for songs. Plus she’s a talented vocalist.\u003c/p>\n\u003cfigure id=\"attachment_13954859\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13954859\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Zoe%CC%88Boston_PhotoBy_JoeCarranza_TakeIn_DetroitMI-800x556.jpg\" alt=\"Zoë Boston wears sunglasses and a denim outfit as she stands in front of a mural depicting a beautiful purple being on a blue background.\" width=\"800\" height=\"556\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/ZoëBoston_PhotoBy_JoeCarranza_TakeIn_DetroitMI-800x556.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/ZoëBoston_PhotoBy_JoeCarranza_TakeIn_DetroitMI-1020x709.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/ZoëBoston_PhotoBy_JoeCarranza_TakeIn_DetroitMI-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/ZoëBoston_PhotoBy_JoeCarranza_TakeIn_DetroitMI-768x533.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/ZoëBoston_PhotoBy_JoeCarranza_TakeIn_DetroitMI-1536x1067.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/ZoëBoston_PhotoBy_JoeCarranza_TakeIn_DetroitMI-2048x1423.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/ZoëBoston_PhotoBy_JoeCarranza_TakeIn_DetroitMI-1920x1334.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Zoë Boston poses for a photo in front of her mural in Detroit, Michigan. \u003ccite>(Joe Carranza)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In her 2023 single, “\u003ca href=\"https://www.youtube.com/watch?v=bGIO82wzsEE\" target=\"_blank\" rel=\"noopener\">Murky Waters\u003c/a>,” Zoë sings, “We said ‘friends for life,’ didn’t know I was signing mine over,” as she unpacks her experience of surviving an abusive relationship.\u003c/p>\n\u003cp>Zoë, who was born in Southern California and spent some time on the East Coast, found a home in Oakland nearly a decade ago. She initially moved here to be part of a media production team. During that time, however, Zoë says she had unintentionally become a part of a cult and was also sexually assaulted.\u003c/p>\n\u003cp>From that low point she’s built herself up, as well as her art and her community. And it’s this community, namely members of the \u003ca href=\"https://www.thebamp.org/\" target=\"_blank\" rel=\"noopener\">Bay Area Mural Program\u003c/a>, who’ve come to truly see Zoë when she needed it the most.\u003c/p>\n\u003cfigure id=\"attachment_13954860\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13954860\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Zoe%CC%88Boston_MuralinOakland_TakenBy_Zoe%CC%88Boston-800x1066.jpg\" alt=\"\" width=\"800\" height=\"1066\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/ZoëBoston_MuralinOakland_TakenBy_ZoëBoston-800x1066.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/ZoëBoston_MuralinOakland_TakenBy_ZoëBoston-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/ZoëBoston_MuralinOakland_TakenBy_ZoëBoston-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/ZoëBoston_MuralinOakland_TakenBy_ZoëBoston-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/ZoëBoston_MuralinOakland_TakenBy_ZoëBoston.jpg 1087w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A mural showcasing some of the elements of Oakland: the Bay Bridge, the cranes from the port and a California Poppy– the state flower. \u003ccite>(Zoë Boston)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Earlier this year, as bills piled up and money got tight, Zoë created a GoFundMe campaign in order to stay afloat as an artist in the Bay Area. People rushed to her aid, offering over the amount that she asked. A few days later Zoë got some news that was a bit of a cherry on top, as she and fellow visual artist \u003ca href=\"https://www.kqed.org/arts/13868502/from-d-boys-to-dope-art\" target=\"_blank\" rel=\"noopener\">Timothy B\u003c/a>. were awarded a contract through the East Bay Asian Local Development Corporation (\u003ca href=\"https://ebaldc.org/\" target=\"_blank\" rel=\"noopener\">EBALDC\u003c/a>) to paint a mural on a forthcoming low-incoming housing project in West Oakland.\u003c/p>\n\u003cp>Through all of the ups-and-downs of life in the Bay Area, Zoë has relied on community, art and a commitment to personal growth. And this week on Rightnowish, we talk about it all.\u003c/p>\n\u003cfigure id=\"attachment_13954861\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13954861 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Zoe%CC%88Boston_AtCasaSuenosApartments_-35thAveInOakland-California_TakenBy_-B-DeVeaux-800x1044.jpg\" alt=\"Zoë Boston wears a plaid long-sleeve shirt as she poses for a photo in front of her mural on the Casa Sueños Apartments in East Oakland.\" width=\"800\" height=\"1044\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/ZoëBoston_AtCasaSuenosApartments_-35thAveInOakland-California_TakenBy_-B-DeVeaux-800x1044.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/ZoëBoston_AtCasaSuenosApartments_-35thAveInOakland-California_TakenBy_-B-DeVeaux-1020x1332.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/ZoëBoston_AtCasaSuenosApartments_-35thAveInOakland-California_TakenBy_-B-DeVeaux-160x209.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/ZoëBoston_AtCasaSuenosApartments_-35thAveInOakland-California_TakenBy_-B-DeVeaux-768x1003.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/ZoëBoston_AtCasaSuenosApartments_-35thAveInOakland-California_TakenBy_-B-DeVeaux.jpg 1110w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Zoë Boston poses for a photo in front of her mural on the Casa Sueños Apartment Building in East Oakland. \u003ccite>(B DeVeaux)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp> \u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC4128307044\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>=\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13954854/muralist-vocalist-and-all-around-artist-zoe-boston","authors":["11491"],"programs":["arts_8720"],"categories":["arts_1","arts_835"],"tags":["arts_22046","arts_8167","arts_22024","arts_681","arts_1143","arts_22022"],"featImg":"arts_13954856","label":"arts_8720"},"arts_13954364":{"type":"posts","id":"arts_13954364","meta":{"index":"posts_1591205157","site":"arts","id":"13954364","score":null,"sort":[1711396359000]},"guestAuthors":[],"slug":"sacramento-taco-truck-banzitos-kings-deaaron-fox-nba","title":"These Sacramento Tacos Are So Good, They Inspired an NBA Player's New Shoes","publishDate":1711396359,"format":"standard","headTitle":"These Sacramento Tacos Are So Good, They Inspired an NBA Player’s New Shoes | KQED","labelTerm":{},"content":"\u003cp>\u003cspan style=\"font-weight: 400\">As a Bay Area Mexican American, I don’t often feel the need to leave our Pacific shoreline in search of good Mexican food. After all, the Bay is home to the righteous Mission burrito — a game-changing \u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=bWsvwwglD8I\">\u003cspan style=\"font-weight: 400\">culinary gem of generous proportions\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> — as well as \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13936325/social-media-biggest-pupusas-burritos-instagram-tiktok-latinextravagant-bay-area\">\u003cspan style=\"font-weight: 400\">a growing “Latinextravagant” food scene\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Sure, there’s always the occasional hater comparing us to L.A. and San Diego — which have larger Mexican populations and are closer to the border. But the Bay boasts a delicious array of regional Mexican foods scattered throughout East Oakland’s parking lots, San Jose’s markets and Richmond’s backyards. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And yet it would be foolish to think we’re the singular purveyor of Northern California’s best Mexican-inspired dishes. \u003c/span>\u003cspan style=\"font-weight: 400\">As metropolitan as we are, I recently found some of my favorite Chicano-style tacos in Sacramento — and NBA All Star De’Aaron Fox agrees. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13954471\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954471\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/taco1-scaled.jpg\" alt=\"a carne asada taco with guacamole, cilantro and onions on a paper tray\" width=\"2560\" height=\"2083\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/taco1-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/taco1-800x651.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/taco1-1020x830.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/taco1-160x130.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/taco1-768x625.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/taco1-1536x1250.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/taco1-2048x1667.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/taco1-1920x1563.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">The Bistek taco comes with carne asada, orange sauce and sliced avocado on a fried crisp tortilla. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">At a taco truck called \u003ca href=\"https://www.instagram.com/banzitostacos/\">Banzito’s\u003c/a> (formerly Bandito’s), I encountered my first “enchitaco.” It’s an open-faced enchilada that fuses magically with the highly Americanized taco ingredients of ground beef, lettuce, diced tomatoes and sour cream. I haven’t seen anything like it in Bay Area; clearly, there’s something different going on in Sacra.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">With other ingredients like bacon bits and pepper jack cheese, Banzito’s Northern Califas tacos are closer to Tex-Mex than the central and northern Mexican classics revered in immigrant enclaves. Instead of striving for sanctimonious purity, chef Adam Saldaña focuses on remixing flavors you’ll likely find in a multi-generational Chicano household’s pantry, not from a taquero’s basket in Guadalajara. And that’s the beauty — and empowering reclamation — of it. \u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Saldaña’s tacos might even get scoffed at by actual Mexicans, who often \u003ca href=\"https://www.ocweekly.com/why-dont-mexicans-like-mexican-restaurants-in-the-united-states-8457539/\">poke fun at Americanized Mexican food\u003c/a>. But not all tacos have to be praised by those who only know life in la República Mexicana, where context about what it’s like to grow up in the U.S. with Mexican heritage is often lost in translation. Banzito’s \u003cem>is\u003c/em> the translation, and reflects Saldaña’s experiences as a Sacramentan rather than some distant ideal of what a taco \u003ci>should\u003c/i> be. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">His approach is clearly working. The tacos are so noticeably appealing to local tastebuds that Sacramento Kings point guard Fox has taken it upon himself to champion Banzito’s in perhaps the most flamboyant way an NBA player can.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13954469\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954469\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_0666-scaled.jpg\" alt=\"a group of Sacramento Kings basketball fans wait in line to order tacos from a truck outside of the team's arena\" width=\"2560\" height=\"1882\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_0666-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_0666-800x588.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_0666-1020x750.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_0666-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_0666-768x565.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_0666-1536x1129.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_0666-2048x1506.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_0666-1920x1411.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">A group of Sacramento Kings fans await their order from Banzito’s outside of Golden 1 Center. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">On March 7, after Fox dropped 33 points in a pivotal win against the San Antonio Spurs, the phenom debuted his Curry-brand player edition sneakers, \u003ca href=\"https://twitter.com/NickDePaula/status/1765931757361037569\">dedicated to Banzito’s.\u003c/a> After the game, \u003ca href=\"https://twitter.com/swipathefox/status/1765632799657349178\">he Tweeted Saldaña to save him a plate of food\u003c/a>. He then slid out to the truck, in front of the arena, and \u003ca href=\"https://twitter.com/BanzitosTacos/status/1766163989422366935/photo/2\">scarfed down some carne asada\u003c/a>.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In my lifetime of eating tacos and watching the NBA, I’ve never once seen an NBA player endorse an independent Mexican food business. The way Fox has been giving Saldaña his props, in my eyes, is worthy of the Mexican American Hall of Fame.\u003c/span>\u003c/p>\n\u003cp>https://twitter.com/NickDePaula/status/1765931757361037569\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">A quick lurk through \u003ca href=\"https://twitter.com/swipathefox\">Fox’s social pages\u003c/a> reveal a longtime affinity for Banzito’s, with raving posts that date back at least a year. Endearingly, the player and the taquero quote tweet and retweet one another about the food, Sacramento and basketball. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Earlier this season, when reports of Fox’s injury surfaced, \u003c/span>\u003ca href=\"https://twitter.com/BanzitosTacos/status/1719037038803222995\">\u003cspan style=\"font-weight: 400\">Saldaña sent him horchata and tacos\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. When Fox and the Kings recently won, the player shared an Instagram post to his million followers with the caption, \u003ca href=\"https://www.instagram.com/swipathefox/p/C4RXXSMvFKF/?img_index=1\">“Beams and Banzitos.”\u003c/a>\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s safe to say that it’s the most heartwarming friendship that has ever publicly blossomed between a homegrown taquero and an NBA star. [aside postid='arts_13954597']\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It doesn’t hurt that \u003ca href=\"https://twitter.com/swipathefox/status/1761586212022931898\">Saldaña is a diehard Kings fan who previously catered privately for the team\u003c/a>. Banzito’s designs and slogans align perfectly with the Kings’ fanbase, too: “Light The Tacobeam,” \u003ca href=\"https://twitter.com/BanzitosTacos/status/1768129036931445239\">a makeshift logo with a purple bandana-wearing fox.\u003c/a> These are the kinds of brand innovations and menu items that Saldaña is dishing out — and \u003ca href=\"https://twitter.com/Cee_Caldwell/status/1761191744602030225\">Sacramentans, including Fox and his wife, Recee, are eating it up\u003c/a>. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Saldaña just launched his brightly lit teal-and-yellow food truck near downtown’s sparkling Golden 1 Center. And earlier this month, he announced he’ll be expanding with pop-ups at Fowler Ranch Farm Brewery in Lincoln and Sharif & Co. in Roseville.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13954459\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954459\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Banzitos2-scaled.jpg\" alt=\"a basketball fan eats a taco in front of a basketball arena\" width=\"2560\" height=\"2491\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Banzitos2-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Banzitos2-800x778.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Banzitos2-1020x992.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Banzitos2-160x156.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Banzitos2-768x747.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Banzitos2-1536x1495.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Banzitos2-2048x1993.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Banzitos2-1920x1868.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Local author Jose Vadi eats at Banzito’s while flashing his Sacramento gear.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Outside the Golden 1 Center, you may have to wait in line to get your first bite. Without much nearby competition (besides the more upscale Mexican restaurant Polcano), Saldaña is taking his shot. And he hasn’t missed.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">At its core, Banzito’s represents the way children of immigrants reinvent culture, a subversive kind of nourishment that thrives despite naysayers and doubters. Just like lowriders, another symbol of Chicano style and ingenuity, Banzito’s is re-engineering what we know in a slightly familiar, edible context. [aside postid='arts_13954624']\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s precisely that imperfect (or perfect?) hybridity that allows Saldaña’s tortilla-bound inventions to accentuate the tastes of what it’s like to be raised by Mexicans outside of Mexico, this far north from the border. As they say in parts of Mexico, every pueblo has its own kind of salsa. This is Sacramento’s.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.instagram.com/banzitostacos/\">Banzito’s\u003c/a> taco truck is located in front of Golden 1 Center, on the corner of K and 7th Street, before and after Kings games. They also pop-up near Sharif & Co. (1001 Creekside Ridge Drive Roseville, CA 95678) and at Fowler Ranch Farm Brewery (3111 Lincoln Newcastle Hwy., Lincoln, CA 95648). \u003ca href=\"https://www.instagram.com/banzitostacos/\">Check their Instagram page\u003c/a> for more hours and locations.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Banzito's has a cult following that includes the Kings' De'Aaron Fox, who designed a shoe in its honor.","status":"publish","parent":0,"modified":1711472530,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":21,"wordCount":1089},"headData":{"title":"These Sacramento Tacos Inspired a Kings Player's New Sneakers | KQED","description":"Banzito's has a cult following that includes the Kings' De'Aaron Fox, who designed a shoe in its honor.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","socialTitle":"These Sacramento Tacos Inspired a Kings Player's New Sneakers %%page%% %%sep%% KQED"},"source":"Food","sourceUrl":"https://www.kqed.org/food","sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13954364/sacramento-taco-truck-banzitos-kings-deaaron-fox-nba","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">As a Bay Area Mexican American, I don’t often feel the need to leave our Pacific shoreline in search of good Mexican food. After all, the Bay is home to the righteous Mission burrito — a game-changing \u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=bWsvwwglD8I\">\u003cspan style=\"font-weight: 400\">culinary gem of generous proportions\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> — as well as \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13936325/social-media-biggest-pupusas-burritos-instagram-tiktok-latinextravagant-bay-area\">\u003cspan style=\"font-weight: 400\">a growing “Latinextravagant” food scene\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Sure, there’s always the occasional hater comparing us to L.A. and San Diego — which have larger Mexican populations and are closer to the border. But the Bay boasts a delicious array of regional Mexican foods scattered throughout East Oakland’s parking lots, San Jose’s markets and Richmond’s backyards. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And yet it would be foolish to think we’re the singular purveyor of Northern California’s best Mexican-inspired dishes. \u003c/span>\u003cspan style=\"font-weight: 400\">As metropolitan as we are, I recently found some of my favorite Chicano-style tacos in Sacramento — and NBA All Star De’Aaron Fox agrees. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13954471\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954471\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/taco1-scaled.jpg\" alt=\"a carne asada taco with guacamole, cilantro and onions on a paper tray\" width=\"2560\" height=\"2083\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/taco1-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/taco1-800x651.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/taco1-1020x830.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/taco1-160x130.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/taco1-768x625.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/taco1-1536x1250.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/taco1-2048x1667.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/taco1-1920x1563.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">The Bistek taco comes with carne asada, orange sauce and sliced avocado on a fried crisp tortilla. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">At a taco truck called \u003ca href=\"https://www.instagram.com/banzitostacos/\">Banzito’s\u003c/a> (formerly Bandito’s), I encountered my first “enchitaco.” It’s an open-faced enchilada that fuses magically with the highly Americanized taco ingredients of ground beef, lettuce, diced tomatoes and sour cream. I haven’t seen anything like it in Bay Area; clearly, there’s something different going on in Sacra.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">With other ingredients like bacon bits and pepper jack cheese, Banzito’s Northern Califas tacos are closer to Tex-Mex than the central and northern Mexican classics revered in immigrant enclaves. Instead of striving for sanctimonious purity, chef Adam Saldaña focuses on remixing flavors you’ll likely find in a multi-generational Chicano household’s pantry, not from a taquero’s basket in Guadalajara. And that’s the beauty — and empowering reclamation — of it. \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Saldaña’s tacos might even get scoffed at by actual Mexicans, who often \u003ca href=\"https://www.ocweekly.com/why-dont-mexicans-like-mexican-restaurants-in-the-united-states-8457539/\">poke fun at Americanized Mexican food\u003c/a>. But not all tacos have to be praised by those who only know life in la República Mexicana, where context about what it’s like to grow up in the U.S. with Mexican heritage is often lost in translation. Banzito’s \u003cem>is\u003c/em> the translation, and reflects Saldaña’s experiences as a Sacramentan rather than some distant ideal of what a taco \u003ci>should\u003c/i> be. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">His approach is clearly working. The tacos are so noticeably appealing to local tastebuds that Sacramento Kings point guard Fox has taken it upon himself to champion Banzito’s in perhaps the most flamboyant way an NBA player can.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13954469\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954469\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_0666-scaled.jpg\" alt=\"a group of Sacramento Kings basketball fans wait in line to order tacos from a truck outside of the team's arena\" width=\"2560\" height=\"1882\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_0666-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_0666-800x588.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_0666-1020x750.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_0666-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_0666-768x565.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_0666-1536x1129.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_0666-2048x1506.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_0666-1920x1411.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">A group of Sacramento Kings fans await their order from Banzito’s outside of Golden 1 Center. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">On March 7, after Fox dropped 33 points in a pivotal win against the San Antonio Spurs, the phenom debuted his Curry-brand player edition sneakers, \u003ca href=\"https://twitter.com/NickDePaula/status/1765931757361037569\">dedicated to Banzito’s.\u003c/a> After the game, \u003ca href=\"https://twitter.com/swipathefox/status/1765632799657349178\">he Tweeted Saldaña to save him a plate of food\u003c/a>. He then slid out to the truck, in front of the arena, and \u003ca href=\"https://twitter.com/BanzitosTacos/status/1766163989422366935/photo/2\">scarfed down some carne asada\u003c/a>.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In my lifetime of eating tacos and watching the NBA, I’ve never once seen an NBA player endorse an independent Mexican food business. The way Fox has been giving Saldaña his props, in my eyes, is worthy of the Mexican American Hall of Fame.\u003c/span>\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"singleTwitterStatus","attributes":{"named":{"id":"1765931757361037569"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>\u003cspan style=\"font-weight: 400\">A quick lurk through \u003ca href=\"https://twitter.com/swipathefox\">Fox’s social pages\u003c/a> reveal a longtime affinity for Banzito’s, with raving posts that date back at least a year. Endearingly, the player and the taquero quote tweet and retweet one another about the food, Sacramento and basketball. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Earlier this season, when reports of Fox’s injury surfaced, \u003c/span>\u003ca href=\"https://twitter.com/BanzitosTacos/status/1719037038803222995\">\u003cspan style=\"font-weight: 400\">Saldaña sent him horchata and tacos\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. When Fox and the Kings recently won, the player shared an Instagram post to his million followers with the caption, \u003ca href=\"https://www.instagram.com/swipathefox/p/C4RXXSMvFKF/?img_index=1\">“Beams and Banzitos.”\u003c/a>\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s safe to say that it’s the most heartwarming friendship that has ever publicly blossomed between a homegrown taquero and an NBA star. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13954597","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It doesn’t hurt that \u003ca href=\"https://twitter.com/swipathefox/status/1761586212022931898\">Saldaña is a diehard Kings fan who previously catered privately for the team\u003c/a>. Banzito’s designs and slogans align perfectly with the Kings’ fanbase, too: “Light The Tacobeam,” \u003ca href=\"https://twitter.com/BanzitosTacos/status/1768129036931445239\">a makeshift logo with a purple bandana-wearing fox.\u003c/a> These are the kinds of brand innovations and menu items that Saldaña is dishing out — and \u003ca href=\"https://twitter.com/Cee_Caldwell/status/1761191744602030225\">Sacramentans, including Fox and his wife, Recee, are eating it up\u003c/a>. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Saldaña just launched his brightly lit teal-and-yellow food truck near downtown’s sparkling Golden 1 Center. And earlier this month, he announced he’ll be expanding with pop-ups at Fowler Ranch Farm Brewery in Lincoln and Sharif & Co. in Roseville.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13954459\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954459\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Banzitos2-scaled.jpg\" alt=\"a basketball fan eats a taco in front of a basketball arena\" width=\"2560\" height=\"2491\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Banzitos2-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Banzitos2-800x778.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Banzitos2-1020x992.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Banzitos2-160x156.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Banzitos2-768x747.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Banzitos2-1536x1495.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Banzitos2-2048x1993.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Banzitos2-1920x1868.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Local author Jose Vadi eats at Banzito’s while flashing his Sacramento gear.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Outside the Golden 1 Center, you may have to wait in line to get your first bite. Without much nearby competition (besides the more upscale Mexican restaurant Polcano), Saldaña is taking his shot. And he hasn’t missed.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">At its core, Banzito’s represents the way children of immigrants reinvent culture, a subversive kind of nourishment that thrives despite naysayers and doubters. Just like lowriders, another symbol of Chicano style and ingenuity, Banzito’s is re-engineering what we know in a slightly familiar, edible context. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13954624","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s precisely that imperfect (or perfect?) hybridity that allows Saldaña’s tortilla-bound inventions to accentuate the tastes of what it’s like to be raised by Mexicans outside of Mexico, this far north from the border. As they say in parts of Mexico, every pueblo has its own kind of salsa. This is Sacramento’s.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.instagram.com/banzitostacos/\">Banzito’s\u003c/a> taco truck is located in front of Golden 1 Center, on the corner of K and 7th Street, before and after Kings games. They also pop-up near Sharif & Co. (1001 Creekside Ridge Drive Roseville, CA 95678) and at Fowler Ranch Farm Brewery (3111 Lincoln Newcastle Hwy., Lincoln, CA 95648). \u003ca href=\"https://www.instagram.com/banzitostacos/\">Check their Instagram page\u003c/a> for more hours and locations.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13954364/sacramento-taco-truck-banzitos-kings-deaaron-fox-nba","authors":["11748"],"categories":["arts_1","arts_835","arts_12276"],"tags":["arts_3419","arts_10278","arts_1297","arts_14985","arts_22012","arts_5779","arts_14984"],"featImg":"arts_13954474","label":"source_arts_13954364"},"arts_13954422":{"type":"posts","id":"arts_13954422","meta":{"index":"posts_1591205157","site":"arts","id":"13954422","score":null,"sort":[1711040962000]},"guestAuthors":[],"slug":"san-jose-rapper-plocz-dioramas","title":"This San Jose Rapper Recreates the Streets in Hyper-Realistic Dioramas","publishDate":1711040962,"format":"standard","headTitle":"This San Jose Rapper Recreates the Streets in Hyper-Realistic Dioramas | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>When you traverse the Bay Area on foot, you notice everything from a different angle: the weeds sprouting through concrete, discarded blunt guts; the familiar person roaming your block. You gain a deeper understanding, if not appreciation, for it all.\u003c/p>\n\u003cp>Growing up in South San Jose without a car, Alejandro Aroz spent decades interacting with and memorizing the textures of its innumerable street corners.\u003c/p>\n\u003cp>[aside postID='arts_13952796']“I’ve been on foot my whole life, looking at my environment, and there’s so much in the Bay Area’s streets to look at,” the 32-year-old says. “I’m always taking notes, observing, bringing that into attention.”\u003c/p>\n\u003cp>By day, Aroz — who is Mexican American, Native American and Filipino — works as a sheet metal estimator, with a client list that includes tech companies, BART and the Golden State Warriors. But once he clocks out, he transforms into his artistic alter ego: \u003ca href=\"https://www.instagram.com/_p.locz_/?hl=en\">P.LOCZ\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13954434\" class=\"wp-caption alignnone\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954434\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/A7F48BC4-F76D-43CE-B4BA-991292A83EBF.jpg\" alt=\"A man in a black hoodie and cap holds a small diorama of an art gallery storefront, standing in front of the same art gallery in real life\" width=\"720\" height=\"706\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/A7F48BC4-F76D-43CE-B4BA-991292A83EBF.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/A7F48BC4-F76D-43CE-B4BA-991292A83EBF-160x157.jpg 160w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">P.LOCZ stands in front of San Jose’s 1 Culture Gallery with his replica of the storefront. The artist largely credits the gallery for his breakout success. \u003ccite>(Courtesy P.LOCZ)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As P.LOCZ, Aroz raps, produces and illustrates. But most impressively — and unlike any other Bay Area rapper — he makes intricate dioramas as a proud “miniaturist.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Miniature art is really my lane,” he says. “With Bay Area music, there’s so many people trying to get to the top, you won’t always make it very far. But being in my own lane without anyone else in it, it was like ‘Woah, let me chase this instead of something everyone else is chasing.’”\u003c/p>\n\u003cp>Ever seen a diorama as a school project or in a museum exhibit? That’s what P.LOCZ does, except that his miniaturism is sprinkled with hella Bay Area game and street-level savvy that showcases the region’s most underappreciated communities, public figures, landmarks and cultural institutions. \u003c/p>\n\u003cp>[aside postID='arts_13953330']There’s \u003ca href=\"https://www.instagram.com/p/Cv3h9MZOGrx/\">the Barrio Lomas tribute\u003c/a> he made after being invited to the San Jose Chicano group’s reunion and learning about their history. There’s also \u003ca href=\"https://www.instagram.com/p/Csb_gFcrjai/\">the Del Monte water tower\u003c/a>, from the San Jose cannery where his grandmother once worked, which was shown at an exhibit honoring cannery workers. \u003c/p>\n\u003cp>Perhaps his most well-known work to date is a miniaturized depiction of a \u003ca href=\"https://www.instagram.com/p/C28E7JevDki/?img_index=1\">mural honoring The Jacka on 94th and MacArthur\u003c/a> in East Oakland, which he was commissioned to create for \u003ca href=\"https://www.kqed.org/arts/13951091/the-jacka-art-experience-documentary\">The Jacka’s tribute art show\u003c/a> in January.\u003c/p>\n\u003cp>What P.LOCZ does requires patience, intense technical skill and a granular attunement to detail. He visits every site, measures every angle and meticulously calculates the proper scale and sizing. Then, he incorporates the lowriders, graffiti and even sidewalk erosion to bring his dioramas to life. \u003c/p>\n\u003cfigure id=\"attachment_13954431\" class=\"wp-caption alignnone\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954431\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/292AABB1-A0DA-4B66-A37F-A99FD13D58AD.jpg\" alt=\"a miniature replica of Wienerschnitzel is displayed in front of an actual Wienerschnitzel\" width=\"720\" height=\"689\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/292AABB1-A0DA-4B66-A37F-A99FD13D58AD.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/292AABB1-A0DA-4B66-A37F-A99FD13D58AD-160x153.jpg 160w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">At his daughter’s request, P.LOCZ’s made a miniature replica of Wienerschnitzel near Roosevelt Park in San Jose. \u003ccite>(Courtesy P.LOCZ)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>His miniaturist work began in 2019, right before the pandemic, when he and his now 11-year-old daughter entered a contest for model car building. They placed second, inspiring P.LOCZ to elevate his craft.\u003c/p>\n\u003cp>When he asked his daughter what they should do next, she suggested \u003ca href=\"https://www.instagram.com/p/C0YMw2FOTBS/?img_index=1\">the Wienerschnitzel near Roosevelt Park\u003c/a> in San Jose that they often visited together. It became their first first-place model of miniature art.\u003c/p>\n\u003cp>“Now we win first place every time,” he says. “I do it for my daughter.”\u003c/p>\n\u003cp>[aside postID='arts_13951001']\u003ca href=\"https://www.instagram.com/1culture_/\">1 Culture Gallery\u003c/a> discovered him shortly afterward. P.LOCZ credits \u003ca href=\"https://www.kqed.org/arts/13923743/1culture-gallery-san-jose-graffiti-murals-andrew-espino\">the community-rooted San Jose gallery\u003c/a> and their co-owner, Andrew Espino, for pushing him to reach his maximum output. The gallery began featuring him as a regular artist, and encouraged him to pursue miniaturism more seriously.\u003c/p>\n\u003cp>Recently, P.LOCZ’s work was exhibited at the California Automobile Museum in Sacramento — where he spent a few years as an adolescent before moving back to San Jose — for their special exhibit \u003ca href=\"https://www.calautomuseum.org/special-exhibit-lowriders\">\u003ci>The Art of Lowriding\u003c/i>\u003c/a>. Titled “Boulevard of Dreams,” the portrayal honors San Jose’s Willow Street, the home of \u003ca href=\"https://www.instagram.com/lowridermagazine/?hl=en\">\u003ci>Lowrider \u003c/i>\u003cem>Magazine\u003c/em>\u003c/a>, which originated at San Jose State University in 1977 partially as a result of the Chicano Rights Movement. “I wanted to make sure that’s known,” he says. “It’s a big part of our history here.”\u003c/p>\n\u003cfigure id=\"attachment_13954430\" class=\"wp-caption alignnone\" style=\"max-width: 1079px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954430\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/3C4A0F16-713E-47D6-B897-DA92CBF26156.jpg\" alt=\"an artist stands with his family and an art gallery owner after receiving a check for winning first place in an art contest\" width=\"1079\" height=\"1394\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/3C4A0F16-713E-47D6-B897-DA92CBF26156.jpg 1079w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/3C4A0F16-713E-47D6-B897-DA92CBF26156-800x1034.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/3C4A0F16-713E-47D6-B897-DA92CBF26156-1020x1318.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/3C4A0F16-713E-47D6-B897-DA92CBF26156-160x207.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/3C4A0F16-713E-47D6-B897-DA92CBF26156-768x992.jpg 768w\" sizes=\"(max-width: 1079px) 100vw, 1079px\">\u003cfigcaption class=\"wp-caption-text\">P.LOCZ (center left) stands with his partner, his daughter and Andrew Espino (far left) after winning first place in an art competition. \u003ccite>(Courtesy P.LOCZ)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of his most controversially received pieces depicts a Chicano playing handball and being accosted by a San Jose police officer, who has his gun drawn. The piece was inspired by real-life experiences that he’s witnessed of community members being wrongly identified by SJPD officers, he says. \u003c/p>\n\u003cp>After finishing, he knew he had to incorporate his city. So went to the actual handball court and asked a local resident to tag it.\u003c/p>\n\u003cp>“My art,” he explains, “is to represent voices that aren’t always heard.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003ci>P.LOCZ’s miniature art can be found at galleries and museums around the Bay Area. \u003c/i>\u003cem>For more, see \u003ca href=\"https://www.instagram.com/_p.locz_/?hl=en\">his Instagram\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"With a granular attention to detail, P.LOCZ’s miniature art honors his city’s cultural history.","status":"publish","parent":0,"modified":1711041241,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":21,"wordCount":899},"headData":{"title":"This San Jose Rapper Recreates the Streets in Hyper-Realistic Dioramas | KQED","description":"With a granular attention to detail, P.LOCZ’s miniature art honors his city’s cultural history.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"WpOldSlug":"this-san-jose-rapper-recreates-the-streets-in-hyper-realistic-dioramas","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13954422/san-jose-rapper-plocz-dioramas","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>When you traverse the Bay Area on foot, you notice everything from a different angle: the weeds sprouting through concrete, discarded blunt guts; the familiar person roaming your block. You gain a deeper understanding, if not appreciation, for it all.\u003c/p>\n\u003cp>Growing up in South San Jose without a car, Alejandro Aroz spent decades interacting with and memorizing the textures of its innumerable street corners.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13952796","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>“I’ve been on foot my whole life, looking at my environment, and there’s so much in the Bay Area’s streets to look at,” the 32-year-old says. “I’m always taking notes, observing, bringing that into attention.”\u003c/p>\n\u003cp>By day, Aroz — who is Mexican American, Native American and Filipino — works as a sheet metal estimator, with a client list that includes tech companies, BART and the Golden State Warriors. But once he clocks out, he transforms into his artistic alter ego: \u003ca href=\"https://www.instagram.com/_p.locz_/?hl=en\">P.LOCZ\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13954434\" class=\"wp-caption alignnone\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954434\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/A7F48BC4-F76D-43CE-B4BA-991292A83EBF.jpg\" alt=\"A man in a black hoodie and cap holds a small diorama of an art gallery storefront, standing in front of the same art gallery in real life\" width=\"720\" height=\"706\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/A7F48BC4-F76D-43CE-B4BA-991292A83EBF.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/A7F48BC4-F76D-43CE-B4BA-991292A83EBF-160x157.jpg 160w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">P.LOCZ stands in front of San Jose’s 1 Culture Gallery with his replica of the storefront. The artist largely credits the gallery for his breakout success. \u003ccite>(Courtesy P.LOCZ)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As P.LOCZ, Aroz raps, produces and illustrates. But most impressively — and unlike any other Bay Area rapper — he makes intricate dioramas as a proud “miniaturist.”\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>“Miniature art is really my lane,” he says. “With Bay Area music, there’s so many people trying to get to the top, you won’t always make it very far. But being in my own lane without anyone else in it, it was like ‘Woah, let me chase this instead of something everyone else is chasing.’”\u003c/p>\n\u003cp>Ever seen a diorama as a school project or in a museum exhibit? That’s what P.LOCZ does, except that his miniaturism is sprinkled with hella Bay Area game and street-level savvy that showcases the region’s most underappreciated communities, public figures, landmarks and cultural institutions. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13953330","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>There’s \u003ca href=\"https://www.instagram.com/p/Cv3h9MZOGrx/\">the Barrio Lomas tribute\u003c/a> he made after being invited to the San Jose Chicano group’s reunion and learning about their history. There’s also \u003ca href=\"https://www.instagram.com/p/Csb_gFcrjai/\">the Del Monte water tower\u003c/a>, from the San Jose cannery where his grandmother once worked, which was shown at an exhibit honoring cannery workers. \u003c/p>\n\u003cp>Perhaps his most well-known work to date is a miniaturized depiction of a \u003ca href=\"https://www.instagram.com/p/C28E7JevDki/?img_index=1\">mural honoring The Jacka on 94th and MacArthur\u003c/a> in East Oakland, which he was commissioned to create for \u003ca href=\"https://www.kqed.org/arts/13951091/the-jacka-art-experience-documentary\">The Jacka’s tribute art show\u003c/a> in January.\u003c/p>\n\u003cp>What P.LOCZ does requires patience, intense technical skill and a granular attunement to detail. He visits every site, measures every angle and meticulously calculates the proper scale and sizing. Then, he incorporates the lowriders, graffiti and even sidewalk erosion to bring his dioramas to life. \u003c/p>\n\u003cfigure id=\"attachment_13954431\" class=\"wp-caption alignnone\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954431\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/292AABB1-A0DA-4B66-A37F-A99FD13D58AD.jpg\" alt=\"a miniature replica of Wienerschnitzel is displayed in front of an actual Wienerschnitzel\" width=\"720\" height=\"689\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/292AABB1-A0DA-4B66-A37F-A99FD13D58AD.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/292AABB1-A0DA-4B66-A37F-A99FD13D58AD-160x153.jpg 160w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">At his daughter’s request, P.LOCZ’s made a miniature replica of Wienerschnitzel near Roosevelt Park in San Jose. \u003ccite>(Courtesy P.LOCZ)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>His miniaturist work began in 2019, right before the pandemic, when he and his now 11-year-old daughter entered a contest for model car building. They placed second, inspiring P.LOCZ to elevate his craft.\u003c/p>\n\u003cp>When he asked his daughter what they should do next, she suggested \u003ca href=\"https://www.instagram.com/p/C0YMw2FOTBS/?img_index=1\">the Wienerschnitzel near Roosevelt Park\u003c/a> in San Jose that they often visited together. It became their first first-place model of miniature art.\u003c/p>\n\u003cp>“Now we win first place every time,” he says. “I do it for my daughter.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13951001","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003ca href=\"https://www.instagram.com/1culture_/\">1 Culture Gallery\u003c/a> discovered him shortly afterward. P.LOCZ credits \u003ca href=\"https://www.kqed.org/arts/13923743/1culture-gallery-san-jose-graffiti-murals-andrew-espino\">the community-rooted San Jose gallery\u003c/a> and their co-owner, Andrew Espino, for pushing him to reach his maximum output. The gallery began featuring him as a regular artist, and encouraged him to pursue miniaturism more seriously.\u003c/p>\n\u003cp>Recently, P.LOCZ’s work was exhibited at the California Automobile Museum in Sacramento — where he spent a few years as an adolescent before moving back to San Jose — for their special exhibit \u003ca href=\"https://www.calautomuseum.org/special-exhibit-lowriders\">\u003ci>The Art of Lowriding\u003c/i>\u003c/a>. Titled “Boulevard of Dreams,” the portrayal honors San Jose’s Willow Street, the home of \u003ca href=\"https://www.instagram.com/lowridermagazine/?hl=en\">\u003ci>Lowrider \u003c/i>\u003cem>Magazine\u003c/em>\u003c/a>, which originated at San Jose State University in 1977 partially as a result of the Chicano Rights Movement. “I wanted to make sure that’s known,” he says. “It’s a big part of our history here.”\u003c/p>\n\u003cfigure id=\"attachment_13954430\" class=\"wp-caption alignnone\" style=\"max-width: 1079px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954430\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/3C4A0F16-713E-47D6-B897-DA92CBF26156.jpg\" alt=\"an artist stands with his family and an art gallery owner after receiving a check for winning first place in an art contest\" width=\"1079\" height=\"1394\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/3C4A0F16-713E-47D6-B897-DA92CBF26156.jpg 1079w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/3C4A0F16-713E-47D6-B897-DA92CBF26156-800x1034.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/3C4A0F16-713E-47D6-B897-DA92CBF26156-1020x1318.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/3C4A0F16-713E-47D6-B897-DA92CBF26156-160x207.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/3C4A0F16-713E-47D6-B897-DA92CBF26156-768x992.jpg 768w\" sizes=\"(max-width: 1079px) 100vw, 1079px\">\u003cfigcaption class=\"wp-caption-text\">P.LOCZ (center left) stands with his partner, his daughter and Andrew Espino (far left) after winning first place in an art competition. \u003ccite>(Courtesy P.LOCZ)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of his most controversially received pieces depicts a Chicano playing handball and being accosted by a San Jose police officer, who has his gun drawn. The piece was inspired by real-life experiences that he’s witnessed of community members being wrongly identified by SJPD officers, he says. \u003c/p>\n\u003cp>After finishing, he knew he had to incorporate his city. So went to the actual handball court and asked a local resident to tag it.\u003c/p>\n\u003cp>“My art,” he explains, “is to represent voices that aren’t always heard.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003ci>P.LOCZ’s miniature art can be found at galleries and museums around the Bay Area. \u003c/i>\u003cem>For more, see \u003ca href=\"https://www.instagram.com/_p.locz_/?hl=en\">his Instagram\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13954422/san-jose-rapper-plocz-dioramas","authors":["11748"],"categories":["arts_1","arts_835","arts_70"],"tags":["arts_8505","arts_10278","arts_2855","arts_877","arts_3178","arts_1084","arts_3001","arts_21896"],"featImg":"arts_13954555","label":"arts"},"arts_13954497":{"type":"posts","id":"arts_13954497","meta":{"index":"posts_1591205157","site":"arts","id":"13954497","score":null,"sort":[1711015238000]},"guestAuthors":[],"slug":"permanent-behavior-henna-tatts-and-setting-intentions-2","title":"Sabreena Haque on Marking Transitional Milestones with Henna","publishDate":1711015238,"format":"audio","headTitle":"Sabreena Haque on Marking Transitional Milestones with Henna | KQED","labelTerm":{"term":8720,"site":"arts"},"content":"\u003cp>\u003ca href=\"#episode-transcript\">\u003cem>View the full episode transcript.\u003c/em>\u003c/a>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“People really want something that brings meaning into their life,” says Sabreena Haque, a\u003c/span> well-known \u003ca style=\"color: #41a62a\" href=\"https://www.instagram.com/ritualbydesign/\" target=\"_blank\" rel=\"noopener noreferrer\">henna artist \u003c/a>and burgeoning \u003ca href=\"https://www.instagram.com/ritualbydesigntattoo/\" target=\"_blank\" rel=\"noopener noreferrer\">tattoo artist. \u003c/a>\u003c/p>\n\u003cp>Henna is an important part of wedding rituals and birthday celebrations. Similar to tattoos, henna plays an important role in times of transition.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Sabreena says the practice of receiving henna, which involves patiently sitting still and letting the paste sink into your skin, is an opportunity for people to set intentions. “As the henna fades, that’s when the intentions deepen,” she says. \u003c/span>\u003c/p>\n\u003cp>After the paste has faded away, the memories of the experience and thoughts about how to move forward linger.\u003c/p>\n\u003cp>Sabreena’s work is a mixture of calligraphy, defined patterns and artistic touches of nature. Her love of body art goes back to time spent visiting family in Pakistan — specifically wedding hopping with her grandmother, who liked to party.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We would go from wedding home to wedding home,” she says. “And there I started to learn about henna, also known as the mehndi.” \u003c/span>Sabreena practices her craft at weddings and baby showers, and has even expanded to break-up henna and henna for men — “menna”, as she calls it. A few years ago, she jumped into tattoo work.\u003c/p>\n\u003cp>https://www.instagram.com/p/CU8_vOnIC0O/?utm_source=ig_web_copy_link\u003c/p>\n\u003cp>Sabreena says there’s a major difference between the act of giving someone henna and giving someone a tattoo, but both involve sitting still, setting intentions and having art added to your body as an act of personal agency.\u003c/p>\n\u003cfigure id=\"attachment_13919164\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13919164 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/6ukKQ2-Q-800x533.jpg\" alt=\"Sabreena Haque sits in Gold Leaf Ink tattoo studio, working on her latest tattoo\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/6ukKQ2-Q-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/6ukKQ2-Q-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/6ukKQ2-Q-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/6ukKQ2-Q-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/6ukKQ2-Q-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/6ukKQ2-Q-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/6ukKQ2-Q-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sabreena Haque sits in Gold Leaf Ink tattoo studio, working on her latest tattoo \u003ccite>(Beth LaBerge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This week, Sabreena tells us about her family and her craft, and shares what philosophy has seeped into her by way of doing body art for the community.\u003c/p>\n\u003cp>\u003cem>This story was originally published September 16, 2022 as part of \u003c/em>\u003ci>“Permanent Behavior: Getting Tatted in the Bay” a\u003c/i>\u003ca href=\"https://www.kqed.org/arts/13918368/rightnowish-presents-permanent-behavior-getting-tatted-in-the-bay\">\u003cspan class=\"s1\">\u003ci> four-part series\u003c/i>\u003c/span>\u003c/a>\u003ci>, about local tattoo artists.\u003c/i>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC3273052895\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Episode Transcript\u003c/h2>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw, host: \u003c/b>\u003cspan style=\"font-weight: 400\">Peace and love, I’m your host Pendarvis Harshaw. Today we’re talking to someone who’s got their feet in 2 worlds, when it comes to body art, a vet in one lane and a rookie in another. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Sabreena Haque, guest: \u003c/b>\u003cspan style=\"font-weight: 400\">I feel like mastering a craft to being a full amateur. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[laughs] \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Sabreena Haque is a renowned mehndi or henna artist. You can usually find her at bridal showers, birthday parties and maternity shoots adorning her client’s with intricate designs, drawn out in a dark brown paste. She even does break-up henna and \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">menna\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, aka henna for men. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Sabreena Haque:\u003c/b>\u003cspan style=\"font-weight: 400\"> I wanted to invite anybody from any walk of life, any gender, to come into my studio and experience this art. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Her craft, originally introduced to her by her Pakistani family members, is full of symmetric shapes and crisp lines. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Sabreena Haque: \u003c/b>\u003cspan style=\"font-weight: 400\">With henna we are molding the henna paste on top of the skin almost like frosting a cake. And then with tattooing, you got this vibrating machine and you’re trying to get it in at the perfect angle, the perfect depth, the perfect speed to pull these lines on people’s skin.. It’s different! \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Over the past few years, Sabreena has been making the transition from working with the impermanent dyes of henna to the long lasting ink of tattoos. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As we continue to explore ideas of impermanence and permanence, through this art that many of us get during life’s transitions, we’re talking to Sabreena about it all.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So, roll up your sleeves, we’ve got her story for you. Right after this message. \u003c/span>\u003cb> \u003c/b>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Let’s start at the start. How did you get into this form of art?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Sabreena Haque: \u003c/b>\u003cspan style=\"font-weight: 400\">So… I was raised in a very traditional South-Asian Pakistani Muslim household and my mother, she would send me to Pakistan with my grandmother. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Grandma was kind of…she liked to party. So we would go from wedding home to wedding home. And there I started to learn about henna, also known as the Mehndi. Mehndi is a term that is used in the South Asian community… And that’s where it kind of started, was wedding hopping with my grandmother. \u003cem>[laughs]\u003c/em>\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Nice, grandma was a partier. I like that! \u003c/span>\u003c/p>\n\u003cp>\u003cb>Sabreena Haque: \u003c/b>\u003cspan style=\"font-weight: 400\">She was VIP. Everybody knew her and loved her and she loved to be around people and I’m similar. I like to be around people.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Henna is an important part of wedding rituals and birthday celebrations but the original purpose wasn’t just for aesthetics and ceremonies.. It was quite practical actually. Sabreena breaks it all down. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Sabreena Haque: \u003c/b>\u003cspan style=\"font-weight: 400\">So back in the day it was for cooling. The plant itself is cooling. So when you mix the plant with lemon juice, sugar and essential oils –That’s how you make a natural henna paste. You apply it on your canvas, which is skin. And that brings the body temperature down. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For bridal henna, it’s almost this time for the bride to just chill and it makes sense, you know, it being a desert art, for it to be used in that sort of medicinal way.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Henna is done by people from so many different backgrounds, right? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Sabreena Haque: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah, let’s talk about that. I think it’s really important, actually, because henna is a natural plant dye. It is a leaf that grows on a bush and it grows best in arid, dry climates so desert areas. You’ll see it in the Middle East, in Africa, in Southeast Asia. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">India really popularized it with the wedding traditions and introduced it to the world. You know, Indian culture in general is so extra. We just do more, more intricate, more gold, more everything. But if you go to parts of Africa, you’ll see it being done in a very different way. The patterns are different even. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And now, you know, with the internet and everything, now it’s practiced all over the world. And that to me is one of the most beautiful things, is to see how the art has evolved and how different people from different walks of life have used this natural plant dye to sort of bring meaning to their lives and celebrate themselves.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">So that naturally brings us to the next question is with that expansion, how do you deal with folks from all around the world doing henna without crossing the line of cultural appropriation?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Sabreena Haque: \u003c/b>\u003cspan style=\"font-weight: 400\">You know, I think it’s important with any sort of tradition or cultural practice to educate yourself about where it comes from, you know, just even understanding that the plant grows in desert climates and so it is a desert art, traditionally. \u003c/span>\u003cspan style=\"font-weight: 400\">That’s important and that’s going to help you to do it in a respectful way. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And that’s really what it boils down to is, you know, what is this person’s intention? Are they celebrating the culture or are they trying to take from the culture or look a certain way or be a certain way? \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Sabreena Haque:\u003c/b>\u003cspan style=\"font-weight: 400\"> I think that’s part of my journey is to educate people on where it comes from, what it means, those questions that always come up.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">I’m all for cultural competency. Yep. Let’s do it. Let’s do it. Yeah! So then the henna once applied, after so many days, it disappears, no?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Sabreena Haque: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah. There’s a beauty behind that. Right? So, you know, it sets into a part of your skin, and, you know, you have to let it rest on there. The longer you keep that paste on your skin, the darker it’ll be, the longer it’ll last. And then as your skin renews, which is about , depending on the person like, a week to two weeks, 7 to 11 days. That’s when it starts to sort of raise and fade away.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> Physically it disappears from the eye. But you told me that there’s something like almost metaphysical or spiritual about it, like seeping in.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Sabreena Haque: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah. You know once I started to be more focused on doing henna and just, you know, listening to the conversations I was having, people really want something that brings meaning into their life …This is an opportunity for people to set intentions while they receive their henna. And then as the henna fades, that’s when the intentions deepen.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Looking through your website, I saw different types of henna that you do and talking to you before you mentioned something that caught me off guard, breakup henna. \u003cem>[laughs]\u003c/em> What, what, what is break up henna?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Sabreena Haque: \u003c/b>\u003cspan style=\"font-weight: 400\">You know, being in these times of transition, like break up henna it makes people feel empowered, like this is for me, you know. And on top of that, also, sometimes it attracts positive attention, too, like you’re in a vulnerable place, you get some henna and then, you know, people are seeing it, they’re complimenting it, they’re giving you this good energy. And we all need a little bit of that \u003cem>[laughs] \u003c/em>\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b> \u003ci>\u003cspan style=\"font-weight: 400\">[laughs]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> Right, right! \u003c/span>\u003c/p>\n\u003cp>\u003cb>Sabreena Haque: \u003c/b>\u003cspan style=\"font-weight: 400\">Especially the people breaking up! You know, they need it too…extra.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Have you ever done your own break up henna? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Sabreena Haque:\u003c/b>\u003cspan style=\"font-weight: 400\"> Oh, my gosh, yes. Henna is like my self-care ritual. You know, it’s my time to slow down and appreciate myself, my body, who I am and where I’ve come. So, I do my best. But, you know, you gotta let it dry. \u003cem>[laughs]\u003c/em> That’s the hardest part.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">It sounds like a lot of patience and like self-care time, though.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Sabreena Haque: \u003c/b>\u003cspan style=\"font-weight: 400\">Yes. Yes. When I was younger, when I was in Pakistan, my aunties would say, you know, whoever has the darkest stain and the cleanest henna is the most patient and graceful because you really have to just slow down and allow the paste to dry and set in.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Be one with your intentions.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>Sabreena Haque: \u003c/b>\u003cspan style=\"font-weight: 400\">Mhmm-hmm. You better \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[laughs] \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> Another thing I saw listed on your site is menna. For those who don’t know what is menna?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Sabreena Haque: \u003c/b>\u003cspan style=\"font-weight: 400\">Traditionally you see henna as a female identifying practice. So you see the women get it done before the wedding, the women get it done before the holidays. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And, you know, I’m a San Francisco artist. I love San Francisco because people can just be themselves. They can express themselves. And I wanted to invite anybody from any walk of life, any gender, to come into my studio and experience this art. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">A lot of my art is intuitive. So to just sitting with someone and kind of feeling from them what kind of design to do because maybe, you know, maybe they want flowers or maybe they want something bold, you know, they can go anyway.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> I mean it’s beautiful work. You know, it looks tribal – is the word that comes to mind. But I’m sure it’s intricate. It’s like in bold the pieces that I’ve seen of it. I also just had a hard time wrapping my mind around me and the homies going to get menna all together at once. It just, you know, as a Black men, it’s not something we would do \u003c/span>\u003c/p>\n\u003cp>\u003cb>Sabreena Haque:\u003c/b>\u003cspan style=\"font-weight: 400\"> I don’t really have like a gang of guys coming together, although that sounds really fun. \u003cem>[laughs]\u003c/em> I would support that fully. You know, maybe before a bachelor party or something fun like that. That seems cool. But, you know, I’ll have men come in before, like, they’re going on a boat trip or going to a festival or, you know, before a birthday trip. They’ll come in, like, get something big and just enjoy it, you know? And then it fades. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> That’s dope. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Sticking with her flow, Sabreena’s expanded her toolkit . S\u003c/span>\u003cspan style=\"font-weight: 400\">he hasn’t strayed when it comes to design style, but the application of the art is different now. \u003c/span>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">The actual tool that you use to apply henna versus the tool that you use for tattooing, I’m assuming a tattoo gun. How did they differ?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Sabreena Haque: \u003c/b>\u003cspan style=\"font-weight: 400\">Okay, so it’s super different! \u003c/span>\u003cspan style=\"font-weight: 400\">With henna, we are molding the henna paste on top of the skin, almost like frosting a cake. So I’m manipulating the paste to get thick and thin lines on top of the skin. And then with tattooing, we got this vibrating machine, and you’re trying to get it in at the perfect angle, the perfect depth, the perfect speed to put these lines on people’s skin. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Sabreena Haque:\u003c/b>\u003cspan style=\"font-weight: 400\"> I feel really grateful to be able to have the opportunity to be in this industry. It’s not an easy industry to get into. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">There’s artists that are really interested but maybe may not have that mentorship and working over at Gold Leaf Ink. Being around my teacher, I feel a sense of belonging. I feel like I’m growing and that feels so good, to be able to know that I can continue to grow as an artist and I’m meeting a whole new community of people.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">In doing this series, I’m seeing that it doesn’t always have to be a major point of transition. It can be that, there’s meditative qualities to getting body art done as well. And I think that’s really what I’m interested in, like personally beyond.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Sabreena Haque: \u003c/b>\u003cspan style=\"font-weight: 400\"> You know sometimes you want to feel something that is a choice and that is art and something that reflects your power and your presence in this world and just that reminder on your body. I get it. You know, there’s this feeling that you have when you’re sitting there and getting a tattoo and you just like feeling this on your body. It’s a choice. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">It’s empowering. That’s got to be empowering.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Sabreena Haque: \u003c/b>\u003cspan style=\"font-weight: 400\">And then you’ve become an art collector on your body. You’re just collecting art from different artists that that, you know, you like or, you know, just getting dumb shit whatever. At that point, you just have a story for each one, or maybe some doesn’t have a story, but you’re an art collector on your body.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">I love it, a walking museum.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Sabreena Haque:\u003c/b>\u003cspan style=\"font-weight: 400\"> Umm hmm \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[laughs] \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Holding on to that idea of henna, the ink, the intentions behind the ink seeping into you, I’m wondering you as an artist, what is, is the past tense of seeping sept? What has been seeping into you as you’ve been doing the work?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Sabreena Haque: \u003c/b>\u003cspan style=\"font-weight: 400\"> What’s really been seeping for me is the need for community, the need for us as humans to connect, us as humans to care for each other on a community level. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">That need is almost like survival. You know, I can be here by myself, but if I’m with others and collaborating and creating, like that’s when these major waves of of change can happen, where needs within the communities can be met, because we’re talking about it together\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Body art bringing people together.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Sabreena Haque: \u003c/b>\u003cspan style=\"font-weight: 400\">That’s what we do. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Sabreena Haque: \u003c/b>\u003cspan style=\"font-weight: 400\">It’s the best.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Thank you Sabreena Haque! You hit us with the cultural lesson, the art philosophy, and the community love. Yup, that’s what we’re here for. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As someone who deals with both long lasting art and art that’s here today and gone tomorrow, as well as someone going through their own personal transitions – thank you! We appreciate you taking some time and chopping it up with us. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">You all can find Sabreena’s tattoo work on Instagram at \u003c/span>\u003cspan style=\"font-weight: 400\">ritualbydesigntattoo and her henna work is at ritualbydesign.\u003c/span>\u003cb> \u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Marisol Medina-Cadena and Kyana Moghadam produced this episode. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Suzie Racho and Kyana Moghadam edited this episode.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Our engineer is Christopher Beale\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The Rightnowish team is supported by Sheree Bishop, Jen Chien, Holly Kernan, Cesar Saldaña and Katie Sprenger.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I’m your host Pendarvis Harshaw! \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">If you haven’t already, check out the other episodes of this series, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Permanent Behavior: Getting Tatted in the Bay\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">. Y’all take care! Peace. \u003c/span>\u003cspan style=\"font-weight: 400\">Rightnowish is a KQED production \u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts.\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"Sabreena Haque talks about being comfortable with the impermanence of henna art on your body. ","status":"publish","parent":0,"modified":1710987101,"stats":{"hasAudio":true,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":92,"wordCount":3035},"headData":{"title":"Sabreena Haque on Marking Transitional Milestones with Henna | KQED","description":"Sabreena Haque's work is a mixture of calligraphy, defined patterns and artistic touches of nature. Her love of body art goes back to time spent visiting family in Pakistan — specifically wedding hopping with her grandmother, who liked to party.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","socialDescription":"Sabreena Haque's work is a mixture of calligraphy, defined patterns and artistic touches of nature. Her love of body art goes back to time spent visiting family in Pakistan — specifically wedding hopping with her grandmother, who liked to party."},"audioUrl":"https://www.podtrac.com/pts/redirect.mp3/chrt.fm/track/G6C7C3/traffic.megaphone.fm/KQINC3273052895.mp3?updated=1710985479","sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13954497/permanent-behavior-henna-tatts-and-setting-intentions-2","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"#episode-transcript\">\u003cem>View the full episode transcript.\u003c/em>\u003c/a>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“People really want something that brings meaning into their life,” says Sabreena Haque, a\u003c/span> well-known \u003ca style=\"color: #41a62a\" href=\"https://www.instagram.com/ritualbydesign/\" target=\"_blank\" rel=\"noopener noreferrer\">henna artist \u003c/a>and burgeoning \u003ca href=\"https://www.instagram.com/ritualbydesigntattoo/\" target=\"_blank\" rel=\"noopener noreferrer\">tattoo artist. \u003c/a>\u003c/p>\n\u003cp>Henna is an important part of wedding rituals and birthday celebrations. Similar to tattoos, henna plays an important role in times of transition.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Sabreena says the practice of receiving henna, which involves patiently sitting still and letting the paste sink into your skin, is an opportunity for people to set intentions. “As the henna fades, that’s when the intentions deepen,” she says. \u003c/span>\u003c/p>\n\u003cp>After the paste has faded away, the memories of the experience and thoughts about how to move forward linger.\u003c/p>\n\u003cp>Sabreena’s work is a mixture of calligraphy, defined patterns and artistic touches of nature. Her love of body art goes back to time spent visiting family in Pakistan — specifically wedding hopping with her grandmother, who liked to party.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We would go from wedding home to wedding home,” she says. “And there I started to learn about henna, also known as the mehndi.” \u003c/span>Sabreena practices her craft at weddings and baby showers, and has even expanded to break-up henna and henna for men — “menna”, as she calls it. A few years ago, she jumped into tattoo work.\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"instagramLink","attributes":{"named":{"instagramId":"CU8_vOnIC0O"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sabreena says there’s a major difference between the act of giving someone henna and giving someone a tattoo, but both involve sitting still, setting intentions and having art added to your body as an act of personal agency.\u003c/p>\n\u003cfigure id=\"attachment_13919164\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13919164 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/6ukKQ2-Q-800x533.jpg\" alt=\"Sabreena Haque sits in Gold Leaf Ink tattoo studio, working on her latest tattoo\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/6ukKQ2-Q-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/6ukKQ2-Q-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/6ukKQ2-Q-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/6ukKQ2-Q-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/6ukKQ2-Q-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/6ukKQ2-Q-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/6ukKQ2-Q-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sabreena Haque sits in Gold Leaf Ink tattoo studio, working on her latest tattoo \u003ccite>(Beth LaBerge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This week, Sabreena tells us about her family and her craft, and shares what philosophy has seeped into her by way of doing body art for the community.\u003c/p>\n\u003cp>\u003cem>This story was originally published September 16, 2022 as part of \u003c/em>\u003ci>“Permanent Behavior: Getting Tatted in the Bay” a\u003c/i>\u003ca href=\"https://www.kqed.org/arts/13918368/rightnowish-presents-permanent-behavior-getting-tatted-in-the-bay\">\u003cspan class=\"s1\">\u003ci> four-part series\u003c/i>\u003c/span>\u003c/a>\u003ci>, about local tattoo artists.\u003c/i>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC3273052895\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Episode Transcript\u003c/h2>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw, host: \u003c/b>\u003cspan style=\"font-weight: 400\">Peace and love, I’m your host Pendarvis Harshaw. Today we’re talking to someone who’s got their feet in 2 worlds, when it comes to body art, a vet in one lane and a rookie in another. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Sabreena Haque, guest: \u003c/b>\u003cspan style=\"font-weight: 400\">I feel like mastering a craft to being a full amateur. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[laughs] \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Sabreena Haque is a renowned mehndi or henna artist. You can usually find her at bridal showers, birthday parties and maternity shoots adorning her client’s with intricate designs, drawn out in a dark brown paste. She even does break-up henna and \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">menna\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, aka henna for men. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Sabreena Haque:\u003c/b>\u003cspan style=\"font-weight: 400\"> I wanted to invite anybody from any walk of life, any gender, to come into my studio and experience this art. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Her craft, originally introduced to her by her Pakistani family members, is full of symmetric shapes and crisp lines. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Sabreena Haque: \u003c/b>\u003cspan style=\"font-weight: 400\">With henna we are molding the henna paste on top of the skin almost like frosting a cake. And then with tattooing, you got this vibrating machine and you’re trying to get it in at the perfect angle, the perfect depth, the perfect speed to pull these lines on people’s skin.. It’s different! \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Over the past few years, Sabreena has been making the transition from working with the impermanent dyes of henna to the long lasting ink of tattoos. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As we continue to explore ideas of impermanence and permanence, through this art that many of us get during life’s transitions, we’re talking to Sabreena about it all.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So, roll up your sleeves, we’ve got her story for you. Right after this message. \u003c/span>\u003cb> \u003c/b>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Let’s start at the start. How did you get into this form of art?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Sabreena Haque: \u003c/b>\u003cspan style=\"font-weight: 400\">So… I was raised in a very traditional South-Asian Pakistani Muslim household and my mother, she would send me to Pakistan with my grandmother. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Grandma was kind of…she liked to party. So we would go from wedding home to wedding home. And there I started to learn about henna, also known as the Mehndi. Mehndi is a term that is used in the South Asian community… And that’s where it kind of started, was wedding hopping with my grandmother. \u003cem>[laughs]\u003c/em>\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Nice, grandma was a partier. I like that! \u003c/span>\u003c/p>\n\u003cp>\u003cb>Sabreena Haque: \u003c/b>\u003cspan style=\"font-weight: 400\">She was VIP. Everybody knew her and loved her and she loved to be around people and I’m similar. I like to be around people.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Henna is an important part of wedding rituals and birthday celebrations but the original purpose wasn’t just for aesthetics and ceremonies.. It was quite practical actually. Sabreena breaks it all down. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Sabreena Haque: \u003c/b>\u003cspan style=\"font-weight: 400\">So back in the day it was for cooling. The plant itself is cooling. So when you mix the plant with lemon juice, sugar and essential oils –That’s how you make a natural henna paste. You apply it on your canvas, which is skin. And that brings the body temperature down. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For bridal henna, it’s almost this time for the bride to just chill and it makes sense, you know, it being a desert art, for it to be used in that sort of medicinal way.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Henna is done by people from so many different backgrounds, right? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Sabreena Haque: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah, let’s talk about that. I think it’s really important, actually, because henna is a natural plant dye. It is a leaf that grows on a bush and it grows best in arid, dry climates so desert areas. You’ll see it in the Middle East, in Africa, in Southeast Asia. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">India really popularized it with the wedding traditions and introduced it to the world. You know, Indian culture in general is so extra. We just do more, more intricate, more gold, more everything. But if you go to parts of Africa, you’ll see it being done in a very different way. The patterns are different even. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And now, you know, with the internet and everything, now it’s practiced all over the world. And that to me is one of the most beautiful things, is to see how the art has evolved and how different people from different walks of life have used this natural plant dye to sort of bring meaning to their lives and celebrate themselves.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">So that naturally brings us to the next question is with that expansion, how do you deal with folks from all around the world doing henna without crossing the line of cultural appropriation?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Sabreena Haque: \u003c/b>\u003cspan style=\"font-weight: 400\">You know, I think it’s important with any sort of tradition or cultural practice to educate yourself about where it comes from, you know, just even understanding that the plant grows in desert climates and so it is a desert art, traditionally. \u003c/span>\u003cspan style=\"font-weight: 400\">That’s important and that’s going to help you to do it in a respectful way. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And that’s really what it boils down to is, you know, what is this person’s intention? Are they celebrating the culture or are they trying to take from the culture or look a certain way or be a certain way? \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Sabreena Haque:\u003c/b>\u003cspan style=\"font-weight: 400\"> I think that’s part of my journey is to educate people on where it comes from, what it means, those questions that always come up.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">I’m all for cultural competency. Yep. Let’s do it. Let’s do it. Yeah! So then the henna once applied, after so many days, it disappears, no?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Sabreena Haque: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah. There’s a beauty behind that. Right? So, you know, it sets into a part of your skin, and, you know, you have to let it rest on there. The longer you keep that paste on your skin, the darker it’ll be, the longer it’ll last. And then as your skin renews, which is about , depending on the person like, a week to two weeks, 7 to 11 days. That’s when it starts to sort of raise and fade away.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> Physically it disappears from the eye. But you told me that there’s something like almost metaphysical or spiritual about it, like seeping in.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Sabreena Haque: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah. You know once I started to be more focused on doing henna and just, you know, listening to the conversations I was having, people really want something that brings meaning into their life …This is an opportunity for people to set intentions while they receive their henna. And then as the henna fades, that’s when the intentions deepen.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Looking through your website, I saw different types of henna that you do and talking to you before you mentioned something that caught me off guard, breakup henna. \u003cem>[laughs]\u003c/em> What, what, what is break up henna?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Sabreena Haque: \u003c/b>\u003cspan style=\"font-weight: 400\">You know, being in these times of transition, like break up henna it makes people feel empowered, like this is for me, you know. And on top of that, also, sometimes it attracts positive attention, too, like you’re in a vulnerable place, you get some henna and then, you know, people are seeing it, they’re complimenting it, they’re giving you this good energy. And we all need a little bit of that \u003cem>[laughs] \u003c/em>\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b> \u003ci>\u003cspan style=\"font-weight: 400\">[laughs]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> Right, right! \u003c/span>\u003c/p>\n\u003cp>\u003cb>Sabreena Haque: \u003c/b>\u003cspan style=\"font-weight: 400\">Especially the people breaking up! You know, they need it too…extra.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Have you ever done your own break up henna? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Sabreena Haque:\u003c/b>\u003cspan style=\"font-weight: 400\"> Oh, my gosh, yes. Henna is like my self-care ritual. You know, it’s my time to slow down and appreciate myself, my body, who I am and where I’ve come. So, I do my best. But, you know, you gotta let it dry. \u003cem>[laughs]\u003c/em> That’s the hardest part.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">It sounds like a lot of patience and like self-care time, though.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Sabreena Haque: \u003c/b>\u003cspan style=\"font-weight: 400\">Yes. Yes. When I was younger, when I was in Pakistan, my aunties would say, you know, whoever has the darkest stain and the cleanest henna is the most patient and graceful because you really have to just slow down and allow the paste to dry and set in.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Be one with your intentions.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>Sabreena Haque: \u003c/b>\u003cspan style=\"font-weight: 400\">Mhmm-hmm. You better \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[laughs] \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> Another thing I saw listed on your site is menna. For those who don’t know what is menna?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Sabreena Haque: \u003c/b>\u003cspan style=\"font-weight: 400\">Traditionally you see henna as a female identifying practice. So you see the women get it done before the wedding, the women get it done before the holidays. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And, you know, I’m a San Francisco artist. I love San Francisco because people can just be themselves. They can express themselves. And I wanted to invite anybody from any walk of life, any gender, to come into my studio and experience this art. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">A lot of my art is intuitive. So to just sitting with someone and kind of feeling from them what kind of design to do because maybe, you know, maybe they want flowers or maybe they want something bold, you know, they can go anyway.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> I mean it’s beautiful work. You know, it looks tribal – is the word that comes to mind. But I’m sure it’s intricate. It’s like in bold the pieces that I’ve seen of it. I also just had a hard time wrapping my mind around me and the homies going to get menna all together at once. It just, you know, as a Black men, it’s not something we would do \u003c/span>\u003c/p>\n\u003cp>\u003cb>Sabreena Haque:\u003c/b>\u003cspan style=\"font-weight: 400\"> I don’t really have like a gang of guys coming together, although that sounds really fun. \u003cem>[laughs]\u003c/em> I would support that fully. You know, maybe before a bachelor party or something fun like that. That seems cool. But, you know, I’ll have men come in before, like, they’re going on a boat trip or going to a festival or, you know, before a birthday trip. They’ll come in, like, get something big and just enjoy it, you know? And then it fades. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> That’s dope. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Sticking with her flow, Sabreena’s expanded her toolkit . S\u003c/span>\u003cspan style=\"font-weight: 400\">he hasn’t strayed when it comes to design style, but the application of the art is different now. \u003c/span>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">The actual tool that you use to apply henna versus the tool that you use for tattooing, I’m assuming a tattoo gun. How did they differ?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Sabreena Haque: \u003c/b>\u003cspan style=\"font-weight: 400\">Okay, so it’s super different! \u003c/span>\u003cspan style=\"font-weight: 400\">With henna, we are molding the henna paste on top of the skin, almost like frosting a cake. So I’m manipulating the paste to get thick and thin lines on top of the skin. And then with tattooing, we got this vibrating machine, and you’re trying to get it in at the perfect angle, the perfect depth, the perfect speed to put these lines on people’s skin. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Sabreena Haque:\u003c/b>\u003cspan style=\"font-weight: 400\"> I feel really grateful to be able to have the opportunity to be in this industry. It’s not an easy industry to get into. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">There’s artists that are really interested but maybe may not have that mentorship and working over at Gold Leaf Ink. Being around my teacher, I feel a sense of belonging. I feel like I’m growing and that feels so good, to be able to know that I can continue to grow as an artist and I’m meeting a whole new community of people.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">In doing this series, I’m seeing that it doesn’t always have to be a major point of transition. It can be that, there’s meditative qualities to getting body art done as well. And I think that’s really what I’m interested in, like personally beyond.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Sabreena Haque: \u003c/b>\u003cspan style=\"font-weight: 400\"> You know sometimes you want to feel something that is a choice and that is art and something that reflects your power and your presence in this world and just that reminder on your body. I get it. You know, there’s this feeling that you have when you’re sitting there and getting a tattoo and you just like feeling this on your body. It’s a choice. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">It’s empowering. That’s got to be empowering.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Sabreena Haque: \u003c/b>\u003cspan style=\"font-weight: 400\">And then you’ve become an art collector on your body. You’re just collecting art from different artists that that, you know, you like or, you know, just getting dumb shit whatever. At that point, you just have a story for each one, or maybe some doesn’t have a story, but you’re an art collector on your body.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">I love it, a walking museum.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Sabreena Haque:\u003c/b>\u003cspan style=\"font-weight: 400\"> Umm hmm \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[laughs] \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Holding on to that idea of henna, the ink, the intentions behind the ink seeping into you, I’m wondering you as an artist, what is, is the past tense of seeping sept? What has been seeping into you as you’ve been doing the work?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Sabreena Haque: \u003c/b>\u003cspan style=\"font-weight: 400\"> What’s really been seeping for me is the need for community, the need for us as humans to connect, us as humans to care for each other on a community level. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">That need is almost like survival. You know, I can be here by myself, but if I’m with others and collaborating and creating, like that’s when these major waves of of change can happen, where needs within the communities can be met, because we’re talking about it together\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Body art bringing people together.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Sabreena Haque: \u003c/b>\u003cspan style=\"font-weight: 400\">That’s what we do. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Sabreena Haque: \u003c/b>\u003cspan style=\"font-weight: 400\">It’s the best.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Thank you Sabreena Haque! You hit us with the cultural lesson, the art philosophy, and the community love. Yup, that’s what we’re here for. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As someone who deals with both long lasting art and art that’s here today and gone tomorrow, as well as someone going through their own personal transitions – thank you! We appreciate you taking some time and chopping it up with us. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">You all can find Sabreena’s tattoo work on Instagram at \u003c/span>\u003cspan style=\"font-weight: 400\">ritualbydesigntattoo and her henna work is at ritualbydesign.\u003c/span>\u003cb> \u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Marisol Medina-Cadena and Kyana Moghadam produced this episode. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Suzie Racho and Kyana Moghadam edited this episode.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Our engineer is Christopher Beale\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The Rightnowish team is supported by Sheree Bishop, Jen Chien, Holly Kernan, Cesar Saldaña and Katie Sprenger.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I’m your host Pendarvis Harshaw! \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">If you haven’t already, check out the other episodes of this series, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Permanent Behavior: Getting Tatted in the Bay\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">. Y’all take care! Peace. \u003c/span>\u003cspan style=\"font-weight: 400\">Rightnowish is a KQED production \u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts.\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13954497/permanent-behavior-henna-tatts-and-setting-intentions-2","authors":["11491","11528"],"programs":["arts_8720"],"categories":["arts_1","arts_835"],"tags":["arts_22032","arts_18522","arts_6764","arts_22033","arts_1146","arts_22034"],"featImg":"arts_13919161","label":"arts_8720"},"arts_13954377":{"type":"posts","id":"arts_13954377","meta":{"index":"posts_1591205157","site":"arts","id":"13954377","score":null,"sort":[1710965171000]},"guestAuthors":[],"slug":"bring-your-own-big-wheel-race-san-francisco-vermont-wiggle-register","title":"The Bring Your Own Big Wheel Race is Back, So Dust Off Those Plastic Trikes","publishDate":1710965171,"format":"standard","headTitle":"The Bring Your Own Big Wheel Race is Back, So Dust Off Those Plastic Trikes | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Dust off your squat, plastic vehicles and knee pads, Bay Area, for the time is once again upon us: The annual Bring Your Own Big Wheel race is happening on March 31, 2024.\u003c/p>\n\u003cp>[aside postid='arts_13911589']For those unfamiliar with exactly what BYOBW entails, it’s a hallowed day on which howling humans gather together to watch adults climb onto plastic children’s trikes and hurl themselves down San Francisco’s \u003ci>real\u003c/i> crookedest street. (That is, of course, the tight little Vermont Street wiggle that starts near 20th Street in Potrero Hill.) The event is free, ridiculous and organized by a small group of \u003ca href=\"https://bringyourownbigwheel.com/bring-your-own-big-wheel-2024-22-rolls-in-24-years/\">enthusiasts who could really use some donations\u003c/a> to keep this thing going.\u003c/p>\n\u003cp>In case you’ve never attended, this is what NBC Bay Area caught on camera when it attended last year:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=1czwwGYMmJU&t=7s\u003c/p>\n\u003cp>You might be wondering at this juncture how in God’s name this annual Easter Sunday tradition got started. For that, we have to go all the way back to 2000 when a man named John Brumit decided to ride a children’s big wheel down the (infinitely more famous) Lombard Street wiggle. Why? Because San Francisco, that’s why.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After Brumit drew a small crowd, he decided to perform the hilarious stunt every year. This gradually grew into a full-blown race because in this magnificent jester of a city, there can never be too many ways to potentially embarrass and injure ourselves simultaneously in a public forum.\u003c/p>\n\u003cp>Here’s what the race looked like back in 2006:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=sWnff376PEI\u003c/p>\n\u003cp>The calamitous competition moved to Vermont Street — with its tighter turns and less pristine paving — in 2009, marking an even greater challenge to racers. There it has remained ever since, save for a short break during the COVID pandemic.\u003c/p>\n\u003cp>\u003ca href=\"https://bringyourownbigwheel.com/events/bring-your-own-big-wheel-2024/?\">Registration is now officially open\u003c/a> for anyone who wants to try their luck in the race. Kids under 13 get to test their hill skills (under close adult supervision please!) 2–3 p.m. Adults ride between 3 and 5 p.m. As usual, plastic trikes are the preferred mode of transportation. Anyone who wants to participate on anything involving a metal frame is asked to pad or tape their conveyance “so that the possibility of fingers being mangled and legs being impaled is lessened on your fellow riders.” Fair.\u003c/p>\n\u003cp>If you look at the speed of these 2009 riders, those rules absolutely make sense:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=GFJgs7b_zgU\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Bring Your Own Big Wheel 2024 takes place March 31, 2024, starting at 2 p.m. \u003ca href=\"https://bringyourownbigwheel.com/registration-checkout/?uts=1710959573#checkout\">Registration is open\u003c/a> now. Check out \u003ca href=\"https://bringyourownbigwheel.com/faq/\">BYOBW’s FAQs\u003c/a> and \u003ca href=\"https://bringyourownbigwheel.com/code-of-conduct/\">code of conduct\u003c/a> to make sure you actually want to do this.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"The ridiculous race is returning to the Vermont Street wiggle on March 31. Get out those knee pads, everyone!","status":"publish","parent":0,"modified":1710965171,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":13,"wordCount":477},"headData":{"title":"How to Register for 2024’s Bring Your Own Big Wheel Race | KQED","description":"The ridiculous race is returning to the Vermont Street wiggle on March 31. Get out those knee pads, everyone!","ogTitle":"The Bring Your Own Big Wheel Race is Back, So Dust Off Those Plastic Trikes","ogDescription":"","ogImgId":"","twTitle":"The Bring Your Own Big Wheel Race is Back, So Dust Off Those Plastic Trikes","twDescription":"","twImgId":"","socialTitle":"How to Register for 2024’s Bring Your Own Big Wheel Race %%page%% %%sep%% KQED"},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13954377/bring-your-own-big-wheel-race-san-francisco-vermont-wiggle-register","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Dust off your squat, plastic vehicles and knee pads, Bay Area, for the time is once again upon us: The annual Bring Your Own Big Wheel race is happening on March 31, 2024.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13911589","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>For those unfamiliar with exactly what BYOBW entails, it’s a hallowed day on which howling humans gather together to watch adults climb onto plastic children’s trikes and hurl themselves down San Francisco’s \u003ci>real\u003c/i> crookedest street. (That is, of course, the tight little Vermont Street wiggle that starts near 20th Street in Potrero Hill.) The event is free, ridiculous and organized by a small group of \u003ca href=\"https://bringyourownbigwheel.com/bring-your-own-big-wheel-2024-22-rolls-in-24-years/\">enthusiasts who could really use some donations\u003c/a> to keep this thing going.\u003c/p>\n\u003cp>In case you’ve never attended, this is what NBC Bay Area caught on camera when it attended last year:\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/1czwwGYMmJU'\n title='//www.youtube.com/embed/1czwwGYMmJU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>You might be wondering at this juncture how in God’s name this annual Easter Sunday tradition got started. For that, we have to go all the way back to 2000 when a man named John Brumit decided to ride a children’s big wheel down the (infinitely more famous) Lombard Street wiggle. Why? Because San Francisco, that’s why.\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 Brumit drew a small crowd, he decided to perform the hilarious stunt every year. This gradually grew into a full-blown race because in this magnificent jester of a city, there can never be too many ways to potentially embarrass and injure ourselves simultaneously in a public forum.\u003c/p>\n\u003cp>Here’s what the race looked like back in 2006:\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/sWnff376PEI'\n title='//www.youtube.com/embed/sWnff376PEI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The calamitous competition moved to Vermont Street — with its tighter turns and less pristine paving — in 2009, marking an even greater challenge to racers. There it has remained ever since, save for a short break during the COVID pandemic.\u003c/p>\n\u003cp>\u003ca href=\"https://bringyourownbigwheel.com/events/bring-your-own-big-wheel-2024/?\">Registration is now officially open\u003c/a> for anyone who wants to try their luck in the race. Kids under 13 get to test their hill skills (under close adult supervision please!) 2–3 p.m. Adults ride between 3 and 5 p.m. As usual, plastic trikes are the preferred mode of transportation. Anyone who wants to participate on anything involving a metal frame is asked to pad or tape their conveyance “so that the possibility of fingers being mangled and legs being impaled is lessened on your fellow riders.” Fair.\u003c/p>\n\u003cp>If you look at the speed of these 2009 riders, those rules absolutely make sense:\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/GFJgs7b_zgU'\n title='//www.youtube.com/embed/GFJgs7b_zgU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Bring Your Own Big Wheel 2024 takes place March 31, 2024, starting at 2 p.m. \u003ca href=\"https://bringyourownbigwheel.com/registration-checkout/?uts=1710959573#checkout\">Registration is open\u003c/a> now. Check out \u003ca href=\"https://bringyourownbigwheel.com/faq/\">BYOBW’s FAQs\u003c/a> and \u003ca href=\"https://bringyourownbigwheel.com/code-of-conduct/\">code of conduct\u003c/a> to make sure you actually want to do this.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13954377/bring-your-own-big-wheel-race-san-francisco-vermont-wiggle-register","authors":["11242"],"programs":["arts_140"],"categories":["arts_1","arts_835","arts_11615"],"tags":["arts_22031","arts_1146","arts_585"],"featImg":"arts_13954427","label":"arts_140"},"arts_13954236":{"type":"posts","id":"arts_13954236","meta":{"index":"posts_1591205157","site":"arts","id":"13954236","score":null,"sort":[1710782337000]},"guestAuthors":[],"slug":"photographer-david-johnson-obituary-san-francisco-black-culture","title":"Photographer David Johnson, Who Chronicled San Francisco’s Black Culture, Dies at 97","publishDate":1710782337,"format":"standard","headTitle":"Photographer David Johnson, Who Chronicled San Francisco’s Black Culture, Dies at 97 | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>David Johnson generally wasn’t interested in people posing for his camera.\u003c/p>\n\u003cp>As the photographer and civil rights activist put it in a \u003ca href=\"https://www.youtube.com/watch?v=u0Lcv7xyh-w\">2017 interview\u003c/a> at the University of California, Berkeley: “A big smiling photograph? That wasn’t my style.”\u003c/p>\n\u003cp>Johnson died at his home in Greenbrae, north of San Francisco, earlier this month. According to his stepdaughter, he was suffering from advanced dementia and had pneumonia. He was 97 years old.\u003c/p>\n\u003cp>[aside postID='arts_13950886']Johnson was the first Black student of the famous nature \u003ca href=\"https://www.npr.org/sections/pictureshow/2011/10/07/141149616/retracing-the-steps-of-ansel-adams\">photographer Ansel Adams\u003c/a> and became known as one of the foremost chroniclers of San Francisco’s Black urban culture.\u003c/p>\n\u003cp>In one of his most famous images, shot early in his career in 1946, Johnson depicts a street corner in San Francisco’s Fillmore District — once a hub for the city’s thriving Black community \u003ca href=\"https://www.kqed.org/news/11957757/why-san-franciscos-fillmore-district-is-no-longer-the-harlem-of-the-west\">until redevelopment later in the century\u003c/a> forced nearly all of them out.\u003c/p>\n\u003cfigure id=\"attachment_13954239\" class=\"wp-caption aligncenter\" style=\"max-width: 2016px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/fillmore_custom-53676662fb1086870b49a2b88da8ef2925baba3d-scaled.jpg\" alt=\"Black-and-white photograph of busy street corner with pedestrian, car and bus traffic\" width=\"2016\" height=\"2560\" class=\"size-full wp-image-13954239\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/fillmore_custom-53676662fb1086870b49a2b88da8ef2925baba3d-scaled.jpg 2016w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/fillmore_custom-53676662fb1086870b49a2b88da8ef2925baba3d-800x1016.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/fillmore_custom-53676662fb1086870b49a2b88da8ef2925baba3d-1020x1295.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/fillmore_custom-53676662fb1086870b49a2b88da8ef2925baba3d-160x203.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/fillmore_custom-53676662fb1086870b49a2b88da8ef2925baba3d-768x975.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/fillmore_custom-53676662fb1086870b49a2b88da8ef2925baba3d-1209x1536.jpg 1209w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/fillmore_custom-53676662fb1086870b49a2b88da8ef2925baba3d-1613x2048.jpg 1613w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/fillmore_custom-53676662fb1086870b49a2b88da8ef2925baba3d-1920x2438.jpg 1920w\" sizes=\"(max-width: 2016px) 100vw, 2016px\">\u003cfigcaption class=\"wp-caption-text\">‘Looking South on Fillmore, 1946,’ by David Johnson. \u003ccite>(The David Johnson Photograph Archive, The Bancroft Library, University of California, Berkeley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The image has energetic angles and stark contrasts of light and shadow. And it’s shot from above. In the UC Berkeley interview, Johnson said he clambered up four stories on a nearby construction scaffold to get it.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I focused my camera and took one photograph,” Johnson said. “I was kind of anxious to get this little job over with and go back down to the ground.”\u003c/p>\n\u003ch3>A tough childhood\u003c/h3>\n\u003cp>Johnson was born in 1926 in Jacksonville, Florida, to an impoverished single mother who handed her baby off to be raised by a cousin.\u003c/p>\n\u003cp>In a \u003ca href=\"https://www.kqed.org/forum/201307251030/photographer-david-johnson-capturing-san-franciscos-black-community-in-the-1940s-and-50s\">2013 interview\u003c/a> with KQED, Johnson said he got his first camera by selling magazine subscriptions door-to-door.\u003c/p>\n\u003cp>“I just started snapping pictures around the neighborhood. And I got kind of fascinated with that,” he said.\u003c/p>\n\u003cfigure id=\"attachment_13954237\" class=\"wp-caption aligncenter\" style=\"max-width: 1758px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/dsc_3200plus-copy_custom-2acb66c92b261924a955c36c95f0d174297ce25d-scaled.jpg\" alt=\"Portrait of older person sitting in front of framed photo of young person\" width=\"1758\" height=\"2560\" class=\"size-full wp-image-13954237\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/dsc_3200plus-copy_custom-2acb66c92b261924a955c36c95f0d174297ce25d-scaled.jpg 1758w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/dsc_3200plus-copy_custom-2acb66c92b261924a955c36c95f0d174297ce25d-800x1165.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/dsc_3200plus-copy_custom-2acb66c92b261924a955c36c95f0d174297ce25d-1020x1485.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/dsc_3200plus-copy_custom-2acb66c92b261924a955c36c95f0d174297ce25d-160x233.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/dsc_3200plus-copy_custom-2acb66c92b261924a955c36c95f0d174297ce25d-768x1118.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/dsc_3200plus-copy_custom-2acb66c92b261924a955c36c95f0d174297ce25d-1055x1536.jpg 1055w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/dsc_3200plus-copy_custom-2acb66c92b261924a955c36c95f0d174297ce25d-1407x2048.jpg 1407w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/dsc_3200plus-copy_custom-2acb66c92b261924a955c36c95f0d174297ce25d-1920x2796.jpg 1920w\" sizes=\"(max-width: 1758px) 100vw, 1758px\">\u003cfigcaption class=\"wp-caption-text\">David Johnson in 2023 with one of his photographs, ‘Clarence,’ at an award luncheon at UC Berkeley honoring the photographer. \u003ccite>(Peg Skorpinski)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Johnson was drafted into the U.S. Navy right out of high school. He was stationed in San Francisco, where he fell in love with the city, and was then sent to the Philippines for the remainder of World War II. After returning, he wanted to develop his photography skills in college.\u003c/p>\n\u003cp>It was 1946, and budding photographers were clamoring to get into the program that master lensman Adams had just launched at the California School of Fine Arts in San Francisco (later known as the San Francisco Art Institute). Its star-studded faculty included Minor White, Imogen Cunningham, Edward Weston and Dorothea Lange.\u003c/p>\n\u003ch3>San Francisco-bound\u003c/h3>\n\u003cp>Johnson wanted in. So he sent Adams a letter.\u003c/p>\n\u003cp>“I wrote to Ansel and said, ‘I’m interested in studying photography. I have the GI Bill. And I would like for you to evaluate my [application].’ Ansel wrote me back and said, ‘There are no vacancies in the class,’” he told KQED.\u003c/p>\n\u003cp>But a student dropped out, making room for Johnson.\u003c/p>\n\u003cp>He hopped on a segregated train that took him from Jacksonville to San Francisco. After living in Adams’ house for a while, he eventually found a low-rent room in the Fillmore District and started taking lots of photos.\u003c/p>\n\u003cfigure id=\"attachment_13954240\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/earthakitt-c999363a82294d4177dcc25e58e5746643ec5f4f-scaled.jpg\" alt=\"Signed black-and-white photograph of woman posing with children on a stage\" width=\"2560\" height=\"1920\" class=\"size-full wp-image-13954240\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/earthakitt-c999363a82294d4177dcc25e58e5746643ec5f4f-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/earthakitt-c999363a82294d4177dcc25e58e5746643ec5f4f-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/earthakitt-c999363a82294d4177dcc25e58e5746643ec5f4f-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/earthakitt-c999363a82294d4177dcc25e58e5746643ec5f4f-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/earthakitt-c999363a82294d4177dcc25e58e5746643ec5f4f-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/earthakitt-c999363a82294d4177dcc25e58e5746643ec5f4f-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/earthakitt-c999363a82294d4177dcc25e58e5746643ec5f4f-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/earthakitt-c999363a82294d4177dcc25e58e5746643ec5f4f-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">‘Eartha Kitt with Neighborhood Children, 1947,’ by David Johnson. \u003ccite>( The David Johnson Photograph Archive, The Bancroft Library, University of California, Berkeley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Many of these images appeared decades later in a \u003ca href=\"https://www.youtube.com/watch?v=a8h2meDtdm8&t=186s\">KQED documentary\u003c/a> about the Fillmore’s status — and eventual demise — as one of the country’s most vibrant Black neighborhoods.\u003c/p>\n\u003cp>[aside postID='news_11957757']“He would go to the clubs in the evenings, take incredible photographs of musicians,” said Christine Hult-Lewis, the pictorial curator of special collections at UC Berkeley’s Bancroft Library, which houses the \u003ca href=\"https://search.library.berkeley.edu/discovery/fulldisplay?context=L&vid=01UCS_BER:UCB&search_scope=DN_and_CI&tab=Default_UCLibrarySearch&docid=alma991036750439706532\">David Johnson archive\u003c/a>. “He had very easy relationships with people in the barbershops and the folks in the churches and folks on the streets.”\u003c/p>\n\u003cp>Johnson said his college instructors encouraged these pursuits.\u003c/p>\n\u003cp>“Growing up, most of the photographs I have seen of Black people were just not very complimentary,” he told KQED. “I said, ‘My photographs will have Black people photographed in a dignified manner.’”\u003c/p>\n\u003ch3>Documenting street life, famous figures and civil rights\u003c/h3>\n\u003cp>Hult-Lewis said that as a freelance press photographer, Johnson took candid photos of Black celebrities who came to town, such as Nat King Cole, Paul Robeson and Langston Hughes.\u003c/p>\n\u003cfigure id=\"attachment_13954241\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/natkingcole_custom-c89c2cf3da81bc3d63ec8908ad5869544ec480e9-scaled.jpg\" alt=\"Black-and-white photo of a man signing a book held by another person\" width=\"2560\" height=\"2197\" class=\"size-full wp-image-13954241\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/natkingcole_custom-c89c2cf3da81bc3d63ec8908ad5869544ec480e9-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/natkingcole_custom-c89c2cf3da81bc3d63ec8908ad5869544ec480e9-800x687.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/natkingcole_custom-c89c2cf3da81bc3d63ec8908ad5869544ec480e9-1020x876.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/natkingcole_custom-c89c2cf3da81bc3d63ec8908ad5869544ec480e9-160x137.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/natkingcole_custom-c89c2cf3da81bc3d63ec8908ad5869544ec480e9-768x659.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/natkingcole_custom-c89c2cf3da81bc3d63ec8908ad5869544ec480e9-1536x1318.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/natkingcole_custom-c89c2cf3da81bc3d63ec8908ad5869544ec480e9-2048x1758.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/natkingcole_custom-c89c2cf3da81bc3d63ec8908ad5869544ec480e9-1920x1648.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">‘Nat King Cole at Fairmont Hotel, 1949,’ by David Johnson. \u003ccite>(The David Johnson Photograph Archive, The Bancroft Library, University of California, Berkeley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And he used his camera to spark conversations about civil rights.\u003c/p>\n\u003cp>“There’s one really iconic photograph of a woman listening to a speech and she’s got kind of a dubious look on her face, but in her glasses are reflected the American flag,” Hult-Lewis said. “There’s another incredible photograph of a young African American boy sitting, holding an American flag in the embrace of a sculpture of Abraham Lincoln.”\u003c/p>\n\u003cp>Johnson also often participated in direct political action. He attended the 1963 March on Washington, and organized the first Black caucus at the University of California, San Francisco.\u003c/p>\n\u003cfigure id=\"attachment_13954242\" class=\"wp-caption aligncenter\" style=\"max-width: 1896px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/womanwithglasses_custom-605868833ecd9e4570ec10b33f4c4c6680e849a9-scaled.jpg\" alt=\"Black-and-white photo of American flag reflected in woman's glasses in a crowd\" width=\"1896\" height=\"2560\" class=\"size-full wp-image-13954242\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/womanwithglasses_custom-605868833ecd9e4570ec10b33f4c4c6680e849a9-scaled.jpg 1896w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/womanwithglasses_custom-605868833ecd9e4570ec10b33f4c4c6680e849a9-800x1080.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/womanwithglasses_custom-605868833ecd9e4570ec10b33f4c4c6680e849a9-1020x1377.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/womanwithglasses_custom-605868833ecd9e4570ec10b33f4c4c6680e849a9-160x216.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/womanwithglasses_custom-605868833ecd9e4570ec10b33f4c4c6680e849a9-768x1037.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/womanwithglasses_custom-605868833ecd9e4570ec10b33f4c4c6680e849a9-1137x1536.jpg 1137w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/womanwithglasses_custom-605868833ecd9e4570ec10b33f4c4c6680e849a9-1516x2048.jpg 1516w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/womanwithglasses_custom-605868833ecd9e4570ec10b33f4c4c6680e849a9-1920x2593.jpg 1920w\" sizes=\"(max-width: 1896px) 100vw, 1896px\">\u003cfigcaption class=\"wp-caption-text\">‘Reflections in Glasses, 1963,’ by David Johnson. \u003ccite>( The David Johnson Photograph Archive, The Bancroft Library, University of California, Berkeley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He was part of a group that successfully sued the San Francisco Unified School District to compel them to more fully desegregate the schools,” Hult-Lewis said.\u003c/p>\n\u003cp>Johnson never became a big name like his teacher Adams. By the 1980s he’d stopped taking photos altogether.\u003c/p>\n\u003cp>But interest in Johnson’s work has grown in recent years, as cities across the country grapple with the negative impacts that urban redevelopment can have. His work is in the collection of major institutions, including the \u003ca href=\"https://www.sfmoma.org/artist/David_S._Johnson/\">San Francisco Museum of Modern Art\u003c/a>, and was the subject of a \u003ca href=\"https://www.sfartscommission.org/experience-art/exhibitions/david-johnson-zone-1945-1965\">solo exhibition\u003c/a> at San Francisco City Hall in 2022.\u003c/p>\n\u003cp>“The photographs tell life, life as it was then, life that cannot be duplicated or recreated in today,” Johnson’s wife, Jacqueline Sue, told KQED in 2013. “It’s a marker of history.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Copyright 2024 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"Johnson’s candid photographs captured daily life and historic moments, including the 1963 March on Washington. ","status":"publish","parent":0,"modified":1710782439,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":31,"wordCount":1070},"headData":{"title":"David Johnson, Photographer of Black Culture, Dies at 97 | KQED","description":"Johnson’s candid photographs captured daily life and historic moments, including the 1963 March on Washington. ","ogTitle":"Photographer David Johnson, Who Chronicled San Francisco’s Black Culture, Dies at 97","ogDescription":"","ogImgId":"","twTitle":"Photographer David Johnson, Who Chronicled San Francisco’s Black Culture, Dies at 97","twDescription":"","twImgId":"","socialTitle":"David Johnson, Photographer of Black Culture, Dies at 97 %%page%% %%sep%% KQED"},"sticky":false,"WpOldSlug":"photographer-david-johnson-who-chronicled-san-franciscos-black-culture-dies-at-97","nprByline":"Chloe Veltman","nprImageAgency":"Peg Skorpinski","nprStoryId":"1239005042","nprApiLink":"http://api.npr.org/query?id=1239005042&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2024/03/17/1239005042/photographer-david-johnson-san-francisco-black-culture-dead?ft=nprml&f=1239005042","nprRetrievedStory":"1","nprPubDate":"Sun, 17 Mar 2024 05:00:00 -0400","nprStoryDate":"Sun, 17 Mar 2024 05:00:44 -0400","nprLastModifiedDate":"Sun, 17 Mar 2024 05:00:44 -0400","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13954236/photographer-david-johnson-obituary-san-francisco-black-culture","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>David Johnson generally wasn’t interested in people posing for his camera.\u003c/p>\n\u003cp>As the photographer and civil rights activist put it in a \u003ca href=\"https://www.youtube.com/watch?v=u0Lcv7xyh-w\">2017 interview\u003c/a> at the University of California, Berkeley: “A big smiling photograph? That wasn’t my style.”\u003c/p>\n\u003cp>Johnson died at his home in Greenbrae, north of San Francisco, earlier this month. According to his stepdaughter, he was suffering from advanced dementia and had pneumonia. He was 97 years old.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13950886","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Johnson was the first Black student of the famous nature \u003ca href=\"https://www.npr.org/sections/pictureshow/2011/10/07/141149616/retracing-the-steps-of-ansel-adams\">photographer Ansel Adams\u003c/a> and became known as one of the foremost chroniclers of San Francisco’s Black urban culture.\u003c/p>\n\u003cp>In one of his most famous images, shot early in his career in 1946, Johnson depicts a street corner in San Francisco’s Fillmore District — once a hub for the city’s thriving Black community \u003ca href=\"https://www.kqed.org/news/11957757/why-san-franciscos-fillmore-district-is-no-longer-the-harlem-of-the-west\">until redevelopment later in the century\u003c/a> forced nearly all of them out.\u003c/p>\n\u003cfigure id=\"attachment_13954239\" class=\"wp-caption aligncenter\" style=\"max-width: 2016px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/fillmore_custom-53676662fb1086870b49a2b88da8ef2925baba3d-scaled.jpg\" alt=\"Black-and-white photograph of busy street corner with pedestrian, car and bus traffic\" width=\"2016\" height=\"2560\" class=\"size-full wp-image-13954239\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/fillmore_custom-53676662fb1086870b49a2b88da8ef2925baba3d-scaled.jpg 2016w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/fillmore_custom-53676662fb1086870b49a2b88da8ef2925baba3d-800x1016.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/fillmore_custom-53676662fb1086870b49a2b88da8ef2925baba3d-1020x1295.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/fillmore_custom-53676662fb1086870b49a2b88da8ef2925baba3d-160x203.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/fillmore_custom-53676662fb1086870b49a2b88da8ef2925baba3d-768x975.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/fillmore_custom-53676662fb1086870b49a2b88da8ef2925baba3d-1209x1536.jpg 1209w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/fillmore_custom-53676662fb1086870b49a2b88da8ef2925baba3d-1613x2048.jpg 1613w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/fillmore_custom-53676662fb1086870b49a2b88da8ef2925baba3d-1920x2438.jpg 1920w\" sizes=\"(max-width: 2016px) 100vw, 2016px\">\u003cfigcaption class=\"wp-caption-text\">‘Looking South on Fillmore, 1946,’ by David Johnson. \u003ccite>(The David Johnson Photograph Archive, The Bancroft Library, University of California, Berkeley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The image has energetic angles and stark contrasts of light and shadow. And it’s shot from above. In the UC Berkeley interview, Johnson said he clambered up four stories on a nearby construction scaffold to get it.\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 focused my camera and took one photograph,” Johnson said. “I was kind of anxious to get this little job over with and go back down to the ground.”\u003c/p>\n\u003ch3>A tough childhood\u003c/h3>\n\u003cp>Johnson was born in 1926 in Jacksonville, Florida, to an impoverished single mother who handed her baby off to be raised by a cousin.\u003c/p>\n\u003cp>In a \u003ca href=\"https://www.kqed.org/forum/201307251030/photographer-david-johnson-capturing-san-franciscos-black-community-in-the-1940s-and-50s\">2013 interview\u003c/a> with KQED, Johnson said he got his first camera by selling magazine subscriptions door-to-door.\u003c/p>\n\u003cp>“I just started snapping pictures around the neighborhood. And I got kind of fascinated with that,” he said.\u003c/p>\n\u003cfigure id=\"attachment_13954237\" class=\"wp-caption aligncenter\" style=\"max-width: 1758px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/dsc_3200plus-copy_custom-2acb66c92b261924a955c36c95f0d174297ce25d-scaled.jpg\" alt=\"Portrait of older person sitting in front of framed photo of young person\" width=\"1758\" height=\"2560\" class=\"size-full wp-image-13954237\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/dsc_3200plus-copy_custom-2acb66c92b261924a955c36c95f0d174297ce25d-scaled.jpg 1758w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/dsc_3200plus-copy_custom-2acb66c92b261924a955c36c95f0d174297ce25d-800x1165.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/dsc_3200plus-copy_custom-2acb66c92b261924a955c36c95f0d174297ce25d-1020x1485.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/dsc_3200plus-copy_custom-2acb66c92b261924a955c36c95f0d174297ce25d-160x233.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/dsc_3200plus-copy_custom-2acb66c92b261924a955c36c95f0d174297ce25d-768x1118.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/dsc_3200plus-copy_custom-2acb66c92b261924a955c36c95f0d174297ce25d-1055x1536.jpg 1055w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/dsc_3200plus-copy_custom-2acb66c92b261924a955c36c95f0d174297ce25d-1407x2048.jpg 1407w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/dsc_3200plus-copy_custom-2acb66c92b261924a955c36c95f0d174297ce25d-1920x2796.jpg 1920w\" sizes=\"(max-width: 1758px) 100vw, 1758px\">\u003cfigcaption class=\"wp-caption-text\">David Johnson in 2023 with one of his photographs, ‘Clarence,’ at an award luncheon at UC Berkeley honoring the photographer. \u003ccite>(Peg Skorpinski)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Johnson was drafted into the U.S. Navy right out of high school. He was stationed in San Francisco, where he fell in love with the city, and was then sent to the Philippines for the remainder of World War II. After returning, he wanted to develop his photography skills in college.\u003c/p>\n\u003cp>It was 1946, and budding photographers were clamoring to get into the program that master lensman Adams had just launched at the California School of Fine Arts in San Francisco (later known as the San Francisco Art Institute). Its star-studded faculty included Minor White, Imogen Cunningham, Edward Weston and Dorothea Lange.\u003c/p>\n\u003ch3>San Francisco-bound\u003c/h3>\n\u003cp>Johnson wanted in. So he sent Adams a letter.\u003c/p>\n\u003cp>“I wrote to Ansel and said, ‘I’m interested in studying photography. I have the GI Bill. And I would like for you to evaluate my [application].’ Ansel wrote me back and said, ‘There are no vacancies in the class,’” he told KQED.\u003c/p>\n\u003cp>But a student dropped out, making room for Johnson.\u003c/p>\n\u003cp>He hopped on a segregated train that took him from Jacksonville to San Francisco. After living in Adams’ house for a while, he eventually found a low-rent room in the Fillmore District and started taking lots of photos.\u003c/p>\n\u003cfigure id=\"attachment_13954240\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/earthakitt-c999363a82294d4177dcc25e58e5746643ec5f4f-scaled.jpg\" alt=\"Signed black-and-white photograph of woman posing with children on a stage\" width=\"2560\" height=\"1920\" class=\"size-full wp-image-13954240\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/earthakitt-c999363a82294d4177dcc25e58e5746643ec5f4f-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/earthakitt-c999363a82294d4177dcc25e58e5746643ec5f4f-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/earthakitt-c999363a82294d4177dcc25e58e5746643ec5f4f-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/earthakitt-c999363a82294d4177dcc25e58e5746643ec5f4f-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/earthakitt-c999363a82294d4177dcc25e58e5746643ec5f4f-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/earthakitt-c999363a82294d4177dcc25e58e5746643ec5f4f-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/earthakitt-c999363a82294d4177dcc25e58e5746643ec5f4f-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/earthakitt-c999363a82294d4177dcc25e58e5746643ec5f4f-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">‘Eartha Kitt with Neighborhood Children, 1947,’ by David Johnson. \u003ccite>( The David Johnson Photograph Archive, The Bancroft Library, University of California, Berkeley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Many of these images appeared decades later in a \u003ca href=\"https://www.youtube.com/watch?v=a8h2meDtdm8&t=186s\">KQED documentary\u003c/a> about the Fillmore’s status — and eventual demise — as one of the country’s most vibrant Black neighborhoods.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"news_11957757","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>“He would go to the clubs in the evenings, take incredible photographs of musicians,” said Christine Hult-Lewis, the pictorial curator of special collections at UC Berkeley’s Bancroft Library, which houses the \u003ca href=\"https://search.library.berkeley.edu/discovery/fulldisplay?context=L&vid=01UCS_BER:UCB&search_scope=DN_and_CI&tab=Default_UCLibrarySearch&docid=alma991036750439706532\">David Johnson archive\u003c/a>. “He had very easy relationships with people in the barbershops and the folks in the churches and folks on the streets.”\u003c/p>\n\u003cp>Johnson said his college instructors encouraged these pursuits.\u003c/p>\n\u003cp>“Growing up, most of the photographs I have seen of Black people were just not very complimentary,” he told KQED. “I said, ‘My photographs will have Black people photographed in a dignified manner.’”\u003c/p>\n\u003ch3>Documenting street life, famous figures and civil rights\u003c/h3>\n\u003cp>Hult-Lewis said that as a freelance press photographer, Johnson took candid photos of Black celebrities who came to town, such as Nat King Cole, Paul Robeson and Langston Hughes.\u003c/p>\n\u003cfigure id=\"attachment_13954241\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/natkingcole_custom-c89c2cf3da81bc3d63ec8908ad5869544ec480e9-scaled.jpg\" alt=\"Black-and-white photo of a man signing a book held by another person\" width=\"2560\" height=\"2197\" class=\"size-full wp-image-13954241\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/natkingcole_custom-c89c2cf3da81bc3d63ec8908ad5869544ec480e9-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/natkingcole_custom-c89c2cf3da81bc3d63ec8908ad5869544ec480e9-800x687.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/natkingcole_custom-c89c2cf3da81bc3d63ec8908ad5869544ec480e9-1020x876.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/natkingcole_custom-c89c2cf3da81bc3d63ec8908ad5869544ec480e9-160x137.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/natkingcole_custom-c89c2cf3da81bc3d63ec8908ad5869544ec480e9-768x659.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/natkingcole_custom-c89c2cf3da81bc3d63ec8908ad5869544ec480e9-1536x1318.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/natkingcole_custom-c89c2cf3da81bc3d63ec8908ad5869544ec480e9-2048x1758.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/natkingcole_custom-c89c2cf3da81bc3d63ec8908ad5869544ec480e9-1920x1648.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">‘Nat King Cole at Fairmont Hotel, 1949,’ by David Johnson. \u003ccite>(The David Johnson Photograph Archive, The Bancroft Library, University of California, Berkeley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And he used his camera to spark conversations about civil rights.\u003c/p>\n\u003cp>“There’s one really iconic photograph of a woman listening to a speech and she’s got kind of a dubious look on her face, but in her glasses are reflected the American flag,” Hult-Lewis said. “There’s another incredible photograph of a young African American boy sitting, holding an American flag in the embrace of a sculpture of Abraham Lincoln.”\u003c/p>\n\u003cp>Johnson also often participated in direct political action. He attended the 1963 March on Washington, and organized the first Black caucus at the University of California, San Francisco.\u003c/p>\n\u003cfigure id=\"attachment_13954242\" class=\"wp-caption aligncenter\" style=\"max-width: 1896px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/womanwithglasses_custom-605868833ecd9e4570ec10b33f4c4c6680e849a9-scaled.jpg\" alt=\"Black-and-white photo of American flag reflected in woman's glasses in a crowd\" width=\"1896\" height=\"2560\" class=\"size-full wp-image-13954242\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/womanwithglasses_custom-605868833ecd9e4570ec10b33f4c4c6680e849a9-scaled.jpg 1896w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/womanwithglasses_custom-605868833ecd9e4570ec10b33f4c4c6680e849a9-800x1080.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/womanwithglasses_custom-605868833ecd9e4570ec10b33f4c4c6680e849a9-1020x1377.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/womanwithglasses_custom-605868833ecd9e4570ec10b33f4c4c6680e849a9-160x216.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/womanwithglasses_custom-605868833ecd9e4570ec10b33f4c4c6680e849a9-768x1037.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/womanwithglasses_custom-605868833ecd9e4570ec10b33f4c4c6680e849a9-1137x1536.jpg 1137w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/womanwithglasses_custom-605868833ecd9e4570ec10b33f4c4c6680e849a9-1516x2048.jpg 1516w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/womanwithglasses_custom-605868833ecd9e4570ec10b33f4c4c6680e849a9-1920x2593.jpg 1920w\" sizes=\"(max-width: 1896px) 100vw, 1896px\">\u003cfigcaption class=\"wp-caption-text\">‘Reflections in Glasses, 1963,’ by David Johnson. \u003ccite>( The David Johnson Photograph Archive, The Bancroft Library, University of California, Berkeley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He was part of a group that successfully sued the San Francisco Unified School District to compel them to more fully desegregate the schools,” Hult-Lewis said.\u003c/p>\n\u003cp>Johnson never became a big name like his teacher Adams. By the 1980s he’d stopped taking photos altogether.\u003c/p>\n\u003cp>But interest in Johnson’s work has grown in recent years, as cities across the country grapple with the negative impacts that urban redevelopment can have. His work is in the collection of major institutions, including the \u003ca href=\"https://www.sfmoma.org/artist/David_S._Johnson/\">San Francisco Museum of Modern Art\u003c/a>, and was the subject of a \u003ca href=\"https://www.sfartscommission.org/experience-art/exhibitions/david-johnson-zone-1945-1965\">solo exhibition\u003c/a> at San Francisco City Hall in 2022.\u003c/p>\n\u003cp>“The photographs tell life, life as it was then, life that cannot be duplicated or recreated in today,” Johnson’s wife, Jacqueline Sue, told KQED in 2013. “It’s a marker of history.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Copyright 2024 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13954236/photographer-david-johnson-obituary-san-francisco-black-culture","authors":["byline_arts_13954236"],"categories":["arts_1","arts_835","arts_1564","arts_70"],"tags":["arts_1091","arts_822","arts_1146","arts_2996"],"featImg":"arts_13954238","label":"arts"},"arts_13953910":{"type":"posts","id":"arts_13953910","meta":{"index":"posts_1591205157","site":"arts","id":"13953910","score":null,"sort":[1710524049000]},"guestAuthors":[],"slug":"the-earthquakes-sfs-lgbtq-hockey-team-get-ready-for-their-comeback","title":"The Earthquakes, SF's LGBTQ+ Hockey Team, Get Ready for Their Comeback","publishDate":1710524049,"format":"standard","headTitle":"The Earthquakes, SF’s LGBTQ+ Hockey Team, Get Ready for Their Comeback | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>In 1998, the \u003ca href=\"https://www.instagram.com/sfquakes/\">Earthquakes\u003c/a>, San Francisco’s only co-ed LGBTQ+ ice hockey team, were lined up outside an Amsterdam arena for their entrance into the first-ever European Gay Games. The team had been established only a year earlier, pulling together both veterans of the sport and first-time hockey players. On that day, they joined 13,000 fellow athletes from 68 nations for the games’ opening ceremonies.\u003c/p>\n\u003cp>The Gay Games brought in more than 200,000 people to Europe’s self-proclaimed gay capital to celebrate sexual diversity at a time when sports and society at large were heavily steeped in homophobia, and the AIDS epidemic continued to devastate the LGBTQ+ community.\u003c/p>\n\u003cp>Yet the Gay Games made space for joy amid this turbulence. “You finally get to walk through the gates and see all these people, the stands are filled, and it definitely was super special,” says Quakes co-founder John Heine from his Concord home. He was 37 years old during Gay Games V — and not entirely out of the closet.\u003c/p>\n\u003cp>“I was hooked, and that was kind of my coming out story,” recalls Heine, now 62 and recovering from a recent hockey-related shoulder injury. “That was a lot of the importance in the vision about gay hockey, the San Francisco Quakes and also the Gay Games. For us, it was a way of learning how to fit into society and the coming out process.”\u003c/p>\n\u003cfigure id=\"attachment_13954187\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954187\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/quakes02-scaled.jpg\" alt=\"A film photo of two hockey players out of uniform. \" width=\"2560\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/quakes02-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/quakes02-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/quakes02-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/quakes02-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/quakes02-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/quakes02-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/quakes02-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/quakes02-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">The Quakes’ co-founders John Heine (left) and Kim McAfee (right) in 1997. \u003ccite>(Courtesy of John Heine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now, almost three decades since the team’s inception, the Quakes are returning to the ice following a pandemic hiatus. In a week, they’ll head south to compete alongside 11 other LGBTQ+ teams from across North America at the second-ever \u003ca href=\"https://www.palmspringsgayhockey.org/\">Palm Springs International Pride Hockey Tournament\u003c/a>, which kicks off March 20.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The Quakes play at Yerba Buena Ice Skating Center as part of the San Francisco Adult Hockey League. With the revival, the team debuted a fresh look last month at the San José Sharks’ Pride game. The new logo offers nods to their home city and the Sharks, who have been longtime allies: a pink triangle and a progress arrow, symbols of Pride.\u003c/p>\n\u003cfigure id=\"attachment_13953901\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953901\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240307-SF-QUAKES-KSM-12-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240307-SF-QUAKES-KSM-12-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240307-SF-QUAKES-KSM-12-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240307-SF-QUAKES-KSM-12-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240307-SF-QUAKES-KSM-12-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240307-SF-QUAKES-KSM-12-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240307-SF-QUAKES-KSM-12-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240307-SF-QUAKES-KSM-12-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Number 44, Marion Lang, sits and watches The San Francisco Quakes play at the Yerba Buena Ice Skating and Bowling Center in San Francisco on Mar. 7, 2024. \u003ccite>(Kathryn Styer Martínez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Quakes’ comeback arrives at a time when the NHL is grappling with how to be more inclusive: The league banned themed jerseys in June 2023, during Pride month. A ban on Pride tape on hockey sticks followed in October of that year. After players and fans criticized the move, the \u003ca href=\"https://www.npr.org/2023/10/25/1208403697/nhl-pride-tape-ban-lifted-travis-dermott\">NHL reversed the rules\u003c/a>.\u003c/p>\n\u003cp>Despite these controversies in the league, the Sharks have been vocal supporters of the LGBTQ+ community and the Quakes in particular. They regularly welcome the queer hockey team to the SAP Center with friendly scrimmages and pro-bono coaching from Sharks’ head coach David Quinn.\u003c/p>\n\u003cp>“They’ve done Pride nights very, very well,” says 58-year-old Kieran Flaherty, who has been a member of the Quakes for two decades. “The way the Sharks did it, it seemed less pinkwashing and jumping on the bandwagon and more substantive in the approach. They came to us and said, ‘How would you guys like to do Pride this year in a way that might help you?’”\u003c/p>\n\u003cfigure id=\"attachment_13953899\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953899\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240307-SF-QUAKES-KSM-10-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240307-SF-QUAKES-KSM-10-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240307-SF-QUAKES-KSM-10-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240307-SF-QUAKES-KSM-10-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240307-SF-QUAKES-KSM-10-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240307-SF-QUAKES-KSM-10-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240307-SF-QUAKES-KSM-10-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240307-SF-QUAKES-KSM-10-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Kiki Flaherty (right) looks on as players jump over the wall during a game at the Yerba Buena Ice Skating and Bowling Center in San Francisco on Mar. 7, 2024. \u003ccite>(Kathryn Styer Martínez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Flaherty got his start on the ice at four years old. Hockey was part of his family history: he hails from Minnesota, known as the “State of Hockey.” Though he wasn’t out at the time, he left the sport in eighth grade after feeling unwelcome for being more effeminate than the other boys on the team.\u003c/p>\n\u003cp>He came out at 22 and moved to San Francisco shortly after, where he first discovered the Quakes and the Gay Games. For Flaherty and many other team members, the Quakes and the Games provided a safe space for LGBTQ+ people and allies alike to play in an industry that can be, at times, hostile.\u003c/p>\n\u003cp>“That is part of our genesis,” Flaherty says. “Many of us felt we didn’t have a good place, a safe place, a healthy place for us to participate when we were younger. We were hoping that our presence would help to turn that around.”\u003c/p>\n\u003cfigure id=\"attachment_13953895\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953895\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240307-SF-QUAKES-KSM-3-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240307-SF-QUAKES-KSM-3-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240307-SF-QUAKES-KSM-3-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240307-SF-QUAKES-KSM-3-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240307-SF-QUAKES-KSM-3-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240307-SF-QUAKES-KSM-3-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240307-SF-QUAKES-KSM-3-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240307-SF-QUAKES-KSM-3-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The San Francisco Quakes players get ready in their locker room before their game at the Yerba Buena Ice Skating and Bowling Center in San Francisco on Mar. 7, 2024. \u003ccite>(Kathryn Styer Martínez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The team consists of cisgender, trans and gender-diverse members, primarily of middle age with a few athletes in their early 60s. The Quakes welcomes varying experience levels, which has been part of their philosophy since the team was founded. But the team was nearly defunct from the pandemic about a year ago. With help recruiting from the Sharks, the next generation of LGBTQ+ hockey players is finding their way onto the Quakes.\u003c/p>\n\u003cp>“I couldn’t imagine a team like this not existing anymore, or teams like this across the United States not existing,” says 23-year-old Joey Marcacci, a gay athlete who’s played ice hockey since he was young. “It’s so important.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n","blocks":[],"excerpt":"Ahead of a national tournament in Palm Springs, the Quakes look back at their 30-year history.","status":"publish","parent":0,"modified":1710529035,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":17,"wordCount":961},"headData":{"title":"The Earthquakes, SF's LGBTQ+ Hockey Team, Get Ready for Their Comeback | KQED","description":"Ahead of a national tournament in Palm Springs, the Quakes look back at their 30-year history.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"nprByline":"Myron Caringal ","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13953910/the-earthquakes-sfs-lgbtq-hockey-team-get-ready-for-their-comeback","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 1998, the \u003ca href=\"https://www.instagram.com/sfquakes/\">Earthquakes\u003c/a>, San Francisco’s only co-ed LGBTQ+ ice hockey team, were lined up outside an Amsterdam arena for their entrance into the first-ever European Gay Games. The team had been established only a year earlier, pulling together both veterans of the sport and first-time hockey players. On that day, they joined 13,000 fellow athletes from 68 nations for the games’ opening ceremonies.\u003c/p>\n\u003cp>The Gay Games brought in more than 200,000 people to Europe’s self-proclaimed gay capital to celebrate sexual diversity at a time when sports and society at large were heavily steeped in homophobia, and the AIDS epidemic continued to devastate the LGBTQ+ community.\u003c/p>\n\u003cp>Yet the Gay Games made space for joy amid this turbulence. “You finally get to walk through the gates and see all these people, the stands are filled, and it definitely was super special,” says Quakes co-founder John Heine from his Concord home. He was 37 years old during Gay Games V — and not entirely out of the closet.\u003c/p>\n\u003cp>“I was hooked, and that was kind of my coming out story,” recalls Heine, now 62 and recovering from a recent hockey-related shoulder injury. “That was a lot of the importance in the vision about gay hockey, the San Francisco Quakes and also the Gay Games. For us, it was a way of learning how to fit into society and the coming out process.”\u003c/p>\n\u003cfigure id=\"attachment_13954187\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954187\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/quakes02-scaled.jpg\" alt=\"A film photo of two hockey players out of uniform. \" width=\"2560\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/quakes02-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/quakes02-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/quakes02-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/quakes02-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/quakes02-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/quakes02-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/quakes02-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/quakes02-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">The Quakes’ co-founders John Heine (left) and Kim McAfee (right) in 1997. \u003ccite>(Courtesy of John Heine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now, almost three decades since the team’s inception, the Quakes are returning to the ice following a pandemic hiatus. In a week, they’ll head south to compete alongside 11 other LGBTQ+ teams from across North America at the second-ever \u003ca href=\"https://www.palmspringsgayhockey.org/\">Palm Springs International Pride Hockey Tournament\u003c/a>, which kicks off March 20.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Quakes play at Yerba Buena Ice Skating Center as part of the San Francisco Adult Hockey League. With the revival, the team debuted a fresh look last month at the San José Sharks’ Pride game. The new logo offers nods to their home city and the Sharks, who have been longtime allies: a pink triangle and a progress arrow, symbols of Pride.\u003c/p>\n\u003cfigure id=\"attachment_13953901\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953901\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240307-SF-QUAKES-KSM-12-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240307-SF-QUAKES-KSM-12-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240307-SF-QUAKES-KSM-12-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240307-SF-QUAKES-KSM-12-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240307-SF-QUAKES-KSM-12-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240307-SF-QUAKES-KSM-12-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240307-SF-QUAKES-KSM-12-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240307-SF-QUAKES-KSM-12-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Number 44, Marion Lang, sits and watches The San Francisco Quakes play at the Yerba Buena Ice Skating and Bowling Center in San Francisco on Mar. 7, 2024. \u003ccite>(Kathryn Styer Martínez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Quakes’ comeback arrives at a time when the NHL is grappling with how to be more inclusive: The league banned themed jerseys in June 2023, during Pride month. A ban on Pride tape on hockey sticks followed in October of that year. After players and fans criticized the move, the \u003ca href=\"https://www.npr.org/2023/10/25/1208403697/nhl-pride-tape-ban-lifted-travis-dermott\">NHL reversed the rules\u003c/a>.\u003c/p>\n\u003cp>Despite these controversies in the league, the Sharks have been vocal supporters of the LGBTQ+ community and the Quakes in particular. They regularly welcome the queer hockey team to the SAP Center with friendly scrimmages and pro-bono coaching from Sharks’ head coach David Quinn.\u003c/p>\n\u003cp>“They’ve done Pride nights very, very well,” says 58-year-old Kieran Flaherty, who has been a member of the Quakes for two decades. “The way the Sharks did it, it seemed less pinkwashing and jumping on the bandwagon and more substantive in the approach. They came to us and said, ‘How would you guys like to do Pride this year in a way that might help you?’”\u003c/p>\n\u003cfigure id=\"attachment_13953899\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953899\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240307-SF-QUAKES-KSM-10-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240307-SF-QUAKES-KSM-10-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240307-SF-QUAKES-KSM-10-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240307-SF-QUAKES-KSM-10-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240307-SF-QUAKES-KSM-10-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240307-SF-QUAKES-KSM-10-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240307-SF-QUAKES-KSM-10-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240307-SF-QUAKES-KSM-10-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Kiki Flaherty (right) looks on as players jump over the wall during a game at the Yerba Buena Ice Skating and Bowling Center in San Francisco on Mar. 7, 2024. \u003ccite>(Kathryn Styer Martínez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Flaherty got his start on the ice at four years old. Hockey was part of his family history: he hails from Minnesota, known as the “State of Hockey.” Though he wasn’t out at the time, he left the sport in eighth grade after feeling unwelcome for being more effeminate than the other boys on the team.\u003c/p>\n\u003cp>He came out at 22 and moved to San Francisco shortly after, where he first discovered the Quakes and the Gay Games. For Flaherty and many other team members, the Quakes and the Games provided a safe space for LGBTQ+ people and allies alike to play in an industry that can be, at times, hostile.\u003c/p>\n\u003cp>“That is part of our genesis,” Flaherty says. “Many of us felt we didn’t have a good place, a safe place, a healthy place for us to participate when we were younger. We were hoping that our presence would help to turn that around.”\u003c/p>\n\u003cfigure id=\"attachment_13953895\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953895\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240307-SF-QUAKES-KSM-3-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240307-SF-QUAKES-KSM-3-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240307-SF-QUAKES-KSM-3-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240307-SF-QUAKES-KSM-3-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240307-SF-QUAKES-KSM-3-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240307-SF-QUAKES-KSM-3-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240307-SF-QUAKES-KSM-3-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240307-SF-QUAKES-KSM-3-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The San Francisco Quakes players get ready in their locker room before their game at the Yerba Buena Ice Skating and Bowling Center in San Francisco on Mar. 7, 2024. \u003ccite>(Kathryn Styer Martínez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The team consists of cisgender, trans and gender-diverse members, primarily of middle age with a few athletes in their early 60s. The Quakes welcomes varying experience levels, which has been part of their philosophy since the team was founded. But the team was nearly defunct from the pandemic about a year ago. With help recruiting from the Sharks, the next generation of LGBTQ+ hockey players is finding their way onto the Quakes.\u003c/p>\n\u003cp>“I couldn’t imagine a team like this not existing anymore, or teams like this across the United States not existing,” says 23-year-old Joey Marcacci, a gay athlete who’s played ice hockey since he was young. “It’s so important.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13953910/the-earthquakes-sfs-lgbtq-hockey-team-get-ready-for-their-comeback","authors":["byline_arts_13953910"],"categories":["arts_1","arts_835","arts_235","arts_13238"],"tags":["arts_10278","arts_10422","arts_3226","arts_1146","arts_4506"],"featImg":"arts_13953900","label":"arts"}},"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/2023/08/possible-5gxfizEbKOJ-pbF5ASgxrs_.1400x1400.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. 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We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2022/02/mindshift2021-tile-3000x3000-1-scaled-1.jpg","imageAlt":"KQED MindShift: How We Will Learn","officialWebsiteLink":"/mindshift/","meta":{"site":"news","source":"kqed","order":"2"},"link":"/podcasts/mindshift","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5","npr":"https://www.npr.org/podcasts/464615685/mind-shift-podcast","stitcher":"https://www.stitcher.com/podcast/kqed/stories-teachers-share","spotify":"https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"}},"morning-edition":{"id":"morning-edition","title":"Morning Edition","info":"\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.","airtime":"MON-FRI 3am-9am","imageSrc":"https://ww2.kqed.org/app/uploads/2021/10/ME_1400.jpg","officialWebsiteLink":"https://www.npr.org/programs/morning-edition/","meta":{"site":"news","source":"npr"},"link":"/radio/program/morning-edition"},"onourwatch":{"id":"onourwatch","title":"On Our Watch","tagline":"Police secrets, unsealed","info":"For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/01/OOW_Tile_Final.png","imageAlt":"On Our Watch from NPR and KQED","officialWebsiteLink":"/podcasts/onourwatch","meta":{"site":"news","source":"kqed","order":"1"},"link":"/podcasts/onourwatch","subscribe":{"apple":"https://podcasts.apple.com/podcast/id1567098962","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw","npr":"https://rpb3r.app.goo.gl/onourwatch","spotify":"https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x","tuneIn":"https://tunein.com/radio/On-Our-Watch-p1436229/","stitcher":"https://www.stitcher.com/show/on-our-watch","rss":"https://feeds.npr.org/510360/podcast.xml"}},"on-the-media":{"id":"on-the-media","title":"On The Media","info":"Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. 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