North Beach ‘speakeasy’ charms local crowd

In February, Todd Spanier, a.k.a. “The King of Mushrooms,” made an appearance at Rockridge Market Hall’s Truffle Fest. Under the same moniker, Spanier sells wild and farmed mushrooms to “chefs, grocers and mushroom enthusiasts.” One of his products is the most popular starter at Equal Parts, a new restaurant and bar in San Francisco’s North Beach.

The maitake mushroom tempura appetizer ($18) made its way to our table and just about every other one in my line of sight. Executive chef Melissa Perfit cooks the hen-of-the-woods’ bodies whole. They’re meaty and coated with a tempura batter that adds a hearty crunch. The dipping sauce, a whipped crème fraîche, adds a welcome note of creaminess to the fried ingredients.

As a line cook at Michael Mina’s RN74, Perfit first made a version of the dish there. She described it as a “throwback” to that part of her two-decades-long cooking career in Bay Area kitchens. Even though she’s previously opened other restaurants, the chef told me the Equal Parts’ menu was different.

“Usually the owners or my business partners—they want what they want,” she said. Because of the time she spent at Ayala and Popi’s Oysterette, Perfit became well-known as a seafood chef. For this venture, business partners Victor Pichardo, Jacob Cortes and Richard Yu gave the chef more creative freedom.

“It dawned on me that I could take dishes that I missed—whether I was a line cook, sous chef or chef de cuisine—and bring back my favorites,” she said.

Perfit also worked for the late Charles Phan at Hard Water. She’s paying homage to that restaurant’s “New Orleans-style Southern food” with dishes like fried chicken ($22) and a braised pork shank ($36). “I brought the fried chicken back because it’s gluten-free and it was one of Charles’ recipes, and I feel like he would like me to have it on the menu,” she said.      

The pork shank is another nod to Hard Water. It’s large enough to feed a table of four diners with healthy appetites. Perfit and her sous chef, Bethany Hunt, amended the original recipe. They substituted a butter-bean purée and a salsa verde for black-eyed peas. The portions are substantial on every plate. Even vegetable-forward dishes such as roasted beets and carrots ($16) or a little gem salad ($18)—with a fantastic fines herbes crème fraîche dressing—are filling. Three appetizers was one appetizer too many. But when the salad landed at a nearby table, slathered as it was in dressing, I couldn’t resist ordering it. To this day, I do not regret it.

Before she arrives for her shift, the prep cooks have been making sauces, braising lamb ribs and pork shanks, and roasting octopus. In line with her reputation, Perfit’s menu includes at least six seafood entrées. She said the whole roasted branzino ($42) and a tombo tuna carpaccio ($21) are the most popular items listed within the “From the Sea” section. “We blow through the branzino like crazy,” she said. It’s made with brown butter, blood oranges and basil.

Once she’s on site, Perfit makes sure that the kitchen is stocked for the service that night. She also helps to set up the stations for the evening crew. The location of the kitchen at Equal Parts is hidden away in the back. On Friday and Saturday nights the chef likes to “run food” to the dining room. “Most of the kitchens I’ve worked in are open kitchens, so for me, this is new,” she said. “It helps me interact with the guests.” 

I ate dinner at Equal Parts mid-week thinking it would be a quiet night out. But as we settled in for the evening the energy in the room kept building up and expanding. It started to feel less like a sit-down restaurant and more like a neighborhood block party. Not raucous and out-of-control,  but people were definitely out to have a good time. It’s the liveliest dining room I’ve been to in many months.

“I’m just really hoping it continues on its trajectory of being busy and people being happy,” Perfit said. 

Equal Parts, 478 Green St., San Francisco. Closed on Mondays, hours vary the rest of the week. equalpartssf.com

Berkeley museum goes deep on the New German Cinema

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To a dedicated admirer of European movies, going to “Fassbinder and the New German Cinema,” a 20-title retrospective series now under way at the Berkeley Art Museum Pacific Film Archive (BAMPFA), is like tucking into a deluxe smorgasbord. Everything is tempting. Where to begin?

For the sake of argument, let’s zoom in on the work of the late director Rainer Werner Fassbinder, on the strength of his prodigious filmography as well as for the never-flagging sense of skeptical contemporaneity in his best pictures. For his relevance to German-language cinema as well as for the excitement Fassbinder stirred up in art houses worldwide, there’s probably no filmmaker to compare him against—although Werner Herzog is a very tough also-ran.

Several of Fassbinder’s “greatest hits” are part of the series, but the “overlooked” titles contain rewards of their own.

Take Fear of Fear (Angst vor der Angst), a 1975 TV melodrama built around Margot (Margit Carstensen), a bewildered housewife cruising for a nervous breakdown, or worse. Plotted by Fassbinder with writer Asta Scheib, the tale of Margot’s humdrum family life takes a bizarre turn when she loses interest in her dead-wood hubby (Ulrich Faulhaber) and new baby, and turns to Valium and booze. Fassbinder’s stock company of actors is present in full regalia (Irm Herrmann! Ingrid Caven! Brigitte Mira!) to disapprove of Margot, as is the director’s devotion to Hollywood soap-opera auteur—and compatriot—Douglas Sirk. In the hands of a Sirk or a Claude Chabrol, a character as violently delusional as Margot would probably wind up dead. Fassbinder is too cruel to allow that. Fear of Fear plays BAMPFA on March 28.

Chinese Roulette (1976) comes from the same social-problem file as Fear of Fear, here equipped with first-class production values by cinematographer Michael Ballhaus and composer Peer Raben. Upscale Munich resident Ariane Christ (Margit Carstensen), mother of a disabled teenage daughter named Angela (Andrea Schober), is leaving town for a getaway weekend with her other man (Ulli Lommel). Meanwhile, Ariane’s businessman husband Gerhard (Alexander Allerson) is also escaping home, for a hot weekend with his French girlfriend (New Wave star Anna Karina). However, Ariane’s left-out daughter has arranged a surprise for her cheating parents and their playmates: They’re unwittingly all being herded to the family’s summer home.

Naturalistic acting was never a Fassbinder specialty. While the adulterous adults are busy tossing emotional hand grenades at each other, young Angela is revealed as a diabolical avenger on crutches, shades of Catherine Deneuve in Luis Buñuel’s Tristana. This neglected adolescent, who loves the poetry of Arthur Rimbaud, emerges as the grand inquisitor. Fassbinder’s idea of unhappy-family high jinks encourages the combatants to laugh at each other—Americans would throw a fit or pull out guns. Chinese Roulette screens April 5.

Chinese Roulette and Fear of Fear are brilliant meditations on Sirk. Meanwhile In a Year of 13 Moons (1978) functions as a semiautobiographical character study, rare for Fassbinder, who wrote, produced, shot and edited it, in addition to directing. It’s less academic and far more disturbing.

Erwin “Elvira” Weisshaupt (unforgettably portrayed by Volker Spengler) is a frustrated, mixed-up post-op transgender woman, forever unlucky in love. No matter how hard she tries, Elvira’s life is a carnival of suffering, abuse and low self-esteem. Warning to prospective first-time audiences: the initial 30 minutes of the film may prompt walk-outs by the squeamish. The pic is a personal, often brutal portrait of a character desperately in search of love, alternately helped/hindered by more actors from the perennial stock company. The film was evidently prompted by the death of the filmmaker’s real-life lover, actor Erwin Meier. In true Fassbinder fashion, Elvira’s mishaps are often as cartoonish as they are pathetic (May 13).

This series, which also includes titles by Volker Schlöndorff , Margarethe von Trotta, Alexander Kluge, Werner Herzog, Ulrike Ottinger, Hans-Jürgen Syberberg and Wim Wenders, is copresented by Goethe-Institut San Francisco. 

* * *Now through May 17 at BAMPFA, 2155 Center St., Berkeley. 510.642.0808. bampfa.org

Social Eyes: Week of March 26-April 1

THURSDAY, MARCH 26

BLUEGRASS

MAGOO

Magoo ain’t your grandpappy’s bluegrass. The progressive quartet out of Denver honors the timeless roots of the tradition while adventuring into new territory. The band’s brand-new debut album, What a Life, features its signature three-part harmonies alongside musically adept improvisations, qualities it will bring to its Cornerstone gig, where it partners with the New Acoustic Collective. Listening to Courtlyn Bills strumming the holy heck out of his mandolin on the album’s title tune is a reminder of bluegrass’s birth in the heart of Appalachia, and also its appeal to people far beyond hill country. JANIS HASHE

INFO: 8pm, Cornerstone, 2367 Shattuck Ave., Berkeley. $24. 510.214.8600.

FRIDAY, MARCH 27

THEATER

‘THE MONSTERS’

The actors playing LIL and BIG in Ngozi Anyanwu’s new play explain that it’s about a Black man learning to become vulnerable and how hard healing can be. And also, that the play is very funny. The Monsters explores what happens when BIG, a mixed martial arts fighter, copes with LIL, his little sister, appearing on his front door after years. Developed in Berkeley Rep’s Center for the Creation and Development of New Work, the cast worked with a female pro MMA fighter to master the powerhouse moves—but tapped into their own stories to build the emotional power. The 27th is the first preview; the show plays through May 3. – JH

INFO: 8pm, Peet’s Theatre, Berkeley Rep, 2025 Addison St., Berkeley. $33-$81. 510.647.2900.

FRIDAY, MARCH 27

FLAMENCO

AGUACLARA FLAMENCO

Founded and led by Clara Rodriguez, who spent three years studying and performing in Southern Spain, the Oakland school and company AguaClara Flamenco has performed on major stages across the region. But the best way to experience flamenco is up close and personal so you can feel the percussive footwork and watch the dialogue unfolding between the musicians and the dancers. Rodriguez is a riveting bailaora who moves with tightly compressed power and energy. She and her dancers usually perform with musicians led by guitarist David McLean, a player with a wide spectrum command of deep flamenco tradition and more recent developments. ANDREW GILBERT

INFO: 7:30pm, The Sound Room, 3022 Broadway, Oakland. $32. 510.708.9691.

FRIDAY, MARCH 27

METAL

BAD OMENS

Formed in Richmond, Virginia in 2015, Bad Omens built their name on metalcore, and then steadily pushed toward a sleeker, more genre-fluid sound. Their 2022 breakthrough, The Death of Peace of Mind, mixed moody R&B hooks and industrial synths through guttural, snarly breakdowns. Last year, “Specter” topped Billboard’s Mainstream Rock chart. Frontman Noah Sebastian can both float through a hushed, tender chorus and detonate into a guttural scream. Accordingly, they’ve built a following that’s equally at home in an electric mosh pit and an eclectic pop playlist. SONYA BENNETT-BRANDT 

INFO: 7pm, Oakland Arena, 7000 Coliseum Way, Oakland. $63-$322. 510.569.2121.

SATURDAY, MARCH 28

LATIN

PEDRO JOSÉ PASTRANA

Pedro José Pastrana is a master of the Puerto Rican cuatro, the island’s national instrument that despite its name has 10 strings in five courses. He grew up playing traditional songs from the countryside known as Jibaro music, but in the Bay Area, he’s been mixing it up with leading Latin jazz practitioners like percussionist John Santos. He’s set to release his second album next month, Lo que nos llevamos, a project that explores the elasticity of culture and what people take with them (or leave behind) when they settle in a new land. – AG

INFO: 8pm, Eli’s Mile High Club, 3629 Martin Luther King Jr. Way, Oakland. $25. 510.808.7565.

SUNDAY, MARCH 29

METAL

GHOUL

Holy pustulating severed heads from hell! Ghoul, the masked maniacs from Castle Grayskull, Creepsylvania, which conspicuously resembles Oakland, celebrate their 25th anniversary as the premier horror thrash band. If you didn’t feel the gripping hand of time slowly squeezing you closer to death, you do now. But that’s the whole point of Ghoul, bloody theatrical mayhem! For the uninitiated, Ghoul is a four-piece thrash band made up of mutants who hide their deformities behind burlap sack masks. Their live show consists of an array of characters who join them on stage like Mr. Fang, Killbot—with Walt Disney’s brain—and Kogar the Destructor. It’s fast, it’s furious, it’s one big happy f@#$ed-up family time. MAT WEIR

INFO: 7pm, 924 Gilman St., Berkeley. $20/adv, $25/door. 510.524.8180.

SUNDAY, MARCH 29

INDIE-ROCK

RICKY

What’s the point as the world burns? That’s the question raised by San Diego self-proclaimed “slacker rock” indie singer/songwriter, Ricky. Their third LP, What’s the Point, drops two days before this show, so it’s safe to say they’ll be playing plenty of new material. Check out the single “Don’t Get It,” an apropos Millennial and Gen Z anthem that proclaims things like “Lots of money/I don’t get it/health insurance/I don’t get it.” Cut to his video, “Africa,” where Ricky rolls a spliff using a $100 bill as rolling paper then cruises around on his skateboard while smoking it. In a world of fake celebrities and influencers, be a Ricky. – MW 

INFO: 6:30pm, Planetarium, 5327 Jacuzzi St., Richmond. $10. IG: @planetariumrichmond

TUESDAY, MARCH 31

ALT-ROCK

MICROWAVE

Microwave’s “Much Love” 10 Year Anniversary Tour slams into downtown Berkeley with emo, pop-punk, alternative rock energy. Hard-hitting guitar, and lyrics that dig out the grit and guts of life and spread them across finely written songs. The 2016 album honored in the show isn’t their only power pack, so let’s hope they pull out some tunes from 2024’s Let’s Start Degeneracy also. Along for the ride with Microwave and traveling like supersonic jets with their own, separate and equally formidable fuel supply are Anthony Green, HUNNY and Pure Hex. LOU FANCHER

INFO: 8pm, UC Theatre, 2036 University Ave., Berkeley. $38. 510.356.4000.

TUESDAY, MARCH 31

HIP-HOP

DAVE

The British rapper released The Boy Who Played the Harp in late 2025, his third studio album. Steeped in Biblical references—Dave is the young shepherd taught by Saul to play the harp—the album’s lyrics center on destiny, faith, existential self-question and such. The writing is sharp, the piano lines subtle, the consistency from track-to-track clear evidence of a musician at the top of his game. Dave is unafraid and has enough awards stacked in his closet to venture into the darker sides of hip-hop: the objectification of women’s bodies, rape culture, the value of his own rapping and more. – LF

INFO: 8pm, Fox Theater, 1807 Telegraph Ave., Oakland. $56-79. 510.302.2250.

TUESDAY, MARCH 31

AFROPOP

DOBET GNAHORÉ

Born the daughter of percussionist Boni Gnahore and raised on the Ivory Coast, Afropop artist Dobet Gnahoré moved to France in 1999 during the military coup d’etat in her country. While in France she met guitarist Colin Laroche de Féline and the two formed Na Afriki, a French and Tunisian group that combined folk and contemporary African music with pop and released an album in 2007. Three years later she and India.Arie won a Grammy for Best Urban/Alternative Performance for their song “Pearls.” Gnahore’s music is powerful and serene, summoning ancestral traditions with modern sensibilities and layers of love and joy with plenty of room to dance.MW

INFO: 8pm, The Freight, 2020 Addison St., Berkeley. $49. 510.644.2020.

Free Will Astrology: Week of March 25

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ARIES (March 21-April 19): Aries poet Maya Angelou proclaimed, “There is no greater agony than bearing an untold story inside you.” In that spirit, Aries, I urge you to tell everyone everything—all your secret thoughts, hidden feelings and private opinions. Post your diary online! Confess your fantasies to strangers! Share your unfiltered inner monologue with authority figures! APRIL FOOL! I lied. Angelou urged us to bravely communicate our authentic truths, but not to overshare or be careless about observing good boundaries. Here’s the deep wisdom: Express thoughts and feelings that make you feel real and whole, but be discerning about when, where, and to whom.

TAURUS (April 20-May 20): Taurus writer Charlotte Brontë said, “I would always rather be happy than dignified.” Given your current astrological potentials, I think you should tattoo her motto across your forehead so everyone knows you’re committed to pleasure over propriety. Burn your dressy clothes! Quit doing boring duties! Dance naked in the woods! APRIL FOOL! I don’t really think you should tattoo your forehead or dance naked in public. But Brontë’s sentiment is sound: In the coming weeks, if forced to choose between joy and respectability, pick joy every time. Just do it with a modicum of common sense.

GEMINI (May 21-June 20): Gemini actress Marilyn Monroe said, “A wise girl knows her limits. A smart girl knows that she has none.” I propose we expand that counsel to include all genders. And I especially recommend this approach to you right now. It’s time to shed, ignore and surpass ALL your so-called limits. Be as wild and free and uninhibited as you dare. APRIL FOOL! I worry that it’s irresponsible to give you such utter carte blanche. Would you consider honoring one or two limits that prevent you from indulging in crazy and extreme behavior? Otherwise, be wild and free and uninhibited!

CANCER (June 21-July 22): Psychologist Carl Jung wrote extensively about the importance of embracing our shadows: the dark, problematic aspects of ourselves we would rather not acknowledge. In the coming weeks, I recommend that you stop hiding that weird stuff! Throw a coming-out-of-the-closet party for all the questionable parts of you. Let your inner monsters run wild! APRIL FOOL! Please don’t do that. What Jung actually advocated was recognizing and integrating your shadow, not being ruled by it. So yes, explore your moody, unruly impulses, but with consciousness, kindness and containment, not reckless expression.

LEO (July 23-Aug. 22): Leo author James Baldwin observed, “Not everything that is faced can be changed, but nothing can be changed until it is faced.” With that in mind, I advise you to spend the next two weeks obsessively staring at every dilemma in your life. Don’t look away! Don’t take breaks! Just face every dilemma constantly until you’re overwhelmed! APRIL FOOL! Baldwin’s insight is brilliant, but it doesn’t require masochistic endurance. Here’s the truth: Yes, you should courageously acknowledge what needs attention, but do so with care and discernment. And then actually work on changing it! Awareness is the beginning, not the entire process.

VIRGO (Aug. 23-Sept. 22): Virgo author Agatha Christie wrote 66 detective novels in which she meticulously planned every plot twist. I think you should apply her approach to your daily life: Script every conversation! Anticipate every contingency! Control every variable! Leave nothing to chance! APRIL FOOL! Christie’s obsessive planning worked for fiction, but life requires improvisation. For you, the coming weeks favor spontaneity and flexibility. So make rough plans, sure, but stay loose enough to experiment with whatever emerges. Over-control would diminish the magic.

LIBRA (Sept. 23-Oct. 22): My favorite Libran writer didn’t capitalize her name: bell hooks. I recommend you stage a similar rebellion against all rules and structures. Ignore social conventions! Flout traffic laws! Pay your taxes with paintings and poems you’ve created! APRIL FOOL! I was exaggerating. I do love hooks’ charming revolt, but it would be counterproductive for you to randomly break all the rules of daily life. Instead, be judicious and selective as you question conventions thoughtfully and only violate those that genuinely deserve to be spurned. Be a strategic rebel, not a chaotic one.

SCORPIO (Oct. 23-Nov. 21): Scorpio poet Sylvia Plath wrote this passage in her journal: “I desire the things which will destroy me in the end.” I think you should consider embracing her approach—for the sheer, exotic thrill of it! Pursue interesting chaos! If it might unravel you, welcome it passionately! The more unruly, the better! APRIL FOOL! I lied. Plath was describing her struggle with depression, not offering us advice. Here’s what I think you should actually do: Examine which of your yearnings serve your evolution and which ones undermine it. Fully embrace the fact that intensity is one of your greatest gifts, but channel that intensity into experiences that build you up, not tear you down. Choose ardent aliveness over fervent destruction.

SAGITTARIUS (Nov. 22-Dec. 21): Sagittarian philosopher Baruch Spinoza spent years alone in his room developing his radical ideas about God and nature. I recommend total isolation for you, too. In accordance with astrological omens, avoid human contact! Put your relationships on hold while you contemplate the infinite! APRIL FOOL! I totally lied. Spinoza’s solitude served his unique genius, but a similar approach won’t work for you—especially now. Here’s what I really think you require in the coming weeks: periods of meditative alone time balanced by intervals of rich connection with interesting humans. You need to commune with both your deep inner sources and nurturing alliances.

CAPRICORN (Dec. 22-Jan. 19): Capricorn astrologer Linda Goodman wrote that your sign’s “ambition is boundless” and that most Capricorns dream of ruling the world. In accordance with astrological omens, I urge you to indulge this attribute. Launch a campaign for global domination! Start with your neighborhood and work your way up to more and more conquests! APRIL FOOL! The truth is, world domination is exhausting and impractical. What Goodman was referring to is your gift for structure and leadership. Use your organizational genius to improve your corner of the world, not tyrannize it. Think stewardship, not empire.

AQUARIUS (Jan. 20-Feb. 18): Aquarian inventor Thomas Edison said, “I have not failed. I’ve just found 10,000 ways that won’t work.” In the spirit, I recommend that you falter spectacularly in the coming weeks. The more blunders and bungles, the better! Engage in a holy quest to seek as many fizzles and misfires as possible! Make Edison look like an amateur! APRIL FOOL! I lied. Edison wasn’t deliberately courting snafus, of course. His approach was similar to that of many creative artists: driven by exploratory persistence that capitalizes on mistakes and hassles. Here’s your real guidance, Aquarius: Experiment boldly, yes, and don’t fear stumbles and bumbles. But learn from each one and adjust your approach. The goal is eventual success that’s informed by humility and resiliency.

PISCES (Feb. 19-March 20): Piscean physicist Albert Einstein said, “Logic will get you from A to B. Imagination will take you everywhere.” In the spirit of his genius, I recommend that you abandon logic completely! Never think rationally again! Make all decisions based on fantasy and feelings! APRIL FOOL! Einstein was advocating for the creative power of imagination, not the abandonment of reason. What you truly need is a marriage of visionary thinking and practical logic. Ask your imagination to show you possibilities, then call on lucid logic to help you manifest them.

Homework: What’s a good prank you could play on yourself to be liberated from a stale fear? Newsletter.FreeWillAstrology.com

Innovation Meets Tradition: The Evolution of Game Culture in a Digital Era

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Published in cooperation between Nordicbet and East Bay Express 

Online gaming has started to build an ever bigger culture over the past decade. Why? Well, because of highly advanced digital changes and upgrades. Gone are the days of playing a game online and feeling bored or having it lag. Online games are just about as advanced as they could possibly be. This means that there is much more to explore online. But don’t get things twisted. This doesn’t mean that the classics have left the table. Far from it. It simply means that classics have become more advanced and enticing than ever. This is where innovation meets tradition. 

The evolution of gaming culture has absolutely changed things. If you’re interested in how, then keep reading to find out more. 

Classic Gaming Values Still Shape Player Expectations

Even with all the new technology, the foundations of gaming culture remain surprisingly consistent. Players still care deeply about challenge, fairness and a sense of progression. Whether it is a retro platformer or a massive online world, the satisfaction of mastering mechanics and improving over time has not changed.

Storytelling also continues to matter. Early games relied on simple narratives, limited by hardware. Modern games can deliver cinematic experiences but the core appeal is the same. This is the case with every type of online game. Whether you’re playing a new casino game or engaging in a car race, storytelling is key. 

Some values that still have quite a big impact on modern gaming include:

  • Clear rules and mechanics that reward skill and learning
  • Meaningful progression systems that respect player effort
  • Fair competition, especially in multiplayer environments
  • Emotional connection through story, music or atmosphere

How Artificial Intelligence Is Redefining Gameplay

You may not notice it immediately but artificial intelligence (AI) is seriously making some changes to the way online games work. It’s not right in front of your face, these changes but they are there. Just think about the latest upgrades you’ve noticed in your game. These were likely introduced because AI started to notice how you play, when you play and when you’re most active and suggested certain upgrades for those specific playing styles of yours. 

Everyone talks about AI like some big thing and it is a big thing but what people don’t see is how it regulates everything in the shadows. It’s not like this big banner comes up that tells you when AI is being used and when it isn’t. It’s likely being used most of the time, you just don’t notice it. But it’s completely redefining gameplay because what it does is it learns from how you play and then makes necessary changes based on that. Pretty interesting, wouldn’t you agree? 

Virtual Reality Brings Physical Presence to Digital Play

Virtual reality has taken one of gaming’s oldest goals, immersion and pushed it further than ever before. This shift changes how you interact with games. You are no longer just pressing buttons. You are turning your head, reaching out and reacting with your own physical body. How cool is that? You can pop on a set of VR goggles and be transported into a whole new world. This development has completely changed how people engage in games. 

What makes VR interesting from a cultural standpoint is how it reconnects gaming with physical engagement. Early arcade games were social and physical experiences, even if the graphics were simple. VR brings back that sense of presence but with modern technology.

VR gaming highlights include:

  • First-person experiences that feel genuinely immersive
  • New forms of interaction using motion and spatial awareness
  • Strong emotional impact due to physical involvement

Cloud Gaming Changes Access and Ownership

One of the biggest cultural shifts in gaming is not visual or mechanical. It is about access. Cloud gaming platforms allow you to play high-quality games without expensive hardware. All you need is a stable internet connection and a compatible device.

This changes who gets to play and how often. Gaming becomes more flexible and less tied to a single console or location. You can start a game on one device and continue on another without losing progress.

Multiplayer Culture Evolves With Social Technology

Gaming has always been social, even when it was limited to sharing a couch or taking turns. Online connectivity expanded that social circle and modern platforms have taken it even further.

Today, gaming communities exist across streaming platforms, social media and in-game chat systems. Watching someone play can be as engaging as playing yourself. This has created new roles within game culture, such as streamers, content creators and competitive spectators. It’s a great big world now. 

Modern multiplayer culture blends tradition and innovation by preserving competitive and cooperative gameplay, expanding community interaction beyond the game itself and turning gaming into a shared cultural event. 

Nostalgia Finds New Life Through Modern Design

One of the most interesting trends in modern gaming is how often developers look backward. Retro aesthetics, remakes and classical mechanics are everywhere. This is not a lack of creativity. It is an acknowledgement of what worked and why players loved it.

Modern technology allows these ideas to be refined rather than copied. Old mechanics gain smoother controls, better accessibility and deeper systems. Visual styles inspired by the past are paired with modern performance and design sensibilities.

Player Expectations Are More Sophisticated Than Ever

As innovation accelerates, expectations rise. You likely expect smooth performance, regular updates and respectful monetization. At the same time, you still want games to feel fair and rewarding.

Modern players tend to value:

  • Transparency in game systems and updates
  • Respect for time investment and progression
  • Options for customization and accessibility

The Future of Game Culture Balances Progress and Identity

Game culture continues to evolve but it does not abandon its roots. Innovation works best when it supports the reasons people fell in love with games in the first place. Technology expands possibilities but values give those possibilities meaning.

For you as a player, this era offers more choice, flexibility and immersion than ever before. At the same time, the familiar joys of challenge, story and connection remain at the heart of the experience. You just need to remember that if you decide to engage, you do so with responsibility and caution in mind. Afterall, online gaming is meant to be fun. But if you spend too many hours engaging, it can feel quite invasive and that’s what you need to avoid. So, understand the market, enjoy it but always make sure that you’re the one leading the pack. 

Sexual assault allegations surface against César Chávez 

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The nation’s oldest farmworker union announced Tuesday that it has canceled all events celebrating labor organizer César Chávez after allegations surfaced that he sexually assaulted several women and girls.

“As a women-led organization that exists to empower communities, the allegations about abusive behavior by César Chávez go against everything that we stand for,” the United Farm Workers, or UFW, said in a statement published on its website. “These disturbing allegations involve inappropriate behavior by César Chávez with young women and minors. They are shocking, indefensible and something we are taking seriously.”

The announcement followed a New York Times investigation that found years of similar accusations.

In an Instagram post Wednesday, civil rights leader Dolores Huerta said Chávez forced her to have sex twice and that both encounters resulted in pregnancies.

“The first time I was manipulated and pressured into having sex with him, and I didn’t feel I could say no because he was someone that I admired, my boss and the leader of the movement I had already devoted years of my life to,” she said. “The second time I was forced, against my will, and in an environment where I felt trapped.”

The 96-year-old said she had remained silent for six decades out of fear that her story would hurt the movement to which she has dedicated her life.

“I had experienced abuse and sexual violence before, and I convinced myself these were incidents that I had to endure alone and in secret,” she said.

Chávez has become an icon in Mexican American culture, with roads and buildings nationwide named after him and elementary school lessons extolling his efforts to bring dignity and civil rights to farmworkers.

In a statement released Wednesday, Chávez’s family said it is “devastated” by the news.

“This is deeply painful for our family,” the statement reads. “We wish peace and healing to the survivors and commend their courage to come forward. As a family steeped in the values of equity and justice, we honor the voices of those who feel unheard and who report sexual abuse.”

The statement added that family members carry their own memories of Chávez, who they said is “someone whose life included work and contributions that matter deeply to many people.”

Sen. Alex Padilla called the accusations “heartbreaking, horrific accounts of abuse.”

“I stand with the survivors, commend them for their bravery in sharing their stories and condemn the abhorrent actions they described,” Padilla said. “The survivors deserve to be heard. They deserve to be supported. They deserve to be treated with dignity and respect.”

Todd Guild is a reporter for The Pajaronian, a Weeklys publication based in Watsonville. A longer version of this story appears here.

‘Weights and Measures’ maps war, memory and uneasy silence

Sometimes planes fly over our quiet suburban streets. On the ground we hear the turbines before we see them, if we see them at all. Like our neighbors, we continue doing chores inside or outside in the yard. We walk our dogs, the young and the elderly to grassy parks nearby. But when the world at large is at war the sound of airplanes in flight loses any semblance of neutrality. This month the roaring jet engines correspond with the drone and missile attacks blackening Tehran’s skies.

In “Sahar Khoury: Weights and Measures,” similar correspondences take place in an exhibit that, depending on the piece, can also tonally drift apart. When museumgoers walk into the gallery, a deconstructed “sound sculpture” of Egyptian singer Umm Kulthum’s song “Al Atlal” plays in the background. In English, the song title translates as “The Ruins.” To Western ears, the original song sounds like a sorrowful dirge. Kulthum’s live performances turned the song into something anthemic for Arab audiences. The lyrics speak to a broken romance, but her audience also interpreted the song as an allegory of political oppression.

The narratives Khoury advances in the exhibit are expressed in various media but primarily through sculpture and video. Untitled (the elephant in the room [the tower of silence]) is the biggest statement piece. It’s the kind of structure that immediately grabs the viewer’s attention. From a few feet away, the sculpture evokes the remnants of a building in a state of decay. Black and skeletal, all the walls and windows are gone, removed by some unseen force. Up close, a small motor turns a spiral staircase, zombie-like, round and round. There’s room to walk underneath a connecting ramp which doubles as a platform. A few bottles of Palestinian olive oil sit nestled upon it.

Political statements, lightly camouflaged throughout “Weights and Measures,” are easy to find. Olive oil is the least visible object within the framework of Untitled. To discover the fact that the oil was made in Palestine, one has to read the fine print.

A more ambiguous element is a grouping of ceramic elephant tusks. Mounted like guard rails on the upper “story,” their threatening end points spike-upwards, exposed and ready to cause harm. Without the subtitle, the elephant in the room, their inclusion remains open to more ambiguous interpretations. With it one is led to the artist’s conclusion and, perhaps, a necessary scolding. Raymond Carver might have described the presence of the tusks as: What We Talk About When We Don’t Talk About War.

Mounted on a wall directly across from Untitled is a second—and not the last—work also called Untitled. Its subtitle, (the title of Omar El Akkad’s 2025 nonfiction book), refers to the author’s book, One Day, Everyone Will Have Always Been Against This. In her review in The Guardian, Dina Nayeri described it as “a passionate indictment of complacent liberal responses to Israel’s brutal campaign.”

The title is spelled out across the wall both horizontally, vertically and in a haphazard yet still legible pattern. Each individual letter is cast in brass with “knuckles” or joints. They look like phalanges exhumed from the site of an open grave. This word puzzle evokes the content of El Akkad’s book while also suggesting the real-life consequences of its subject matter.

INSTALLATION VIEW Sahar Khoury’s ‘Untitled (the puppet dates), 2025’ is made from forged steel. Courtesy of the artist and CANADA, Rebecca Camacho Presents and Parker Gallery. (Photo by Robert Divers Herrick)

Untitled (the puppet dates) is a grouping of numbers forged in steel. Where the brass letters could fit in the palm of one’s hand, the numbers are human-sized. When I was on site, associate curator and exhibition department head Susie Kantor told me the numbers were also installed at “Umm,” a 2023 exhibition at the Wexner Center for the Arts in Ohio. “Weights and Measures” expands on the Ohio iterations.

Kantor explained that at the Wexner, “They were more static. We really liked the idea of hanging it from the ceiling to give a sense of movement.” As the numbers almost imperceptibly drift or turn on their wires, the lighting also ignites a shadow play. The dates, Kantor said, are of importance to the Eastern Mediterranean, the Middle East and West Asia. “They give that sense of movement and perspective about the way in which humans think about time,” she said.

The sculptures in the gallery that fill up the space and the eye use the same or a similar blunt-edged visual vocabulary. Cages and fences come to mind, along with the rusted refuse of abandoned cities. The smaller sculptures look like first or second drafts that belong in a different, lighter and more decorative show. Central to Untitled (the send off) is a collection of ceramic blue tiles meant to symbolize a body of water. 

Objects like porcelain duck decoys, altars and duck decoys in altars have been placed at random points along the river, lake or pond. The work is pretty and playful rather than cohering as a complete thought. Part of the problem is the placement; the tiles are pushed up against a wall.

In another configuration, as a round central lake in the middle of the gallery, for instance, it could carry the weight of emotion and meaning as the other untitleds do. Ducks the size of those forged steel numbers could also deliver the same confrontational messages rather than distract us with their beautiful glazes. 

‘Sahar Khoury: Weights and Measures’ is on view through June 20 at The Manetti Shrem Museum of Art in Davis. manettishremmuseum.ucdavis.edu/current-exhibitions

Sonia Bustamante heads new SAFE Center

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Public service runs deep in Sonia Bustamante’s family. Her father, Cruz Bustamante, is a former speaker of the California Assembly, as well as a former lieutenant governor. “My family is very politically active in the Central Valley,” she said in a phone interview. “Growing up, I saw how some communities get the short end of the stick in resources.”

After graduating from Cal Berkeley, she looked for work that would honor her family’s service tradition. She became a labor organizer, then worked as legislative director for Alameda County Supervisor Richard Valle. She then joined Contra Costa County Supervisor John Gioia’s office, where she remained for 10 years, becoming chief of staff and working on a number of important initiatives.

As of December 2025 she is director of The SAFE Center / Centro SAFE, part of the Immigrant Action Network. “It was time for me to step into a leadership role,” she said.

In a statement about Bustamante’s time in his office, Gioia said, “I am deeply grateful for the countless contributions she has made to our community. She helped lead our efforts to form an Office of Racial Equity and Social Justice, and to establish programs to provide immigrant healthcare (Contra Costa Cares) and protect immigrants at risk of deportation (Stand Together Contra Costa).”

Last June, Contra Costa County announced a $5 million investment to create the SAFE (Services and Access for Everyone) Center, described as a new community hub designed to connect immigrant individuals and families with resources, support and opportunities. The county announcement said, “Contra Costa County is home to more than 300,000 foreign-born residents—over one-fourth of the county’s population. They are teachers, nurses, artists, students, entrepreneurs and essential workers who contribute more than $16.8 billion to our local economy.”

The center itself doesn’t provide services, Bustamante said, but instead refers people to multiple providers who offer legal services, access to education, health care—including mental health—financial relief and food, transportation and job opportunities. Providers include the Contra Costa Immigrant Rights Alliance, Family Justice Center, Healthy Contra Costa and the Latina Center, among others. Referrals can assist people in signing up for MediCal, obtaining needed food or dealing with deportation and asylum issues, for example. The Center continues its efforts to find multilingual workers who can assist speakers of some of the many languages spoken in Contra Costa County.

COMMUNITY REFERRALS The SAFE Center refers people to multiple providers who offer legal services, access to education, health care and much more. (Photo courtesy of The Safe Center)

Bustamante cited a recent case in which someone called the center. “They did not speak English, and they were terrified,” she said. “They were arrested in Alameda County while driving for [one of the food delivery services], and didn’t know that Alameda County has its own resources, including access to a public defender.” The SAFE Center successfully referred the caller.

Asked if she felt that some people are reluctant to reach out in the current political atmosphere, Bustamante agreed there is a culture of fear. “It is harder for people to fully trust,” she said. “We reassure people; we are as transparent as possible.” The providers have long histories of service in the communities most in need.

The center is still in the process of reaching out to various communities to alert them to the services it provides. Spanish-language media has run some stories featuring it, and Bustamante and her staff continue to build out their social media network. The center sets up booths at community events and participates in a mobile legal clinic.

The Safe Center will also offer co-working and consultation spaces to service providers with limited office space. It will, Bustamante said, aid in collaborative fundraising and advise providers on how to best tell their own stories and develop content.

It will continue to seek additional provider partners as it pursues its mission of helping people who may feel threatened and forgotten, Bustamante said. The SAFE Center currently operates out of a provisional space in Richmond. For more information call 925.418.8585 or visit oursafecenter.org.

Social Eyes: Week of March 19-25

THURSDAY, MARCH 19 + FRIDAY, MARCH 20

ROOTS

SILKROAD ENSEMBLE

For 25 years, Silkroad’s path has traversed the landscapes of Italian tarantella, Congolese string music, Indian tabla and American roots music. Now, the journey dives into the deep soulfulness and broad-spanning musical gifts of Rhiannon Giddens, a two-time Grammy Award-winning singer and multi-instrumentalist, MacArthur “Genius” grant recipient, Pulitzer Prize winner and composer. Leading a troupe of artists well-versed in American, South Asian, West African and southern European musical traditions, “Sanctuary: The Power of Resonance and Ritual,” is certain to transfix and engage audiences of all types. Erase the boundaries and prepare to travel. Performance on Friday as well. LOU FANCHER

INFO: Thu-Fri, 7:30pm, Cal Performances at Zellerbach Hall, 101 Zellerbach Hall, #4800, Berkeley. $48-$106. 510.642.9988.

FRIDAY, MARCH 20

JAZZ

KARINA DENIKÉ & THE COTTONTAILS

In some circles, Berkeley-reared Karina Deniké is known as a primary singer for Dance Hall Crashers, the popular ska band that has toured and recorded intermittently since 1989. In others, she’s revered for her decade-long stint in the L.A. punk band NOFX. But for jazz fans, the supremely versatile vocalist is a treat delivering pre-World War II standards with the Cottontails, a nimbly swinging band led by pianist Michael McIntosh. With the expert rhythm section tandem of guitarist Vic Wong and bassist Joe Kyle Jr., percussionist Randy Odell and veteran reed player Tom Griesser, the combo delivers a delicious repertoire of overlooked gems by the likes of Fat Waller, Andy Razaf and Duke Ellington. ANDREW GILBERT

INFO: Fri, 7:30pm, The Sound Room, 3022 Broadway, Oakland. $27. 510.708.9691.

SATURDAY, MARCH 21

HIP-HOP

LA GOONY

Cuban-American artist La Goony Chonga grew up in Florida, writing composition-notebook poetry while surrounded by rap and Latin club music. Now, rapping and singing in English and Spanish, she mills her Miami influences into bright, punchy tracks that blend trap drums, reggaeton rhythms and glossy electronic synths. Her “chonga” persona, drawn from the bold mid-2000s Miami Latina style of sharp lipliner, slick baby hairs and oversized hoops, runs through both her visuals and lyrics, which lean playful, flirtatious and flashy. With La Goony at the helm, clubby beats, bilingual hooks and Miami street-style settle easily into the same groove. SONYA BENNETT-BRANDT

INFO: Sat, 7pm, Crybaby, 1928 Telegraph Ave., Oakland. $20-$25.

SATURDAY, MARCH 21

CELTIC

THE CELTIC ALL-STARS

Still in the mood for celebrating all things Celtic post-St. Paddy’s Day? Then stepdance on down to the Freight for an evening with Canadian stars Natalie MacMaster and Donnell Leahy, along with a ceilidh of other players including vocalist Karen Matheson, OBE, of Scottish band Capercaillie; four-time All-Ireland Champion banjo playerEnda Scahill; and Scottish piper Ross Ainslie. The fiddling, singing and piping will salute Celtic music from its centuries-old inception to its popular modern interpretations, which continue to influence American bluegrass, country music and beyond. MacMaster, for example, has toured with Carlos Santana and recorded with Yo-Yo Ma. Slàinte mhath! – JANIS HASHE

INFO: Sat, 8pm, The Freight, 2020 Addison St., Berkeley. $64-$69. 510.644.2020.

SATURDAY, MARCH 21

THEATER

‘THE GOAT OR, WHO IS SYLVIA?’

It’s a common problem: A person reaches an age milestone, has a terrific spouse and a kid who’s recently come out as gay, and is about to win a major career award in their field. But then they fall in love with Sylvia, who happens to be a goat. Of course, they tell their best buddy. From there on out all hell breaks loose in this Tony Award-winning play by Edward Albee. Not really, but issues of morality, family, intentionality, choice, avoidance and imagination endure close scrutiny. The edginess and terrific humor in the script are a win in the hands of director Kevin Clarke. Performances until April 18. – LF

INFO: Sat, 8pm, Shotgun Players, 1901 Ashby Ave., Berkeley. $8-$80. 510.841.6500.

SUNDAY, MARCH 22

FESTIVAL

YIYASAKA FESTIVAL

“Butoh,” wrote critic Mark Holborn, “is defined by its very evasion of definition.” Tatsumi Hijikata and Kazuo Ohno created the Japanese dance theater form post-World War II as a response to both the devastation of the atomic bomb and a rejection of Western influence on Japanese culture. It is traditionally performed in white body makeup, using both humorous and grotesque imagery. It has also been described as a “seditious act.” Sounds intriguing? The annual YiYaSaka Festival, this year honoring the 98th year of Hijikata’s birth, will feature a soul ceremony dance alongside a crafts fair, a bazaar and a sake station. – JH

INFO: Sun, Noon, Finnish Hall, 1970 Chestnut St., Berkeley. Free. 510.845.5352.

SUNDAY, MARCH 22

AMERICANA

LIZ COOPER

Liz Cooper is changing lanes. After emerging from Nashville’s Americana scene with a reputation as a sharp guitarist and bandleader, the Vermont-based songwriter takes a decisive left turn on her latest album, February’s New Day. Written during a period of upheaval—a move to Brooklyn, pandemic isolation, her first queer relationship and her first queer breakup—the record trades in rootsy comfort for shimmering, textured pop. For the first time, Cooper steps into the producer’s chair, exploring synth psychedelia, warped guitar tones and spontaneous studio experiments. Cooper’s era of curiosity and reinvention shapes sound and subject matter. – SBB 

INFO: Sun, 8pm, Cornerstone, 2367 Shattuck Ave., Berkeley. $28. 510.214.8600.

SUNDAY, MARCH 22

JAZZ

RED RABBIT

Red Rabbit is a new electro-acoustic combo featuring Dann Zinn on tenor saxophone, flute and electronics; double-bassist John Wiitala; and Michael Mitchell on drums and synth. Known as intrepid improvisers who’ve worked with an expansive roster of jazz greats, these three musicians represent different facets of the scene. Zinn has released a series of acclaimed albums. Mitchell is a respected educator. And Wiitala has been a ubiquitous accompanist since the 1980s, with more than 100 albums to his credit. Together they form a singular trio that explores American Songbook standards, latter day tunes like Aha’s “Take on Me” and the Jackson 5’s “I Want You Back,” and original compositions. – AG

INFO: Sun, 7pm, Back Room, 1984 Bonita Ave., Berkeley. $20-$25. 510.654.3808.

SUNDAY, MARCH 22

ROCK

THE WONDER YEARS

It’s funny how different names mean different things to different generations. “Socialism” to Boomers means the U.S.S.R. and Cuba, but to Millennials it means European nations and universal healthcare. Say “The Wonder Years” to Gen X and immediately they think of Kevin and Winnie, while Gen Z and younger Millennials think of Midwest emo by way of Lansdale, Pennsylvania, band the Wonder Years. Now in their 21st year, the Wonder Years delivers the pop-punk melodies with emotionally strained vocals that define the genre. With America back in the Middle East, acting wild and low-rise jeans coming back, now’s a good time to reinvest some time with bands like the Wonder Years. MAT WEIR

INFO: Sun, 7pm, UC Theatre, 2036 University Ave., Berkeley. $47. 510.356.4000.

WEDNESDAY, MARCH 25

HIP-HOP

R.A.P. FERREIRA

Fifty years into the genre, hip-hop has proven itself to be continuously evolving. But at its root, hip-hop is poetry put to music, a factor often forgotten by the mainstream—with several exceptions, like Doechii. Dig a little deeper into the underground, and the soil becomes rich with poetic life. R.A.P. Ferreira is a great example. Set to jazzy, lo-fi beats, Ferreira spits with a nonchalant flow that resembles a journal entry, describing the day-to-day like laundry, what it means to fail and internal thoughts while walking around the block. It’s hip-hop that abandons a fake lifestyle most of us will never reach and embraces what’s real in life. – MW

INFO: Wed, 8pm, Ivy Room, 860 San Pablo Ave., Albany. $23. 510.526.5888.

The Telephone Numbers call upon pop and introspection

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The Telephone Numbers began playing together just before the pandemic lockdown. The quartet—Thomas Rubenstein and Morgan Stanley, who play guitar and sing; bass player Charlie Ertola; and drummer and percussionist Phil Lantz—are all veterans of San Francisco’s indie-music scene.

“Our first album, The Ballad Of Doug, was more of a solo project,” Rubenstein said. They started recording the songs with the full band; then the Covid shutdown happened.

“I recorded most of it at home, during lockdown,” Rubenstein said. “I’d been laid off of my day job and had some money from unemployment. I had guitars and some mics at home, and sent ideas to Charlie. He recorded his bass parts at his place and sent them back. Glenn mixed everything.”

When clubs opened up, Rubenstein and the Telephone Numbers began playing live, their current lineup evolving over time. “I don’t write very fast,” Rubenstein said. “But once we had a solid quartet, we started thinking about making a real band record.”

Alicia Vanden Heuvel, owner of Speakeasy Studios, asked the band if they’d like to record with her. “We all loved Alicia’s band, the Aislers Set, so recording with her and having our music become part of the lineage of San Francisco’s pop-music history was an honor,” Rubenstein said.

The arrangements for the songs on the album Scarecrow II had been worked out during live performances. The band, and a few musician friends, went into the studio producing themselves, with the help of Vanden Heuvel.

“It was all done live in the studio, with no click track. After we had the basic tracks down, we spent a couple months at Speakeasy doing overdubs,” Rubenstein said. “It was a smooth collaboration, it just took a while to come together since we’re all in several bands.”

Rubenstein plays in the Reds, Pink & Purples and True Companion. Stanley plays in the Umbrellas and the Kitchenettes. Lantz plays in Chime School and Neutrals, and Charlie plays in the Beau Wiley Band, Never Bored and the live band of Slow Motion Cowboys.

After a couple of months of overdubbing, Vanden Heuvel sent the tracks to Rubenstein who finished them up at home.

The music blends rock, pop and Americana, anchored by Rubenstein’s poetic, introspective lyrics and the band’s subtle musical interplay. The overall ambience suggests a soundtrack for the everyday duties of life in a band.

“Goodbye Rock and Roll” is powered by Rubenstein’s 12-string guitar and the interplay between Rubenstein’s vocal and Stanley’s harmonies. The song describes the frustrations of being in a band that’s slowly falling apart.

That theme continues on “This Job is Killing Me,” an ambient ballad portraying the tension between the joy of making music at night and the stress of a day job. Rubenstein and Stanley blend their voices in a soothing tone with a sorrowful edge. Somber organ tones, supplied by Andy Pastalaniec, intensify the track’s melancholy feel.

“I’ve been an avid music fan from the time I could make decisions for myself,” Rubenstein said. “It started with the Beatles and B-52s, and went on from there.” 

At the age of 10 he obtained a guitar. By high school, Rubenstein was in the jazz band, learning a bit about reading music, but he plays and composes by ear and feel.

“I began to record in middle school, using GarageBand and a USB mic,” he said. “I’ve been in a lot of bands over the years. The Telephone Numbers came together when my last band, the Love-Birds, fell apart. Charlie played bass in that band and helped anchor us as members came and went.”

Everyone in the band has day jobs, but music has always been Rubenstein’s passion. “I’m not 20 years old anymore and the realities of the world can get in the way, but I hope to continue being creative with my friends,” he said.

Listen to tracks from ‘Scarecrow II’ at: thetelephonenumbers.bandcamp.com.

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‘Weights and Measures’ maps war, memory and uneasy silence

‘Weights and Measures’ maps war, memory and uneasy silence
Sometimes planes fly over our quiet suburban streets. On the ground we hear the turbines before we see them, if we see them at all. Like our neighbors, we continue doing chores inside or outside in the yard. We walk our dogs, the young and the elderly to grassy parks nearby. But when the world at large is at...

Sonia Bustamante heads new SAFE Center

Sonia Bustamante heads new SAFE Center
Public service runs deep in Sonia Bustamante’s family. Her father, Cruz Bustamante, is a former speaker of the California Assembly, as well as a former lieutenant governor. “My family is very politically active in the Central Valley,” she said in a phone interview. “Growing up, I saw how some communities get the short end of the stick in resources.” After...

Social Eyes: Week of March 19-25

Social Eyes: Week of March 19-25
This week's calendar picks feature Silkroad Ensemble with Rhiannon Giddens, Karina Deniké & the Cottontails, La Goony, Natalie MacMaster and Donnell Leahy with the Celtic All-Stars, 'The Goat or, Who is Sylvia?,' YiYaSaka Festival, Liz Cooper, Red Rabbit, The Wonder Years, and R.A.P. Ferreira.

The Telephone Numbers call upon pop and introspection

The Telephone Numbers call upon pop and introspection
The Telephone Numbers began playing together just before the pandemic lockdown. The quartet—Thomas Rubenstein and Morgan Stanley, who play guitar and sing; bass player Charlie Ertola; and drummer and percussionist Phil Lantz—are all veterans of San Francisco’s indie-music scene. “Our first album, The Ballad Of Doug, was more of a solo project,” Rubenstein said. They started recording the songs with...
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