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"slug": "asian-high-tea-afternoon-tea-singaporean-malaysian-bay-area-kopi-bar-malaya-tea-room",
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"content": "\u003cp>On a recent Saturday morning, about a dozen elegantly dressed pastry lovers, decked out in their finest Regency-era gowns and dainty flower hats, promenaded into the \u003ca href=\"https://www.kqed.org/arts/tag/bampfa\">Berkeley Art Museum and Pacific Film Archive\u003c/a>. Up the museum’s bright red staircase they went, pausing occasionally to snap a selfie, until they’d reached the second-floor cafe, where a handsome spread of teacakes and finger sandwiches awaited.\u003c/p>\n\u003cp>The occasion? A \u003cem>Bridgerton\u003c/em>-themed tea party, which the cafe, \u003ca href=\"https://www.kqed.org/arts/13980465/kopi-bar-bampfa-cafe-berkeley-avocado-iced-coffee-kaya-toast\">Kopi Bar\u003c/a>, had timed to coincide with the soapy Netflix costume drama’s fourth season premiere. Thus the cavalcade of pearls and frilly chiffon gowns. Everything about the event appeared to be oh-so-perfectly British in its sensibilities — except that the food displayed on the wooden two-tier cake stands wasn’t \u003cem>only \u003c/em>your typical array of scones, clotted cream and cucumber sandwiches.\u003c/p>\n\u003cp>Cinnamon-roll-like pastry swirls shot through with sweet pandan and coconut sat next to crispy beef rendang samosas. Curried tuna salad topped delicate open-face sourdough brioche sandwiches. And while one sandwich did feature sliced cucumbers, they were mainly there to provide a cooling counterpoint to the fiery sambal-spiked egg salad on top.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This is the kind of food that chef-owner Nora Haron likes to serve at Kopi Bar — a reflection of her background as a Singaporean immigrant of Indonesian-Indian descent. And while the spread might have surprised some Anglophile tea party enthusiasts, anyone who’s taken high tea at, say, one of Singapore’s grand hotels would find the mix of Eastern and Western flavors utterly familiar.\u003c/p>\n\u003cp>After all, in countries like Singapore and Malaysia, where afternoon tea is a well-loved remnant of British colonization, it’s standard practice to combine the format and the aesthetics of English-style tea service with an infusion of Asian flavors. There, too, Haron likes to point out, guests get dressed up and \u003ca href=\"https://www.kqed.org/arts/13963228/indonesian-high-tea-kopi-bar-sandai-walnut-creek\">sip their Earl Grey with their pinkies out\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13986143\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986143\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/013126GOLDENAGEOFASIANSTYLEHIGH-TEA_GH_003-KQED.jpg\" alt=\"Diners enjoying an afternoon tea spread inside a busy cafe.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/013126GOLDENAGEOFASIANSTYLEHIGH-TEA_GH_003-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/013126GOLDENAGEOFASIANSTYLEHIGH-TEA_GH_003-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/013126GOLDENAGEOFASIANSTYLEHIGH-TEA_GH_003-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/013126GOLDENAGEOFASIANSTYLEHIGH-TEA_GH_003-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Guests share tea and pastries while dressed in “Bridgerton”-inspired outfits during Kopi Bar’s themed high tea service on Jan. 31, 2026, at the Berkeley Art Museum and Pacific Film Archive in Berkeley. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Bay Area has its own rich tea party traditions, mostly nodding to the British style. But up until a couple of years ago, it was nearly impossible to find this kind of hybridized, Asian-inspired afternoon tea service.\u003c/p>\n\u003cp>That’s no longer the case. In fact, we’re experiencing something of a golden age for Asian-style afternoon tea here in the Bay Area, as new pop-ups and standalone tea rooms crop up to satisfy the growing demand.\u003c/p>\n\u003cp>To wit: Kopi Bar’s aforementioned \u003cem>Bridgerton \u003c/em>tea series will take over a section of the cafe every Saturday at least through the end of February. \u003ca href=\"https://www.instagram.com/littlemoonbakehouse/?hl=en\">Little Moon Bakehouse\u003c/a>, an Asian American vegan baking company in Oakland, hosts “reimagined” afternoon tea pop-ups at different venues around the Bay — packing 100 sweets lovers onto, say, the second floor of San Francisco’s Ferry Building for moon cakes and mini pork floss buns. Meanwhile, \u003ca href=\"https://www.instagram.com/pamanaplantas/?hl=en\">Pamana Plantas\u003c/a>, a plant store in Berkeley, has started throwing kamayan-inspired \u003ca href=\"https://pamanaplantas.com/pages/kamayan-tea-parties\">Filipino tea parties\u003c/a>, lining the tables with banana leaves and ube pastries. And while the afternoon tea program at San Francisco’s \u003ca href=\"https://www.instagram.com/sonandgarden/?hl=en\">Son & Garden\u003c/a>, a lavishly flower-bedecked spot from the owners of the Farmhouse Thai restaurant empire, doesn’t have an explicit Asian focus, its \u003ca href=\"https://www.yelp.com/biz_photos/son-and-garden-san-francisco?select=WSZlwDtjjA9iLKVlv9XNng\">themed tea sets\u003c/a> often include delicacies like Japanese cherry blossom cookies and homemade samosas.\u003c/p>\n\u003cfigure id=\"attachment_13986142\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986142\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/013126GOLDENAGEOFASIANSTYLEHIGH-TEA_GH_001-KQED.jpg\" alt=\"Close-up of a diner's hand holding up an open-face avocado sandwich.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/013126GOLDENAGEOFASIANSTYLEHIGH-TEA_GH_001-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/013126GOLDENAGEOFASIANSTYLEHIGH-TEA_GH_001-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/013126GOLDENAGEOFASIANSTYLEHIGH-TEA_GH_001-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/013126GOLDENAGEOFASIANSTYLEHIGH-TEA_GH_001-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A guest at Kopi Bar holds a tea sandwich topped with avocado and herbs. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then there’s the OG of the genre, Alameda’s \u003ca href=\"https://www.instagram.com/malayatearoom/?hl=en\">Malaya Tea Room\u003c/a>, which has served elegant Malaysian afternoon tea sets, both in person and as a take-home kit, for nearly seven years.\u003c/p>\n\u003cp>For her part, Haron says the tea parties have by far been her most popular events since she started hosting them last year. After she \u003ca href=\"https://www.kqed.org/arts/13980465/kopi-bar-bampfa-cafe-berkeley-avocado-iced-coffee-kaya-toast\">moved Kopi Bar to Berkeley\u003c/a> from its original Walnut Creek location this past fall, she received a steady stream of DMs from old customers, pleading with her: “Please, please, will you do this again?”\u003c/p>\n\u003cp>In response to such a groundswell of support, Haron says, laughing, “How can I not?”\u003c/p>\n\u003ch2>Reclaiming a colonial history\u003c/h2>\n\u003cp>Of course, the British were the ones who brought the practice of a light afternoon meal with tea to Singapore and Malaysia during their long period of colonial rule — from 1819 to 1963, in the case of Singapore. The Raffles Hotel, probably the most iconic place to take tea in Singapore, started offering its afternoon tea service — complete with live orchestra — in 1918.\u003c/p>\n\u003cp>“The new enterprise should be warmly encouraged by the public of both sexes who often find the hours between 4:30 and dinner time hang heavily,” an \u003ca href=\"https://eresources.nlb.gov.sg/newspapers/digitised/article/straitstimes19180109-1.2.26?qt=%22afternoon%20tea%22,%20%22raffles%20hotel%22&q=%22afternoon%20tea%22%20%22raffles%20hotel%22\">article in Singaporean newspaper \u003cem>The Straits Times\u003c/em>\u003c/a> enthused at the time. Meanwhile, a popular restaurant called Emmerson’s Tiffin Room was advertising a more modest daily afternoon tea \u003ca href=\"https://eresources.nlb.gov.sg/newspapers/digitised/article/singfreepressb18980702-1.2.32.2?qt=%22afternoon%20tea%22,%20emmerson&q=%22afternoon%20tea%22%20%22emmerson%27s%22\">as early as 1898\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13986151\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986151\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/013126GOLDENAGEOFASIANSTYLEHIGH-TEA_GH_031-KQED.jpg\" alt=\"A woman in an elegant dark blue dress with matching floral hat.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/013126GOLDENAGEOFASIANSTYLEHIGH-TEA_GH_031-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/013126GOLDENAGEOFASIANSTYLEHIGH-TEA_GH_031-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/013126GOLDENAGEOFASIANSTYLEHIGH-TEA_GH_031-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/013126GOLDENAGEOFASIANSTYLEHIGH-TEA_GH_031-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Cindy Lee, a guest at Kopi Bar’s “Bridgerton”-themed high tea, poses in the stairwell at BAMPFA. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>These initial offerings were mostly geared toward Singapore’s British residents, as well as wealthy travelers visiting from Europe. But the custom of taking afternoon tea was eventually taken up by locals as well — and persisted long after the British left.\u003c/p>\n\u003cp>Local expressions of the tradition began as early as the 1960s, says \u003ca href=\"https://www.instagram.com/kfseetoh/?hl=en\">KF Seetoh\u003c/a>, probably the foremost street food expert in Singapore. Cafes began selling kaya toast and local coffee in the afternoon; curry puffs and pandan cakes also first appeared around this time.\u003c/p>\n\u003cp>“These days at Raffles, you’ll find Indian tiffin meals \u003cem>and\u003c/em> tiered trays of high tea offerings, [everything] from the usual British fare to even \u003ca href=\"https://ccs.city/en/chinese-cultural-club/chinese-culinary/nyonya-cake\">Nyonya cakes\u003c/a>,” Seetoh says. “The evolution [can be] credited to finding an identity true to the mishmash of cultures in Singapore — the best of everyone’s kitchens and grandmas’ recipes.”\u003c/p>\n\u003cp>A similar story played out in Malaysia. For Malaya Tea Room owner Leena Lim, going out for tea was an occasional mother-daughter treat she remembers enjoying all through her childhood. Every couple of months, her mother would bring her to afternoon tea at the Shangri-La Hotel in Kuala Lumpur, where she’d marvel at all of the fancy cakes and finger sandwiches.[aside postID=arts_13986360 hero='https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/yaichi-kaisendon.jpg']“It was such an intimate, beautiful experience,” she says.\u003c/p>\n\u003cp>Back then, in the ’80s and ’90s, most of the upscale hotel afternoon tea places in Malaysia still served food that was overwhelmingly British. At most, Lim recalls, maybe one item — say, a curry puff — would nod toward the local food culture. Because afternoon tea at the big hotels was “fancy” and expensive, Lim says even locals \u003cem>wanted\u003c/em> the food to be authentically British. Why would anyone pay so much to eat a Malaysian snack they could buy down the street for just a few ringgits?\u003c/p>\n\u003cp>Lim estimates it’s only in the last 10 years or so that even the fanciest British-style tea rooms in Malaysia and Singapore have started leaning more into local flavors, adding sambals and curries and kuehs (assorted bite-size treats made with glutinous rice) into the mix with the scones and cucumber sandwiches that people still expect.\u003c/p>\n\u003cp>When Lim opened Malaya Tea Room in 2019, on a quiet stretch of Central Avenue in Alameda, she wanted it to be more of a hybrid. At the time, she didn’t know of any other businesses that were throwing Asian–inspired afternoon tea parties. Beloved local institutions like Lovejoy’s more or less replicate the British traditions.\u003c/p>\n\u003cp>\u003ca href=\"https://sf.eater.com/2020/9/14/21436496/malaya-tea-room-afternoon-tea-takeout-box-kaya-jam-rendang-alameda\">Lim wanted to do both\u003c/a>. She planned to do the British stuff just as well as, or maybe even better than, the purely Anglophilic places — to, for instance, be one of the only places that make their clotted cream from scratch. But she also wanted to introduce customers to elegant, afternoon tea versions of some of her favorite Malaysian street snacks — in other words, to serve food that actually tastes \u003cem>good\u003c/em>. (She’d grown to find the British standards to be quite bland and boring.) Her menu included one finger sandwich that’s based on kaya toast, another that combines pork floss with a homemade basil spread, and yet another that features bakkwa (Malaysian pork jerky).\u003c/p>\n\u003cfigure id=\"attachment_13986561\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986561\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/020626GOLDEN-AGE-OF-ASIAN-STYLE-HIGH-TEA_GH_039-KQED.jpg\" alt=\"Three-tiered cake stand with an array of cakes, pastries and finger sandwiches.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/020626GOLDEN-AGE-OF-ASIAN-STYLE-HIGH-TEA_GH_039-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/020626GOLDEN-AGE-OF-ASIAN-STYLE-HIGH-TEA_GH_039-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/020626GOLDEN-AGE-OF-ASIAN-STYLE-HIGH-TEA_GH_039-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/020626GOLDEN-AGE-OF-ASIAN-STYLE-HIGH-TEA_GH_039-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">British-style scones with clotted cream and strawberry jam sit alongside curried potato canapés on gluten-free crackers during afternoon tea at Malaya Tea Room in Alameda on Feb. 6, 2026. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When my family arrived at Malaya on a recent Sunday, the atmosphere inside the cozy tea room was languid and vaguely tropical — lush greenery sprawled in every direction; a ceiling fan spun lazily up above. Nostalgic knickknacks (antique Chinese vases, an abacus, an old Hup Seng cracker tin) decorated the display cabinets. On the table was a little bell to ring when you were ready for your server to come take your order.\u003c/p>\n\u003cp>The sandwiches we loved best included the curry chicken, made with coconut milk and a secret spice blend, and a sardine-and-cucumber number that Lim makes by doctoring the canned sardines in tomato sauce that you can buy at Asian grocers. On the sweets side, we enjoyed an airy-light pandan chiffon cake that wasn’t \u003cem>too \u003c/em>sweet — the ultimate compliment for an Asian dessert.\u003c/p>\n\u003cp>Even the egg salad sandwich, which we ordered off the British side of the menu, was uncommonly good — lush with Kewpie mayonnaise and served on fluffy milk bread. It tasted exactly like the ones you get at 7-Eleven in Japan.\u003c/p>\n\u003cp>Lim says that’s exactly what she was going for: a familiar flavor that reminds you of childhood.\u003c/p>\n\u003cfigure id=\"attachment_13986559\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986559\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/020626GOLDEN-AGE-OF-ASIAN-STYLE-HIGH-TEA_GH_034-KQED.jpg\" alt=\"An Asian woman poses in front of a tiered cake stand with pastries and sandwiches.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/020626GOLDEN-AGE-OF-ASIAN-STYLE-HIGH-TEA_GH_034-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/020626GOLDEN-AGE-OF-ASIAN-STYLE-HIGH-TEA_GH_034-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/020626GOLDEN-AGE-OF-ASIAN-STYLE-HIGH-TEA_GH_034-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/020626GOLDEN-AGE-OF-ASIAN-STYLE-HIGH-TEA_GH_034-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Leena Lim, owner of Malaya Tea Room, sits behind a table set for afternoon tea. The tea room opened in Alameda in 2019 and has become a destination for specialty tea service in the East Bay. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Her business has had its ups and downs over the past seven years, especially with the pandemic hitting just months after it opened. But she’s developed a loyal customer base, and people do seem to better understand Malaya’s afternoon tea offerings now than they did in the shop’s early days. Part of that, she says, just has to do with how much more popular Asian food is these days — how there’s now a cultural cachet to being the sort of person who understands pandan and ube: “Otherwise, it’s like who are you? Do you even live here?”\u003c/p>\n\u003cp>It helps that afternoon tea is the ultimate Instagram-friendly meal. Plus, Lim says, “people love dressing up,” and going out for tea provides a rare opportunity to do that. Every year, she has a big group that comes in cosplaying as anime characters.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>During our visit, we spotted three elderly women enjoying a quiet conversation, a table of Gen Z Taiwanese ladies chattering happily in Mandarin, and a group of white otaku having an intense debate about \u003cem>Dragon Ball Z\u003c/em>.\u003c/p>\n\u003cp>“Now I even get groups of men who come in by themselves,” Lim says. “I think that’s awesome.”\u003c/p>\n\u003ch2>Tea with a twist\u003c/h2>\n\u003cp>The bakeries and cafes that offer Asian-style afternoon tea in the Bay Area all have their own charm — and their own little twists on the genre.\u003c/p>\n\u003cp>Little Moon Bakehouse owner Annie Wang says her pop-ups are a natural extension of the fact that she started baking bread for the first time in 2024, adding a variety of Chinese bakery–style buns to her repertoire of plant-based cookies and mooncakes. Unlike Wang’s other baked goods, the breads don’t have long enough of a shelf life to ship nationally.\u003c/p>\n\u003cfigure id=\"attachment_13986606\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986606\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/LITTLE-MOON-BAKEHOUSE-TEA-PARTY-2025-136-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/LITTLE-MOON-BAKEHOUSE-TEA-PARTY-2025-136-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/LITTLE-MOON-BAKEHOUSE-TEA-PARTY-2025-136-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/LITTLE-MOON-BAKEHOUSE-TEA-PARTY-2025-136-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/LITTLE-MOON-BAKEHOUSE-TEA-PARTY-2025-136-KQED-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Little Moon Bakehouse owner Annie Wang (standing) mingles with guests at her afternoon tea pop-up at the San Francisco Ferry Building on Dec. 14, 2025. Featured items included plant-based mooncakes and mini pork floss buns. \u003ccite>(Phil Stockbridge/SF Event Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I realized that this would be great for an experience,” she says. She started renting out venues across the Bay Area to host one-day afternoon tea pop-ups, filling up three-tier cake stands with an equal split of sweet and savory treats.\u003c/p>\n\u003cp>On Feb. 22, she’ll host her second tea pop-up in the San Francisco Ferry Building — a \u003ca href=\"https://littlemoonbakehouse.com/products/afternoon-tea-in-sf-sun-dec-14-ferry-building-copy\">Lunar New Year–themed bash\u003c/a> for 100 guests, seated at long tables that stretch the length of the festive second-floor Grand Hall.\u003c/p>\n\u003cp>The menu will include miniature pork floss buns, garlic butter buns, and \u003ca href=\"https://littlemoonbakehouse.com/products/preorder-soy-sauce-chocolate-citrus-cookie-sandwich-heydoh-x-little-moon-bakehouse\">citrus zest sugar cookies\u003c/a> filled with soy sauce–spiked white chocolate (that one is a collaboration with \u003ca href=\"https://www.instagram.com/heydoh.co/\">Heydoh\u003c/a>, a Taiwanese American soy sauce brand). In the coming months, she’ll host \u003ca href=\"https://littlemoonbakehouse.com/collections/afternoon-tea\">additional pop-ups\u003c/a> in SF Chinatown, the Sunset District and San José.\u003c/p>\n\u003cfigure id=\"attachment_13986562\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986562\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/020626GOLDEN-AGE-OF-ASIAN-STYLE-HIGH-TEA_GH_042-KQED.jpg\" alt=\"Tea kettles, sugar bowls and metal canisters of loose-leaf tea on a wooden credenza.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/020626GOLDEN-AGE-OF-ASIAN-STYLE-HIGH-TEA_GH_042-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/020626GOLDEN-AGE-OF-ASIAN-STYLE-HIGH-TEA_GH_042-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/020626GOLDEN-AGE-OF-ASIAN-STYLE-HIGH-TEA_GH_042-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/020626GOLDEN-AGE-OF-ASIAN-STYLE-HIGH-TEA_GH_042-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Loose-leaf teas line a wooden cabinet at Malaya Tea Room. The tea room serves a wide selection of teas in a space filled with nostalgic antique furnishings. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Meanwhile, Jai Kandayah, the owner of Pleasanton’s recently closed \u003ca href=\"https://www.instagram.com/curryleavesbistro/?hl=en\">Curry Leaves Bistro\u003c/a>, says he never \u003cem>intended \u003c/em>to serve afternoon tea at his restaurant. He, too, grew up taking afternoon tea in Malaysia, but not the kind served at fancy hotels, which wasn’t accessible for working-class people. For the majority of Malaysians, afternoon tea — or high tea — was more of a home ritual.\u003c/p>\n\u003cp>(In Kandayah’s experience, Malaysians are more likely to talk about “high tea” than afternoon tea, referring to a heartier meal eaten later in the afternoon, at perhaps 4 or 5 p.m. after they get home from work — much more practical for working-class folks who can’t leave their jobs to eat cakes for an hour at 2 in the afternoon.)\u003c/p>\n\u003cp>These meals always featured local flavors, Kandayah recalls. “I remember my mom would make a big pot of tea in the afternoon and then usually a savory snack — banana fritters, fried yucca, fried yams, fried taro,” he says. Sometimes the bread man would come around, and they’d buy a loaf and dip the bread in the curry that was left over from lunch.\u003c/p>\n\u003cp>The local high tea buffets he remembers frequenting as a young man similarly skewed toward Malaysian flavors. Many of them would even serve fried noodles.\u003c/p>\n\u003cp>But again, Kandayah never had a high tea menu at Curry Leaves Bistro. Instead, regular customers — all of them older Malaysian immigrants — would knock on his door on Friday or Saturday afternoons, when the restaurant was closed.\u003c/p>\n\u003cp>“People would call and say, ‘Hey, there are eight of us coming in at 4 o’clock after our golf game. Can you prepare some tea and roti, and a plate of noodles?’” Kandayah says. “And we would do that.”\u003c/p>\n\u003cp>Curry Leaves Bistro wound up closing this past fall after the landlord increased the rent, but Kandayah has already scouted out a new location in the East Bay and hopes to reopen later this year.\u003c/p>\n\u003cp>This time, he says, afternoon tea on the restaurant’s backyard patio is going to come officially baked into the program.\u003c/p>\n\u003ch2>A celebration of immigration\u003c/h2>\n\u003cp>Meanwhile, Kopi Bar has leaned into the cosplay of it all. In addition to her \u003cem>Bridgerton\u003c/em> series, Haron has also hosted Bollywood- and \u003cem>Arabian Nights\u003c/em>–themed afternoon teas, and encourages guests to come dressed up to reflect the theme. People come for Haron’s stellar baked goods, sure. But they also come because the tea parties are joyful and extravagant — an all-out happening, as they say.\u003c/p>\n\u003cp>And for Haron, in the current political climate — while masked federal agents whisk soccer moms and five-year-old kids away to far-off detention centers — her tea parties aren’t just some frivolous, let-them-eat-cake moments to cosplay as British aristocrats. They’re important rituals that allow immigrants like her to come together and celebrate.\u003c/p>\n\u003cfigure id=\"attachment_13986148\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986148\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/013126GOLDENAGEOFASIANSTYLEHIGH-TEA_GH_019-KQED.jpg\" alt=\"A woman in glasses poses inside a cafe.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/013126GOLDENAGEOFASIANSTYLEHIGH-TEA_GH_019-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/013126GOLDENAGEOFASIANSTYLEHIGH-TEA_GH_019-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/013126GOLDENAGEOFASIANSTYLEHIGH-TEA_GH_019-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/013126GOLDENAGEOFASIANSTYLEHIGH-TEA_GH_019-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Chef Nora Haron, owner of Kopi Bar and Bakery, poses in her cafe on the second floor of BAMPFA. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“This idea of ‘illegal’ immigrants being criminals — that’s obnoxious. We’re doing something for the community. You know, we’re bringing people together. We’re creating jobs,” she says. “So it’s wonderful to be able to support one another this way.”\u003c/p>\n\u003cp>After all, she says, food is intertwined with the immigration process. And traditions like afternoon tea are a vital way for immigrants to maintain their cultural identity.\u003c/p>\n\u003cp>Back in Singapore and Malaysia, the history of afternoon tea followed the same path as so many other things in Southeast Asia: The colonizers brought it, but locals improved it.\u003c/p>\n\u003cfigure id=\"attachment_13986547\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986547\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/013126GoldenAgeofAsianStyleHigh-Tea_GH_020_qed.jpg\" alt=\"Close-up on a pandan pastry, a cup of tea and a menu for a special high tea event.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/013126GoldenAgeofAsianStyleHigh-Tea_GH_020_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/013126GoldenAgeofAsianStyleHigh-Tea_GH_020_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/013126GoldenAgeofAsianStyleHigh-Tea_GH_020_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/013126GoldenAgeofAsianStyleHigh-Tea_GH_020_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A pandan and coconut pastry swirl sits next to Kopi Bar’s “Bridgerton”-inspired high tea menu. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As the food writer Seetoh puts it, “You can still spend over a hundred bucks for the little pinky high teas at posh hotels flavored with affluence, but the majority, even the well-heeled, prefer a kueh salat, curry puff or ang ku kueh at local cafes.”\u003c/p>\n\u003cp>“It feels more like a Singapore story,” he says.\u003c/p>\n\u003cp>So it goes here in the diaspora, as Asian Americans create a new set of traditions replete with sourdough, vegan pork floss and the Bay Area’s own unique sense of swagger. They, too, are making afternoon tea their own.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>Kopi Bar’s \u003c/em>Bridgerton \u003cem>high tea series will run every Saturday through Feb. 28, plus an additional date on March 1, with seatings at 11 a.m., 1 p.m. and 3 p.m. \u003c/em>\u003ca href=\"https://www.eventbrite.com/e/a-bridgerton-inspired-high-tea-at-kopi-bar-tickets-1979138513571\">\u003cem>Tickets\u003c/em>\u003c/a>\u003cem> are limited. The cafe is located on the second floor of BAMPFA, at 2155 Center St. in Berkeley.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Little Moon Bakehouse’s Lunar New Year–themed afternoon tea will take place on Feb. 22, 11:30-1:30 p.m., at the SF Ferry Building (1 Ferry Building, San Francisco). \u003c/em>\u003ca href=\"https://littlemoonbakehouse.com/products/afternoon-tea-in-sf-sun-dec-14-ferry-building-copy\">\u003cem>Tickets\u003c/em>\u003c/a>\u003cem> are limited. \u003c/em>\u003ca href=\"https://littlemoonbakehouse.com/collections/afternoon-tea\">\u003cem>Future tea events\u003c/em>\u003c/a>\u003cem> are scheduled to take place in SF Chinatown, the Sunset District, and San José.\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"https://malayatearoom.com/\">\u003cem>Malaya Tea Room\u003c/em>\u003c/a>\u003cem> has three seatings per day, Thu.-Sun., at 11 a.m., 1:15 p.m. and 3:30 p.m. It’s located at 920 Central Ave. in Alameda.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"title": "It’s a Golden Age for Asian-Style Afternoon Tea in the Bay Area | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On a recent Saturday morning, about a dozen elegantly dressed pastry lovers, decked out in their finest Regency-era gowns and dainty flower hats, promenaded into the \u003ca href=\"https://www.kqed.org/arts/tag/bampfa\">Berkeley Art Museum and Pacific Film Archive\u003c/a>. Up the museum’s bright red staircase they went, pausing occasionally to snap a selfie, until they’d reached the second-floor cafe, where a handsome spread of teacakes and finger sandwiches awaited.\u003c/p>\n\u003cp>The occasion? A \u003cem>Bridgerton\u003c/em>-themed tea party, which the cafe, \u003ca href=\"https://www.kqed.org/arts/13980465/kopi-bar-bampfa-cafe-berkeley-avocado-iced-coffee-kaya-toast\">Kopi Bar\u003c/a>, had timed to coincide with the soapy Netflix costume drama’s fourth season premiere. Thus the cavalcade of pearls and frilly chiffon gowns. Everything about the event appeared to be oh-so-perfectly British in its sensibilities — except that the food displayed on the wooden two-tier cake stands wasn’t \u003cem>only \u003c/em>your typical array of scones, clotted cream and cucumber sandwiches.\u003c/p>\n\u003cp>Cinnamon-roll-like pastry swirls shot through with sweet pandan and coconut sat next to crispy beef rendang samosas. Curried tuna salad topped delicate open-face sourdough brioche sandwiches. And while one sandwich did feature sliced cucumbers, they were mainly there to provide a cooling counterpoint to the fiery sambal-spiked egg salad on top.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This is the kind of food that chef-owner Nora Haron likes to serve at Kopi Bar — a reflection of her background as a Singaporean immigrant of Indonesian-Indian descent. And while the spread might have surprised some Anglophile tea party enthusiasts, anyone who’s taken high tea at, say, one of Singapore’s grand hotels would find the mix of Eastern and Western flavors utterly familiar.\u003c/p>\n\u003cp>After all, in countries like Singapore and Malaysia, where afternoon tea is a well-loved remnant of British colonization, it’s standard practice to combine the format and the aesthetics of English-style tea service with an infusion of Asian flavors. There, too, Haron likes to point out, guests get dressed up and \u003ca href=\"https://www.kqed.org/arts/13963228/indonesian-high-tea-kopi-bar-sandai-walnut-creek\">sip their Earl Grey with their pinkies out\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13986143\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986143\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/013126GOLDENAGEOFASIANSTYLEHIGH-TEA_GH_003-KQED.jpg\" alt=\"Diners enjoying an afternoon tea spread inside a busy cafe.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/013126GOLDENAGEOFASIANSTYLEHIGH-TEA_GH_003-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/013126GOLDENAGEOFASIANSTYLEHIGH-TEA_GH_003-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/013126GOLDENAGEOFASIANSTYLEHIGH-TEA_GH_003-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/013126GOLDENAGEOFASIANSTYLEHIGH-TEA_GH_003-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Guests share tea and pastries while dressed in “Bridgerton”-inspired outfits during Kopi Bar’s themed high tea service on Jan. 31, 2026, at the Berkeley Art Museum and Pacific Film Archive in Berkeley. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Bay Area has its own rich tea party traditions, mostly nodding to the British style. But up until a couple of years ago, it was nearly impossible to find this kind of hybridized, Asian-inspired afternoon tea service.\u003c/p>\n\u003cp>That’s no longer the case. In fact, we’re experiencing something of a golden age for Asian-style afternoon tea here in the Bay Area, as new pop-ups and standalone tea rooms crop up to satisfy the growing demand.\u003c/p>\n\u003cp>To wit: Kopi Bar’s aforementioned \u003cem>Bridgerton \u003c/em>tea series will take over a section of the cafe every Saturday at least through the end of February. \u003ca href=\"https://www.instagram.com/littlemoonbakehouse/?hl=en\">Little Moon Bakehouse\u003c/a>, an Asian American vegan baking company in Oakland, hosts “reimagined” afternoon tea pop-ups at different venues around the Bay — packing 100 sweets lovers onto, say, the second floor of San Francisco’s Ferry Building for moon cakes and mini pork floss buns. Meanwhile, \u003ca href=\"https://www.instagram.com/pamanaplantas/?hl=en\">Pamana Plantas\u003c/a>, a plant store in Berkeley, has started throwing kamayan-inspired \u003ca href=\"https://pamanaplantas.com/pages/kamayan-tea-parties\">Filipino tea parties\u003c/a>, lining the tables with banana leaves and ube pastries. And while the afternoon tea program at San Francisco’s \u003ca href=\"https://www.instagram.com/sonandgarden/?hl=en\">Son & Garden\u003c/a>, a lavishly flower-bedecked spot from the owners of the Farmhouse Thai restaurant empire, doesn’t have an explicit Asian focus, its \u003ca href=\"https://www.yelp.com/biz_photos/son-and-garden-san-francisco?select=WSZlwDtjjA9iLKVlv9XNng\">themed tea sets\u003c/a> often include delicacies like Japanese cherry blossom cookies and homemade samosas.\u003c/p>\n\u003cfigure id=\"attachment_13986142\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986142\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/013126GOLDENAGEOFASIANSTYLEHIGH-TEA_GH_001-KQED.jpg\" alt=\"Close-up of a diner's hand holding up an open-face avocado sandwich.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/013126GOLDENAGEOFASIANSTYLEHIGH-TEA_GH_001-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/013126GOLDENAGEOFASIANSTYLEHIGH-TEA_GH_001-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/013126GOLDENAGEOFASIANSTYLEHIGH-TEA_GH_001-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/013126GOLDENAGEOFASIANSTYLEHIGH-TEA_GH_001-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A guest at Kopi Bar holds a tea sandwich topped with avocado and herbs. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then there’s the OG of the genre, Alameda’s \u003ca href=\"https://www.instagram.com/malayatearoom/?hl=en\">Malaya Tea Room\u003c/a>, which has served elegant Malaysian afternoon tea sets, both in person and as a take-home kit, for nearly seven years.\u003c/p>\n\u003cp>For her part, Haron says the tea parties have by far been her most popular events since she started hosting them last year. After she \u003ca href=\"https://www.kqed.org/arts/13980465/kopi-bar-bampfa-cafe-berkeley-avocado-iced-coffee-kaya-toast\">moved Kopi Bar to Berkeley\u003c/a> from its original Walnut Creek location this past fall, she received a steady stream of DMs from old customers, pleading with her: “Please, please, will you do this again?”\u003c/p>\n\u003cp>In response to such a groundswell of support, Haron says, laughing, “How can I not?”\u003c/p>\n\u003ch2>Reclaiming a colonial history\u003c/h2>\n\u003cp>Of course, the British were the ones who brought the practice of a light afternoon meal with tea to Singapore and Malaysia during their long period of colonial rule — from 1819 to 1963, in the case of Singapore. The Raffles Hotel, probably the most iconic place to take tea in Singapore, started offering its afternoon tea service — complete with live orchestra — in 1918.\u003c/p>\n\u003cp>“The new enterprise should be warmly encouraged by the public of both sexes who often find the hours between 4:30 and dinner time hang heavily,” an \u003ca href=\"https://eresources.nlb.gov.sg/newspapers/digitised/article/straitstimes19180109-1.2.26?qt=%22afternoon%20tea%22,%20%22raffles%20hotel%22&q=%22afternoon%20tea%22%20%22raffles%20hotel%22\">article in Singaporean newspaper \u003cem>The Straits Times\u003c/em>\u003c/a> enthused at the time. Meanwhile, a popular restaurant called Emmerson’s Tiffin Room was advertising a more modest daily afternoon tea \u003ca href=\"https://eresources.nlb.gov.sg/newspapers/digitised/article/singfreepressb18980702-1.2.32.2?qt=%22afternoon%20tea%22,%20emmerson&q=%22afternoon%20tea%22%20%22emmerson%27s%22\">as early as 1898\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13986151\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986151\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/013126GOLDENAGEOFASIANSTYLEHIGH-TEA_GH_031-KQED.jpg\" alt=\"A woman in an elegant dark blue dress with matching floral hat.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/013126GOLDENAGEOFASIANSTYLEHIGH-TEA_GH_031-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/013126GOLDENAGEOFASIANSTYLEHIGH-TEA_GH_031-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/013126GOLDENAGEOFASIANSTYLEHIGH-TEA_GH_031-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/013126GOLDENAGEOFASIANSTYLEHIGH-TEA_GH_031-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Cindy Lee, a guest at Kopi Bar’s “Bridgerton”-themed high tea, poses in the stairwell at BAMPFA. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>These initial offerings were mostly geared toward Singapore’s British residents, as well as wealthy travelers visiting from Europe. But the custom of taking afternoon tea was eventually taken up by locals as well — and persisted long after the British left.\u003c/p>\n\u003cp>Local expressions of the tradition began as early as the 1960s, says \u003ca href=\"https://www.instagram.com/kfseetoh/?hl=en\">KF Seetoh\u003c/a>, probably the foremost street food expert in Singapore. Cafes began selling kaya toast and local coffee in the afternoon; curry puffs and pandan cakes also first appeared around this time.\u003c/p>\n\u003cp>“These days at Raffles, you’ll find Indian tiffin meals \u003cem>and\u003c/em> tiered trays of high tea offerings, [everything] from the usual British fare to even \u003ca href=\"https://ccs.city/en/chinese-cultural-club/chinese-culinary/nyonya-cake\">Nyonya cakes\u003c/a>,” Seetoh says. “The evolution [can be] credited to finding an identity true to the mishmash of cultures in Singapore — the best of everyone’s kitchens and grandmas’ recipes.”\u003c/p>\n\u003cp>A similar story played out in Malaysia. For Malaya Tea Room owner Leena Lim, going out for tea was an occasional mother-daughter treat she remembers enjoying all through her childhood. Every couple of months, her mother would bring her to afternoon tea at the Shangri-La Hotel in Kuala Lumpur, where she’d marvel at all of the fancy cakes and finger sandwiches.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“It was such an intimate, beautiful experience,” she says.\u003c/p>\n\u003cp>Back then, in the ’80s and ’90s, most of the upscale hotel afternoon tea places in Malaysia still served food that was overwhelmingly British. At most, Lim recalls, maybe one item — say, a curry puff — would nod toward the local food culture. Because afternoon tea at the big hotels was “fancy” and expensive, Lim says even locals \u003cem>wanted\u003c/em> the food to be authentically British. Why would anyone pay so much to eat a Malaysian snack they could buy down the street for just a few ringgits?\u003c/p>\n\u003cp>Lim estimates it’s only in the last 10 years or so that even the fanciest British-style tea rooms in Malaysia and Singapore have started leaning more into local flavors, adding sambals and curries and kuehs (assorted bite-size treats made with glutinous rice) into the mix with the scones and cucumber sandwiches that people still expect.\u003c/p>\n\u003cp>When Lim opened Malaya Tea Room in 2019, on a quiet stretch of Central Avenue in Alameda, she wanted it to be more of a hybrid. At the time, she didn’t know of any other businesses that were throwing Asian–inspired afternoon tea parties. Beloved local institutions like Lovejoy’s more or less replicate the British traditions.\u003c/p>\n\u003cp>\u003ca href=\"https://sf.eater.com/2020/9/14/21436496/malaya-tea-room-afternoon-tea-takeout-box-kaya-jam-rendang-alameda\">Lim wanted to do both\u003c/a>. She planned to do the British stuff just as well as, or maybe even better than, the purely Anglophilic places — to, for instance, be one of the only places that make their clotted cream from scratch. But she also wanted to introduce customers to elegant, afternoon tea versions of some of her favorite Malaysian street snacks — in other words, to serve food that actually tastes \u003cem>good\u003c/em>. (She’d grown to find the British standards to be quite bland and boring.) Her menu included one finger sandwich that’s based on kaya toast, another that combines pork floss with a homemade basil spread, and yet another that features bakkwa (Malaysian pork jerky).\u003c/p>\n\u003cfigure id=\"attachment_13986561\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986561\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/020626GOLDEN-AGE-OF-ASIAN-STYLE-HIGH-TEA_GH_039-KQED.jpg\" alt=\"Three-tiered cake stand with an array of cakes, pastries and finger sandwiches.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/020626GOLDEN-AGE-OF-ASIAN-STYLE-HIGH-TEA_GH_039-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/020626GOLDEN-AGE-OF-ASIAN-STYLE-HIGH-TEA_GH_039-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/020626GOLDEN-AGE-OF-ASIAN-STYLE-HIGH-TEA_GH_039-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/020626GOLDEN-AGE-OF-ASIAN-STYLE-HIGH-TEA_GH_039-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">British-style scones with clotted cream and strawberry jam sit alongside curried potato canapés on gluten-free crackers during afternoon tea at Malaya Tea Room in Alameda on Feb. 6, 2026. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When my family arrived at Malaya on a recent Sunday, the atmosphere inside the cozy tea room was languid and vaguely tropical — lush greenery sprawled in every direction; a ceiling fan spun lazily up above. Nostalgic knickknacks (antique Chinese vases, an abacus, an old Hup Seng cracker tin) decorated the display cabinets. On the table was a little bell to ring when you were ready for your server to come take your order.\u003c/p>\n\u003cp>The sandwiches we loved best included the curry chicken, made with coconut milk and a secret spice blend, and a sardine-and-cucumber number that Lim makes by doctoring the canned sardines in tomato sauce that you can buy at Asian grocers. On the sweets side, we enjoyed an airy-light pandan chiffon cake that wasn’t \u003cem>too \u003c/em>sweet — the ultimate compliment for an Asian dessert.\u003c/p>\n\u003cp>Even the egg salad sandwich, which we ordered off the British side of the menu, was uncommonly good — lush with Kewpie mayonnaise and served on fluffy milk bread. It tasted exactly like the ones you get at 7-Eleven in Japan.\u003c/p>\n\u003cp>Lim says that’s exactly what she was going for: a familiar flavor that reminds you of childhood.\u003c/p>\n\u003cfigure id=\"attachment_13986559\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986559\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/020626GOLDEN-AGE-OF-ASIAN-STYLE-HIGH-TEA_GH_034-KQED.jpg\" alt=\"An Asian woman poses in front of a tiered cake stand with pastries and sandwiches.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/020626GOLDEN-AGE-OF-ASIAN-STYLE-HIGH-TEA_GH_034-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/020626GOLDEN-AGE-OF-ASIAN-STYLE-HIGH-TEA_GH_034-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/020626GOLDEN-AGE-OF-ASIAN-STYLE-HIGH-TEA_GH_034-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/020626GOLDEN-AGE-OF-ASIAN-STYLE-HIGH-TEA_GH_034-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Leena Lim, owner of Malaya Tea Room, sits behind a table set for afternoon tea. The tea room opened in Alameda in 2019 and has become a destination for specialty tea service in the East Bay. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Her business has had its ups and downs over the past seven years, especially with the pandemic hitting just months after it opened. But she’s developed a loyal customer base, and people do seem to better understand Malaya’s afternoon tea offerings now than they did in the shop’s early days. Part of that, she says, just has to do with how much more popular Asian food is these days — how there’s now a cultural cachet to being the sort of person who understands pandan and ube: “Otherwise, it’s like who are you? Do you even live here?”\u003c/p>\n\u003cp>It helps that afternoon tea is the ultimate Instagram-friendly meal. Plus, Lim says, “people love dressing up,” and going out for tea provides a rare opportunity to do that. Every year, she has a big group that comes in cosplaying as anime characters.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>During our visit, we spotted three elderly women enjoying a quiet conversation, a table of Gen Z Taiwanese ladies chattering happily in Mandarin, and a group of white otaku having an intense debate about \u003cem>Dragon Ball Z\u003c/em>.\u003c/p>\n\u003cp>“Now I even get groups of men who come in by themselves,” Lim says. “I think that’s awesome.”\u003c/p>\n\u003ch2>Tea with a twist\u003c/h2>\n\u003cp>The bakeries and cafes that offer Asian-style afternoon tea in the Bay Area all have their own charm — and their own little twists on the genre.\u003c/p>\n\u003cp>Little Moon Bakehouse owner Annie Wang says her pop-ups are a natural extension of the fact that she started baking bread for the first time in 2024, adding a variety of Chinese bakery–style buns to her repertoire of plant-based cookies and mooncakes. Unlike Wang’s other baked goods, the breads don’t have long enough of a shelf life to ship nationally.\u003c/p>\n\u003cfigure id=\"attachment_13986606\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986606\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/LITTLE-MOON-BAKEHOUSE-TEA-PARTY-2025-136-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/LITTLE-MOON-BAKEHOUSE-TEA-PARTY-2025-136-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/LITTLE-MOON-BAKEHOUSE-TEA-PARTY-2025-136-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/LITTLE-MOON-BAKEHOUSE-TEA-PARTY-2025-136-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/LITTLE-MOON-BAKEHOUSE-TEA-PARTY-2025-136-KQED-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Little Moon Bakehouse owner Annie Wang (standing) mingles with guests at her afternoon tea pop-up at the San Francisco Ferry Building on Dec. 14, 2025. Featured items included plant-based mooncakes and mini pork floss buns. \u003ccite>(Phil Stockbridge/SF Event Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I realized that this would be great for an experience,” she says. She started renting out venues across the Bay Area to host one-day afternoon tea pop-ups, filling up three-tier cake stands with an equal split of sweet and savory treats.\u003c/p>\n\u003cp>On Feb. 22, she’ll host her second tea pop-up in the San Francisco Ferry Building — a \u003ca href=\"https://littlemoonbakehouse.com/products/afternoon-tea-in-sf-sun-dec-14-ferry-building-copy\">Lunar New Year–themed bash\u003c/a> for 100 guests, seated at long tables that stretch the length of the festive second-floor Grand Hall.\u003c/p>\n\u003cp>The menu will include miniature pork floss buns, garlic butter buns, and \u003ca href=\"https://littlemoonbakehouse.com/products/preorder-soy-sauce-chocolate-citrus-cookie-sandwich-heydoh-x-little-moon-bakehouse\">citrus zest sugar cookies\u003c/a> filled with soy sauce–spiked white chocolate (that one is a collaboration with \u003ca href=\"https://www.instagram.com/heydoh.co/\">Heydoh\u003c/a>, a Taiwanese American soy sauce brand). In the coming months, she’ll host \u003ca href=\"https://littlemoonbakehouse.com/collections/afternoon-tea\">additional pop-ups\u003c/a> in SF Chinatown, the Sunset District and San José.\u003c/p>\n\u003cfigure id=\"attachment_13986562\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986562\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/020626GOLDEN-AGE-OF-ASIAN-STYLE-HIGH-TEA_GH_042-KQED.jpg\" alt=\"Tea kettles, sugar bowls and metal canisters of loose-leaf tea on a wooden credenza.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/020626GOLDEN-AGE-OF-ASIAN-STYLE-HIGH-TEA_GH_042-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/020626GOLDEN-AGE-OF-ASIAN-STYLE-HIGH-TEA_GH_042-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/020626GOLDEN-AGE-OF-ASIAN-STYLE-HIGH-TEA_GH_042-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/020626GOLDEN-AGE-OF-ASIAN-STYLE-HIGH-TEA_GH_042-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Loose-leaf teas line a wooden cabinet at Malaya Tea Room. The tea room serves a wide selection of teas in a space filled with nostalgic antique furnishings. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Meanwhile, Jai Kandayah, the owner of Pleasanton’s recently closed \u003ca href=\"https://www.instagram.com/curryleavesbistro/?hl=en\">Curry Leaves Bistro\u003c/a>, says he never \u003cem>intended \u003c/em>to serve afternoon tea at his restaurant. He, too, grew up taking afternoon tea in Malaysia, but not the kind served at fancy hotels, which wasn’t accessible for working-class people. For the majority of Malaysians, afternoon tea — or high tea — was more of a home ritual.\u003c/p>\n\u003cp>(In Kandayah’s experience, Malaysians are more likely to talk about “high tea” than afternoon tea, referring to a heartier meal eaten later in the afternoon, at perhaps 4 or 5 p.m. after they get home from work — much more practical for working-class folks who can’t leave their jobs to eat cakes for an hour at 2 in the afternoon.)\u003c/p>\n\u003cp>These meals always featured local flavors, Kandayah recalls. “I remember my mom would make a big pot of tea in the afternoon and then usually a savory snack — banana fritters, fried yucca, fried yams, fried taro,” he says. Sometimes the bread man would come around, and they’d buy a loaf and dip the bread in the curry that was left over from lunch.\u003c/p>\n\u003cp>The local high tea buffets he remembers frequenting as a young man similarly skewed toward Malaysian flavors. Many of them would even serve fried noodles.\u003c/p>\n\u003cp>But again, Kandayah never had a high tea menu at Curry Leaves Bistro. Instead, regular customers — all of them older Malaysian immigrants — would knock on his door on Friday or Saturday afternoons, when the restaurant was closed.\u003c/p>\n\u003cp>“People would call and say, ‘Hey, there are eight of us coming in at 4 o’clock after our golf game. Can you prepare some tea and roti, and a plate of noodles?’” Kandayah says. “And we would do that.”\u003c/p>\n\u003cp>Curry Leaves Bistro wound up closing this past fall after the landlord increased the rent, but Kandayah has already scouted out a new location in the East Bay and hopes to reopen later this year.\u003c/p>\n\u003cp>This time, he says, afternoon tea on the restaurant’s backyard patio is going to come officially baked into the program.\u003c/p>\n\u003ch2>A celebration of immigration\u003c/h2>\n\u003cp>Meanwhile, Kopi Bar has leaned into the cosplay of it all. In addition to her \u003cem>Bridgerton\u003c/em> series, Haron has also hosted Bollywood- and \u003cem>Arabian Nights\u003c/em>–themed afternoon teas, and encourages guests to come dressed up to reflect the theme. People come for Haron’s stellar baked goods, sure. But they also come because the tea parties are joyful and extravagant — an all-out happening, as they say.\u003c/p>\n\u003cp>And for Haron, in the current political climate — while masked federal agents whisk soccer moms and five-year-old kids away to far-off detention centers — her tea parties aren’t just some frivolous, let-them-eat-cake moments to cosplay as British aristocrats. They’re important rituals that allow immigrants like her to come together and celebrate.\u003c/p>\n\u003cfigure id=\"attachment_13986148\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986148\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/013126GOLDENAGEOFASIANSTYLEHIGH-TEA_GH_019-KQED.jpg\" alt=\"A woman in glasses poses inside a cafe.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/013126GOLDENAGEOFASIANSTYLEHIGH-TEA_GH_019-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/013126GOLDENAGEOFASIANSTYLEHIGH-TEA_GH_019-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/013126GOLDENAGEOFASIANSTYLEHIGH-TEA_GH_019-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/013126GOLDENAGEOFASIANSTYLEHIGH-TEA_GH_019-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Chef Nora Haron, owner of Kopi Bar and Bakery, poses in her cafe on the second floor of BAMPFA. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“This idea of ‘illegal’ immigrants being criminals — that’s obnoxious. We’re doing something for the community. You know, we’re bringing people together. We’re creating jobs,” she says. “So it’s wonderful to be able to support one another this way.”\u003c/p>\n\u003cp>After all, she says, food is intertwined with the immigration process. And traditions like afternoon tea are a vital way for immigrants to maintain their cultural identity.\u003c/p>\n\u003cp>Back in Singapore and Malaysia, the history of afternoon tea followed the same path as so many other things in Southeast Asia: The colonizers brought it, but locals improved it.\u003c/p>\n\u003cfigure id=\"attachment_13986547\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986547\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/013126GoldenAgeofAsianStyleHigh-Tea_GH_020_qed.jpg\" alt=\"Close-up on a pandan pastry, a cup of tea and a menu for a special high tea event.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/013126GoldenAgeofAsianStyleHigh-Tea_GH_020_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/013126GoldenAgeofAsianStyleHigh-Tea_GH_020_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/013126GoldenAgeofAsianStyleHigh-Tea_GH_020_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/013126GoldenAgeofAsianStyleHigh-Tea_GH_020_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A pandan and coconut pastry swirl sits next to Kopi Bar’s “Bridgerton”-inspired high tea menu. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As the food writer Seetoh puts it, “You can still spend over a hundred bucks for the little pinky high teas at posh hotels flavored with affluence, but the majority, even the well-heeled, prefer a kueh salat, curry puff or ang ku kueh at local cafes.”\u003c/p>\n\u003cp>“It feels more like a Singapore story,” he says.\u003c/p>\n\u003cp>So it goes here in the diaspora, as Asian Americans create a new set of traditions replete with sourdough, vegan pork floss and the Bay Area’s own unique sense of swagger. They, too, are making afternoon tea their own.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>Kopi Bar’s \u003c/em>Bridgerton \u003cem>high tea series will run every Saturday through Feb. 28, plus an additional date on March 1, with seatings at 11 a.m., 1 p.m. and 3 p.m. \u003c/em>\u003ca href=\"https://www.eventbrite.com/e/a-bridgerton-inspired-high-tea-at-kopi-bar-tickets-1979138513571\">\u003cem>Tickets\u003c/em>\u003c/a>\u003cem> are limited. The cafe is located on the second floor of BAMPFA, at 2155 Center St. in Berkeley.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Little Moon Bakehouse’s Lunar New Year–themed afternoon tea will take place on Feb. 22, 11:30-1:30 p.m., at the SF Ferry Building (1 Ferry Building, San Francisco). \u003c/em>\u003ca href=\"https://littlemoonbakehouse.com/products/afternoon-tea-in-sf-sun-dec-14-ferry-building-copy\">\u003cem>Tickets\u003c/em>\u003c/a>\u003cem> are limited. \u003c/em>\u003ca href=\"https://littlemoonbakehouse.com/collections/afternoon-tea\">\u003cem>Future tea events\u003c/em>\u003c/a>\u003cem> are scheduled to take place in SF Chinatown, the Sunset District, and San José.\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"https://malayatearoom.com/\">\u003cem>Malaya Tea Room\u003c/em>\u003c/a>\u003cem> has three seatings per day, Thu.-Sun., at 11 a.m., 1:15 p.m. and 3:30 p.m. It’s located at 920 Central Ave. in Alameda.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>San Francisco’s \u003ca href=\"https://www.kqed.org/arts/category/movies\">film\u003c/a> incentive program just got a major update to attract more movie productions to the city. Filmmakers are now eligible for a 100% rebate on permits, police costs and other city fees totaling up to $1 million. There’s also a 10% rebate on the first million of qualified local spending, including hiring local crews and paying for San Francisco goods and services; a 20% rebate applies to qualified spending above a million.\u003c/p>\n\u003cp>On Wednesday, Mayor Daniel Lurie signed the new legislation, which the San Francisco Board of Supervisors passed unanimously. [aside postid='arts_13986534']\u003c/p>\n\u003cp>“Every time people visit San Francisco, they’re blown away by our city’s beauty and energy,” said Lurie in a statement. “Film takes that feeling and carries it far beyond our city limits. And when productions choose San Francisco, they do more than showcase our city’s outstanding beauty. They invest directly in our workers, our neighborhoods and our creative economy.”\u003c/p>\n\u003cp>This is the first time the film incentive program, known as Scene in San Francisco, has been updated since 2006, when it was first introduced. Previously, it only reimbursed up to $600,000 in city fees. Over the past 20 years, the program has generated $26 million in wages for local workers and $69 million in spending at San Francisco businesses.\u003c/p>\n\u003cp>San Francisco recently made several headlines in the film world. In 2025, Luca Guadagnino’s \u003ci>Artificial\u003c/i>, a forthcoming drama about OpenAI founder Sam Altman, shut down several city blocks for filming in the Mission District. And \u003cem>Josephine\u003c/em>, a dramatic thriller about an eight-year-old girl who witnesses a sexual assault in Golden Gate Park, won the Grand Jury Prize at Sundance.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Having \u003cem>Josephine\u003c/em>’s world premiere at Sundance served as a reminder of what’s possible when a city invests in its storytellers,” said San Francisco-born director Beth de Araújo in a statement. “These updates to the incentive will open the door for even more SF filmmakers to create affordably and authentically, with the incredible support of the San Francisco Film Commission. This city has so many stories to tell, and I’m excited to see what comes next.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco’s \u003ca href=\"https://www.kqed.org/arts/category/movies\">film\u003c/a> incentive program just got a major update to attract more movie productions to the city. Filmmakers are now eligible for a 100% rebate on permits, police costs and other city fees totaling up to $1 million. There’s also a 10% rebate on the first million of qualified local spending, including hiring local crews and paying for San Francisco goods and services; a 20% rebate applies to qualified spending above a million.\u003c/p>\n\u003cp>On Wednesday, Mayor Daniel Lurie signed the new legislation, which the San Francisco Board of Supervisors passed unanimously. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Every time people visit San Francisco, they’re blown away by our city’s beauty and energy,” said Lurie in a statement. “Film takes that feeling and carries it far beyond our city limits. And when productions choose San Francisco, they do more than showcase our city’s outstanding beauty. They invest directly in our workers, our neighborhoods and our creative economy.”\u003c/p>\n\u003cp>This is the first time the film incentive program, known as Scene in San Francisco, has been updated since 2006, when it was first introduced. Previously, it only reimbursed up to $600,000 in city fees. Over the past 20 years, the program has generated $26 million in wages for local workers and $69 million in spending at San Francisco businesses.\u003c/p>\n\u003cp>San Francisco recently made several headlines in the film world. In 2025, Luca Guadagnino’s \u003ci>Artificial\u003c/i>, a forthcoming drama about OpenAI founder Sam Altman, shut down several city blocks for filming in the Mission District. And \u003cem>Josephine\u003c/em>, a dramatic thriller about an eight-year-old girl who witnesses a sexual assault in Golden Gate Park, won the Grand Jury Prize at Sundance.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cstrong>Update, Feb. 24, 2026: \u003c/strong>The organizers of Festival La Onda announced today \u003ca href=\"https://www.kqed.org/arts/13987034/la-onda-music-festival-canceled-in-napa\">this year’s event has been canceled\u003c/a>. Ticket holders who bought their passes directly from the festival will receive refunds in 30 days.\u003c/p>\n\u003cp>\u003cstrong>Original story:\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"https://www.laondafest.com/\">La Onda Festival\u003c/a> returns to Napa Valley Expo on May 30 and 31, this time with a stacked lineup headlined by Colombian reggaetonero J Balvin; Mexican mariacheño singer Christian Nodal; Mexican rock icons Maná and Californian música mexicana singer Ivan Cornejo.\u003c/p>\n\u003cp>One of the largest Latin music festivals in the Golden State, La Onda draws around 20,000 attendees per day to the same wine country fairgrounds that host \u003ca href=\"https://www.kqed.org/arts/13985337/bottlerock-lineup-foo-fighters-backstreet-boys-lorde-sombr-lcd-soundsystem-napa\">BottleRock the weekend prior\u003c/a>.\u003c/p>\n\u003cp>Mexican musical greats including Los Tucanes de Tijuana are prominent on the intergenerational lineup, but La Onda doesn’t limit itself to one sound or cultural niche. Also on the bill are Colombian salsa giants Grupo Niche; Cuban hip-hop group Orishas; Venezuelan rapper Danny Ocean; and El Gran Combo de Puerto Rico, whose “Un Verano en Nueva York” was sampled by \u003ca href=\"https://www.kqed.org/arts/tag/bad-bunny\">Bad Bunny\u003c/a> in his smash hit “NUEVAYoL.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The remainder of the lineup includes Los Fabulosos Cadillacs, Paulo Londra, La Arrolladora, Molotov, Hermanos Espinoza, Chiquis, El Malilla, Los Primos del Este, Kinky, Ozomatli, Daniel, Me Estás Matando, Emmanuel Cortes, Pedro Sampaio, Julio Caesar, Arath Herce, eydrey, Frater Cosmic Beats, Delilah and Dreah.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>La Onda features Latin American food and beverage offerings, artist vendors, lucha libre wrestling and more. \u003ca href=\"https://www.laondafest.com/tickets/\">Single-day and weekend tickets\u003c/a> go on sale Feb. 13 at noon.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Update, Feb. 24, 2026: \u003c/strong>The organizers of Festival La Onda announced today \u003ca href=\"https://www.kqed.org/arts/13987034/la-onda-music-festival-canceled-in-napa\">this year’s event has been canceled\u003c/a>. Ticket holders who bought their passes directly from the festival will receive refunds in 30 days.\u003c/p>\n\u003cp>\u003cstrong>Original story:\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"https://www.laondafest.com/\">La Onda Festival\u003c/a> returns to Napa Valley Expo on May 30 and 31, this time with a stacked lineup headlined by Colombian reggaetonero J Balvin; Mexican mariacheño singer Christian Nodal; Mexican rock icons Maná and Californian música mexicana singer Ivan Cornejo.\u003c/p>\n\u003cp>One of the largest Latin music festivals in the Golden State, La Onda draws around 20,000 attendees per day to the same wine country fairgrounds that host \u003ca href=\"https://www.kqed.org/arts/13985337/bottlerock-lineup-foo-fighters-backstreet-boys-lorde-sombr-lcd-soundsystem-napa\">BottleRock the weekend prior\u003c/a>.\u003c/p>\n\u003cp>Mexican musical greats including Los Tucanes de Tijuana are prominent on the intergenerational lineup, but La Onda doesn’t limit itself to one sound or cultural niche. Also on the bill are Colombian salsa giants Grupo Niche; Cuban hip-hop group Orishas; Venezuelan rapper Danny Ocean; and El Gran Combo de Puerto Rico, whose “Un Verano en Nueva York” was sampled by \u003ca href=\"https://www.kqed.org/arts/tag/bad-bunny\">Bad Bunny\u003c/a> in his smash hit “NUEVAYoL.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The remainder of the lineup includes Los Fabulosos Cadillacs, Paulo Londra, La Arrolladora, Molotov, Hermanos Espinoza, Chiquis, El Malilla, Los Primos del Este, Kinky, Ozomatli, Daniel, Me Estás Matando, Emmanuel Cortes, Pedro Sampaio, Julio Caesar, Arath Herce, eydrey, Frater Cosmic Beats, Delilah and Dreah.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>La Onda features Latin American food and beverage offerings, artist vendors, lucha libre wrestling and more. \u003ca href=\"https://www.laondafest.com/tickets/\">Single-day and weekend tickets\u003c/a> go on sale Feb. 13 at noon.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "How I Learned to Stop Worrying and Love the Castro Theatre Again",
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"content": "\u003cp>[dropcap]F[/dropcap]irst things first: \u003cem>Priscilla, Queen of the Desert\u003c/em> at the \u003ca href=\"https://www.kqed.org/arts/tag/castro-theatre\">Castro Theatre\u003c/a> is not, strictly speaking, a “film event.”\u003c/p>\n\u003cp>It’s a film, sure. But it also doubles as the Castro Theatre’s long-awaited reopening after a two-year closure. It’s a celebration. It’s not Film 101 like \u003cem>Stalker\u003c/em> or \u003cem>Ikiru\u003c/em> or \u003cem>In the Mood for Love\u003c/em>; it’s \u003cem>Priscilla\u003c/em> — a communion, a camp fest, and a party.\u003c/p>\n\u003cp>And, since it is the first movie shown at the newly renovated Castro, once my favorite movie theater in the entire world, I am duty-bound to go.\u003c/p>\n\u003cp>See, I have been talking my head off about the Castro to anyone who will listen for the past four years, ever since Another Planet Entertainment, the live music promoter, announced plans to convert it into a multi-use venue. I’ve \u003ca href=\"https://www.kqed.org/arts/13908311/castro-theatre-to-become-live-music-and-events-venue-after-renovation\">reported\u003c/a> on the story \u003ca href=\"https://www.kqed.org/arts/13917362/theres-only-one-castro-theatre-why-change-it-now\">publicly\u003c/a>, and also, as my coworkers will attest, ranted pessimistically about it in private. I have been “that guy.”\u003c/p>\n\u003cfigure id=\"attachment_13986461\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/IMG_0897-scaled.jpeg\" alt=\"\" width=\"2560\" height=\"1920\" class=\"size-full wp-image-13986461\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/IMG_0897-scaled.jpeg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/IMG_0897-2000x1500.jpeg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/IMG_0897-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/IMG_0897-768x576.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/IMG_0897-1536x1152.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/IMG_0897-2048x1536.jpeg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">The ceiling in the balcony of the Castro Theatre is readied for reopening on Feb. 5, 2026. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like thousands of others, I’d loyally seen movies there for 30 years. I \u003cem>loved\u003c/em> the Castro. It was reasonable to be worried. Another Planet does not operate any other venue that shows film — how could they possibly uphold their requirement by the Planning Commission to do so, for 75 days out of each calendar year? And how could they destroy a beloved institution’s original floor seating to become yet another music venue, with a tacked-on film element, in a city with no other movie palaces? \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Plus, I never minded the run-down look of the Castro. While it was hard to argue with restoring the ceiling, upgrading the sound, fixing the roof and adding ADA compliance, was it a fair trade-off for losing around-the-clock film programming?\u003c/p>\n\u003cp>The whole thing felt like someone walking into \u003ca href=\"https://tommysjoynt.com/about\">Tommy’s Joynt\u003c/a> and saying, “Nice place, good potential. But let’s take all this garbage off the walls and repaint it. And say, why don’t we put in a matcha bar?”\u003c/p>\n\u003cfigure id=\"attachment_13986460\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/20260206_CastroTheatreGrandReopening-16_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13986460\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/20260206_CastroTheatreGrandReopening-16_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/20260206_CastroTheatreGrandReopening-16_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/20260206_CastroTheatreGrandReopening-16_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/20260206_CastroTheatreGrandReopening-16_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The newly renovated interior at the Castro Theatre during its grand reopening on Feb. 6, 2026. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[dropcap]S[/dropcap]o while touring the theater the day before it opened, I was mainly fixated on how it would show movies. Another Planet needed to appease three contingents with this project: the LGBTQ community, the Castro neighborhood, and the film community. Their bookings so far lean very queer, a good thing, and they’ll easily bring people, and money, to the neighborhood.\u003c/p>\n\u003cp>Film, though, was still an open question.\u003c/p>\n\u003cp>[aside postID='arts_13917362']I was glad to learn that the projection booth retains both a 35mm and 70mm film projector, along with a new digital 4K BARCO projector. The screen is 36 feet by 25 feet, similar in size to the old one. There’s a new sound system, and in classic movie-palace style, the speakers sit behind the screen.\u003c/p>\n\u003cp>There’s a bar at the back of the auditorium for concerts, but it’s fully removable and will be absent for film screenings. Film booking is done in-house, and festivals like Berlin & Beyond, the SF Silent Film Festival and Frameline are all returning.\u003c/p>\n\u003cfigure id=\"attachment_13986458\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/20260206_CastroTheatreGrandReopening-12_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13986458\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/20260206_CastroTheatreGrandReopening-12_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/20260206_CastroTheatreGrandReopening-12_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/20260206_CastroTheatreGrandReopening-12_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/20260206_CastroTheatreGrandReopening-12_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">New seats await filmgoers at the Castro Theatre during its grand reopening on Feb. 6, 2026. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The seats are ugly. There’s no other way to say it. The point of \u003ca href=\"https://www.kqed.org/news/11952358/sf-supes-ok-effort-renovate-castro-theater\">so much debate\u003c/a>, anger and town halls, the new seats aren’t technically folding chairs, but to me they still look like seats at a school assembly, with toothpick legs. They’re on six-inch risers with improved sight lines, and they’re padded and have cup holders, but if AMC installed these seats at their theaters they’d go out of business immediately. \u003c/p>\n\u003cp>Sitting in the seats with Mary Conde, the senior vice president of Another Planet, I ask: you must know that some people will complain about this, right?\u003c/p>\n\u003cp>She nods. “We are prepared for that,” Conde says.\u003c/p>\n\u003cfigure id=\"attachment_13986463\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/20260206_CastroTheatreGrandReopening-5_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13986463\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/20260206_CastroTheatreGrandReopening-5_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/20260206_CastroTheatreGrandReopening-5_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/20260206_CastroTheatreGrandReopening-5_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/20260206_CastroTheatreGrandReopening-5_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Another Planet Entertainment Senior Vice President Mary Conde, Senator Scott Wiener, drag artist D’Arcy Drollinger and Mayor Daniel Lurie help cut the ribbon during the Castro Theatre’s grand reopening on Feb. 6, 2026. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[dropcap]T[/dropcap]he cops are milling around on Castro Street, trying to keep the teeming crowd on the sidewalk. It’s the Castro’s grand re-opening on Friday night, and politicians, drag queens, a marching band, a guy with a sign reading “\u003ca href=\"https://bsky.app/profile/gmeline.bsky.social/post/3mead4xikds26\">THIS SUCKS\u003c/a>,” security workers, lookie-loos, local merchants and movie fans have all congealed in front of the theater. \u003c/p>\n\u003cp>“Who’s Sam Smith?” one of the cops asks, looking up at the marquee. “Some singer,” another replies, disinterestedly. “Here for two weeks, they say.”\u003c/p>\n\u003cp>Ruby Day from Beach Blanket Babylon sings “our national anthem,” “\u003ca href=\"https://youtu.be/dv6mHsXKI2c?si=0ZOJwbwF341-ijm2\">San Francisco\u003c/a>.” Castro Supervisor Rafael Mandelman says “Go queers in construction!” Mayor Lurie does his we’re-so-back Lurie thing. The ribbon gets cut, the marching band strikes up, and we’re off.\u003c/p>\n\u003cfigure id=\"attachment_13986464\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/20260206_CastroTheatreGrandReopening-8_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13986464\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/20260206_CastroTheatreGrandReopening-8_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/20260206_CastroTheatreGrandReopening-8_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/20260206_CastroTheatreGrandReopening-8_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/20260206_CastroTheatreGrandReopening-8_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The newly renovated ceiling at the Castro Theatre during its grand reopening on Feb. 6, 2026. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>People enter the theater and immediately look upward at the stunning new ceiling. One remembers “the \u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/12/castro_2.8.22_rosasandrew_23-copy_custom-54d51f69ab1b36290c8f6c747b6061b3de0f0c3d-1920x1281.jpe\">brown expanse that it used to be\u003c/a>.” The new 2,000-pound digital organ emerges from the stage, and a standing ovation ensues for David Hegarty, the Castro’s organist since 1978. He’s canonized as “St. Mellifluous” by the Sisters of Perpetual Indulgence. There’s a sing-along to “Mamma Mia” with 14 drag queens on stage. \u003c/p>\n\u003cp>Finally, after 42 minutes of pre-show, the movie starts. \u003c/p>\n\u003cp>This is my show-me-what-you-got moment. And, after the masking is adjusted, I have to say: the movie looks \u003cem>good\u003c/em>. The film print is clean, the focus is sharp and the presentation is bright, with a strong bulb in the projector. I also find that I don’t mind my seat at all, or how it feels. I am back at the Castro, this cathedral for film, watching a movie again. Could it be that all my worries were unfounded? What’s happening here?!\u003c/p>\n\u003cp>I will forever miss the old interior, and the sound system needs some fine-tuning. But I think to myself: I can live with this. \u003c/p>\n\u003cfigure id=\"attachment_13986465\" class=\"wp-caption aligncenter\" style=\"max-width: 1447px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/IMG_0955.jpg\" alt=\"\" width=\"1447\" height=\"2000\" class=\"size-full wp-image-13986465\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/IMG_0955.jpg 1447w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/IMG_0955-160x221.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/IMG_0955-768x1062.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/IMG_0955-1111x1536.jpg 1111w\" sizes=\"auto, (max-width: 1447px) 100vw, 1447px\">\u003cfigcaption class=\"wp-caption-text\">Organist Dave Hegarty is honored at the grand reopening of the Castro Theatre on Feb. 6, 2026. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At my age, I am trying to accept change. While \u003ca href=\"https://www.kqed.org/arts/13965624/oakland-as-last-game-songs-played-coliseum\">watching my last A’s game\u003c/a> at the Oakland Coliseum, another Bay Area cathedral, I considered the possibility that what makes a place special isn’t the place so much as the people. \u003c/p>\n\u003cp>Seared into my memory is the first movie I ever saw at the Castro: \u003cem>Grey Gardens\u003c/em>, which amazed me not only for its story but for the audience interaction. During \u003cem>Priscilla\u003c/em>, people cheer for Terence Stamp, who recently died, in the opening credits. They recite lines like “a cock in a frock on a rock” back to the screen. They laugh at the jokes, sing along to the drag numbers, and get silent for the emotional scenes. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>And me? For 104 minutes, I get lost in the film, forget about the past four years, and realize that when the lights go down, it’s still the same Castro magic. \u003c/p>\n\n",
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"excerpt": "At the reopened theater's first movie screening, the pessimism I've carried for four years melted away.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">F\u003c/span>\u003c/p>\u003cp>irst things first: \u003cem>Priscilla, Queen of the Desert\u003c/em> at the \u003ca href=\"https://www.kqed.org/arts/tag/castro-theatre\">Castro Theatre\u003c/a> is not, strictly speaking, a “film event.”\u003c/p>\n\u003cp>It’s a film, sure. But it also doubles as the Castro Theatre’s long-awaited reopening after a two-year closure. It’s a celebration. It’s not Film 101 like \u003cem>Stalker\u003c/em> or \u003cem>Ikiru\u003c/em> or \u003cem>In the Mood for Love\u003c/em>; it’s \u003cem>Priscilla\u003c/em> — a communion, a camp fest, and a party.\u003c/p>\n\u003cp>And, since it is the first movie shown at the newly renovated Castro, once my favorite movie theater in the entire world, I am duty-bound to go.\u003c/p>\n\u003cp>See, I have been talking my head off about the Castro to anyone who will listen for the past four years, ever since Another Planet Entertainment, the live music promoter, announced plans to convert it into a multi-use venue. I’ve \u003ca href=\"https://www.kqed.org/arts/13908311/castro-theatre-to-become-live-music-and-events-venue-after-renovation\">reported\u003c/a> on the story \u003ca href=\"https://www.kqed.org/arts/13917362/theres-only-one-castro-theatre-why-change-it-now\">publicly\u003c/a>, and also, as my coworkers will attest, ranted pessimistically about it in private. I have been “that guy.”\u003c/p>\n\u003cfigure id=\"attachment_13986461\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/IMG_0897-scaled.jpeg\" alt=\"\" width=\"2560\" height=\"1920\" class=\"size-full wp-image-13986461\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/IMG_0897-scaled.jpeg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/IMG_0897-2000x1500.jpeg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/IMG_0897-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/IMG_0897-768x576.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/IMG_0897-1536x1152.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/IMG_0897-2048x1536.jpeg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">The ceiling in the balcony of the Castro Theatre is readied for reopening on Feb. 5, 2026. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like thousands of others, I’d loyally seen movies there for 30 years. I \u003cem>loved\u003c/em> the Castro. It was reasonable to be worried. Another Planet does not operate any other venue that shows film — how could they possibly uphold their requirement by the Planning Commission to do so, for 75 days out of each calendar year? And how could they destroy a beloved institution’s original floor seating to become yet another music venue, with a tacked-on film element, in a city with no other movie palaces? \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Plus, I never minded the run-down look of the Castro. While it was hard to argue with restoring the ceiling, upgrading the sound, fixing the roof and adding ADA compliance, was it a fair trade-off for losing around-the-clock film programming?\u003c/p>\n\u003cp>The whole thing felt like someone walking into \u003ca href=\"https://tommysjoynt.com/about\">Tommy’s Joynt\u003c/a> and saying, “Nice place, good potential. But let’s take all this garbage off the walls and repaint it. And say, why don’t we put in a matcha bar?”\u003c/p>\n\u003cfigure id=\"attachment_13986460\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/20260206_CastroTheatreGrandReopening-16_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13986460\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/20260206_CastroTheatreGrandReopening-16_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/20260206_CastroTheatreGrandReopening-16_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/20260206_CastroTheatreGrandReopening-16_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/20260206_CastroTheatreGrandReopening-16_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The newly renovated interior at the Castro Theatre during its grand reopening on Feb. 6, 2026. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">S\u003c/span>\u003c/p>\u003cp>o while touring the theater the day before it opened, I was mainly fixated on how it would show movies. Another Planet needed to appease three contingents with this project: the LGBTQ community, the Castro neighborhood, and the film community. Their bookings so far lean very queer, a good thing, and they’ll easily bring people, and money, to the neighborhood.\u003c/p>\n\u003cp>Film, though, was still an open question.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>I was glad to learn that the projection booth retains both a 35mm and 70mm film projector, along with a new digital 4K BARCO projector. The screen is 36 feet by 25 feet, similar in size to the old one. There’s a new sound system, and in classic movie-palace style, the speakers sit behind the screen.\u003c/p>\n\u003cp>There’s a bar at the back of the auditorium for concerts, but it’s fully removable and will be absent for film screenings. Film booking is done in-house, and festivals like Berlin & Beyond, the SF Silent Film Festival and Frameline are all returning.\u003c/p>\n\u003cfigure id=\"attachment_13986458\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/20260206_CastroTheatreGrandReopening-12_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13986458\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/20260206_CastroTheatreGrandReopening-12_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/20260206_CastroTheatreGrandReopening-12_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/20260206_CastroTheatreGrandReopening-12_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/20260206_CastroTheatreGrandReopening-12_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">New seats await filmgoers at the Castro Theatre during its grand reopening on Feb. 6, 2026. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The seats are ugly. There’s no other way to say it. The point of \u003ca href=\"https://www.kqed.org/news/11952358/sf-supes-ok-effort-renovate-castro-theater\">so much debate\u003c/a>, anger and town halls, the new seats aren’t technically folding chairs, but to me they still look like seats at a school assembly, with toothpick legs. They’re on six-inch risers with improved sight lines, and they’re padded and have cup holders, but if AMC installed these seats at their theaters they’d go out of business immediately. \u003c/p>\n\u003cp>Sitting in the seats with Mary Conde, the senior vice president of Another Planet, I ask: you must know that some people will complain about this, right?\u003c/p>\n\u003cp>She nods. “We are prepared for that,” Conde says.\u003c/p>\n\u003cfigure id=\"attachment_13986463\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/20260206_CastroTheatreGrandReopening-5_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13986463\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/20260206_CastroTheatreGrandReopening-5_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/20260206_CastroTheatreGrandReopening-5_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/20260206_CastroTheatreGrandReopening-5_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/20260206_CastroTheatreGrandReopening-5_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Another Planet Entertainment Senior Vice President Mary Conde, Senator Scott Wiener, drag artist D’Arcy Drollinger and Mayor Daniel Lurie help cut the ribbon during the Castro Theatre’s grand reopening on Feb. 6, 2026. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">T\u003c/span>\u003c/p>\u003cp>he cops are milling around on Castro Street, trying to keep the teeming crowd on the sidewalk. It’s the Castro’s grand re-opening on Friday night, and politicians, drag queens, a marching band, a guy with a sign reading “\u003ca href=\"https://bsky.app/profile/gmeline.bsky.social/post/3mead4xikds26\">THIS SUCKS\u003c/a>,” security workers, lookie-loos, local merchants and movie fans have all congealed in front of the theater. \u003c/p>\n\u003cp>“Who’s Sam Smith?” one of the cops asks, looking up at the marquee. “Some singer,” another replies, disinterestedly. “Here for two weeks, they say.”\u003c/p>\n\u003cp>Ruby Day from Beach Blanket Babylon sings “our national anthem,” “\u003ca href=\"https://youtu.be/dv6mHsXKI2c?si=0ZOJwbwF341-ijm2\">San Francisco\u003c/a>.” Castro Supervisor Rafael Mandelman says “Go queers in construction!” Mayor Lurie does his we’re-so-back Lurie thing. The ribbon gets cut, the marching band strikes up, and we’re off.\u003c/p>\n\u003cfigure id=\"attachment_13986464\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/20260206_CastroTheatreGrandReopening-8_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13986464\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/20260206_CastroTheatreGrandReopening-8_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/20260206_CastroTheatreGrandReopening-8_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/20260206_CastroTheatreGrandReopening-8_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/20260206_CastroTheatreGrandReopening-8_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The newly renovated ceiling at the Castro Theatre during its grand reopening on Feb. 6, 2026. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>People enter the theater and immediately look upward at the stunning new ceiling. One remembers “the \u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/12/castro_2.8.22_rosasandrew_23-copy_custom-54d51f69ab1b36290c8f6c747b6061b3de0f0c3d-1920x1281.jpe\">brown expanse that it used to be\u003c/a>.” The new 2,000-pound digital organ emerges from the stage, and a standing ovation ensues for David Hegarty, the Castro’s organist since 1978. He’s canonized as “St. Mellifluous” by the Sisters of Perpetual Indulgence. There’s a sing-along to “Mamma Mia” with 14 drag queens on stage. \u003c/p>\n\u003cp>Finally, after 42 minutes of pre-show, the movie starts. \u003c/p>\n\u003cp>This is my show-me-what-you-got moment. And, after the masking is adjusted, I have to say: the movie looks \u003cem>good\u003c/em>. The film print is clean, the focus is sharp and the presentation is bright, with a strong bulb in the projector. I also find that I don’t mind my seat at all, or how it feels. I am back at the Castro, this cathedral for film, watching a movie again. Could it be that all my worries were unfounded? What’s happening here?!\u003c/p>\n\u003cp>I will forever miss the old interior, and the sound system needs some fine-tuning. But I think to myself: I can live with this. \u003c/p>\n\u003cfigure id=\"attachment_13986465\" class=\"wp-caption aligncenter\" style=\"max-width: 1447px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/IMG_0955.jpg\" alt=\"\" width=\"1447\" height=\"2000\" class=\"size-full wp-image-13986465\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/IMG_0955.jpg 1447w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/IMG_0955-160x221.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/IMG_0955-768x1062.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/IMG_0955-1111x1536.jpg 1111w\" sizes=\"auto, (max-width: 1447px) 100vw, 1447px\">\u003cfigcaption class=\"wp-caption-text\">Organist Dave Hegarty is honored at the grand reopening of the Castro Theatre on Feb. 6, 2026. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At my age, I am trying to accept change. While \u003ca href=\"https://www.kqed.org/arts/13965624/oakland-as-last-game-songs-played-coliseum\">watching my last A’s game\u003c/a> at the Oakland Coliseum, another Bay Area cathedral, I considered the possibility that what makes a place special isn’t the place so much as the people. \u003c/p>\n\u003cp>Seared into my memory is the first movie I ever saw at the Castro: \u003cem>Grey Gardens\u003c/em>, which amazed me not only for its story but for the audience interaction. During \u003cem>Priscilla\u003c/em>, people cheer for Terence Stamp, who recently died, in the opening credits. They recite lines like “a cock in a frock on a rock” back to the screen. They laugh at the jokes, sing along to the drag numbers, and get silent for the emotional scenes. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And me? For 104 minutes, I get lost in the film, forget about the past four years, and realize that when the lights go down, it’s still the same Castro magic. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Bad Bunny Promises Unity, Doesn’t Mention ICE, in San Francisco",
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"headTitle": "Bad Bunny Promises Unity, Doesn’t Mention ICE, in San Francisco | KQED",
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"content": "\u003cp>Puerto Rican reggaeton star \u003ca href=\"https://www.kqed.org/arts/tag/bad-bunny\">Bad Bunny\u003c/a> said Thursday that viewers can expect “a huge party” from his Super Bowl Halftime Show performance on Feb. 8 as speculation swirls as to whether he will use the platform to denounce the Trump administration’s immigration enforcement policies.\u003c/p>\n\u003cp>“I just want people to have fun,” the artist, whose real name is Benito Antonio Martínez Ocasio, said during a moderated conversation with Apple Music Radio’s Ebro Darden and Zane Lowe in San Francisco.\u003c/p>\n\u003cp>“I want to bring my culture to the stage. People only need to worry about dancing,” Bad Bunny said.\u003c/p>\n\u003cfigure id=\"attachment_13986339\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986339\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/260205-SUPERBOWLBADBUNNYQA-19-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/260205-SUPERBOWLBADBUNNYQA-19-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/260205-SUPERBOWLBADBUNNYQA-19-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/260205-SUPERBOWLBADBUNNYQA-19-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/260205-SUPERBOWLBADBUNNYQA-19-BL-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Bad Bunny speaks with Apple Music Radio’s Ebro Darden and Zane Lowe during a press conference at Moscone Center in San Francisco on Thursday, Feb. 5, 2026, ahead of headlining the halftime show at Super Bowl LX in on Sunday. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bad Bunny made no mention of U.S. \u003ca href=\"https://www.kqed.org/news/tag/ice\">Immigration and Customs Enforcement\u003c/a> during the 30-minute conversation.\u003c/p>\n\u003cp>That’s a stark contrast to \u003ca href=\"https://www.kqed.org/arts/13986130/grammys-2026-10-takeaways-from-a-historic-chaotic-night\">last week’s Grammy Awards\u003c/a>, where the artist made forceful comments opposing the Trump administration’s ramped-up deportation efforts.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Before I say thanks to God, I’m going to say ICE out. We’re not savage, we’re not animals, we’re not aliens and we are Americans,” Bad Bunny said in his acceptance speech for the Grammy for Best Música Urbana Album. He received applause from his industry peers, some of whom wore “ICE OUT” pins. [aside postid='arts_13986310']\u003c/p>\n\u003cp>Bad Bunny’s highly anticipated halftime show comes as the artist reaches new heights of his skyrocketing career. Bad Bunny was the most-streamed artist on Spotify in 2025, racking up 19.8 billion streams; he also claimed that title in 2020, 2021 and 2022. He took home three Grammy awards last week, and became the first artist to win Album of the Year for an entirely Spanish-language record.\u003c/p>\n\u003cp>Bad Bunny said he is still processing his recent whirlwind of achievements while preparing to headline the largest concert in the United States.\u003c/p>\n\u003cp>“I have been very blessed because every step that I do in my career takes me to another level,” he said. “It’s been a beautiful and tough journey.”\u003c/p>\n\u003cfigure id=\"attachment_13986338\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986338\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/260205-SUPERBOWLBADBUNNYQA-14-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/260205-SUPERBOWLBADBUNNYQA-14-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/260205-SUPERBOWLBADBUNNYQA-14-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/260205-SUPERBOWLBADBUNNYQA-14-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/260205-SUPERBOWLBADBUNNYQA-14-BL-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Bad Bunny speaks with Apple Music Radio’s Ebro Darden (left) and Zane Lowe during a press conference at Moscone Center in San Francisco on Thursday, Feb. 5, 2026. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At one point Bad Bunny lost his train of thought, apparently struggling to respond to questions in English, which is not his first language.\u003c/p>\n\u003cp>“I’m just trying to say all the English words that I know,” he joked.\u003c/p>\n\u003cp>The Trump administration and its allies have criticized the NFL for picking Bad Bunny to star in the halftime show, which regularly draws over 100 million viewers. The conservative non-profit Turning Point USA, founded by the late conservative icon Charlie Kirk, is holding an alternative halftime show that will livestream at the same time as the official one. The “All-American Halftime Show” will celebrate “faith, family, and freedom,” according to the event website. Rap-rock musician Kid Rock will headline.\u003c/p>\n\u003cfigure id=\"attachment_13986340\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986340\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/260205-SUPERBOWLBADBUNNYQA-39-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/260205-SUPERBOWLBADBUNNYQA-39-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/260205-SUPERBOWLBADBUNNYQA-39-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/260205-SUPERBOWLBADBUNNYQA-39-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/260205-SUPERBOWLBADBUNNYQA-39-BL-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Bad Bunny poses with Apple Music Radio’s Ebro Darden (left) and Zane Lowe during a press conference at Moscone Center in San Francisco on Thursday, Feb. 5, 2026. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s a terrible choice. All it does is sow hatred,” President Trump told the \u003cem>New York Post\u003c/em> last month, referencing the NFL’s selection of Bad Bunny and storied Bay Area band Green Day, who will play the Super Bowl opening ceremony. Green Day have also been outspoken critics of the Trump administration.\u003c/p>\n\u003cp>At a Super Bowl LX press conference on Feb. 2, NFL Commissioner Roger Goodell stood by the NFL’s choice, saying Bad Bunny is “one of the great artists in the world.”\u003c/p>\n\u003cp>Goodell continued that he believes Bad Bunny understands that the halftime show is a platform to “bring people together with their creativity and their talents.”\u003c/p>\n\u003cp>“Artists in the past have done that, and I think Bad Bunny understands that, and I think he’ll have a great performance,” Goodell said.\u003c/p>\n\u003cfigure id=\"attachment_13986337\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986337\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/260205-SUPERBOWLBADBUNNYQA-06-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/260205-SUPERBOWLBADBUNNYQA-06-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/260205-SUPERBOWLBADBUNNYQA-06-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/260205-SUPERBOWLBADBUNNYQA-06-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/260205-SUPERBOWLBADBUNNYQA-06-BL-KQED-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Bad Bunny hugs Apple Music Radio’s Ebro Darden before a press conference at Moscone Center in San Francisco on Thursday, Feb. 5, 2026. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Goodell also responded to a question about whether he expects ICE enforcement operations around the Super Bowl by saying that every Super Bowl involves “unique assets at the federal, state and local level all working together. I see no change in that in preparations for the Super Bowl.”\u003c/p>\n\u003cp>In the lead-up to Super Bowl Sunday, Bad Bunny-themed parties, some dubbed the “Beinto Bowl,” are popping up all over the Bay Area, as has anti-ICE, Bad Bunny-themed graffiti on city streets.\u003c/p>\n\u003cp>This won’t be Bad Bunny’s first Super Bowl appearance. He performed during the Super Bowl LIV Halftime Show in 2020 as a guest of headliners Jennifer Lopez and Shakira. That performance included children in cage-like structures, a thinly veiled rebuke of the Trump administration policy of separating immigrant families during deportation proceedings.\u003c/p>\n\u003cp>Asked whether he was planning any surprises or special guests for Sunday’s performance, Bad Bunny deflected.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“You know I can’t answer that,” he said.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Puerto Rican reggaeton star \u003ca href=\"https://www.kqed.org/arts/tag/bad-bunny\">Bad Bunny\u003c/a> said Thursday that viewers can expect “a huge party” from his Super Bowl Halftime Show performance on Feb. 8 as speculation swirls as to whether he will use the platform to denounce the Trump administration’s immigration enforcement policies.\u003c/p>\n\u003cp>“I just want people to have fun,” the artist, whose real name is Benito Antonio Martínez Ocasio, said during a moderated conversation with Apple Music Radio’s Ebro Darden and Zane Lowe in San Francisco.\u003c/p>\n\u003cp>“I want to bring my culture to the stage. People only need to worry about dancing,” Bad Bunny said.\u003c/p>\n\u003cfigure id=\"attachment_13986339\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986339\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/260205-SUPERBOWLBADBUNNYQA-19-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/260205-SUPERBOWLBADBUNNYQA-19-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/260205-SUPERBOWLBADBUNNYQA-19-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/260205-SUPERBOWLBADBUNNYQA-19-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/260205-SUPERBOWLBADBUNNYQA-19-BL-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Bad Bunny speaks with Apple Music Radio’s Ebro Darden and Zane Lowe during a press conference at Moscone Center in San Francisco on Thursday, Feb. 5, 2026, ahead of headlining the halftime show at Super Bowl LX in on Sunday. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bad Bunny made no mention of U.S. \u003ca href=\"https://www.kqed.org/news/tag/ice\">Immigration and Customs Enforcement\u003c/a> during the 30-minute conversation.\u003c/p>\n\u003cp>That’s a stark contrast to \u003ca href=\"https://www.kqed.org/arts/13986130/grammys-2026-10-takeaways-from-a-historic-chaotic-night\">last week’s Grammy Awards\u003c/a>, where the artist made forceful comments opposing the Trump administration’s ramped-up deportation efforts.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Before I say thanks to God, I’m going to say ICE out. We’re not savage, we’re not animals, we’re not aliens and we are Americans,” Bad Bunny said in his acceptance speech for the Grammy for Best Música Urbana Album. He received applause from his industry peers, some of whom wore “ICE OUT” pins. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Bad Bunny’s highly anticipated halftime show comes as the artist reaches new heights of his skyrocketing career. Bad Bunny was the most-streamed artist on Spotify in 2025, racking up 19.8 billion streams; he also claimed that title in 2020, 2021 and 2022. He took home three Grammy awards last week, and became the first artist to win Album of the Year for an entirely Spanish-language record.\u003c/p>\n\u003cp>Bad Bunny said he is still processing his recent whirlwind of achievements while preparing to headline the largest concert in the United States.\u003c/p>\n\u003cp>“I have been very blessed because every step that I do in my career takes me to another level,” he said. “It’s been a beautiful and tough journey.”\u003c/p>\n\u003cfigure id=\"attachment_13986338\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986338\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/260205-SUPERBOWLBADBUNNYQA-14-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/260205-SUPERBOWLBADBUNNYQA-14-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/260205-SUPERBOWLBADBUNNYQA-14-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/260205-SUPERBOWLBADBUNNYQA-14-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/260205-SUPERBOWLBADBUNNYQA-14-BL-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Bad Bunny speaks with Apple Music Radio’s Ebro Darden (left) and Zane Lowe during a press conference at Moscone Center in San Francisco on Thursday, Feb. 5, 2026. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At one point Bad Bunny lost his train of thought, apparently struggling to respond to questions in English, which is not his first language.\u003c/p>\n\u003cp>“I’m just trying to say all the English words that I know,” he joked.\u003c/p>\n\u003cp>The Trump administration and its allies have criticized the NFL for picking Bad Bunny to star in the halftime show, which regularly draws over 100 million viewers. The conservative non-profit Turning Point USA, founded by the late conservative icon Charlie Kirk, is holding an alternative halftime show that will livestream at the same time as the official one. The “All-American Halftime Show” will celebrate “faith, family, and freedom,” according to the event website. Rap-rock musician Kid Rock will headline.\u003c/p>\n\u003cfigure id=\"attachment_13986340\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986340\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/260205-SUPERBOWLBADBUNNYQA-39-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/260205-SUPERBOWLBADBUNNYQA-39-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/260205-SUPERBOWLBADBUNNYQA-39-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/260205-SUPERBOWLBADBUNNYQA-39-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/260205-SUPERBOWLBADBUNNYQA-39-BL-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Bad Bunny poses with Apple Music Radio’s Ebro Darden (left) and Zane Lowe during a press conference at Moscone Center in San Francisco on Thursday, Feb. 5, 2026. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s a terrible choice. All it does is sow hatred,” President Trump told the \u003cem>New York Post\u003c/em> last month, referencing the NFL’s selection of Bad Bunny and storied Bay Area band Green Day, who will play the Super Bowl opening ceremony. Green Day have also been outspoken critics of the Trump administration.\u003c/p>\n\u003cp>At a Super Bowl LX press conference on Feb. 2, NFL Commissioner Roger Goodell stood by the NFL’s choice, saying Bad Bunny is “one of the great artists in the world.”\u003c/p>\n\u003cp>Goodell continued that he believes Bad Bunny understands that the halftime show is a platform to “bring people together with their creativity and their talents.”\u003c/p>\n\u003cp>“Artists in the past have done that, and I think Bad Bunny understands that, and I think he’ll have a great performance,” Goodell said.\u003c/p>\n\u003cfigure id=\"attachment_13986337\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986337\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/260205-SUPERBOWLBADBUNNYQA-06-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/260205-SUPERBOWLBADBUNNYQA-06-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/260205-SUPERBOWLBADBUNNYQA-06-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/260205-SUPERBOWLBADBUNNYQA-06-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/260205-SUPERBOWLBADBUNNYQA-06-BL-KQED-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Bad Bunny hugs Apple Music Radio’s Ebro Darden before a press conference at Moscone Center in San Francisco on Thursday, Feb. 5, 2026. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Goodell also responded to a question about whether he expects ICE enforcement operations around the Super Bowl by saying that every Super Bowl involves “unique assets at the federal, state and local level all working together. I see no change in that in preparations for the Super Bowl.”\u003c/p>\n\u003cp>In the lead-up to Super Bowl Sunday, Bad Bunny-themed parties, some dubbed the “Beinto Bowl,” are popping up all over the Bay Area, as has anti-ICE, Bad Bunny-themed graffiti on city streets.\u003c/p>\n\u003cp>This won’t be Bad Bunny’s first Super Bowl appearance. He performed during the Super Bowl LIV Halftime Show in 2020 as a guest of headliners Jennifer Lopez and Shakira. That performance included children in cage-like structures, a thinly veiled rebuke of the Trump administration policy of separating immigrant families during deportation proceedings.\u003c/p>\n\u003cp>Asked whether he was planning any surprises or special guests for Sunday’s performance, Bad Bunny deflected.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“You know I can’t answer that,” he said.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Celimar Rivera Cosme is a huge \u003ca href=\"https://www.kqed.org/arts/13986280/bad-bunny-bay-area-imoact-sol-food-mural-pinatas-super-bowl-mission-district\">Bad Bunny\u003c/a> fan. So in 2022, she posted a \u003ca href=\"https://www.instagram.com/p/CfwwlRxlP0g/\">video on Instagram\u003c/a> to address the artist directly.\u003c/p>\n\u003cp>“Hi, Benito, Bad Bunny, hope you see this video,” she said in Spanish while signing. “Did you know that there are roughly 100,000 Deaf people in Puerto Rico? The majority like your songs, but they haven’t had the chance to experience a concert with an interpreter.”\u003c/p>\n\u003cp>[aside postid='pop_104339']A week later, Rivera Cosme was on tour with Bad Bunny as one of his official sign language interpreters. She’ll now join the Puerto Rican star as he headlines the Super Bowl halftime show at Santa Clara’s Levi’s Stadium. It’s first time in the show’s history that it will feature lyrics entirely in Spanish, and the first time Puerto Rican Sign Language will be in the spotlight on one of the country’s biggest stages.\u003c/p>\n\u003cp>“I’m so excited,” Rivera Cosme tells KQED in Puerto Rican Sign Language, or LSPR, during an interview assisted by an interpreter. “And the Deaf people of Puerto Rico are happy that the Super Bowl will be accessible to them in their own sign language.”\u003c/p>\n\u003cfigure id=\"attachment_13986325\" class=\"wp-caption aligncenter\" style=\"max-width: 1179px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986325\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/IMG_2457.jpeg\" alt=\"A sign language interpreter signs next to Bad Bunny on stage while he sings and gestures to the crowd.\" width=\"1179\" height=\"1853\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/IMG_2457.jpeg 1179w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/IMG_2457-160x251.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/IMG_2457-768x1207.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/IMG_2457-977x1536.jpeg 977w\" sizes=\"auto, (max-width: 1179px) 100vw, 1179px\">\u003cfigcaption class=\"wp-caption-text\">Puerto Rican sign language interpreter Celimar Rivera Cosme (left) will make history when she performs with Bad Bunny at the Super Bowl halftime show at Levi’s Stadium in Santa Clara on Feb. 8. \u003ccite>(Zoe Rodriguez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rivera Cosme will sign Bad Bunny’s lyrics in LSPR, bouncing on stage with the full-body energy of the music. LSPR is different from American Sign Language, or ASL, and Bad Bunny’s distinctly Puerto Rican slang already figures into its vocabulary.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Rivera Cosme’s Super Bowl halftime performance marks an important shift for Deaf representation. Historically, concerts have featured hearing interpreters, but many Deaf audiences prefer Deaf interpreters who are more fluent in their language and culture.\u003c/p>\n\u003cp>Since she’s partially Deaf, Rivera Cosme spends time ahead of the concert listening to the set list through headphones, reading the lyrics and preparing to give a dynamic show for Deaf Bad Bunny fans who enjoy the bass-heavy reggaeton beats and high-energy salsas through their vibrations. [aside postid='arts_13986280']\u003c/p>\n\u003cp>Rivera Cosme’s appearance on the Super Bowl stage comes at a high point in Bad Bunny’s career. Last summer, she was one of the interpreters at his 30-date concert residency in Puerto Rico, No Me Quiero Ir de Aquí (I Don’t Want to Leave Here), which injected hundreds of millions of dollars into Puerto Rico’s economy.\u003c/p>\n\u003cp>With lyrics that capture the grief and alienation of Puerto Ricans forced to leave home in search of opportunities, Bad Bunny’s 2025 album \u003cem>DeBÍ TiRAR MáS FOToS\u003c/em> became a global phenomenon that continues to resonate across cultures. And aside from the Super Bowl, Bad Bunny is skipping the U.S. entirely on his ongoing world tour, which has \u003ca href=\"https://www.billboard.com/pro/bad-bunny-monthly-boxscore-record-december/\">broken even Beyoncé’s records\u003c/a> in terms of earnings and attendance.\u003c/p>\n\u003cp>As she looks forward to the Super Bowl, Rivera Cosme says she’s especially proud to interpret songs that spotlight Puerto Rican traditions, like “Café Con Ron,” which features the folk ensemble Los Pleneros de la Cresta.\u003c/p>\n\u003cp>“I grew up in the mountains, in the countryside,” she says. “So I really identify with that song.”\u003c/p>\n\u003cfigure id=\"attachment_13986315\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986315\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/GettyImages-2251488935.jpg\" alt=\"\" width=\"1024\" height=\"683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/GettyImages-2251488935.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/GettyImages-2251488935-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/GettyImages-2251488935-768x512.jpg 768w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Bad Bunny performs on stage during the Debí Tirar Más Fotos world tour at Estadio GNP Seguros on Dec. 11, 2025 in Mexico City, Mexico. \u003ccite>(mma McIntyre/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Octavio Cuenca Maldonado, president of the \u003ca href=\"https://www.nhlad.org/\">National Hispanic Latino Association of the Deaf\u003c/a>, says this Super Bowl halftime show is much more than a performance. Speaking through an interpreter, he says Rivera Cosme is providing crucial representation for Deaf Latinos.\u003c/p>\n\u003cp>“This is about language, culture, identity, and recognition by the world,” he says.\u003c/p>\n\u003cp>It’s rare for interpreters’ cultural background to reflect the music itself, says AV Vilavong, a Deaf concert interpreter who performs at major music festivals across the country.\u003c/p>\n\u003cp>“The fact that Celimar is Puerto Rican, there are cultural nuances that are already embedded in how she, as a Deaf interpreter, will match the tone, the cultural aspects, the songs, the significance behind the slang for particular vocabulary,” Vilavong says through an interpeter. “It’s embedded in who she is as an individual.”\u003c/p>\n\u003cfigure id=\"attachment_13986326\" class=\"wp-caption aligncenter\" style=\"max-width: 1705px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986326\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/IMG_2162-scaled.jpg\" alt=\"A woman holds up a Puerto Rican flag.\" width=\"1705\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/IMG_2162-scaled.jpg 1705w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/IMG_2162-2000x3003.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/IMG_2162-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/IMG_2162-768x1153.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/IMG_2162-1023x1536.jpg 1023w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/IMG_2162-1364x2048.jpg 1364w\" sizes=\"auto, (max-width: 1705px) 100vw, 1705px\">\u003cfigcaption class=\"wp-caption-text\">Celimar Rivera Cosme. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bad Bunny’s halftime performance resonates here in the Bay Area, which has a long history when it comes to disability justice. In the late ’70s, protesters occupied a San Francisco federal building demanding that the government enforce laws promising equal access to public services. It was a turning point for the disability justice movement that became known as the \u003ca href=\"https://www.kqed.org/arts/13966861/judith-heumann-disability-rights-uc-berkeley-center-independent-living\">504 Sit-In.\u003c/a>\u003c/p>\n\u003cp>Ardavan Guity, director of Deaf studies at Ohlone College in Fremont, says the Bay Area is a hub for nonprofits, schools and services for the Deaf community.\u003c/p>\n\u003cp>“There are some states where they are ignorant about the Deaf community,” he says through an interpreter. “I found that not to be the case in the Bay Area. The Bay Area is fantastic when it comes to that.”\u003c/p>\n\u003cp>Now, Bad Bunny’s halftime show is poised to add a new chapter to the region’s long legacy of advocating for accessibility.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Rivera Cosme says this historic moment isn’t just about her. “I know I’m going to be the one standing up there,” she says, “but it’s the Deaf community of my island that’s going to shine.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>A week later, Rivera Cosme was on tour with Bad Bunny as one of his official sign language interpreters. She’ll now join the Puerto Rican star as he headlines the Super Bowl halftime show at Santa Clara’s Levi’s Stadium. It’s first time in the show’s history that it will feature lyrics entirely in Spanish, and the first time Puerto Rican Sign Language will be in the spotlight on one of the country’s biggest stages.\u003c/p>\n\u003cp>“I’m so excited,” Rivera Cosme tells KQED in Puerto Rican Sign Language, or LSPR, during an interview assisted by an interpreter. “And the Deaf people of Puerto Rico are happy that the Super Bowl will be accessible to them in their own sign language.”\u003c/p>\n\u003cfigure id=\"attachment_13986325\" class=\"wp-caption aligncenter\" style=\"max-width: 1179px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986325\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/IMG_2457.jpeg\" alt=\"A sign language interpreter signs next to Bad Bunny on stage while he sings and gestures to the crowd.\" width=\"1179\" height=\"1853\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/IMG_2457.jpeg 1179w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/IMG_2457-160x251.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/IMG_2457-768x1207.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/IMG_2457-977x1536.jpeg 977w\" sizes=\"auto, (max-width: 1179px) 100vw, 1179px\">\u003cfigcaption class=\"wp-caption-text\">Puerto Rican sign language interpreter Celimar Rivera Cosme (left) will make history when she performs with Bad Bunny at the Super Bowl halftime show at Levi’s Stadium in Santa Clara on Feb. 8. \u003ccite>(Zoe Rodriguez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rivera Cosme will sign Bad Bunny’s lyrics in LSPR, bouncing on stage with the full-body energy of the music. LSPR is different from American Sign Language, or ASL, and Bad Bunny’s distinctly Puerto Rican slang already figures into its vocabulary.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Rivera Cosme’s Super Bowl halftime performance marks an important shift for Deaf representation. Historically, concerts have featured hearing interpreters, but many Deaf audiences prefer Deaf interpreters who are more fluent in their language and culture.\u003c/p>\n\u003cp>Since she’s partially Deaf, Rivera Cosme spends time ahead of the concert listening to the set list through headphones, reading the lyrics and preparing to give a dynamic show for Deaf Bad Bunny fans who enjoy the bass-heavy reggaeton beats and high-energy salsas through their vibrations. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Rivera Cosme’s appearance on the Super Bowl stage comes at a high point in Bad Bunny’s career. Last summer, she was one of the interpreters at his 30-date concert residency in Puerto Rico, No Me Quiero Ir de Aquí (I Don’t Want to Leave Here), which injected hundreds of millions of dollars into Puerto Rico’s economy.\u003c/p>\n\u003cp>With lyrics that capture the grief and alienation of Puerto Ricans forced to leave home in search of opportunities, Bad Bunny’s 2025 album \u003cem>DeBÍ TiRAR MáS FOToS\u003c/em> became a global phenomenon that continues to resonate across cultures. And aside from the Super Bowl, Bad Bunny is skipping the U.S. entirely on his ongoing world tour, which has \u003ca href=\"https://www.billboard.com/pro/bad-bunny-monthly-boxscore-record-december/\">broken even Beyoncé’s records\u003c/a> in terms of earnings and attendance.\u003c/p>\n\u003cp>As she looks forward to the Super Bowl, Rivera Cosme says she’s especially proud to interpret songs that spotlight Puerto Rican traditions, like “Café Con Ron,” which features the folk ensemble Los Pleneros de la Cresta.\u003c/p>\n\u003cp>“I grew up in the mountains, in the countryside,” she says. “So I really identify with that song.”\u003c/p>\n\u003cfigure id=\"attachment_13986315\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986315\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/GettyImages-2251488935.jpg\" alt=\"\" width=\"1024\" height=\"683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/GettyImages-2251488935.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/GettyImages-2251488935-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/GettyImages-2251488935-768x512.jpg 768w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Bad Bunny performs on stage during the Debí Tirar Más Fotos world tour at Estadio GNP Seguros on Dec. 11, 2025 in Mexico City, Mexico. \u003ccite>(mma McIntyre/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Octavio Cuenca Maldonado, president of the \u003ca href=\"https://www.nhlad.org/\">National Hispanic Latino Association of the Deaf\u003c/a>, says this Super Bowl halftime show is much more than a performance. Speaking through an interpreter, he says Rivera Cosme is providing crucial representation for Deaf Latinos.\u003c/p>\n\u003cp>“This is about language, culture, identity, and recognition by the world,” he says.\u003c/p>\n\u003cp>It’s rare for interpreters’ cultural background to reflect the music itself, says AV Vilavong, a Deaf concert interpreter who performs at major music festivals across the country.\u003c/p>\n\u003cp>“The fact that Celimar is Puerto Rican, there are cultural nuances that are already embedded in how she, as a Deaf interpreter, will match the tone, the cultural aspects, the songs, the significance behind the slang for particular vocabulary,” Vilavong says through an interpeter. “It’s embedded in who she is as an individual.”\u003c/p>\n\u003cfigure id=\"attachment_13986326\" class=\"wp-caption aligncenter\" style=\"max-width: 1705px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986326\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/IMG_2162-scaled.jpg\" alt=\"A woman holds up a Puerto Rican flag.\" width=\"1705\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/IMG_2162-scaled.jpg 1705w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/IMG_2162-2000x3003.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/IMG_2162-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/IMG_2162-768x1153.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/IMG_2162-1023x1536.jpg 1023w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/IMG_2162-1364x2048.jpg 1364w\" sizes=\"auto, (max-width: 1705px) 100vw, 1705px\">\u003cfigcaption class=\"wp-caption-text\">Celimar Rivera Cosme. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bad Bunny’s halftime performance resonates here in the Bay Area, which has a long history when it comes to disability justice. In the late ’70s, protesters occupied a San Francisco federal building demanding that the government enforce laws promising equal access to public services. It was a turning point for the disability justice movement that became known as the \u003ca href=\"https://www.kqed.org/arts/13966861/judith-heumann-disability-rights-uc-berkeley-center-independent-living\">504 Sit-In.\u003c/a>\u003c/p>\n\u003cp>Ardavan Guity, director of Deaf studies at Ohlone College in Fremont, says the Bay Area is a hub for nonprofits, schools and services for the Deaf community.\u003c/p>\n\u003cp>“There are some states where they are ignorant about the Deaf community,” he says through an interpreter. “I found that not to be the case in the Bay Area. The Bay Area is fantastic when it comes to that.”\u003c/p>\n\u003cp>Now, Bad Bunny’s halftime show is poised to add a new chapter to the region’s long legacy of advocating for accessibility.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Rivera Cosme says this historic moment isn’t just about her. “I know I’m going to be the one standing up there,” she says, “but it’s the Deaf community of my island that’s going to shine.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "How’s Bad Bunny Left His Mark on the Bay Area? Let Us Count the Ways",
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"content": "\u003cp>Fresh off winning three Grammy awards and selling out a world tour, \u003ca href=\"https://www.kqed.org/arts/tag/bad-bunny\">Bad Bunny\u003c/a> visits the Bay Area this weekend to perform \u003ca href=\"https://www.kqed.org/arts/13986188/super-bowl-2026-ice-levis-stadium-bad-bunny-politics-protest\">at the Super Bowl halftime show\u003c/a> — and the Bay is fired up for “Benito Bowl.”\u003c/p>\n\u003cp>“We are so proud of him,” says María Medina Serafín, a musician who moved to San Francisco from Puerto Rico to form an all-women salsa band. “He has elevated Puerto Rican culture and has done it in a way that is true to himself.”\u003c/p>\n\u003cp>[aside postID='arts_13986188']While the Bay doesn’t boast a Puerto Rican diaspora as large as New York City or Philadelphia, Bad Bunny’s music and style have been embraced by the region’s many Latin American communities. His views on the \u003ca href=\"https://www.teenvogue.com/story/bad-bunny-debi-tirar-mas-fotos-political-lines-explained\">gentrification\u003c/a> of his home island, \u003ca href=\"https://www.npr.org/2022/05/28/1101921360/what-it-means-for-pop-music-to-raise-awareness-about-intimate-partner-violence\">female empowerment\u003c/a> and the role of U.S. Immigration and Customs Enforcement have strongly resonated with those in the Bay Area that live between two cultures.\u003c/p>\n\u003cp>“Y claro, it gives you a lot of pride to hear your language on the biggest show on the planet — all right where you live,” adds Medina Serafín.\u003c/p>\n\u003cp>Below, read about local artists whose work is inspired by Benito, along with moments in Bay Area history marked by the reggaetonero’s influence.\u003c/p>\n\u003cfigure id=\"attachment_13986285\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986285\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/012026_BadBunnyBayArea_GH_002_qed.jpg\" alt=\"A Latina woman in black top poses next to a large red heart-shaped piñata, with shelves of merchandise in the background\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/012026_BadBunnyBayArea_GH_002_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/012026_BadBunnyBayArea_GH_002_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/012026_BadBunnyBayArea_GH_002_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/012026_BadBunnyBayArea_GH_002_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Nayeli Bustamante, owner of Flor de Oaxaca, poses with a Bad Bunny-themed piñata inside her shop in San Francisco on Jan. 20, 2026. Bustamante runs the Mission District store as both a retail space for traditional Oaxacan clothing and a workshop where she makes custom piñatas. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Piñatas for Benito\u003c/h2>\n\u003cp>A short ride on the 14 or the 49 Muni bus from Celis Castro’s mural is the Excelsior District, home to Flor de Oaxaca, a shop that for years has imported craftware, clothing and art from the Mexican state of Oaxaca to San Francisco. In recent years, owner Nayeli Bustamante has also sold masterfully decorated piñatas, which she and her staff make by hand.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>While she doesn’t describe herself as a “superfan,” Bustamante has followed Bad Bunny’s career, and admires his dedication. “I have also learned a lot about Puerto Rico through him, and the way he talks about his home reminds me of Oaxaca.”\u003c/p>\n\u003cp>Ahead of his halftime show, she’s been making Bad Bunny-inspired piñatas. Some look like the unhappy heart from the \u003ci>Un Verano Sin Ti\u003c/i> album cover, and others take the form of the singer’s original logo: a white bunny with crossed-out eyes.\u003c/p>\n\u003cp>“We start with a basic image, but as you build the piñata, you find so many different ways to add more detail, texture and spark,” Bustamante says. “When you present the piñata to a child on their big day, and you see their huge smile, that’s the best part of the process.”\u003c/p>\n\u003cfigure id=\"attachment_13986284\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986284\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/012026_BadBunnyBayArea_GH_022_qed.jpg\" alt=\"A Latino man with short black hair and a beard, in a black top, stands in front of a colorful mural of a heart with a sad face, a sunset, and dolphins, as an elderly man walks past\" width=\"2000\" height=\"1293\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/012026_BadBunnyBayArea_GH_022_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/012026_BadBunnyBayArea_GH_022_qed-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/012026_BadBunnyBayArea_GH_022_qed-768x497.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/012026_BadBunnyBayArea_GH_022_qed-1536x993.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Efren Celis Castro with his Bad Bunny-inspired mural on a neighborhood convenience store in San Francisco’s Mission District, with passerby, on Jan. 20, 2026. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Mission District’s ‘Un Verano Sin Ti’ mural\u003c/h2>\n\u003cp>A block away from the 24th and Mission BART station stands a larger-than-life recreation of Benito’s 2022 album \u003ci>Un Verano Sin Ti\u003c/i>, complete with a sun setting over the horizon, flying dolphins and, of course, a very sad heart. On the side of a liquor store at the corner of 24th and Bartlett streets, the mural was painted in 2022 by 22-year-old Efren Celis Castro.\u003c/p>\n\u003cp>Growing up in the Mission, Celis Castro was surrounded by the neighborhood’s murals — testaments to the social justice and artistic movements constantly moving through the neighborhood. In high school, while selling his own paintings along Mission Street, a local restaurant owner gave him his very first mural commission. While he soon received more opportunities, there was one image he wanted to paint.\u003c/p>\n\u003cp>“The album art of \u003ci>Un Verano Sin Ti\u003c/i>. It was the album of the summer,” he says. “The vibes, the sound, you had to experience it in that moment.”\u003c/p>\n\u003cp>No one was willing to commission it, though, so he walked to a liquor store nearby and convinced the owner to let him paint the mural for free. Years later, he still gets tagged on Instagram from Bad Bunny fans who happen upon the mural while walking to BART.\u003c/p>\n\u003cp>“Kids see it too, and they’re going to remember that,” he says. “I think that’s what’s most important for me. Helping out the youth and giving inspiration to the young ones.”\u003c/p>\n\u003cfigure id=\"attachment_13986283\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986283\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/GettyImages-1321640886.jpg\" alt=\"A plate of chicken, rice, plantains and soup\" width=\"1024\" height=\"694\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/GettyImages-1321640886.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/GettyImages-1321640886-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/GettyImages-1321640886-768x521.jpg 768w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">The Pollo Al Horno, with rice, plantains and soup, at Sol Food restaurant in San Rafael. \u003ccite>(Liz Hafalia/The San Francisco Chronicle via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The day Bad Bunny brought a party of 80 to a Marin restaurant\u003c/h2>\n\u003cp>Two days before an Oakland show in 2022, Benito brought an entourage of 80 friends and members of his production crew across the Golden Gate Bridge for Puerto Rican food. They found it at Sol Food in San Rafael, and packed the place, ordering almost everything on the menu, says restaurant manager Francisco Gómez.\u003c/p>\n\u003cp>“In the beginning, we didn’t even know if he was with the group,” he says. “We assumed it was just his team working the concert — until he walked inside.”\u003c/p>\n\u003cp>With such a big party, all hands were on deck. Gómez himself jumped into the kitchen line to get orders out. “But everybody was laughing, eating, taking pictures, and enjoying the food,” he says, adding that Benito took plenty of selfies with the restaurant staff and thanked them for the meal.\u003c/p>\n\u003cp>Since that visit, Gómez says, Sol Food gets new customers from all over who heard about the restaurant after \u003ca href=\"https://www.sfgate.com/food/article/Bad-Bunny-dines-at-SF-Bay-Area-Sol-Food-17444606.php\">the reggaetonero’s visit\u003c/a>. He’s particularly excited that more people are trying out Puerto Rican food.\u003c/p>\n\u003cp>https://youtu.be/NO7EtdR3Dyw?si=VAkiKNXYaL5bkxIt\u003c/p>\n\u003ch2>San Francisco stars in a Bad Bunny music video\u003c/h2>\n\u003cp>Close your eyes and picture a Bad Bunny music video: a Caribbean beach, most likely, toasted by the warm sun, with happy people running and dancing. Pretty good guess — that essentially describes the visualisers from \u003ci>Un Verano Sin Ti\u003c/i>.\u003c/p>\n\u003cp>A cold and foggy day in San Francisco may not immediately come to mind, but that’s precisely the setting for the \u003ca href=\"https://youtu.be/NO7EtdR3Dyw?si=VAkiKNXYaL5bkxIt\">music video for 2021’s “Lo Siento BB:/,”\u003c/a> featuring producer Tainy and Mexican indie legend Julieta Venegas. Directed by Colombian-American director Stillz, the video follows a large, hairy \u003ci>Where the Wild Things Are\u003c/i>-like creature as it joylessly walks around the city, interrupted by memories of its sweetheart.\u003c/p>\n\u003cp>Matching the song’s melancholy lyrics, the video shows the quiet solitude that comes when fog envelops the city. Potrero Hill, the Mission, Ocean Beach and Chinatown become the background for the protagonist’s journey through heartbreak.\u003c/p>\n\u003cfigure id=\"attachment_13986286\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986286\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/ChingaLaMigra.BadBunny.jpg\" alt=\"\" width=\"2000\" height=\"1006\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/ChingaLaMigra.BadBunny.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/ChingaLaMigra.BadBunny-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/ChingaLaMigra.BadBunny-768x386.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/ChingaLaMigra.BadBunny-1536x773.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A ‘Chinga La Migra’ poster design featuring Sapo Concho, the Puerto Rican crested toad that appears in Bad Bunny’s Debí Tirar Más Fotos world tour. \u003ccite>(Designer Unknown)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>In the Bay’s anti-ICE protests, Benito’s creative symbols find a home\u003c/h2>\n\u003cp>Bay Area immigrant advocates have worked \u003ca href=\"https://www.kqed.org/news/12050993/a-day-in-the-life-of-san-joses-rapid-response-network-built-to-resist-ice-fear\">around the clock\u003c/a> to prevent deportations, assist families with legal proceedings and \u003ca href=\"https://www.kqed.org/news/12071746/thousands-gather-in-san-francisco-businesses-close-as-part-of-nationwide-ice-out-protest\">speak out\u003c/a> against violent acts by ICE agents, most recently the killings of \u003ca href=\"https://www.mprnews.org/story/2026/01/09/renee-goods-wife-releases-statement-about-ice-shooting\">Renée Macklin Good\u003c/a> and \u003ca href=\"https://www.npr.org/2026/01/26/nx-s1-5688898/alex-pretti-remembered-as-friend-nurse-and-dog-dad\">Alex Pretti\u003c/a> in Minneapolis.\u003c/p>\n\u003cp>While there’s no shortage of symbols used by folks on the ground to organize, posters have lately gone up in San Francisco with a familiar character: \u003ca href=\"https://wearemitu.com/wearemitu/entertainment/bad-bunny-sapo-concho-puerto-rico-visual-album/\">Sapo Concho\u003c/a>, the Puerto Rican crested toad that appears prominently in his Debí Tirar Más Fotos world tour.\u003c/p>\n\u003cp>The design is simple: Sapo Concho staring directly at the viewer while bold Barbara Kruger-style letters spell out “Chinga la Migra” or “Fuck ICE.” Around his neck, Sapo Concho wears a whistle similar to those used by volunteers with rapid response networks trained to spot ICE activity and alert vulnerable community members.\u003c/p>\n\u003cp>[aside postID='arts_13953317']In an interview \u003ca href=\"https://i-d.co/article/bad-bunny-puerto-rico-residency-issue-375-cover/\">last year\u003c/a>, Bad Bunny said he decided against performing in the United States on his Debí Tirar Más Fotos tour out of fear that ICE would target fans attending his shows. And although several Department of Homeland Security officials previously threatened to bring immigration enforcement to the big game, local officials and the NFL \u003ca href=\"https://www.kqed.org/news/12071704/ice-super-bowl-immigration-enforcement-santa-clara-san-francisco-bay-area-2026\">affirmed this week\u003c/a> that “there are no planned ICE or immigration enforcement operations that are scheduled around the Super Bowl or any of the Super Bowl related events.”\u003c/p>\n\u003cp>During his Grammy acceptance speech for Best Album, Benito sent out a clear message on a night when other major celebrities strongly criticized the White House’s immigration policies. “Before I say thanks to God, I’m going to say: ‘ICE out’,” said the musician. “We’re not savages, we’re not animals, we’re not aliens. We are humans, and we are Americans.”\u003c/p>\n\u003cfigure id=\"attachment_13935418\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935418\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/KQEDLIVE21LaDona-039-scaled.jpg\" alt=\"La Doña sings on stage next to her saxophonist and bassist.\" width=\"2560\" height=\"1703\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/KQEDLIVE21LaDona-039-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/KQEDLIVE21LaDona-039-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/KQEDLIVE21LaDona-039-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/KQEDLIVE21LaDona-039-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/KQEDLIVE21LaDona-039-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/KQEDLIVE21LaDona-039-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/KQEDLIVE21LaDona-039-2048x1363.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/KQEDLIVE21LaDona-039-1920x1277.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">La Doña performs at The Commons in KQED’s headquarters in 2021. \u003ccite>(Alain McLaughlin for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>And the Bay is ready to party for Benito Bowl\u003c/h2>\n\u003cp>Many young Latinos organizing Super Bowl watch parties are ensuring their events acknowledge immigrant families’ current fears. In Oakland on Sunday, local musician and educator La Doña hosts \u003ca href=\"https://www.instagram.com/p/DUHWjGCgcah\">a watch party at Crybaby\u003c/a>, with event proceeds going to the \u003ca href=\"https://www.ccijustice.org/\">California Collaborative for Immigrant Justice\u003c/a>, a group that demands transparency and better conditions at immigration detention centers.\u003c/p>\n\u003cp>In San Francisco, El Rio in the Mission District hosts eight DJs for a \u003ca href=\"https://tockify.com/elriosf2/detail/4093/1770591600000\">Super Bowl and halftime show watch party\u003c/a>. Event organizers tell KQED they plan to distribute stacks of “red cards,” which list people’s rights during encounters with federal immigration agents.\u003c/p>\n\u003cp>“We’re not going to be afraid. We’re going to be smart. We’re going to be informed and we’re going to be there to protect one another,” organizer Óscar Delgado says. The party’s name — “Play Bad Bunny” — is inspired by a constant request that he and other DJs unanimously get from their audiences.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>For those who won’t be at the stadium but still want to be close to Benito \u003ci>somehow\u003c/i>, Bad Bunny impersonator \u003ca href=\"https://www.instagram.com/abdul__bunny\">Abdul Bunny\u003c/a> performs \u003ca href=\"https://www.instagram.com/p/DUClv1akcDm/\">Feb. 4 at Beaux\u003c/a> in San Francisco and \u003ca href=\"https://www.instagram.com/p/DUT3q1SkkxR\">Feb. 6 at Que Rico\u003c/a> in Oakland.\u003c/p>\n\n",
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"excerpt": "From piñatas in the Mission District to anti-ICE signs inspired by his music, Bad Bunny has left a lasting impression ahead of his big gameday show.\r\n",
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"title": "How’s Bad Bunny Left His Mark on the Bay Area? Let Us Count the Ways | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Fresh off winning three Grammy awards and selling out a world tour, \u003ca href=\"https://www.kqed.org/arts/tag/bad-bunny\">Bad Bunny\u003c/a> visits the Bay Area this weekend to perform \u003ca href=\"https://www.kqed.org/arts/13986188/super-bowl-2026-ice-levis-stadium-bad-bunny-politics-protest\">at the Super Bowl halftime show\u003c/a> — and the Bay is fired up for “Benito Bowl.”\u003c/p>\n\u003cp>“We are so proud of him,” says María Medina Serafín, a musician who moved to San Francisco from Puerto Rico to form an all-women salsa band. “He has elevated Puerto Rican culture and has done it in a way that is true to himself.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>While the Bay doesn’t boast a Puerto Rican diaspora as large as New York City or Philadelphia, Bad Bunny’s music and style have been embraced by the region’s many Latin American communities. His views on the \u003ca href=\"https://www.teenvogue.com/story/bad-bunny-debi-tirar-mas-fotos-political-lines-explained\">gentrification\u003c/a> of his home island, \u003ca href=\"https://www.npr.org/2022/05/28/1101921360/what-it-means-for-pop-music-to-raise-awareness-about-intimate-partner-violence\">female empowerment\u003c/a> and the role of U.S. Immigration and Customs Enforcement have strongly resonated with those in the Bay Area that live between two cultures.\u003c/p>\n\u003cp>“Y claro, it gives you a lot of pride to hear your language on the biggest show on the planet — all right where you live,” adds Medina Serafín.\u003c/p>\n\u003cp>Below, read about local artists whose work is inspired by Benito, along with moments in Bay Area history marked by the reggaetonero’s influence.\u003c/p>\n\u003cfigure id=\"attachment_13986285\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986285\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/012026_BadBunnyBayArea_GH_002_qed.jpg\" alt=\"A Latina woman in black top poses next to a large red heart-shaped piñata, with shelves of merchandise in the background\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/012026_BadBunnyBayArea_GH_002_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/012026_BadBunnyBayArea_GH_002_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/012026_BadBunnyBayArea_GH_002_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/012026_BadBunnyBayArea_GH_002_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Nayeli Bustamante, owner of Flor de Oaxaca, poses with a Bad Bunny-themed piñata inside her shop in San Francisco on Jan. 20, 2026. Bustamante runs the Mission District store as both a retail space for traditional Oaxacan clothing and a workshop where she makes custom piñatas. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Piñatas for Benito\u003c/h2>\n\u003cp>A short ride on the 14 or the 49 Muni bus from Celis Castro’s mural is the Excelsior District, home to Flor de Oaxaca, a shop that for years has imported craftware, clothing and art from the Mexican state of Oaxaca to San Francisco. In recent years, owner Nayeli Bustamante has also sold masterfully decorated piñatas, which she and her staff make by hand.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>While she doesn’t describe herself as a “superfan,” Bustamante has followed Bad Bunny’s career, and admires his dedication. “I have also learned a lot about Puerto Rico through him, and the way he talks about his home reminds me of Oaxaca.”\u003c/p>\n\u003cp>Ahead of his halftime show, she’s been making Bad Bunny-inspired piñatas. Some look like the unhappy heart from the \u003ci>Un Verano Sin Ti\u003c/i> album cover, and others take the form of the singer’s original logo: a white bunny with crossed-out eyes.\u003c/p>\n\u003cp>“We start with a basic image, but as you build the piñata, you find so many different ways to add more detail, texture and spark,” Bustamante says. “When you present the piñata to a child on their big day, and you see their huge smile, that’s the best part of the process.”\u003c/p>\n\u003cfigure id=\"attachment_13986284\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986284\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/012026_BadBunnyBayArea_GH_022_qed.jpg\" alt=\"A Latino man with short black hair and a beard, in a black top, stands in front of a colorful mural of a heart with a sad face, a sunset, and dolphins, as an elderly man walks past\" width=\"2000\" height=\"1293\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/012026_BadBunnyBayArea_GH_022_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/012026_BadBunnyBayArea_GH_022_qed-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/012026_BadBunnyBayArea_GH_022_qed-768x497.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/012026_BadBunnyBayArea_GH_022_qed-1536x993.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Efren Celis Castro with his Bad Bunny-inspired mural on a neighborhood convenience store in San Francisco’s Mission District, with passerby, on Jan. 20, 2026. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Mission District’s ‘Un Verano Sin Ti’ mural\u003c/h2>\n\u003cp>A block away from the 24th and Mission BART station stands a larger-than-life recreation of Benito’s 2022 album \u003ci>Un Verano Sin Ti\u003c/i>, complete with a sun setting over the horizon, flying dolphins and, of course, a very sad heart. On the side of a liquor store at the corner of 24th and Bartlett streets, the mural was painted in 2022 by 22-year-old Efren Celis Castro.\u003c/p>\n\u003cp>Growing up in the Mission, Celis Castro was surrounded by the neighborhood’s murals — testaments to the social justice and artistic movements constantly moving through the neighborhood. In high school, while selling his own paintings along Mission Street, a local restaurant owner gave him his very first mural commission. While he soon received more opportunities, there was one image he wanted to paint.\u003c/p>\n\u003cp>“The album art of \u003ci>Un Verano Sin Ti\u003c/i>. It was the album of the summer,” he says. “The vibes, the sound, you had to experience it in that moment.”\u003c/p>\n\u003cp>No one was willing to commission it, though, so he walked to a liquor store nearby and convinced the owner to let him paint the mural for free. Years later, he still gets tagged on Instagram from Bad Bunny fans who happen upon the mural while walking to BART.\u003c/p>\n\u003cp>“Kids see it too, and they’re going to remember that,” he says. “I think that’s what’s most important for me. Helping out the youth and giving inspiration to the young ones.”\u003c/p>\n\u003cfigure id=\"attachment_13986283\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986283\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/GettyImages-1321640886.jpg\" alt=\"A plate of chicken, rice, plantains and soup\" width=\"1024\" height=\"694\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/GettyImages-1321640886.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/GettyImages-1321640886-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/GettyImages-1321640886-768x521.jpg 768w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">The Pollo Al Horno, with rice, plantains and soup, at Sol Food restaurant in San Rafael. \u003ccite>(Liz Hafalia/The San Francisco Chronicle via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The day Bad Bunny brought a party of 80 to a Marin restaurant\u003c/h2>\n\u003cp>Two days before an Oakland show in 2022, Benito brought an entourage of 80 friends and members of his production crew across the Golden Gate Bridge for Puerto Rican food. They found it at Sol Food in San Rafael, and packed the place, ordering almost everything on the menu, says restaurant manager Francisco Gómez.\u003c/p>\n\u003cp>“In the beginning, we didn’t even know if he was with the group,” he says. “We assumed it was just his team working the concert — until he walked inside.”\u003c/p>\n\u003cp>With such a big party, all hands were on deck. Gómez himself jumped into the kitchen line to get orders out. “But everybody was laughing, eating, taking pictures, and enjoying the food,” he says, adding that Benito took plenty of selfies with the restaurant staff and thanked them for the meal.\u003c/p>\n\u003cp>Since that visit, Gómez says, Sol Food gets new customers from all over who heard about the restaurant after \u003ca href=\"https://www.sfgate.com/food/article/Bad-Bunny-dines-at-SF-Bay-Area-Sol-Food-17444606.php\">the reggaetonero’s visit\u003c/a>. He’s particularly excited that more people are trying out Puerto Rican food.\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/NO7EtdR3Dyw'\n title='//www.youtube.com/embed/NO7EtdR3Dyw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>San Francisco stars in a Bad Bunny music video\u003c/h2>\n\u003cp>Close your eyes and picture a Bad Bunny music video: a Caribbean beach, most likely, toasted by the warm sun, with happy people running and dancing. Pretty good guess — that essentially describes the visualisers from \u003ci>Un Verano Sin Ti\u003c/i>.\u003c/p>\n\u003cp>A cold and foggy day in San Francisco may not immediately come to mind, but that’s precisely the setting for the \u003ca href=\"https://youtu.be/NO7EtdR3Dyw?si=VAkiKNXYaL5bkxIt\">music video for 2021’s “Lo Siento BB:/,”\u003c/a> featuring producer Tainy and Mexican indie legend Julieta Venegas. Directed by Colombian-American director Stillz, the video follows a large, hairy \u003ci>Where the Wild Things Are\u003c/i>-like creature as it joylessly walks around the city, interrupted by memories of its sweetheart.\u003c/p>\n\u003cp>Matching the song’s melancholy lyrics, the video shows the quiet solitude that comes when fog envelops the city. Potrero Hill, the Mission, Ocean Beach and Chinatown become the background for the protagonist’s journey through heartbreak.\u003c/p>\n\u003cfigure id=\"attachment_13986286\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986286\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/ChingaLaMigra.BadBunny.jpg\" alt=\"\" width=\"2000\" height=\"1006\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/ChingaLaMigra.BadBunny.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/ChingaLaMigra.BadBunny-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/ChingaLaMigra.BadBunny-768x386.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/ChingaLaMigra.BadBunny-1536x773.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A ‘Chinga La Migra’ poster design featuring Sapo Concho, the Puerto Rican crested toad that appears in Bad Bunny’s Debí Tirar Más Fotos world tour. \u003ccite>(Designer Unknown)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>In the Bay’s anti-ICE protests, Benito’s creative symbols find a home\u003c/h2>\n\u003cp>Bay Area immigrant advocates have worked \u003ca href=\"https://www.kqed.org/news/12050993/a-day-in-the-life-of-san-joses-rapid-response-network-built-to-resist-ice-fear\">around the clock\u003c/a> to prevent deportations, assist families with legal proceedings and \u003ca href=\"https://www.kqed.org/news/12071746/thousands-gather-in-san-francisco-businesses-close-as-part-of-nationwide-ice-out-protest\">speak out\u003c/a> against violent acts by ICE agents, most recently the killings of \u003ca href=\"https://www.mprnews.org/story/2026/01/09/renee-goods-wife-releases-statement-about-ice-shooting\">Renée Macklin Good\u003c/a> and \u003ca href=\"https://www.npr.org/2026/01/26/nx-s1-5688898/alex-pretti-remembered-as-friend-nurse-and-dog-dad\">Alex Pretti\u003c/a> in Minneapolis.\u003c/p>\n\u003cp>While there’s no shortage of symbols used by folks on the ground to organize, posters have lately gone up in San Francisco with a familiar character: \u003ca href=\"https://wearemitu.com/wearemitu/entertainment/bad-bunny-sapo-concho-puerto-rico-visual-album/\">Sapo Concho\u003c/a>, the Puerto Rican crested toad that appears prominently in his Debí Tirar Más Fotos world tour.\u003c/p>\n\u003cp>The design is simple: Sapo Concho staring directly at the viewer while bold Barbara Kruger-style letters spell out “Chinga la Migra” or “Fuck ICE.” Around his neck, Sapo Concho wears a whistle similar to those used by volunteers with rapid response networks trained to spot ICE activity and alert vulnerable community members.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In an interview \u003ca href=\"https://i-d.co/article/bad-bunny-puerto-rico-residency-issue-375-cover/\">last year\u003c/a>, Bad Bunny said he decided against performing in the United States on his Debí Tirar Más Fotos tour out of fear that ICE would target fans attending his shows. And although several Department of Homeland Security officials previously threatened to bring immigration enforcement to the big game, local officials and the NFL \u003ca href=\"https://www.kqed.org/news/12071704/ice-super-bowl-immigration-enforcement-santa-clara-san-francisco-bay-area-2026\">affirmed this week\u003c/a> that “there are no planned ICE or immigration enforcement operations that are scheduled around the Super Bowl or any of the Super Bowl related events.”\u003c/p>\n\u003cp>During his Grammy acceptance speech for Best Album, Benito sent out a clear message on a night when other major celebrities strongly criticized the White House’s immigration policies. “Before I say thanks to God, I’m going to say: ‘ICE out’,” said the musician. “We’re not savages, we’re not animals, we’re not aliens. We are humans, and we are Americans.”\u003c/p>\n\u003cfigure id=\"attachment_13935418\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935418\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/KQEDLIVE21LaDona-039-scaled.jpg\" alt=\"La Doña sings on stage next to her saxophonist and bassist.\" width=\"2560\" height=\"1703\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/KQEDLIVE21LaDona-039-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/KQEDLIVE21LaDona-039-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/KQEDLIVE21LaDona-039-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/KQEDLIVE21LaDona-039-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/KQEDLIVE21LaDona-039-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/KQEDLIVE21LaDona-039-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/KQEDLIVE21LaDona-039-2048x1363.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/KQEDLIVE21LaDona-039-1920x1277.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">La Doña performs at The Commons in KQED’s headquarters in 2021. \u003ccite>(Alain McLaughlin for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>And the Bay is ready to party for Benito Bowl\u003c/h2>\n\u003cp>Many young Latinos organizing Super Bowl watch parties are ensuring their events acknowledge immigrant families’ current fears. In Oakland on Sunday, local musician and educator La Doña hosts \u003ca href=\"https://www.instagram.com/p/DUHWjGCgcah\">a watch party at Crybaby\u003c/a>, with event proceeds going to the \u003ca href=\"https://www.ccijustice.org/\">California Collaborative for Immigrant Justice\u003c/a>, a group that demands transparency and better conditions at immigration detention centers.\u003c/p>\n\u003cp>In San Francisco, El Rio in the Mission District hosts eight DJs for a \u003ca href=\"https://tockify.com/elriosf2/detail/4093/1770591600000\">Super Bowl and halftime show watch party\u003c/a>. Event organizers tell KQED they plan to distribute stacks of “red cards,” which list people’s rights during encounters with federal immigration agents.\u003c/p>\n\u003cp>“We’re not going to be afraid. We’re going to be smart. We’re going to be informed and we’re going to be there to protect one another,” organizer Óscar Delgado says. The party’s name — “Play Bad Bunny” — is inspired by a constant request that he and other DJs unanimously get from their audiences.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For those who won’t be at the stadium but still want to be close to Benito \u003ci>somehow\u003c/i>, Bad Bunny impersonator \u003ca href=\"https://www.instagram.com/abdul__bunny\">Abdul Bunny\u003c/a> performs \u003ca href=\"https://www.instagram.com/p/DUClv1akcDm/\">Feb. 4 at Beaux\u003c/a> in San Francisco and \u003ca href=\"https://www.instagram.com/p/DUT3q1SkkxR\">Feb. 6 at Que Rico\u003c/a> in Oakland.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_13986295\" class=\"wp-caption aligncenter\" style=\"max-width: 904px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Screenshot-2026-02-04-at-9.26.03%E2%80%AFAM.png\" alt=\"Two men stand next to each other outside, wearing heavy jackets and hats, while posing for a photo.\" width=\"904\" height=\"1290\" class=\"size-full wp-image-13986295\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Screenshot-2026-02-04-at-9.26.03 AM.png 904w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Screenshot-2026-02-04-at-9.26.03 AM-160x228.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Screenshot-2026-02-04-at-9.26.03 AM-768x1096.png 768w\" sizes=\"auto, (max-width: 904px) 100vw, 904px\">\u003cfigcaption class=\"wp-caption-text\">Rapper and Roc Nation CEO Jay-Z and Vallejo rapper and entrepreneur LaRussell. \u003ccite>(LaRussell/Instagram)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/larussell\">LaRussell\u003c/a> has officially signed with Jay-Z’s \u003ca href=\"https://www.rocnation.com/\">Roc Nation\u003c/a>. The Vallejo rapper and entrepreneur made the announcement during this morning’s episode of Power 105.1’s podcast and radio show \u003cem>\u003ca href=\"https://www.youtube.com/c/BreakfastClubPower1051FM\">The Breakfast Club\u003c/a>.\u003c/em> \u003c/p>\n\u003cp>“It means I now have support beyond just my homies,” LaRussell told the show’s hosts. He and his \u003ca href=\"https://goodcompenny.co/\">Good Compenny\u003c/a> team have had success independently, he explained, but he now needs support and guidance from a higher level within the music industry. \u003c/p>\n\u003cp>“Hov has been here and done it,” LaRussell says of Jay-Z, the rapper and Roc Nation CEO. “So it just gives us a different level of infrastructure.” \u003c/p>\n\u003cfigure id=\"attachment_13958619\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_02.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13958619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_02.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_02-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_02-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_02-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_02-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRockDay2_EG_02-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">LaRussell poses for a portrait backstage at BottleRock Napa Valley festival on Saturday, May 25, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While details of the deal were not publicly shared, LaRussell stated during the interview that he will retain his publishing rights and ownership of his masters — a rare concession in the music industry, and proof of the leverage he’s built as an independent artist. \u003c/p>\n\u003cp>LaRussell had \u003ca href=\"https://www.kqed.org/arts/13937331/larussell-vallejo-def-jam-record-deal\">previously declined a deal with Def Jam\u003c/a> in 2023, and has alluded to other major labels and companies expressing interest since.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postID='arts_13937331']Last month, LaRussell \u003ca href=\"https://www.youtube.com/watch?v=znNpfVP-5TQ\">announced his signing of a “project deal” with San Francisco label EMPIRE\u003c/a>, one of the music industry’s largest and most powerful independent labels and distributors. In 2023, he \u003ca href=\"https://youtu.be/nS3ENMfIGuM?si=bmsQrSUkipBIa_6q&t=394\">announced a deal with Live Nation\u003c/a> for select concert dates. Both deals, LaRussell indicated, allowed him to make decisions on his own terms. \u003c/p>\n\u003cp>The Roc Nation announcement comes after images of a late January meeting between LaRussell and Jay-Z were shared online. Shortly afterward, LaRussell announced that he and his live band and choir will perform as part of the \u003ca href=\"https://www.kron4.com/video/larussell-performing-at-super-bowl-pregame-tailgate/11473127/\">NFL’s official Tailgate Party\u003c/a> on Sunday, Feb. 8. (Jay-Z’s Roc Nation curates the entertainment for the NFL’s Super Bowl halftime and pregame events.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=3RL2iYuJwXo\u003c/p>\n\u003cp>During his conversation with \u003cem>The Breakfast Club\u003c/em>, LaRussell also promoted his album \u003cem>Something’s in The Water\u003c/em>, which officially releases to streaming platforms this week. \u003c/p>\n\u003cp>Over the past 30 days the album has garnered attention with LaRussell’s attempt to sell 100,000 hard copies in one month. Though he fell short of his initial goal, the campaign received the support of rap legend Snoop Dogg, NBA star Kyrie Irving, Oakland-raised musician Raphael Saadiq and CEO of VaynerMedia Gary Vaynerchuk, who all paid thousands of dollars for the album.\u003c/p>\n\u003cp>The first single from the project, “\u003ca href=\"https://www.youtube.com/watch?v=2vjqyksm5CA\">I’m From The Bay\u003c/a>,” has received airplay on local radio, and the numerous videos of LaRussell performing the song at various high schools and middle schools around the Bay Area have been widely circulated. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>With the Jay-Z cosign and Roc Nation deal, the proud Bay Area representative — who turned a backyard in Vallejo into a full performance venue — has the backing of one of the biggest companies in music.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Last month, LaRussell \u003ca href=\"https://www.youtube.com/watch?v=znNpfVP-5TQ\">announced his signing of a “project deal” with San Francisco label EMPIRE\u003c/a>, one of the music industry’s largest and most powerful independent labels and distributors. In 2023, he \u003ca href=\"https://youtu.be/nS3ENMfIGuM?si=bmsQrSUkipBIa_6q&t=394\">announced a deal with Live Nation\u003c/a> for select concert dates. Both deals, LaRussell indicated, allowed him to make decisions on his own terms. \u003c/p>\n\u003cp>The Roc Nation announcement comes after images of a late January meeting between LaRussell and Jay-Z were shared online. Shortly afterward, LaRussell announced that he and his live band and choir will perform as part of the \u003ca href=\"https://www.kron4.com/video/larussell-performing-at-super-bowl-pregame-tailgate/11473127/\">NFL’s official Tailgate Party\u003c/a> on Sunday, Feb. 8. (Jay-Z’s Roc Nation curates the entertainment for the NFL’s Super Bowl halftime and pregame events.)\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/3RL2iYuJwXo'\n title='//www.youtube.com/embed/3RL2iYuJwXo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>During his conversation with \u003cem>The Breakfast Club\u003c/em>, LaRussell also promoted his album \u003cem>Something’s in The Water\u003c/em>, which officially releases to streaming platforms this week. \u003c/p>\n\u003cp>Over the past 30 days the album has garnered attention with LaRussell’s attempt to sell 100,000 hard copies in one month. Though he fell short of his initial goal, the campaign received the support of rap legend Snoop Dogg, NBA star Kyrie Irving, Oakland-raised musician Raphael Saadiq and CEO of VaynerMedia Gary Vaynerchuk, who all paid thousands of dollars for the album.\u003c/p>\n\u003cp>The first single from the project, “\u003ca href=\"https://www.youtube.com/watch?v=2vjqyksm5CA\">I’m From The Bay\u003c/a>,” has received airplay on local radio, and the numerous videos of LaRussell performing the song at various high schools and middle schools around the Bay Area have been widely circulated. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>With the Jay-Z cosign and Roc Nation deal, the proud Bay Area representative — who turned a backyard in Vallejo into a full performance venue — has the backing of one of the biggest companies in music.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Don’t tune into the Super Bowl hoping for a break from the tumultuous politics gripping the U.S.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.kqed.org/news/tag/nfl\">NFL\u003c/a> is facing pressure ahead of Sunday’s game between the Seattle Seahawks and the New England Patriots to take a more explicit stance against the Trump administration’s aggressive immigration enforcement. More than 184,000 people have signed a petition calling on the league to denounce \u003ca href=\"https://www.kqed.org/news/12071370/as-bay-area-gears-up-to-host-super-bowl-lx-and-bad-bunny-halftime-show-fears-of-ice-loom\">the potential presence of Immigration and Customs Enforcement\u003c/a> at the Super Bowl, which is being held at \u003ca href=\"https://www.kqed.org/news/tag/levis-stadium\">Levi’s Stadium\u003c/a>. The liberal group MoveOn plans to deliver the petition to the NFL’s New York City headquarters on Tuesday.\u003c/p>\n\u003cp>[aside postid='arts_13986130']Meanwhile, anticipation is building around how \u003ca href=\"https://www.kqed.org/arts/tag/bad-bunny\">Bad Bunny\u003c/a>, the halftime show’s Spanish-speaking headliner, will address the moment. He has criticized President Donald Trump on everything from his hurricane response in his native Puerto Rico to his treatment of immigrants. On Sunday night, \u003ca href=\"https://www.kqed.org/arts/13986130/grammys-2026-10-takeaways-from-a-historic-chaotic-night\">he blasted ICE while accepting an award at the Grammys\u003c/a>. His latest tour skipped the continental U.S. because of fears that his fans could be targeted by immigration agents.\u003c/p>\n\u003cp>Trump has said he doesn’t plan to attend this year’s game, unlike last year, and he has derided Bad Bunny as a “terrible choice.” A Republican senator is calling it “the woke bowl.” And a prominent conservative group plans to hold an alternative show that it hopes will steal attention from the main event.\u003c/p>\n\u003cp>The Super Bowl is one of the few remaining cultural touchstones viewed by millions of people in real time and the halftime show is no stranger to controversy, perhaps most notably \u003ca href=\"https://www.kqed.org/pop/20175/nipplegate-revisited-why-america-owes-janet-jackson-a-huge-apology\">Janet Jackson’s 2004 performance\u003c/a> in which her breast was briefly exposed. But there are few parallels to this year’s game, which has the potential to become an unusual mix of sports, entertainment, politics and protest. And it will unfold at a tinderbox moment for the U.S., just two weeks after \u003ca href=\"https://www.kqed.org/news/12071594/minneapolis-reactions-rio-vista-vs-suisun-city-and-goodbye-to-the-westfield-mall\">Alex Pretti’s killing by federal agent\u003c/a>s in Minneapolis reignited a national debate over the Trump administration’s hard-line law enforcement tactics.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The Super Bowl is supposed to be an escape, right? We’re supposed to go there to not have to talk about the serious things of this country,” said Tiki Barber, a former player for the New York Giants who played in the Super Bowl in 2001 and has since attended several as a commentator. “I hope it doesn’t devolve, because if it does, then I think we’re really losing touch with what’s important in our society.”\u003c/p>\n\u003ch2>Bad Bunny has leaned into the controversy\u003c/h2>\n\u003cp>The 31-year-old Bad Bunny, born in Puerto Rico as Benito Antonio Martínez Ocasio, has elevated Latino music into the mainstream and gained global fame with songs almost entirely in Spanish — something that irks many of his conservative detractors. He has leaned into the controversy, referring to the halftime show when he hosted \u003cem>Saturday Night Live\u003c/em> in October by joking “everybody is happy about it — even Fox News.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=A0Pt7qHpWNg\u003c/p>\n\u003cp>He segued into a few sentences in Spanish, expressing Latino pride in the achievement, and finished by saying in English, “If you didn’t understand what I just said, you have four months to learn!”\u003c/p>\n\u003cp>Those who follow him closely doubt that he’ll back down now.\u003c/p>\n\u003cp>[aside postid='news_12071772'] “He has made it very clear what he stands for,” said Vanessa Díaz, a professor at Loyola Marymount University and co-author of \u003ca href=\"https://www.dukeupress.edu/p-fkn-r\">\u003cem>P FKN R: How Bad Bunny Became the Global Voice of Puerto Rican Resistance\u003c/em>\u003c/a>. “So I can’t imagine that this would all go away with the Super Bowl.”\u003c/p>\n\u003cp>The halftime show is a collaboration between the NFL, \u003ca href=\"https://www.kqed.org/arts/13863975/fans-feeling-cynical-after-jay-z-flip-flops-on-the-nfl\">Roc Nation\u003c/a> and Apple Music. Roc Nation curates the performers and Apple Music distributes the performance while the NFL ultimately controls the stage, broadcast and branding.\u003c/p>\n\u003cp>The NFL, which is working to expand its appeal across the world, including into Latin America, said it never considered removing Bad Bunny from the halftime show even after criticism from Trump and some of his supporters.\u003c/p>\n\u003cp>NFL Commissioner Roger Goodell on Monday described the singer as “one of the great artists in the world,” as well as someone who understands the power of the Super Bowl performance “to unite people and to be able to bring people together.”\u003c/p>\n\u003cp>“I think artists in the past have done that. I think Bad Bunny understands that. And I think you’ll have a great performance,” Goodell told reporters during his annual Super Bowl press conference.\u003c/p>\n\u003cp>About half of Americans approved of Bad Bunny as the halftime performer, according to an October poll from Quinnipiac University. But there were substantial gaps with about three-quarters of Democrats backing the pick compared to just 16% of Republicans. About 60% of Black and Hispanic adults approved of the selection compared to 41% of whites.\u003c/p>\n\u003cp>[aside postid='arts_13985976']Republicans are eager to maintain Latino support in their bid to keep control of Congress. But as the Super Bowl draws near, many in the GOP have kept up their Bad Bunny critiques.\u003c/p>\n\u003cp>Sen. Tommy Tuberville of Alabama, the former head football coach at Auburn University who is now running for governor, derided the “Woke Bowl” on Newsmax last week and said he’ll watch an alternative event hosted by Turning Point USA.\u003c/p>\n\u003cp>The group founded by the late conservative activist Charlie Kirk said Monday that Kid Rock, a vocal Trump supporter, would be among the performers at its event.\u003c/p>\n\u003ch2>DHS won’t say whether immigration agents will be at Super Bowl\u003c/h2>\n\u003cp>In recent days, Department of Homeland Security official Jeff Brannigan hosted a series of private calls with local officials and the NFL in which he indicated that ICE does not plan to conduct any law enforcement actions the week of the Super Bowl or at the game, according to two NFL officials with direct knowledge of the conversations.\u003c/p>\n\u003cp>ICE is not expected to be among more than a dozen DHS-related agencies providing security at the game, the officials said, speaking on the condition of anonymity to discuss private conversations.\u003c/p>\n\u003cp>While that is the plan, some worry that Trump and his MAGA allies who lead DHS can change their minds ahead of Sunday’s game given their recent statements.\u003c/p>\n\u003cp>DHS official Corey Lewandowski, a key adviser to DHS Secretary Kristi Noem, said in October that ICE agents would be conducting immigration enforcement at the game.\u003c/p>\n\u003cp>[aside postid='news_12071704'] “There is nowhere that you can provide safe haven to people who are in the country illegally, not the Super Bowl, not anywhere else,” he said at the time.\u003c/p>\n\u003cp>Asked to clarify ICE’s role this week, DHS spokeswoman Tricia McLaughlin refused to say whether federal immigration agents will be present for the Super Bowl.\u003c/p>\n\u003cp>“Those who are here legally and not breaking other laws have nothing to fear,” she said. “We will not disclose future operations or discuss personnel. Super Bowl security will entail a whole-of-government response conducted in line with the U.S. Constitution.”\u003c/p>\n\u003cp>The progressive group MoveOn will host a Tuesday rally outside the NFL headquarters in New York to present a petition telling the league, “No ICE at the Super Bowl.”\u003c/p>\n\u003cp>“This year’s Super Bowl should be remembered for big plays and Bad Bunny, not masked and armed ICE agents running around the stadium inflicting chaos, violence, and trauma on fans and stadium workers,” MoveOn spokesperson Britt Jacovich said. “The NFL can’t stay on the sidelines, the league has a responsibility to act like adults, protect Super Bowl fans and stadium workers, and keep ICE out of the game.”\u003c/p>\n\u003cp>In an interview, San Francisco mayor \u003ca href=\"https://www.kqed.org/news/tag/daniel-lurie\">Daniel Lurie\u003c/a> was optimistic that the event would be a success even in a politically tense climate.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“We are going to keep everybody safe — our residents, our visitors,” he said. “Obviously with everything going on, we’re staying on top of it, monitoring everything. But I expect everything to be safe and fun.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Don’t tune into the Super Bowl hoping for a break from the tumultuous politics gripping the U.S.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.kqed.org/news/tag/nfl\">NFL\u003c/a> is facing pressure ahead of Sunday’s game between the Seattle Seahawks and the New England Patriots to take a more explicit stance against the Trump administration’s aggressive immigration enforcement. More than 184,000 people have signed a petition calling on the league to denounce \u003ca href=\"https://www.kqed.org/news/12071370/as-bay-area-gears-up-to-host-super-bowl-lx-and-bad-bunny-halftime-show-fears-of-ice-loom\">the potential presence of Immigration and Customs Enforcement\u003c/a> at the Super Bowl, which is being held at \u003ca href=\"https://www.kqed.org/news/tag/levis-stadium\">Levi’s Stadium\u003c/a>. The liberal group MoveOn plans to deliver the petition to the NFL’s New York City headquarters on Tuesday.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Meanwhile, anticipation is building around how \u003ca href=\"https://www.kqed.org/arts/tag/bad-bunny\">Bad Bunny\u003c/a>, the halftime show’s Spanish-speaking headliner, will address the moment. He has criticized President Donald Trump on everything from his hurricane response in his native Puerto Rico to his treatment of immigrants. On Sunday night, \u003ca href=\"https://www.kqed.org/arts/13986130/grammys-2026-10-takeaways-from-a-historic-chaotic-night\">he blasted ICE while accepting an award at the Grammys\u003c/a>. His latest tour skipped the continental U.S. because of fears that his fans could be targeted by immigration agents.\u003c/p>\n\u003cp>Trump has said he doesn’t plan to attend this year’s game, unlike last year, and he has derided Bad Bunny as a “terrible choice.” A Republican senator is calling it “the woke bowl.” And a prominent conservative group plans to hold an alternative show that it hopes will steal attention from the main event.\u003c/p>\n\u003cp>The Super Bowl is one of the few remaining cultural touchstones viewed by millions of people in real time and the halftime show is no stranger to controversy, perhaps most notably \u003ca href=\"https://www.kqed.org/pop/20175/nipplegate-revisited-why-america-owes-janet-jackson-a-huge-apology\">Janet Jackson’s 2004 performance\u003c/a> in which her breast was briefly exposed. But there are few parallels to this year’s game, which has the potential to become an unusual mix of sports, entertainment, politics and protest. And it will unfold at a tinderbox moment for the U.S., just two weeks after \u003ca href=\"https://www.kqed.org/news/12071594/minneapolis-reactions-rio-vista-vs-suisun-city-and-goodbye-to-the-westfield-mall\">Alex Pretti’s killing by federal agent\u003c/a>s in Minneapolis reignited a national debate over the Trump administration’s hard-line law enforcement tactics.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The Super Bowl is supposed to be an escape, right? We’re supposed to go there to not have to talk about the serious things of this country,” said Tiki Barber, a former player for the New York Giants who played in the Super Bowl in 2001 and has since attended several as a commentator. “I hope it doesn’t devolve, because if it does, then I think we’re really losing touch with what’s important in our society.”\u003c/p>\n\u003ch2>Bad Bunny has leaned into the controversy\u003c/h2>\n\u003cp>The 31-year-old Bad Bunny, born in Puerto Rico as Benito Antonio Martínez Ocasio, has elevated Latino music into the mainstream and gained global fame with songs almost entirely in Spanish — something that irks many of his conservative detractors. He has leaned into the controversy, referring to the halftime show when he hosted \u003cem>Saturday Night Live\u003c/em> in October by joking “everybody is happy about it — even Fox News.”\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/A0Pt7qHpWNg'\n title='//www.youtube.com/embed/A0Pt7qHpWNg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>He segued into a few sentences in Spanish, expressing Latino pride in the achievement, and finished by saying in English, “If you didn’t understand what I just said, you have four months to learn!”\u003c/p>\n\u003cp>Those who follow him closely doubt that he’ll back down now.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp> “He has made it very clear what he stands for,” said Vanessa Díaz, a professor at Loyola Marymount University and co-author of \u003ca href=\"https://www.dukeupress.edu/p-fkn-r\">\u003cem>P FKN R: How Bad Bunny Became the Global Voice of Puerto Rican Resistance\u003c/em>\u003c/a>. “So I can’t imagine that this would all go away with the Super Bowl.”\u003c/p>\n\u003cp>The halftime show is a collaboration between the NFL, \u003ca href=\"https://www.kqed.org/arts/13863975/fans-feeling-cynical-after-jay-z-flip-flops-on-the-nfl\">Roc Nation\u003c/a> and Apple Music. Roc Nation curates the performers and Apple Music distributes the performance while the NFL ultimately controls the stage, broadcast and branding.\u003c/p>\n\u003cp>The NFL, which is working to expand its appeal across the world, including into Latin America, said it never considered removing Bad Bunny from the halftime show even after criticism from Trump and some of his supporters.\u003c/p>\n\u003cp>NFL Commissioner Roger Goodell on Monday described the singer as “one of the great artists in the world,” as well as someone who understands the power of the Super Bowl performance “to unite people and to be able to bring people together.”\u003c/p>\n\u003cp>“I think artists in the past have done that. I think Bad Bunny understands that. And I think you’ll have a great performance,” Goodell told reporters during his annual Super Bowl press conference.\u003c/p>\n\u003cp>About half of Americans approved of Bad Bunny as the halftime performer, according to an October poll from Quinnipiac University. But there were substantial gaps with about three-quarters of Democrats backing the pick compared to just 16% of Republicans. About 60% of Black and Hispanic adults approved of the selection compared to 41% of whites.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Republicans are eager to maintain Latino support in their bid to keep control of Congress. But as the Super Bowl draws near, many in the GOP have kept up their Bad Bunny critiques.\u003c/p>\n\u003cp>Sen. Tommy Tuberville of Alabama, the former head football coach at Auburn University who is now running for governor, derided the “Woke Bowl” on Newsmax last week and said he’ll watch an alternative event hosted by Turning Point USA.\u003c/p>\n\u003cp>The group founded by the late conservative activist Charlie Kirk said Monday that Kid Rock, a vocal Trump supporter, would be among the performers at its event.\u003c/p>\n\u003ch2>DHS won’t say whether immigration agents will be at Super Bowl\u003c/h2>\n\u003cp>In recent days, Department of Homeland Security official Jeff Brannigan hosted a series of private calls with local officials and the NFL in which he indicated that ICE does not plan to conduct any law enforcement actions the week of the Super Bowl or at the game, according to two NFL officials with direct knowledge of the conversations.\u003c/p>\n\u003cp>ICE is not expected to be among more than a dozen DHS-related agencies providing security at the game, the officials said, speaking on the condition of anonymity to discuss private conversations.\u003c/p>\n\u003cp>While that is the plan, some worry that Trump and his MAGA allies who lead DHS can change their minds ahead of Sunday’s game given their recent statements.\u003c/p>\n\u003cp>DHS official Corey Lewandowski, a key adviser to DHS Secretary Kristi Noem, said in October that ICE agents would be conducting immigration enforcement at the game.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp> “There is nowhere that you can provide safe haven to people who are in the country illegally, not the Super Bowl, not anywhere else,” he said at the time.\u003c/p>\n\u003cp>Asked to clarify ICE’s role this week, DHS spokeswoman Tricia McLaughlin refused to say whether federal immigration agents will be present for the Super Bowl.\u003c/p>\n\u003cp>“Those who are here legally and not breaking other laws have nothing to fear,” she said. “We will not disclose future operations or discuss personnel. Super Bowl security will entail a whole-of-government response conducted in line with the U.S. Constitution.”\u003c/p>\n\u003cp>The progressive group MoveOn will host a Tuesday rally outside the NFL headquarters in New York to present a petition telling the league, “No ICE at the Super Bowl.”\u003c/p>\n\u003cp>“This year’s Super Bowl should be remembered for big plays and Bad Bunny, not masked and armed ICE agents running around the stadium inflicting chaos, violence, and trauma on fans and stadium workers,” MoveOn spokesperson Britt Jacovich said. “The NFL can’t stay on the sidelines, the league has a responsibility to act like adults, protect Super Bowl fans and stadium workers, and keep ICE out of the game.”\u003c/p>\n\u003cp>In an interview, San Francisco mayor \u003ca href=\"https://www.kqed.org/news/tag/daniel-lurie\">Daniel Lurie\u003c/a> was optimistic that the event would be a success even in a politically tense climate.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We are going to keep everybody safe — our residents, our visitors,” he said. “Obviously with everything going on, we’re staying on top of it, monitoring everything. But I expect everything to be safe and fun.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Ralph Remington to Step Down as SF’s Director of Cultural Affairs",
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"content": "\u003cp>In a surprise announcement at today’s San Francisco Arts Commission meeting, Director of Cultural Affairs \u003ca href=\"https://www.kqed.org/arts/13889000/theres-a-new-director-of-cultural-affairs-in-san-francisco\">Ralph Remington\u003c/a> said he would move into an advisory capacity and fully retire on June 30, 2026.\u003c/p>\n\u003cp>[aside postID='arts_13986059']I have made the decision to step back from my current role as Director of Cultural Affairs to support the future objectives and vision of Mayor Lurie’s combined arts and culture department,” Remington said.\u003c/p>\n\u003cp>Remington has held the role since January 2021. According to his statement at today’s meeting, Deputy Directors Sarah Hollenbeck and Ebon Glenn will “guide operations and programming through this period of change.” Later in the meeting, he delivered his final “Director’s Report.”\u003c/p>\n\u003cp>Remington came to the SFAC from Tempe, Arizona, where he served as the deputy director for arts and culture. Prior to that, he worked for Actors Equity Association in Los Angeles and the National Endowment for the Arts (NEA) in Washington, D.C., and served on the city council in Minneapolis. He graduated from Howard University and has a background as a playwright, actor and screenwriter. A book of his essays, \u003ci>Penetrating Whiteness: How White Supremacy Built America\u003c/i>, will be published by Books That Save Lives on Feb. 3.\u003c/p>\n\u003cp>His retirement comes during a time of turbulence for San Francisco’s arts ecosystem. The SFAC meeting was just days after Lurie announced \u003ca href=\"https://www.kqed.org/arts/13986059/arts-culture-executive-director-san-francisco-lurie-sfac-gfta-film-sf\">the creation of a new position\u003c/a> to oversee a merger of the SFAC, Grants for the Arts, and the Film Commission. That same day, news broke that the Mission Cultural Center for Latino Arts \u003ca href=\"https://www.kqed.org/news/12071507/financial-crisis-forces-sfs-mission-cultural-center-for-latino-arts-to-close\">had suddenly closed\u003c/a> due to financial distress — after 49 years as a hub of Latino dance, theater, graphic arts and music.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Public comment at the meeting reproached the arts commissioners — a volunteer, mayor-appointed board — for a lack of action and urgency as an avalanche of closures has rocked the local arts community.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In a surprise announcement at today’s San Francisco Arts Commission meeting, Director of Cultural Affairs \u003ca href=\"https://www.kqed.org/arts/13889000/theres-a-new-director-of-cultural-affairs-in-san-francisco\">Ralph Remington\u003c/a> said he would move into an advisory capacity and fully retire on June 30, 2026.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>I have made the decision to step back from my current role as Director of Cultural Affairs to support the future objectives and vision of Mayor Lurie’s combined arts and culture department,” Remington said.\u003c/p>\n\u003cp>Remington has held the role since January 2021. According to his statement at today’s meeting, Deputy Directors Sarah Hollenbeck and Ebon Glenn will “guide operations and programming through this period of change.” Later in the meeting, he delivered his final “Director’s Report.”\u003c/p>\n\u003cp>Remington came to the SFAC from Tempe, Arizona, where he served as the deputy director for arts and culture. Prior to that, he worked for Actors Equity Association in Los Angeles and the National Endowment for the Arts (NEA) in Washington, D.C., and served on the city council in Minneapolis. He graduated from Howard University and has a background as a playwright, actor and screenwriter. A book of his essays, \u003ci>Penetrating Whiteness: How White Supremacy Built America\u003c/i>, will be published by Books That Save Lives on Feb. 3.\u003c/p>\n\u003cp>His retirement comes during a time of turbulence for San Francisco’s arts ecosystem. The SFAC meeting was just days after Lurie announced \u003ca href=\"https://www.kqed.org/arts/13986059/arts-culture-executive-director-san-francisco-lurie-sfac-gfta-film-sf\">the creation of a new position\u003c/a> to oversee a merger of the SFAC, Grants for the Arts, and the Film Commission. That same day, news broke that the Mission Cultural Center for Latino Arts \u003ca href=\"https://www.kqed.org/news/12071507/financial-crisis-forces-sfs-mission-cultural-center-for-latino-arts-to-close\">had suddenly closed\u003c/a> due to financial distress — after 49 years as a hub of Latino dance, theater, graphic arts and music.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Public comment at the meeting reproached the arts commissioners — a volunteer, mayor-appointed board — for a lack of action and urgency as an avalanche of closures has rocked the local arts community.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Scientists on a research vessel off the central California coast spotted a waved albatross, marking just the second recorded sighting of the bird north of Central America.\u003c/p>\n\u003cp>The yellow-billed bird with black button eyes, which can have an 8-foot (2.4-meter) wingspan and spends much of its life airborne over the ocean, also came with a mystery: Researchers wonder how and why a species known to breed in the Galapagos Islands — roughly 3,000 miles (4,800 kilometers) away — ventured so far north.\u003c/p>\n\u003cp>[aside postid='arts_13985440']To scientists, it’s a “vagrant” bird, one traveling far outside its typical range. It was spotted 23 miles (37 kilometers) off the coast of Point Piedras Blancas, roughly midway between San Francisco and Los Angeles.\u003c/p>\n\u003cp>The adult bird “doesn’t seem to be in a hurry to get back south,” said marine ornithologist Tammy Russell, who was on board the vessel and noted that the same bird apparently was spotted in October off the Northern California coast.\u003c/p>\n\u003cp>“I can’t even believe what I saw,” Russell wrote on Facebook. “I’m still in shock.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Russell, a contract scientist with the Farallon Institute and a postdoctoral scholar at the University of California, San Diego, Scripps Institution of Oceanography, said it’s all but impossible to determine why the bird ended up so far from its home.\u003c/p>\n\u003cp>It could have been driven north by a storm. Some birds have a rambling spirit and just go farther than others.\u003c/p>\n\u003cp>[aside postid='arts_13983145']“It likely didn’t breed last season because adults lay their egg in spring and the chicks leave the nests by January,” Russell said in an email. “Perhaps it went wandering on its year off and will soon return to the Galapagos to be reunited with its mate for the next season?”\u003c/p>\n\u003cp>“Who knows how long it will stay around or if it will ever return?” Russell added. “But that’s why these sightings are so special.”\u003c/p>\n\u003cp>Marshall Iliff, eBird project leader at Cornell University’s Lab of Ornithology, said seabirds such as albatrosses can travel great distances in search of food.\u003c/p>\n\u003cp>“The odd individual routinely may turn up far from home, even in the wrong hemisphere or exceptionally in the wrong ocean,” Iliff said via email. “Food shortages could prompt a bird to wander, but a single bird could also be a fluke accident. There is no evidence at this point that this is anything but a fluke.”\u003c/p>\n\u003cp>The International Union for Conservation of Nature calls the bird — the largest in the Galapagos — critically endangered. According to the American Bird Conservancy, its range is restricted to the tropics. It nests on lava fields amid scattered boulders and sparse vegetation.\u003c/p>\n\u003cp>The life span of the birds can reach 45 years. They feed primarily on fish, squid and crustaceans.\u003c/p>\n\u003cp>[aside postid='arts_13981619']Russell noted that if multiple birds were being seen in California, it could be a sign they were being driven northward by environmental factors. Previously, she has written about five species of Booby that are now common off California because of warming temperatures and marine heatwaves.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As for the lone albatross, “If this is a sign of this species moving north, we now have some baseline data when we first detected one,” Russell added.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>To scientists, it’s a “vagrant” bird, one traveling far outside its typical range. It was spotted 23 miles (37 kilometers) off the coast of Point Piedras Blancas, roughly midway between San Francisco and Los Angeles.\u003c/p>\n\u003cp>The adult bird “doesn’t seem to be in a hurry to get back south,” said marine ornithologist Tammy Russell, who was on board the vessel and noted that the same bird apparently was spotted in October off the Northern California coast.\u003c/p>\n\u003cp>“I can’t even believe what I saw,” Russell wrote on Facebook. “I’m still in shock.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“It likely didn’t breed last season because adults lay their egg in spring and the chicks leave the nests by January,” Russell said in an email. “Perhaps it went wandering on its year off and will soon return to the Galapagos to be reunited with its mate for the next season?”\u003c/p>\n\u003cp>“Who knows how long it will stay around or if it will ever return?” Russell added. “But that’s why these sightings are so special.”\u003c/p>\n\u003cp>Marshall Iliff, eBird project leader at Cornell University’s Lab of Ornithology, said seabirds such as albatrosses can travel great distances in search of food.\u003c/p>\n\u003cp>“The odd individual routinely may turn up far from home, even in the wrong hemisphere or exceptionally in the wrong ocean,” Iliff said via email. “Food shortages could prompt a bird to wander, but a single bird could also be a fluke accident. There is no evidence at this point that this is anything but a fluke.”\u003c/p>\n\u003cp>The International Union for Conservation of Nature calls the bird — the largest in the Galapagos — critically endangered. According to the American Bird Conservancy, its range is restricted to the tropics. It nests on lava fields amid scattered boulders and sparse vegetation.\u003c/p>\n\u003cp>The life span of the birds can reach 45 years. They feed primarily on fish, squid and crustaceans.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Russell noted that if multiple birds were being seen in California, it could be a sign they were being driven northward by environmental factors. Previously, she has written about five species of Booby that are now common off California because of warming temperatures and marine heatwaves.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As for the lone albatross, “If this is a sign of this species moving north, we now have some baseline data when we first detected one,” Russell added.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Catherine O'Hara, Award-Winning Actress of ‘Home Alone’ and ‘Schitt’s Creek’ Fame, Dies at 71",
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"headTitle": "Catherine O’Hara, Award-Winning Actress of ‘Home Alone’ and ‘Schitt’s Creek’ Fame, Dies at 71 | KQED",
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"content": "\u003cp>Catherine O’Hara, a gifted Canadian-born comic actor an \u003cem>SCTV\u003c/em> alum who starred as Macaulay Culkin’s harried mother in two \u003cem>\u003ca href=\"https://www.kqed.org/pop/19505/macaulay-culkin-revisits-home-alone-gets-very-dark-very-fast\">Home Alone\u003c/a>\u003c/em> movies and won an Emmy as the dramatically ditzy wealthy matriarch Moira Rose in \u003cem>Schitt’s Creek\u003c/em>, died Friday. She was 71.\u003c/p>\n\u003cp>O’Hara died at her home in Los Angeles “following a brief illness,” according to a statement from her agency, Creative Artists Agency. Further details were not immediately available.\u003c/p>\n\u003cp>O’Hara’s career was launched at the Second City in Toronto in the in 1970s. It was there that she first worked with Eugene Levy, who would become a lifelong collaborator — and her \u003cem>Schitt’s Creek\u003c/em> costar. The two would be among the original cast of the sketch show \u003cem>SCTV\u003c/em>, short for \u003cem>Second City Television\u003c/em>. The series, which began on Canadian TV in the 1970s and aired on NBC in the U.S. in the early ’80s, spawned a legendary group of esoteric comedians including Martin Short, John Candy, Andrea Martin, Rick Moranis and Joe Flaherty.\u003c/p>\n\u003cfigure id=\"attachment_13986113\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/AP26030672179967.jpg\" alt=\"\" width=\"1024\" height=\"732\" class=\"size-full wp-image-13986113\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/AP26030672179967.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/AP26030672179967-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/AP26030672179967-768x549.jpg 768w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Former cast members of SCTV, from left, Dave Thomas, Joe Flaherty, Catherine O’Hara, Andrea Martin, foreground, Harold Ramis, Eugene Levy and Martin Short, at the 1999 U.S. Comedy Arts Festival in Aspen, Colorado. \u003ccite>(AP Photo/E Pablo Kosmicki)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hollywood didn’t entirely know what to do with O’Hara and her scattershot style. She played oddball supporting characters in Martin Scorsese’s 1985 \u003cem>After Hours\u003c/em> and Tim Burton’s 1988 \u003cem>Beetlejuice\u003c/em> — a role she would reprise in the 2024 sequel.\u003c/p>\n\u003cp>She played it mostly straight as a horrified mother who accidentally abandoned her child in the two \u003cem>Home Alone\u003c/em> movies. The films were among the biggest box office earners of the early 1990s and their Christmas setting made them TV perennials\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Her co-star Culkin was among those paying her tribute Friday.\u003c/p>\n\u003cp>“Mama, I thought we had time,” Culkin said on Instagram alongside an image from \u003cem>Home Alone\u003c/em> and a recent recreation of the same pose. “I wanted more. I wanted to sit in a chair next to you. I heard you. But I had so much more to say. I love you. I’ll see you later.”\u003c/p>\n\u003cp>O’Hara would find her groove with the crew of improv pros brought together by Christopher Guest for a series of mockumentaries that began with 1996’s \u003cem>Waiting for Guffman\u003c/em> and continued with 2000’s \u003cem>Best in Show\u003c/em>, 2003’s \u003cem>A Mighty Wind\u003c/em> and 2006’s \u003cem>For Your Consideration\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13986112\" class=\"wp-caption aligncenter\" style=\"max-width: 774px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/AP26030671932480.jpg\" alt=\"\" width=\"774\" height=\"1024\" class=\"size-full wp-image-13986112\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/AP26030671932480.jpg 774w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/AP26030671932480-160x212.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/AP26030671932480-768x1016.jpg 768w\" sizes=\"auto, (max-width: 774px) 100vw, 774px\">\u003cfigcaption class=\"wp-caption-text\">Eugene Levy, left, and Catherine O’Hara appear at the 76th annual Academy Awards in Los Angeles. on Feb. 29, 2004. \u003ccite>(AP Photo/Laura Rauch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Best in Show\u003c/em> was the biggest hit and best remembered film of the series. It sees her paired as Levy’s wife as the couple, Gerry and Cookie Fleck, takes their Norwich terrier to a dog show, and constantly run into Cookie’s former lovers along the way.\u003c/p>\n\u003cp>\u003cem>Schitt’s Creek\u003c/em> would be a career-capping triumph and the perfect personification of her comic talents. The small show created by Levy and his son Dan about a wealthy family forced to live in a tiny town would dominate the Emmys in its sixth and final season. It brought O’Hara, always a beloved figure, a new generation of fans and put her at the center of cultural attention.\u003c/p>\n\u003cp>She told the Associated Press that she pictured Moira, a former soap opera star, as someone who had married rich and wanted to “remind everyone that (she was) special, too.” With an exaggerated Mid-Atlantic accent and obscure vocabulary, Moira spoke unlike anyone else, using words like “frippet,” “pettifogging” and “unasinous,” to show her desire to be different, O’Hara said. To perfect Moira’s voice, O’Hara would pore through old vocabulary books, “Moira-izing” the dialogue even further than what was already written.\u003c/p>\n\u003cp>The show also brought a career renaissance that led to a dramatic turn on HBO’s \u003cem>The Last of Us\u003c/em> and a straitlaced role as a Hollywood producer in \u003cem>The Studio\u003c/em>, both of which earned her Emmy nominations.\u003c/p>\n\u003cp>She is survived by her husband, Bo Welch, sons Matthew and Luke, and siblings Michael O’Hara, Mary Margaret O’Hara, Maureen Jolley, Marcus O‘Hara, Tom O’Hara and Patricia Wallice.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Noveck reported from New York. AP Film Writer Lindsey Bahr and AP Writer R.J. Rico contributed.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Catherine O’Hara, a gifted Canadian-born comic actor an \u003cem>SCTV\u003c/em> alum who starred as Macaulay Culkin’s harried mother in two \u003cem>\u003ca href=\"https://www.kqed.org/pop/19505/macaulay-culkin-revisits-home-alone-gets-very-dark-very-fast\">Home Alone\u003c/a>\u003c/em> movies and won an Emmy as the dramatically ditzy wealthy matriarch Moira Rose in \u003cem>Schitt’s Creek\u003c/em>, died Friday. She was 71.\u003c/p>\n\u003cp>O’Hara died at her home in Los Angeles “following a brief illness,” according to a statement from her agency, Creative Artists Agency. Further details were not immediately available.\u003c/p>\n\u003cp>O’Hara’s career was launched at the Second City in Toronto in the in 1970s. It was there that she first worked with Eugene Levy, who would become a lifelong collaborator — and her \u003cem>Schitt’s Creek\u003c/em> costar. The two would be among the original cast of the sketch show \u003cem>SCTV\u003c/em>, short for \u003cem>Second City Television\u003c/em>. The series, which began on Canadian TV in the 1970s and aired on NBC in the U.S. in the early ’80s, spawned a legendary group of esoteric comedians including Martin Short, John Candy, Andrea Martin, Rick Moranis and Joe Flaherty.\u003c/p>\n\u003cfigure id=\"attachment_13986113\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/AP26030672179967.jpg\" alt=\"\" width=\"1024\" height=\"732\" class=\"size-full wp-image-13986113\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/AP26030672179967.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/AP26030672179967-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/AP26030672179967-768x549.jpg 768w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Former cast members of SCTV, from left, Dave Thomas, Joe Flaherty, Catherine O’Hara, Andrea Martin, foreground, Harold Ramis, Eugene Levy and Martin Short, at the 1999 U.S. Comedy Arts Festival in Aspen, Colorado. \u003ccite>(AP Photo/E Pablo Kosmicki)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hollywood didn’t entirely know what to do with O’Hara and her scattershot style. She played oddball supporting characters in Martin Scorsese’s 1985 \u003cem>After Hours\u003c/em> and Tim Burton’s 1988 \u003cem>Beetlejuice\u003c/em> — a role she would reprise in the 2024 sequel.\u003c/p>\n\u003cp>She played it mostly straight as a horrified mother who accidentally abandoned her child in the two \u003cem>Home Alone\u003c/em> movies. The films were among the biggest box office earners of the early 1990s and their Christmas setting made them TV perennials\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Her co-star Culkin was among those paying her tribute Friday.\u003c/p>\n\u003cp>“Mama, I thought we had time,” Culkin said on Instagram alongside an image from \u003cem>Home Alone\u003c/em> and a recent recreation of the same pose. “I wanted more. I wanted to sit in a chair next to you. I heard you. But I had so much more to say. I love you. I’ll see you later.”\u003c/p>\n\u003cp>O’Hara would find her groove with the crew of improv pros brought together by Christopher Guest for a series of mockumentaries that began with 1996’s \u003cem>Waiting for Guffman\u003c/em> and continued with 2000’s \u003cem>Best in Show\u003c/em>, 2003’s \u003cem>A Mighty Wind\u003c/em> and 2006’s \u003cem>For Your Consideration\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13986112\" class=\"wp-caption aligncenter\" style=\"max-width: 774px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/AP26030671932480.jpg\" alt=\"\" width=\"774\" height=\"1024\" class=\"size-full wp-image-13986112\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/AP26030671932480.jpg 774w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/AP26030671932480-160x212.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/AP26030671932480-768x1016.jpg 768w\" sizes=\"auto, (max-width: 774px) 100vw, 774px\">\u003cfigcaption class=\"wp-caption-text\">Eugene Levy, left, and Catherine O’Hara appear at the 76th annual Academy Awards in Los Angeles. on Feb. 29, 2004. \u003ccite>(AP Photo/Laura Rauch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Best in Show\u003c/em> was the biggest hit and best remembered film of the series. It sees her paired as Levy’s wife as the couple, Gerry and Cookie Fleck, takes their Norwich terrier to a dog show, and constantly run into Cookie’s former lovers along the way.\u003c/p>\n\u003cp>\u003cem>Schitt’s Creek\u003c/em> would be a career-capping triumph and the perfect personification of her comic talents. The small show created by Levy and his son Dan about a wealthy family forced to live in a tiny town would dominate the Emmys in its sixth and final season. It brought O’Hara, always a beloved figure, a new generation of fans and put her at the center of cultural attention.\u003c/p>\n\u003cp>She told the Associated Press that she pictured Moira, a former soap opera star, as someone who had married rich and wanted to “remind everyone that (she was) special, too.” With an exaggerated Mid-Atlantic accent and obscure vocabulary, Moira spoke unlike anyone else, using words like “frippet,” “pettifogging” and “unasinous,” to show her desire to be different, O’Hara said. To perfect Moira’s voice, O’Hara would pore through old vocabulary books, “Moira-izing” the dialogue even further than what was already written.\u003c/p>\n\u003cp>The show also brought a career renaissance that led to a dramatic turn on HBO’s \u003cem>The Last of Us\u003c/em> and a straitlaced role as a Hollywood producer in \u003cem>The Studio\u003c/em>, both of which earned her Emmy nominations.\u003c/p>\n\u003cp>She is survived by her husband, Bo Welch, sons Matthew and Luke, and siblings Michael O’Hara, Mary Margaret O’Hara, Maureen Jolley, Marcus O‘Hara, Tom O’Hara and Patricia Wallice.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Noveck reported from New York. AP Film Writer Lindsey Bahr and AP Writer R.J. Rico contributed.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"politicalbreakdown": {
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
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"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
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},
"science-friday": {
"id": "science-friday",
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"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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"snap-judgment": {
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"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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