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"content": "\u003cp>When San Francisco’s \u003ca href=\"https://www.kqed.org/arts/13920993/a-family-tradition-of-altar-making-as-told-by-rio-yanez\">Rio Yañez\u003c/a> and Sacramento’s \u003ca href=\"https://www.bridgettrex.com/\">Bridgétt Rex\u003c/a> began curating the 2025 Día de Los Muertos show at the San Francisco gallery and cultural center SOMArts, their mission statement was clear: Altars come in many forms. And no matter how you express your grief, you are loved.\u003c/p>\n\u003cp>“This show features artists from so many different cultural backgrounds, from so many different parts of the world,” says Yañez. “So it’s about coming together and sharing the ways in which we honor the dead.”\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://somarts.org/exhibition/weloveyou/\">Día de Los Muertos 2025: We Love You,\u003c/a>\u003c/em> on view now through Nov. 7, features 13 artists, all of whom are women, transgender or gender-nonconforming. Yañez says this show embodies modern interpretations, ideas and concepts of the afterlife.\u003c/p>\n\u003cp>“Being in San Francisco, we have a certain amount of leeway and freedom on how we approach this,” he adds, noting the city’s history of challenging the status quo.\u003c/p>\n\u003cfigure id=\"attachment_13982606\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13982606 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Exhibition-View-05_pc-Claire-S-Burke-2000x1333.jpg\" alt=\"An overview of the SOMArts gallery.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Exhibition-View-05_pc-Claire-S-Burke-2000x1333.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Exhibition-View-05_pc-Claire-S-Burke-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Exhibition-View-05_pc-Claire-S-Burke-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Exhibition-View-05_pc-Claire-S-Burke-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Exhibition-View-05_pc-Claire-S-Burke.jpg 2048w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">SOMArts gallery full of artwork from the ‘Día de Los Muertos 2025: We Love You’ show. \u003ccite>(Claire S Burke)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Yañez is speaking from experience.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>His father,\u003ca href=\"https://www.kqed.org/arts/13833740/rene-yanez-revered-chicano-artist-and-gallery-founder-dies\"> René Yañez\u003c/a>, cofounder of San Francisco’s\u003ca href=\"https://galeriadelaraza.org/\"> Galería de la Raza\u003c/a>, brought the first Día de Los Muertos public art exhibition to the city in 1972. Along with his colleague, the late artist and curator \u003ca href=\"https://americanart.si.edu/artist/ralph-maradiaga-31836\">Ralph Maradiaga\u003c/a>, he created an annual event for people to collectively mourn, celebrate and honor those who’ve passed on.\u003c/p>\n\u003cp>Over the years the exhibition has been shown at Galería de la Raza and Yerba Buena Center for the Arts, before finding its current home at SOMArts 25 years ago. Yañez worked on this show with his father every year from 2005 up until the elder passed in 2018.\u003c/p>\n\u003cp>Now through \u003ca href=\"https://somarts.org/event/weloveyouclosing/\">the exhibition’s closing reception\u003c/a>, SOMArts’ gallery will be occupied with this year’s collection of altars — pieces that \u003cspan style=\"font-weight: 400\">artists have dedicated “to parts of themselves,” says Yañez, “or their relationships to others that they are mourning.” \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13982607\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13982607 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Artist-Monique-Lopez_pc-Claire-S-Burke-2000x1333.jpg\" alt=\"A blue, red and orange art display mounted in an art gallery. \" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Artist-Monique-Lopez_pc-Claire-S-Burke-2000x1333.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Artist-Monique-Lopez_pc-Claire-S-Burke-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Artist-Monique-Lopez_pc-Claire-S-Burke-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Artist-Monique-Lopez_pc-Claire-S-Burke-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Artist-Monique-Lopez_pc-Claire-S-Burke.jpg 2048w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Monique D. López’s ‘Amor Eterno’ 2025 at SOMArts. \u003ccite>(Claire S Burke)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The artworks are bright, fluorescent even. There are large painted sculptures, and a small dome you can enter and read written messages of all sorts. Some are more subtle and intimate, while others oppose oppressive forces or touch on current events.\u003c/p>\n\u003cp>Many of the pieces in the exhibition are both personal and topical, like work that champions trans rights. This show, says Yañez, has always been about highlighting issues of our time.\u003c/p>\n\u003cp>Yañez recalls being a kid and seeing his father curate shows as a response to the first wave of the AIDS crisis and Operation Desert Storm. Later, the shows shed light on lives lost in Hurricane Katrina and the Pulse nightclub shooting.\u003c/p>\n\u003cp>“There’s always been a sense of urgency in how the show responds to what’s going on in the world,” says Yañez. “That is [my father’s] legacy in the show. As his son, that’s something I strive to continue.”\u003c/p>\n\u003cp>The biggest issue reflected in this year’s show, according to Yañez, is President Trump’s policies — specifically in regards to immigration, as well as anti-trans legislation. “I wish I didn’t have to say that,” Yañez says. “But that’s the reality that we’re living in.”\u003c/p>\n\u003cfigure id=\"attachment_13982663\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13982663 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Artist-Liv-Styler_pc-Claire-S-Burke-2000x1333.jpg\" alt=\"An image of a colorful altar. \" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Artist-Liv-Styler_pc-Claire-S-Burke-2000x1333.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Artist-Liv-Styler_pc-Claire-S-Burke-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Artist-Liv-Styler_pc-Claire-S-Burke-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Artist-Liv-Styler_pc-Claire-S-Burke-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Artist-Liv-Styler_pc-Claire-S-Burke.jpg 2048w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Liv Styler, ‘Memento (Me)mori(as),’ shown at SOMArts’ Día de Los Muertos exhibition. \u003ccite>(Claire S Burke)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Alongside colorful displays of love for people who’ve passed, artists have also created memorials to ideas that have withered, or small shrines to their future selves.\u003c/p>\n\u003cp>Just inside of the gallery stands \u003ca href=\"https://www.instagram.com/thelivstyler/\">Liv Styler\u003c/a>‘s “Memento (Me)mori(as),” a work of art that encompasses two large walls, and asks audiences to redefine their idea of familial connections. One wall shows portraits of Styler and her children, while the other wall is decorated with Monarch butterflies emerging from what she calls “a painful transition” in a fireplace and ascending skyward toward a still-life painting, then beyond.\u003c/p>\n\u003cp>The butterflies are courtesy of her Mexican heritage. Both the painting and the fireplace, centerpieces in the artwork, are creative remixes of Styler’s childhood home.\u003c/p>\n\u003cp>“We had no art,” says Styler. “We had nothing in our home. It was a very colorless, lifeless, joyless space. But there was this one ugly-ass landscape.”\u003c/p>\n\u003cfigure id=\"attachment_13982661\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13982661 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/img_7224_720-scaled.jpg\" alt=\"A close-up of a painted wall made in the image of an altar. \" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/img_7224_720-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/img_7224_720-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/img_7224_720-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/img_7224_720-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/img_7224_720-1536x2048.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Liv Styler’s ‘Memento (Me)mori(as).’ \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Styler chose to recreate the landscape in her own way, reflecting how she\u003c/span> learned to create an “\u003cspan style=\"font-weight: 400\">internal world” that was full of the color she wasn’t feeling at home.\u003c/span>\u003c/p>\n\u003cp>“Instead of doing the horrifically boring greens and browns,” she says of the original piece, “I recreated it in the way that I wanted to see it — which looked like Lisa Frank kinda exploded all over it.”\u003c/p>\n\u003cp>Below the landscape, the fireplace in Styler’s work is lined with bricks that bear the names of some of her closest friends — artists and activists, some still living and some who have passed on, all of them chosen family.\u003c/p>\n\u003cp>“The bricks were one of the last things I did,” says Styler, charting the steps of her creative process. “It really forced me to reflect on [the chosen family] concept the whole time. Those are the people that transformed me.”\u003c/p>\n\u003cp>Styler says her work confronts the idea of blindly honoring blood-related ancestors — specifically those who might not have accepted different gender identities. She turns that on the audience as well, with the words “what generational curse are you breaking?” written as a prompt. Sticky notes and pens are available for visitors to write messages reflecting on how they’ve honored themselves, made a brave choice or broken a family curse.\u003c/p>\n\u003cp>“I really hope there’s some folks out there who walk through it and have had a similar familial experience, where they just aren’t really sure about their ancestors,” she says. For those who feel like she does, Styler says, “There’s always family out there for you. There’s always people out there who are gonna love you, and you just have to go and find them.”\u003c/p>\n\u003cp>Sometimes, she says, in order to find that chosen family, you have to go through trials and tribulations, and make changes like the butterflies in her work.\u003c/p>\n\u003cp>“And then,” she says, “as you heal and you become that new version of yourself, and that ancestor infuses into you, you find that chosen family a lot easier.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://somarts.org/exhibition/weloveyou/\">Día de Los Muertos 2025: ‘We Love You’\u003c/a> is on display now through the Nov. 7 closing reception and drag show at SOMArts (934 Brannan St., San Francisco). \u003ca href=\"https://somarts.org/event/weloveyouclosing/\">Click here for more information\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>His father,\u003ca href=\"https://www.kqed.org/arts/13833740/rene-yanez-revered-chicano-artist-and-gallery-founder-dies\"> René Yañez\u003c/a>, cofounder of San Francisco’s\u003ca href=\"https://galeriadelaraza.org/\"> Galería de la Raza\u003c/a>, brought the first Día de Los Muertos public art exhibition to the city in 1972. Along with his colleague, the late artist and curator \u003ca href=\"https://americanart.si.edu/artist/ralph-maradiaga-31836\">Ralph Maradiaga\u003c/a>, he created an annual event for people to collectively mourn, celebrate and honor those who’ve passed on.\u003c/p>\n\u003cp>Over the years the exhibition has been shown at Galería de la Raza and Yerba Buena Center for the Arts, before finding its current home at SOMArts 25 years ago. Yañez worked on this show with his father every year from 2005 up until the elder passed in 2018.\u003c/p>\n\u003cp>Now through \u003ca href=\"https://somarts.org/event/weloveyouclosing/\">the exhibition’s closing reception\u003c/a>, SOMArts’ gallery will be occupied with this year’s collection of altars — pieces that \u003cspan style=\"font-weight: 400\">artists have dedicated “to parts of themselves,” says Yañez, “or their relationships to others that they are mourning.” \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13982607\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13982607 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Artist-Monique-Lopez_pc-Claire-S-Burke-2000x1333.jpg\" alt=\"A blue, red and orange art display mounted in an art gallery. \" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Artist-Monique-Lopez_pc-Claire-S-Burke-2000x1333.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Artist-Monique-Lopez_pc-Claire-S-Burke-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Artist-Monique-Lopez_pc-Claire-S-Burke-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Artist-Monique-Lopez_pc-Claire-S-Burke-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Artist-Monique-Lopez_pc-Claire-S-Burke.jpg 2048w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Monique D. López’s ‘Amor Eterno’ 2025 at SOMArts. \u003ccite>(Claire S Burke)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The artworks are bright, fluorescent even. There are large painted sculptures, and a small dome you can enter and read written messages of all sorts. Some are more subtle and intimate, while others oppose oppressive forces or touch on current events.\u003c/p>\n\u003cp>Many of the pieces in the exhibition are both personal and topical, like work that champions trans rights. This show, says Yañez, has always been about highlighting issues of our time.\u003c/p>\n\u003cp>Yañez recalls being a kid and seeing his father curate shows as a response to the first wave of the AIDS crisis and Operation Desert Storm. Later, the shows shed light on lives lost in Hurricane Katrina and the Pulse nightclub shooting.\u003c/p>\n\u003cp>“There’s always been a sense of urgency in how the show responds to what’s going on in the world,” says Yañez. “That is [my father’s] legacy in the show. As his son, that’s something I strive to continue.”\u003c/p>\n\u003cp>The biggest issue reflected in this year’s show, according to Yañez, is President Trump’s policies — specifically in regards to immigration, as well as anti-trans legislation. “I wish I didn’t have to say that,” Yañez says. “But that’s the reality that we’re living in.”\u003c/p>\n\u003cfigure id=\"attachment_13982663\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13982663 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Artist-Liv-Styler_pc-Claire-S-Burke-2000x1333.jpg\" alt=\"An image of a colorful altar. \" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Artist-Liv-Styler_pc-Claire-S-Burke-2000x1333.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Artist-Liv-Styler_pc-Claire-S-Burke-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Artist-Liv-Styler_pc-Claire-S-Burke-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Artist-Liv-Styler_pc-Claire-S-Burke-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Artist-Liv-Styler_pc-Claire-S-Burke.jpg 2048w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Liv Styler, ‘Memento (Me)mori(as),’ shown at SOMArts’ Día de Los Muertos exhibition. \u003ccite>(Claire S Burke)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Alongside colorful displays of love for people who’ve passed, artists have also created memorials to ideas that have withered, or small shrines to their future selves.\u003c/p>\n\u003cp>Just inside of the gallery stands \u003ca href=\"https://www.instagram.com/thelivstyler/\">Liv Styler\u003c/a>‘s “Memento (Me)mori(as),” a work of art that encompasses two large walls, and asks audiences to redefine their idea of familial connections. One wall shows portraits of Styler and her children, while the other wall is decorated with Monarch butterflies emerging from what she calls “a painful transition” in a fireplace and ascending skyward toward a still-life painting, then beyond.\u003c/p>\n\u003cp>The butterflies are courtesy of her Mexican heritage. Both the painting and the fireplace, centerpieces in the artwork, are creative remixes of Styler’s childhood home.\u003c/p>\n\u003cp>“We had no art,” says Styler. “We had nothing in our home. It was a very colorless, lifeless, joyless space. But there was this one ugly-ass landscape.”\u003c/p>\n\u003cfigure id=\"attachment_13982661\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13982661 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/img_7224_720-scaled.jpg\" alt=\"A close-up of a painted wall made in the image of an altar. \" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/img_7224_720-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/img_7224_720-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/img_7224_720-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/img_7224_720-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/img_7224_720-1536x2048.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Liv Styler’s ‘Memento (Me)mori(as).’ \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Styler chose to recreate the landscape in her own way, reflecting how she\u003c/span> learned to create an “\u003cspan style=\"font-weight: 400\">internal world” that was full of the color she wasn’t feeling at home.\u003c/span>\u003c/p>\n\u003cp>“Instead of doing the horrifically boring greens and browns,” she says of the original piece, “I recreated it in the way that I wanted to see it — which looked like Lisa Frank kinda exploded all over it.”\u003c/p>\n\u003cp>Below the landscape, the fireplace in Styler’s work is lined with bricks that bear the names of some of her closest friends — artists and activists, some still living and some who have passed on, all of them chosen family.\u003c/p>\n\u003cp>“The bricks were one of the last things I did,” says Styler, charting the steps of her creative process. “It really forced me to reflect on [the chosen family] concept the whole time. Those are the people that transformed me.”\u003c/p>\n\u003cp>Styler says her work confronts the idea of blindly honoring blood-related ancestors — specifically those who might not have accepted different gender identities. She turns that on the audience as well, with the words “what generational curse are you breaking?” written as a prompt. Sticky notes and pens are available for visitors to write messages reflecting on how they’ve honored themselves, made a brave choice or broken a family curse.\u003c/p>\n\u003cp>“I really hope there’s some folks out there who walk through it and have had a similar familial experience, where they just aren’t really sure about their ancestors,” she says. For those who feel like she does, Styler says, “There’s always family out there for you. There’s always people out there who are gonna love you, and you just have to go and find them.”\u003c/p>\n\u003cp>Sometimes, she says, in order to find that chosen family, you have to go through trials and tribulations, and make changes like the butterflies in her work.\u003c/p>\n\u003cp>“And then,” she says, “as you heal and you become that new version of yourself, and that ancestor infuses into you, you find that chosen family a lot easier.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://somarts.org/exhibition/weloveyou/\">Día de Los Muertos 2025: ‘We Love You’\u003c/a> is on display now through the Nov. 7 closing reception and drag show at SOMArts (934 Brannan St., San Francisco). \u003ca href=\"https://somarts.org/event/weloveyouclosing/\">Click here for more information\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "dia-de-los-muertos-photos-oakland-fruitvale",
"title": "PHOTOS: Embracing Día de los Muertos in Oakland's Fruitvale District",
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"headTitle": "PHOTOS: Embracing Día de los Muertos in Oakland’s Fruitvale District | KQED",
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"content": "\u003cp>On Sunday, Oct. 29, the \u003ca href=\"https://unitycouncil.org/\">Unity Council\u003c/a>, an important cultural and resource hub in the Fruitvale District, orchestrated one of the Bay Area’s grandest \u003ca href=\"https://www.kqed.org/arts/tag/dia-de-los-muertos\">Día de los Muertos\u003c/a> celebrations at Oakland’s Fruitvale Village. The non-profit has become the driving force behind this annual free extravaganza which draws nearly 100,000 attendees each year.\u003c/p>\n\u003cp>Along with Danza Azteca, tours of altars (ofrendas), lowriders and street vendors, the festival provides space to utilize art and cultural traditions as tools for community healing and remembering late loved ones. After all, that’s what Día de los Muertos is all about — although it gets commonly mistaken as “Mexican Halloween.”\u003c/p>\n\u003cfigure id=\"attachment_13937448\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-13.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13937448\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-13.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-13-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-13-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-13-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-13-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-13-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Raquel Gonzales (left) and Angeles Marquez attend the Oakland Día de los Muertos Festival in Fruitvale for the first time on Sunday, Oct. 29, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Día de los Muertos is a Mexican tradition that dates back thousands of years to the Aztecs and other Indigenous communities in what is now central Mexico. These communities saw, and still see, death as an integral part of life. The tradition bridges the living and the deceased by using offerings, like a late loved one’s favorite food, cups of water, marigolds and more placed on a dedicated altar.\u003c/p>\n\u003cp>When the Spanish arrived in the 16th century, the tradition became a mixture of Mesoamerican ritual, European religion, and Spanish culture. Since being blended into European religion, Día de los Muertos, originally honored during the summer season, now coincides with All Saints Day on Nov. 1 and All Souls Day on Nov. 2. \u003c/p>\n\u003cfigure id=\"attachment_13937447\" class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-12.jpg\" alt=\"\" width=\"853\" height=\"1280\" class=\"size-full wp-image-13937447\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-12.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-12-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-12-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-12-768x1152.jpg 768w\" sizes=\"(max-width: 853px) 100vw, 853px\">\u003cfigcaption class=\"wp-caption-text\">Danza Azteca performs a traditional Aztec ceremony at Oakland Día de los Muertos Festival in Fruitvale on Sunday, Oct. 29, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As the Fruitvale streets brimmed with milky aromatic smoke, marigolds and sugar skulls, KQED’s Paloma Abarca and photographer Estefany Gonzalez captured the essence of Día de los Muertos, highlighting how participants pay tribute to their late loved ones.\u003c/p>\n\u003cfigure id=\"attachment_13937469\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-37.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13937469\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-37.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-37-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-37-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-37-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-37-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-37-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Sirena Covarrubias attends the Oakland Día de los Muertos Festival in Fruitvale for the second time on Sunday, Oct. 29, 2023. For Covarrubias the look she wore to the festival was a way to pay homage to catrinas and honor her ancestors. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13937479\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-47.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13937479\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-47.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-47-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-47-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-47-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-47-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-47-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Chloe Reyes (left) and her aunt Nevaeh Branco pose for a portrait at Oakland Día de los Muertos Festival in Fruitvale on Sunday, Oct. 29, 2023. ‘I dress up every year because my grandmother loves everything about the culture and I thought this was a great way to honor her memory,’ Nevaeh Branco said. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13937452\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-18.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13937452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-18.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-18-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-18-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-18-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-18-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-18-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Amalia Canales attends the Oakland Día de los Muertos Festival in Fruitvale for the third time on Sunday, Oct. 29, 2023. Día de los Muertos is special to Canales because it reminds her of growing up in Mexico and her cultural background. ‘Es una hermosa tradición,’ Canales said of the beautiful traditions she experienced celebrating the holiday in Mexico City. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13937474\" class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-45.jpg\" alt=\"\" width=\"853\" height=\"1280\" class=\"size-full wp-image-13937474\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-45.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-45-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-45-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-45-768x1152.jpg 768w\" sizes=\"(max-width: 853px) 100vw, 853px\">\u003cfigcaption class=\"wp-caption-text\">Maricela Sandoval created an ofrenda to honor several members of her family at Oakland Día de los Muertos Festival in Fruitvale on Sunday, Oct. 29, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13937464\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-33.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13937464\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-33.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-33-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-33-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-33-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-33-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-33-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Nathalie Castro poses for a portrait at Oakland Día de los Muertos Festival in Fruitvale on Sunday, Oct. 29, 2023. For Castro, celebrating Día de los Muertos allows her to feel connected to loved ones who have passed away and think about what it means to be an ancestor for future generations. ‘This is something that keeps us tied to the land and tied to each other,’ Castro said. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13937461\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-29.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13937461\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-29.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-29-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-29-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-29-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-29-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-29-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Karmen Gomez and her niece Berdie Farias pose for a portrait at Oakland Día de los Muertos Festival in Fruitvale on Sunday, Oct. 29, 2023. Gomez has traveled from Stockton several times to attend the festival. ‘It’s one of my favorite festivals,’ Gomez said. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13937459\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-26.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13937459\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-26.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-26-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-26-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-26-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-26-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-26-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Evelyn Orantes poses for a portrait at Oakland Día de los Muertos Festival in Fruitvale on Sunday, Oct. 29, 2023. Orantes works as a consultant for The Unity Council to coordinate the altars on display at the festival. She modeled her Día de los Muertos after a Catrina decoration she helped create for one of the booths at the festival. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13937440\" class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-5.jpg\" alt=\"\" width=\"853\" height=\"1280\" class=\"size-full wp-image-13937440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-5.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-5-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-5-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-5-768x1152.jpg 768w\" sizes=\"(max-width: 853px) 100vw, 853px\">\u003cfigcaption class=\"wp-caption-text\">A xoloitzcuintli roams the grounds of the Oakland Día de los Muertos Festival in Fruitvale on Sunday, Oct. 29, 2023. According to Aztec mythology, xoloitzcuintli dogs are said to guard the living and guide souls through the underworld. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13937453\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-19.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13937453\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-19.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-19-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-19-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-19-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-19-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-19-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Julie Palacios poses for a portrait at Oakland Día de los Muertos Festival in Fruitvale on Sunday, Oct. 29, 2023. Palacios has attended the festival every year since 1994 and has enjoyed seeing the festival grow over the years. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13937446\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-11.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13937446\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-11.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-11-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-11-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-11-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-11-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-11-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Danza Azteca performs a traditional Aztec ceremony at Oakland Día de los Muertos Festival in Fruitvale on Sunday, Oct. 29, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13937472\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-43.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13937472\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-43.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-43-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-43-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-43-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-43-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-43-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Maricela Sandoval poses for a portrait in front of an ofrenda she created at Oakland Día de los Muertos Festival in Fruitvale on Sunday, Oct. 29, 2023. Her altar honors several members of her family, including her mother and grandparents. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13937481\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-49.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13937481\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-49.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-49-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-49-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-49-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-49-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-49-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Erika Gil and Felipe Kishimoto Vieira pose for a portrait at Oakland Día de los Muertos Festival in Fruitvale on Sunday, Oct. 29, 2023. ‘Día de los Muertos to me is just representing our culture,’ Erika Gil said. ‘Admiring our ancestors, our fallen ones and giving respect to them. Giving them a safe and loving passage to the afterlife.’ \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13937484\" class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-41.jpg\" alt=\"\" width=\"853\" height=\"1280\" class=\"size-full wp-image-13937484\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-41.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-41-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-41-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-41-768x1152.jpg 768w\" sizes=\"(max-width: 853px) 100vw, 853px\">\u003cfigcaption class=\"wp-caption-text\">Jose Paris traveled from Los Angeles to perform at the Oakland Día de los Muertos Festival in Fruitvale on Sunday, Oct. 29, 2023. For Paris, the holiday allows him to feel as though his ancestors are walking among him. ‘They are able to come and visit you and you feel their spirits,’ Jose Paris said. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13937460\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-27.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13937460\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-27.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-27-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-27-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-27-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-27-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-27-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">From left: Emily Honran, D’Angelo Ramirez, Victor Ramirez and Manny Ramirez pose for a portrait at Oakland Día de los Muertos Festival in Fruitvale on Sunday, Oct. 29, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13937454\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-21.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13937454\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-21.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-21-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-21-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-21-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-21-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-21-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Adriana Gomez (left) and Carmen Diaz pose for a portrait at Oakland Día de los Muertos Festival in Fruitvale on Sunday, Oct. 29, 2023. Celebrating the holiday reminds Gomez of growing up in Aguascalientes, Mexico. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13937436\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-1.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13937436\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-1-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Marisela Chavez Nava made an ofrenda in honor of her son Eduardo Yobani Nava Chavez at the Oakland Día de los Muertos Festival in Fruitvale on Sunday, Oct. 29, 2023. Several of her son’s belongings, including a motorcycle helmet signed by friends and family, adorn the altar. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13937450\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-15.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13937450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-15.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-15-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-15-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-15-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-15-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-15-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">From left: Hortensia Muñoz, Lulu ReBoyoso, Ana Picasso and Esther Brambila pose for a portrait in front the Mujeres Unidas y Activas (MUA) ofrenda. MUA is a grassroots organization of Latina immigrant women with a mission to grow personal and community power to achieve social and economic justice. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13937473\" class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-44.jpg\" alt=\"\" width=\"853\" height=\"1280\" class=\"size-full wp-image-13937473\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-44.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-44-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-44-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-44-768x1152.jpg 768w\" sizes=\"(max-width: 853px) 100vw, 853px\">\u003cfigcaption class=\"wp-caption-text\">Maricela Sandoval created an ofrenda to honor several members of her family at Oakland Día de los Muertos Festival in Fruitvale on Sunday, Oct. 29, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "Indigenous rituals, face paintings and altars took over Oakland's Fruitvale Village at this year's festival. ",
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"title": "PHOTOS: Embracing Día de los Muertos in Oakland's Fruitvale District | KQED",
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"headline": "PHOTOS: Embracing Día de los Muertos in Oakland's Fruitvale District",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Sunday, Oct. 29, the \u003ca href=\"https://unitycouncil.org/\">Unity Council\u003c/a>, an important cultural and resource hub in the Fruitvale District, orchestrated one of the Bay Area’s grandest \u003ca href=\"https://www.kqed.org/arts/tag/dia-de-los-muertos\">Día de los Muertos\u003c/a> celebrations at Oakland’s Fruitvale Village. The non-profit has become the driving force behind this annual free extravaganza which draws nearly 100,000 attendees each year.\u003c/p>\n\u003cp>Along with Danza Azteca, tours of altars (ofrendas), lowriders and street vendors, the festival provides space to utilize art and cultural traditions as tools for community healing and remembering late loved ones. After all, that’s what Día de los Muertos is all about — although it gets commonly mistaken as “Mexican Halloween.”\u003c/p>\n\u003cfigure id=\"attachment_13937448\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-13.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13937448\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-13.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-13-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-13-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-13-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-13-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-13-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Raquel Gonzales (left) and Angeles Marquez attend the Oakland Día de los Muertos Festival in Fruitvale for the first time on Sunday, Oct. 29, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Día de los Muertos is a Mexican tradition that dates back thousands of years to the Aztecs and other Indigenous communities in what is now central Mexico. These communities saw, and still see, death as an integral part of life. The tradition bridges the living and the deceased by using offerings, like a late loved one’s favorite food, cups of water, marigolds and more placed on a dedicated altar.\u003c/p>\n\u003cp>When the Spanish arrived in the 16th century, the tradition became a mixture of Mesoamerican ritual, European religion, and Spanish culture. Since being blended into European religion, Día de los Muertos, originally honored during the summer season, now coincides with All Saints Day on Nov. 1 and All Souls Day on Nov. 2. \u003c/p>\n\u003cfigure id=\"attachment_13937447\" class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-12.jpg\" alt=\"\" width=\"853\" height=\"1280\" class=\"size-full wp-image-13937447\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-12.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-12-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-12-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-12-768x1152.jpg 768w\" sizes=\"(max-width: 853px) 100vw, 853px\">\u003cfigcaption class=\"wp-caption-text\">Danza Azteca performs a traditional Aztec ceremony at Oakland Día de los Muertos Festival in Fruitvale on Sunday, Oct. 29, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As the Fruitvale streets brimmed with milky aromatic smoke, marigolds and sugar skulls, KQED’s Paloma Abarca and photographer Estefany Gonzalez captured the essence of Día de los Muertos, highlighting how participants pay tribute to their late loved ones.\u003c/p>\n\u003cfigure id=\"attachment_13937469\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-37.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13937469\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-37.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-37-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-37-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-37-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-37-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-37-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Sirena Covarrubias attends the Oakland Día de los Muertos Festival in Fruitvale for the second time on Sunday, Oct. 29, 2023. For Covarrubias the look she wore to the festival was a way to pay homage to catrinas and honor her ancestors. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13937479\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-47.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13937479\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-47.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-47-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-47-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-47-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-47-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-47-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Chloe Reyes (left) and her aunt Nevaeh Branco pose for a portrait at Oakland Día de los Muertos Festival in Fruitvale on Sunday, Oct. 29, 2023. ‘I dress up every year because my grandmother loves everything about the culture and I thought this was a great way to honor her memory,’ Nevaeh Branco said. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13937452\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-18.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13937452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-18.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-18-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-18-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-18-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-18-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-18-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Amalia Canales attends the Oakland Día de los Muertos Festival in Fruitvale for the third time on Sunday, Oct. 29, 2023. Día de los Muertos is special to Canales because it reminds her of growing up in Mexico and her cultural background. ‘Es una hermosa tradición,’ Canales said of the beautiful traditions she experienced celebrating the holiday in Mexico City. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13937474\" class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-45.jpg\" alt=\"\" width=\"853\" height=\"1280\" class=\"size-full wp-image-13937474\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-45.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-45-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-45-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-45-768x1152.jpg 768w\" sizes=\"(max-width: 853px) 100vw, 853px\">\u003cfigcaption class=\"wp-caption-text\">Maricela Sandoval created an ofrenda to honor several members of her family at Oakland Día de los Muertos Festival in Fruitvale on Sunday, Oct. 29, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13937464\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-33.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13937464\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-33.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-33-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-33-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-33-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-33-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-33-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Nathalie Castro poses for a portrait at Oakland Día de los Muertos Festival in Fruitvale on Sunday, Oct. 29, 2023. For Castro, celebrating Día de los Muertos allows her to feel connected to loved ones who have passed away and think about what it means to be an ancestor for future generations. ‘This is something that keeps us tied to the land and tied to each other,’ Castro said. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13937461\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-29.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13937461\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-29.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-29-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-29-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-29-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-29-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-29-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Karmen Gomez and her niece Berdie Farias pose for a portrait at Oakland Día de los Muertos Festival in Fruitvale on Sunday, Oct. 29, 2023. Gomez has traveled from Stockton several times to attend the festival. ‘It’s one of my favorite festivals,’ Gomez said. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13937459\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-26.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13937459\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-26.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-26-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-26-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-26-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-26-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-26-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Evelyn Orantes poses for a portrait at Oakland Día de los Muertos Festival in Fruitvale on Sunday, Oct. 29, 2023. Orantes works as a consultant for The Unity Council to coordinate the altars on display at the festival. She modeled her Día de los Muertos after a Catrina decoration she helped create for one of the booths at the festival. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13937440\" class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-5.jpg\" alt=\"\" width=\"853\" height=\"1280\" class=\"size-full wp-image-13937440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-5.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-5-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-5-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-5-768x1152.jpg 768w\" sizes=\"(max-width: 853px) 100vw, 853px\">\u003cfigcaption class=\"wp-caption-text\">A xoloitzcuintli roams the grounds of the Oakland Día de los Muertos Festival in Fruitvale on Sunday, Oct. 29, 2023. According to Aztec mythology, xoloitzcuintli dogs are said to guard the living and guide souls through the underworld. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13937453\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-19.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13937453\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-19.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-19-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-19-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-19-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-19-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-19-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Julie Palacios poses for a portrait at Oakland Día de los Muertos Festival in Fruitvale on Sunday, Oct. 29, 2023. Palacios has attended the festival every year since 1994 and has enjoyed seeing the festival grow over the years. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13937446\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-11.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13937446\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-11.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-11-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-11-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-11-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-11-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-11-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Danza Azteca performs a traditional Aztec ceremony at Oakland Día de los Muertos Festival in Fruitvale on Sunday, Oct. 29, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13937472\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-43.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13937472\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-43.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-43-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-43-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-43-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-43-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-43-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Maricela Sandoval poses for a portrait in front of an ofrenda she created at Oakland Día de los Muertos Festival in Fruitvale on Sunday, Oct. 29, 2023. Her altar honors several members of her family, including her mother and grandparents. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13937481\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-49.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13937481\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-49.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-49-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-49-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-49-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-49-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-49-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Erika Gil and Felipe Kishimoto Vieira pose for a portrait at Oakland Día de los Muertos Festival in Fruitvale on Sunday, Oct. 29, 2023. ‘Día de los Muertos to me is just representing our culture,’ Erika Gil said. ‘Admiring our ancestors, our fallen ones and giving respect to them. Giving them a safe and loving passage to the afterlife.’ \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13937484\" class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-41.jpg\" alt=\"\" width=\"853\" height=\"1280\" class=\"size-full wp-image-13937484\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-41.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-41-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-41-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-41-768x1152.jpg 768w\" sizes=\"(max-width: 853px) 100vw, 853px\">\u003cfigcaption class=\"wp-caption-text\">Jose Paris traveled from Los Angeles to perform at the Oakland Día de los Muertos Festival in Fruitvale on Sunday, Oct. 29, 2023. For Paris, the holiday allows him to feel as though his ancestors are walking among him. ‘They are able to come and visit you and you feel their spirits,’ Jose Paris said. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13937460\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-27.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13937460\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-27.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-27-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-27-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-27-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-27-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-27-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">From left: Emily Honran, D’Angelo Ramirez, Victor Ramirez and Manny Ramirez pose for a portrait at Oakland Día de los Muertos Festival in Fruitvale on Sunday, Oct. 29, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13937454\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-21.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13937454\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-21.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-21-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-21-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-21-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-21-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-21-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Adriana Gomez (left) and Carmen Diaz pose for a portrait at Oakland Día de los Muertos Festival in Fruitvale on Sunday, Oct. 29, 2023. Celebrating the holiday reminds Gomez of growing up in Aguascalientes, Mexico. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13937436\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-1.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13937436\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-1-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Marisela Chavez Nava made an ofrenda in honor of her son Eduardo Yobani Nava Chavez at the Oakland Día de los Muertos Festival in Fruitvale on Sunday, Oct. 29, 2023. Several of her son’s belongings, including a motorcycle helmet signed by friends and family, adorn the altar. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13937450\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-15.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13937450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-15.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-15-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-15-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-15-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-15-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-15-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">From left: Hortensia Muñoz, Lulu ReBoyoso, Ana Picasso and Esther Brambila pose for a portrait in front the Mujeres Unidas y Activas (MUA) ofrenda. MUA is a grassroots organization of Latina immigrant women with a mission to grow personal and community power to achieve social and economic justice. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13937473\" class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-44.jpg\" alt=\"\" width=\"853\" height=\"1280\" class=\"size-full wp-image-13937473\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-44.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-44-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-44-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-44-768x1152.jpg 768w\" sizes=\"(max-width: 853px) 100vw, 853px\">\u003cfigcaption class=\"wp-caption-text\">Maricela Sandoval created an ofrenda to honor several members of her family at Oakland Día de los Muertos Festival in Fruitvale on Sunday, Oct. 29, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Deuce Eclipse Celebrates Día de los Muertos With a New Track and Rap Showcase",
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"content": "\u003cp>With its lovingly crafted ofrendas and orange marigolds, Día de los Muertos is a beautiful reminder to honor those who’ve passed while celebrating the people and experiences that make life worth living. In that spirit, Bay Area underground hip-hop veteran \u003ca href=\"https://www.deuceeclipse.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Deuce Eclipse\u003c/a> has a new track called “Time is Now.”\u003c/p>\n\u003cp>“If I got time and you got time / Let’s build something now that we can take to the divine,” raps the Nicaraguan American MC over the high-energy strum of a vinyl-stringed guitar and bursts of horns. The track is all about nurturing the relationships that matter while we still can.\u003c/p>\n\u003cp>https://youtu.be/bcXhS7IiMbc\u003c/p>\n\u003cp>Deuce Eclipse is a thoughtful lyricist with bilingual bars, and is well known in the Bay Area as the co-founder of the cumbia-reggae-hip-hop band Bang Data and his work with the \u003ca href=\"https://www.kqed.org/arts/13920198/zumbi-zion-i-improper-restraint-at-hospital\" target=\"_blank\" rel=\"noopener noreferrer\">late Zumbi of Zion I\u003c/a>. On Nov. 5, he headlines a \u003ca href=\"http://www.amadossf.com/shows/2022/11/5-dia-de-los-muertos-showcase-deuce-eclipse-frisco-baby-wanda-cruda-more\" target=\"_blank\" rel=\"noopener noreferrer\">Día de los Muertos hip-hop showcase at the Mission District venue Amado’s\u003c/a>.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2944541219/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=1636475486/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Joining him on the bill is The Shop Studios engineer and rising rapper \u003ca href=\"https://www.instagram.com/_friscobaby/\" target=\"_blank\" rel=\"noopener noreferrer\">Frisco Baby\u003c/a>, whose versatile flows have made her one to watch. Even though Frisco Baby’s debut album has yet to come, she’s posted freestyles on Instagram for 38 consecutive Fridays and appears on \u003ca href=\"https://www.kqed.org/arts/13916721/sucka-free-history-with-dregs-one\" target=\"_blank\" rel=\"noopener noreferrer\">Dregs One\u003c/a>’s August album, \u003ci>Sucka Repellent\u003c/i>, where she raps with a commanding double-time cadence alongside heavyweight Spice 1. MC Pauze — whose laidback new track “\u003ca href=\"https://www.youtube.com/watch?v=SxR3twUSL7Y\" target=\"_blank\" rel=\"noopener noreferrer\">Woo\u003c/a>” features underground rap mainstays Professa Gabel and Equipto — Wanda Kruda, DJ Mixtek and DJ Ras Rican join the bill for this all-ages, intergenerational event.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>The Día de Los Muertos Showcase takes place at Amado’s on Nov. 5 at 8pm. \u003ca href=\"http://www.amadossf.com/shows/2022/11/5-dia-de-los-muertos-showcase-deuce-eclipse-frisco-baby-wanda-cruda-more\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>With its lovingly crafted ofrendas and orange marigolds, Día de los Muertos is a beautiful reminder to honor those who’ve passed while celebrating the people and experiences that make life worth living. In that spirit, Bay Area underground hip-hop veteran \u003ca href=\"https://www.deuceeclipse.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Deuce Eclipse\u003c/a> has a new track called “Time is Now.”\u003c/p>\n\u003cp>“If I got time and you got time / Let’s build something now that we can take to the divine,” raps the Nicaraguan American MC over the high-energy strum of a vinyl-stringed guitar and bursts of horns. The track is all about nurturing the relationships that matter while we still can.\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/bcXhS7IiMbc'\n title='//www.youtube.com/embed/bcXhS7IiMbc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Deuce Eclipse is a thoughtful lyricist with bilingual bars, and is well known in the Bay Area as the co-founder of the cumbia-reggae-hip-hop band Bang Data and his work with the \u003ca href=\"https://www.kqed.org/arts/13920198/zumbi-zion-i-improper-restraint-at-hospital\" target=\"_blank\" rel=\"noopener noreferrer\">late Zumbi of Zion I\u003c/a>. On Nov. 5, he headlines a \u003ca href=\"http://www.amadossf.com/shows/2022/11/5-dia-de-los-muertos-showcase-deuce-eclipse-frisco-baby-wanda-cruda-more\" target=\"_blank\" rel=\"noopener noreferrer\">Día de los Muertos hip-hop showcase at the Mission District venue Amado’s\u003c/a>.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2944541219/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=1636475486/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Joining him on the bill is The Shop Studios engineer and rising rapper \u003ca href=\"https://www.instagram.com/_friscobaby/\" target=\"_blank\" rel=\"noopener noreferrer\">Frisco Baby\u003c/a>, whose versatile flows have made her one to watch. Even though Frisco Baby’s debut album has yet to come, she’s posted freestyles on Instagram for 38 consecutive Fridays and appears on \u003ca href=\"https://www.kqed.org/arts/13916721/sucka-free-history-with-dregs-one\" target=\"_blank\" rel=\"noopener noreferrer\">Dregs One\u003c/a>’s August album, \u003ci>Sucka Repellent\u003c/i>, where she raps with a commanding double-time cadence alongside heavyweight Spice 1. MC Pauze — whose laidback new track “\u003ca href=\"https://www.youtube.com/watch?v=SxR3twUSL7Y\" target=\"_blank\" rel=\"noopener noreferrer\">Woo\u003c/a>” features underground rap mainstays Professa Gabel and Equipto — Wanda Kruda, DJ Mixtek and DJ Ras Rican join the bill for this all-ages, intergenerational event.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>The Día de Los Muertos Showcase takes place at Amado’s on Nov. 5 at 8pm. \u003ca href=\"http://www.amadossf.com/shows/2022/11/5-dia-de-los-muertos-showcase-deuce-eclipse-frisco-baby-wanda-cruda-more\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "A Food Altar for My Mom, Who Taught Me to Love to Eat",
"headTitle": "A Food Altar for My Mom, Who Taught Me to Love to Eat | KQED",
"content": "\u003cp>\u003cstrong>\u003cem>Frisco Foodies is a recurring column in which a San Francisco local shares food memories of growing up in a now rapidly changing city.\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[dropcap]W[/dropcap]hen I lost my mom in May of 2020, two months after lockdown, I couldn’t mourn in a normal way. Instead of hugs and in-person condolences, I received pings on my Venmo account from all my cousins telling me to order takeout instead of cooking. Not that I could have. I could barely stand up in the shower. The grief was so heavy amidst the isolation of shelter in place that all I can remember was the silence — and the occasional knock on the door for a flower shop delivery or a Caviar order.\u003c/p>\n\u003cp>I found a Filipino restaurant in Oakland called \u003ca href=\"https://tipunan.com/\">Tipunan\u003c/a> that delivered beef rib sinigang soup with the perfect amount of tamarind sourness and crispy pork belly karé karé, with its golden, peanut butter-based sauce and side of fermented shrimp paste to cut through the fat. Of all the condolences sent, this one felt the most appropriate. After all, I had learned to taste food through my mother’s hands when she \u003ci>subu\u003c/i>’d me as a baby and, later, through the cultural sensibilities I inherited from being born in the Philippines — acquiring a palate for things like ampalaya (bitter melon) and burong mustasa (fermented mustard greens).\u003c/p>\n\u003cp>I grew up quite literally in the middle of the Bay on Treasure Island Naval Base, but my mother was the true bridge between two cities, two hemispheres and two cultures.\u003c/p>\n\u003cp>She was also the one who taught me to be a foodie. I remember how my mom would fix plates of Filipino-style spaghetti for the construction workers working on our building, and how she’d take me to Pier 39 to eat Dungeness crab and clam chowder with oyster crackers, a cacophony of sea lions nearby. I remember perusing Japantown with her after her massage appointments, sipping toasted rice tea and eating green tea ice cream at Kintetsu Mall. I remember how she brought home sugarcane from the Alemany farmers market. My sisters and I would crunch down and suck up the sweet juice before spitting out the stalk like some kid version of chewing tobacco.\u003c/p>\n\u003cfigure id=\"attachment_13921119\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13921119\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/rocky-treasure-island.jpg\" alt=\"A young girl with windswept hair dressed in all red; the pier and waterfront at Treasure Island is in the background.\" width=\"1920\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/rocky-treasure-island.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/rocky-treasure-island-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/rocky-treasure-island-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/rocky-treasure-island-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/rocky-treasure-island-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/rocky-treasure-island-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The author as a child at the waterfront on Treasure Island, where she grew up. \u003ccite>(Courtesy of Rocky Rivera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The eldest of ten siblings, my mom always woke up at dawn to cook breakfast, most likely silog-style: vinegar-marinated milkfish or salted dried fish with rice and a side of fresh tomato, mango and onion. She’d go back to sleep while everyone else ate. She taught me my native language, Kapampangan, and told me that our people were the best chefs in the Philippines. She even used to brag about raising me a vegetarian — after all, we had access to canned veg-meat in our hometown years before it hit the American mainstream. (These days it would be more accurate to call us flexitarians. We Filipinos \u003ca href=\"https://www.kqed.org/arts/13914750/inay-dalisay-world-famous-lechon-vegan-filipino-play-bindlestiff\">have a hard time\u003c/a> parting with \u003ca href=\"https://www.kqed.org/arts/13915581/lechon-filipino-american-party-oriental-food-market-concord\">meat\u003c/a> entirely.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Throughout my adolescence, my mom expressed the truest love language of an Asian mother, bringing me cut cantaloupes, persimmons and mangoes to my room while I was doing my homework. “Tin … anak … mangan na ka (you eat now),” she’d say to me. It’s no wonder that Filipinos greet each other not with pleasantries, but with inquiries of whether you’ve eaten yet.\u003c/p>\n\u003cp>For me, being a foodie always meant that I enjoyed everyone else’s cooking — my mom’s, my sister’s, my grandma’s, my Tita Lita’s — but never dared to learn or replicate. Why would I when I could just enjoy the fruits of their labor? But now that my daughter is the same age I was when my family immigrated to San Francisco, I’ve learned to cook a few signature dishes: garlic noodles, made with copious amounts of butter, and my Lolo Pepé’s catfish adobo recipe, which my mother passed down to me — with no measurements, of course. It would depend on what was in Mom’s fridge that day. It always required a tomato soft enough to thicken the sauce undetected. But sometimes it would have pepperoncini or jalapeños in it. Sometimes lemongrass. My mother cooked it whenever my partner was in town because he was pescatarian and it was his favorite dish she made.\u003c/p>\n\u003cfigure id=\"attachment_13921125\" class=\"wp-caption alignnone\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13921125\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/food-altar_full-scaled.jpg\" alt=\"A home altar for honoring the ancestors, covered with framed photos, decorative skulls and food offerings.\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/food-altar_full-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/food-altar_full-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/food-altar_full-1020x1529.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/food-altar_full-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/food-altar_full-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/food-altar_full-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/food-altar_full-1366x2048.jpg 1366w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">The author’s home altar for honoring her ancestors. At the very top are framed photos of her mother and her father-in-law Danny. \u003ccite>(Fernando Godinez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mom, my Lola Luz and my Tita Lita — who passed away in January — are all gone now. It’s up to my sisters, cousins and I to keep those food memories going, if only to thread our past with our future. These days, I try to continue the Kapampangan traditions with my kids while also incorporating our Americanized palates. I inherited a white-cheddar-and-thyme corn pudding recipe from Tita Lita, who cooked like a Filipina Ina Garten on steroids. Every year, she would roast a separate display turkey to serve alongside the cut pieces of the one she’d already carved — mainly for aesthetics but also to feed our huge family.\u003c/p>\n\u003cp>At her memorial this past January, I made the corn pudding for the family and silently noted the differences in taste due to my use of extra large eggs and the fact that I hadn’t let the batter come to room temperature before baking. Even in death, mine couldn’t compare. I plan on perfecting it this year, and every year after, for Turkey Day.\u003c/p>\n\u003cfigure id=\"attachment_13921122\" class=\"wp-caption alignnone\" style=\"max-width: 1125px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13921122\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/Tita-Lita.jpg\" alt=\"An older woman in a red apron sets up a huge spread of food for an outdoor family gathering.\" width=\"1125\" height=\"844\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Tita-Lita.jpg 1125w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Tita-Lita-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Tita-Lita-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Tita-Lita-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Tita-Lita-768x576.jpg 768w\" sizes=\"(max-width: 1125px) 100vw, 1125px\">\u003cfigcaption class=\"wp-caption-text\">Tita Lita was like a Filipino Ina Garten, known for cooking up an enormous spread of food for family gatherings. \u003ccite>(Courtesy of Rocky Rivera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A few months after my mom passed, during that brief moment in the pandemic when things opened up and closed just as fast, I was able to secure a tattoo appointment. In honor of my departed mom, I chose a young picture of her, along with a young San Francisco skyline — no Salesforce Tower in sight — with the Bay Bridge as a backdrop. At the bottom, in curlicued script, are the words “Frisco Queen.” The image represents a time when my mom came here to build a new life as a nurse, a choice to immigrate to this very place and make it our new home. Through every hardship, she was always there for her kids: She was the one who pulled me out of school on my birthday and took me shopping at the downtown FAO Schwartz (RIP), or at the dress shops on Mission after visits to the dentist. She was the one who handled things the first time I got stung by a bee, on the 14 Mission, slamming her thick nursing book once with a heavy thud.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[pullquote size=\"large\" align=\"right\"]“It was because of my mom that I am proud to be a first-generation immigrant daughter — that my identity, though split, could pledge no true allegiance to either side.”[/pullquote]\u003c/span>As the artist — another Frisco native, as we call ourselves — buzzed away at my right thigh, I meditated on the physical pain that felt like a conduit to what I was going through emotionally. It was cathartic. It was heartbreaking. But it was an emblem of survival for me, an homage to my mother and to the place she brought me that I now call home.\u003c/p>\n\u003cp>For much of my life, I wished I was “Born and Raised” like my friends who were delivered at St. Luke’s (RIP) or General Hospital in the city. But it was because of my mom that I am proud to be a first-generation immigrant daughter — that my identity, though split, could pledge no true allegiance to either side, but took only the best of both worlds: the Philippines \u003ci>and\u003c/i> Frisco.\u003c/p>\n\u003cfigure id=\"attachment_13921127\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13921127\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/Mama-Tattoo.jpg\" alt='A thigh tattoo shows a young woman standing in front of the San Francisco skyline, with the words \"Frisco Queen\" written underneath in cursive.' width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Mama-Tattoo.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Mama-Tattoo-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Mama-Tattoo-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Mama-Tattoo-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Mama-Tattoo-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Mama-Tattoo-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Mama-Tattoo-1536x2048.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A tattoo to honor a true “Frisco Queen.” \u003ccite>(Rocky Rivera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When I moved out on my own after college in the early aughts, I created an altar in my home to honor my ancestors. It was a way for me to stay spiritually connected while rejecting colonizer-imposed Catholicism. At first, it only contained my pictures of my grandfather and my Aunt Agnes, who had passed away at 33. When we moved the altar to the outside balcony, the sugar skulls were soon invaded by pests, the ceremonial chocolate from Colombia eaten and the altar toppled by roof rats. After that, I moved it back inside. Now, it’s crowded with loved ones who passed within the last five years, the most impactful being my father-in-law, my Tita Lita and, of course, my mother.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13915581,arts_13913828']\u003c/span>I was too broken to make a food altar for my mother on Araw ng mga Patay (All Saints Day), the Filipino version of Día de los Muertos, the year she passed. I was too sad to even feed myself and instead ordered Tipunan again to comfort myself, the takeout cartons taking the place of the traditional catfish adobo she had taught me to make.\u003c/p>\n\u003cp>The last time she visited us in Oakland, my mother soared over the zoo in the gondola, laughing as she pointed out all the animals below she could prepare adobo-style. Toward the end of her life, as her health deteriorated, she began to only speak to me in Kapampangan. It was a gift that I was still able to understand her. Meanwhile, my Tita Lita, who famously never cooked Filipino food during the holidays, began to request it from us as she recovered from her first stroke, and again a decade later while succumbing to her next. And my father-in-law, Danny, used to order sisig for every family party after I requested it just one time, even though half of his biological children are now vegan.\u003c/p>\n\u003cfigure id=\"attachment_13921129\" class=\"wp-caption alignnone\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13921129\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/altar-sisig-scaled.jpg\" alt=\"Close-up of a section of a home altar, with a plate of Filipino sisig on display as an offering to the dead.\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/altar-sisig-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/altar-sisig-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/altar-sisig-1020x1529.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/altar-sisig-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/altar-sisig-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/altar-sisig-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/altar-sisig-1366x2048.jpg 1366w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">The plate of sisig is an offering to the author’s father-in-law, who insisted on ordering it for family parties even after many of his children became vegan. \u003ccite>(Fernando Godinez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The comfort of familiarity is too strong in the end, especially as we are close to death. And as immigrants and children of immigrants, our relationship to food is the strongest relationship we have to culture and lineage, because food is made and prepared with love when it is made at home.\u003c/p>\n\u003cp>This Día de los Muertos, I am returning to that food altar with my recently passed loved ones in mind. Persimmons for Mom and Tita Lita, their favorite winter fruit. A mango for my motherland (and the name of the enchi ball python we bought to celebrate \u003ca href=\"https://www.kqed.org/arts/13894648/rapper-and-activist-rocky-rivera-embraces-growth-in-her-first-book-snakeskin\">the release of my book\u003c/a> — and to keep future roof rats away). A plate of sisig for my father-in-law. A joint for my boy Dex, who just passed from cancer. And a plate of garlic noodles for the Frisco that only exists in my memories now, made with love by Yours Truly.\u003c/p>\n\u003cp>As we eat and savor each bite with our ancestors, remembering places and names that no longer exist on this earthly plane, we say thank you for the sustenance. And the memories. This will be our first holiday without many of them, and I can only hope to be half the foodie they were.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13921131\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/mom-altar-scaled.jpg\" alt=\"A framed photo of an older Filipino woman in a polka dotted blouse.\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/mom-altar-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/mom-altar-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/mom-altar-1020x1529.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/mom-altar-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/mom-altar-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/mom-altar-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/mom-altar-1366x2048.jpg 1366w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.kqed.org/arts/13921079/mom-tribute-dia-de-los-muertos-filipino-food-altar-frisco-foodies\">Rocky Rivera\u003c/a> is a journalist, emcee, author and activist from San Francisco. She has four musical projects out, three of those with her label Beatrock Music. She released her first book last year, entitled \u003c/em>Snakeskin: Essays by Rocky Rivera\u003cem>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>\u003cem>Frisco Foodies is a recurring column in which a San Francisco local shares food memories of growing up in a now rapidly changing city.\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">W\u003c/span>\u003c/p>\u003cp>hen I lost my mom in May of 2020, two months after lockdown, I couldn’t mourn in a normal way. Instead of hugs and in-person condolences, I received pings on my Venmo account from all my cousins telling me to order takeout instead of cooking. Not that I could have. I could barely stand up in the shower. The grief was so heavy amidst the isolation of shelter in place that all I can remember was the silence — and the occasional knock on the door for a flower shop delivery or a Caviar order.\u003c/p>\n\u003cp>I found a Filipino restaurant in Oakland called \u003ca href=\"https://tipunan.com/\">Tipunan\u003c/a> that delivered beef rib sinigang soup with the perfect amount of tamarind sourness and crispy pork belly karé karé, with its golden, peanut butter-based sauce and side of fermented shrimp paste to cut through the fat. Of all the condolences sent, this one felt the most appropriate. After all, I had learned to taste food through my mother’s hands when she \u003ci>subu\u003c/i>’d me as a baby and, later, through the cultural sensibilities I inherited from being born in the Philippines — acquiring a palate for things like ampalaya (bitter melon) and burong mustasa (fermented mustard greens).\u003c/p>\n\u003cp>I grew up quite literally in the middle of the Bay on Treasure Island Naval Base, but my mother was the true bridge between two cities, two hemispheres and two cultures.\u003c/p>\n\u003cp>She was also the one who taught me to be a foodie. I remember how my mom would fix plates of Filipino-style spaghetti for the construction workers working on our building, and how she’d take me to Pier 39 to eat Dungeness crab and clam chowder with oyster crackers, a cacophony of sea lions nearby. I remember perusing Japantown with her after her massage appointments, sipping toasted rice tea and eating green tea ice cream at Kintetsu Mall. I remember how she brought home sugarcane from the Alemany farmers market. My sisters and I would crunch down and suck up the sweet juice before spitting out the stalk like some kid version of chewing tobacco.\u003c/p>\n\u003cfigure id=\"attachment_13921119\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13921119\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/rocky-treasure-island.jpg\" alt=\"A young girl with windswept hair dressed in all red; the pier and waterfront at Treasure Island is in the background.\" width=\"1920\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/rocky-treasure-island.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/rocky-treasure-island-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/rocky-treasure-island-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/rocky-treasure-island-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/rocky-treasure-island-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/rocky-treasure-island-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The author as a child at the waterfront on Treasure Island, where she grew up. \u003ccite>(Courtesy of Rocky Rivera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The eldest of ten siblings, my mom always woke up at dawn to cook breakfast, most likely silog-style: vinegar-marinated milkfish or salted dried fish with rice and a side of fresh tomato, mango and onion. She’d go back to sleep while everyone else ate. She taught me my native language, Kapampangan, and told me that our people were the best chefs in the Philippines. She even used to brag about raising me a vegetarian — after all, we had access to canned veg-meat in our hometown years before it hit the American mainstream. (These days it would be more accurate to call us flexitarians. We Filipinos \u003ca href=\"https://www.kqed.org/arts/13914750/inay-dalisay-world-famous-lechon-vegan-filipino-play-bindlestiff\">have a hard time\u003c/a> parting with \u003ca href=\"https://www.kqed.org/arts/13915581/lechon-filipino-american-party-oriental-food-market-concord\">meat\u003c/a> entirely.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Throughout my adolescence, my mom expressed the truest love language of an Asian mother, bringing me cut cantaloupes, persimmons and mangoes to my room while I was doing my homework. “Tin … anak … mangan na ka (you eat now),” she’d say to me. It’s no wonder that Filipinos greet each other not with pleasantries, but with inquiries of whether you’ve eaten yet.\u003c/p>\n\u003cp>For me, being a foodie always meant that I enjoyed everyone else’s cooking — my mom’s, my sister’s, my grandma’s, my Tita Lita’s — but never dared to learn or replicate. Why would I when I could just enjoy the fruits of their labor? But now that my daughter is the same age I was when my family immigrated to San Francisco, I’ve learned to cook a few signature dishes: garlic noodles, made with copious amounts of butter, and my Lolo Pepé’s catfish adobo recipe, which my mother passed down to me — with no measurements, of course. It would depend on what was in Mom’s fridge that day. It always required a tomato soft enough to thicken the sauce undetected. But sometimes it would have pepperoncini or jalapeños in it. Sometimes lemongrass. My mother cooked it whenever my partner was in town because he was pescatarian and it was his favorite dish she made.\u003c/p>\n\u003cfigure id=\"attachment_13921125\" class=\"wp-caption alignnone\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13921125\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/food-altar_full-scaled.jpg\" alt=\"A home altar for honoring the ancestors, covered with framed photos, decorative skulls and food offerings.\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/food-altar_full-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/food-altar_full-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/food-altar_full-1020x1529.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/food-altar_full-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/food-altar_full-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/food-altar_full-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/food-altar_full-1366x2048.jpg 1366w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">The author’s home altar for honoring her ancestors. At the very top are framed photos of her mother and her father-in-law Danny. \u003ccite>(Fernando Godinez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mom, my Lola Luz and my Tita Lita — who passed away in January — are all gone now. It’s up to my sisters, cousins and I to keep those food memories going, if only to thread our past with our future. These days, I try to continue the Kapampangan traditions with my kids while also incorporating our Americanized palates. I inherited a white-cheddar-and-thyme corn pudding recipe from Tita Lita, who cooked like a Filipina Ina Garten on steroids. Every year, she would roast a separate display turkey to serve alongside the cut pieces of the one she’d already carved — mainly for aesthetics but also to feed our huge family.\u003c/p>\n\u003cp>At her memorial this past January, I made the corn pudding for the family and silently noted the differences in taste due to my use of extra large eggs and the fact that I hadn’t let the batter come to room temperature before baking. Even in death, mine couldn’t compare. I plan on perfecting it this year, and every year after, for Turkey Day.\u003c/p>\n\u003cfigure id=\"attachment_13921122\" class=\"wp-caption alignnone\" style=\"max-width: 1125px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13921122\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/Tita-Lita.jpg\" alt=\"An older woman in a red apron sets up a huge spread of food for an outdoor family gathering.\" width=\"1125\" height=\"844\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Tita-Lita.jpg 1125w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Tita-Lita-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Tita-Lita-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Tita-Lita-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Tita-Lita-768x576.jpg 768w\" sizes=\"(max-width: 1125px) 100vw, 1125px\">\u003cfigcaption class=\"wp-caption-text\">Tita Lita was like a Filipino Ina Garten, known for cooking up an enormous spread of food for family gatherings. \u003ccite>(Courtesy of Rocky Rivera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A few months after my mom passed, during that brief moment in the pandemic when things opened up and closed just as fast, I was able to secure a tattoo appointment. In honor of my departed mom, I chose a young picture of her, along with a young San Francisco skyline — no Salesforce Tower in sight — with the Bay Bridge as a backdrop. At the bottom, in curlicued script, are the words “Frisco Queen.” The image represents a time when my mom came here to build a new life as a nurse, a choice to immigrate to this very place and make it our new home. Through every hardship, she was always there for her kids: She was the one who pulled me out of school on my birthday and took me shopping at the downtown FAO Schwartz (RIP), or at the dress shops on Mission after visits to the dentist. She was the one who handled things the first time I got stung by a bee, on the 14 Mission, slamming her thick nursing book once with a heavy thud.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "“It was because of my mom that I am proud to be a first-generation immigrant daughter — that my identity, though split, could pledge no true allegiance to either side.”",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>As the artist — another Frisco native, as we call ourselves — buzzed away at my right thigh, I meditated on the physical pain that felt like a conduit to what I was going through emotionally. It was cathartic. It was heartbreaking. But it was an emblem of survival for me, an homage to my mother and to the place she brought me that I now call home.\u003c/p>\n\u003cp>For much of my life, I wished I was “Born and Raised” like my friends who were delivered at St. Luke’s (RIP) or General Hospital in the city. But it was because of my mom that I am proud to be a first-generation immigrant daughter — that my identity, though split, could pledge no true allegiance to either side, but took only the best of both worlds: the Philippines \u003ci>and\u003c/i> Frisco.\u003c/p>\n\u003cfigure id=\"attachment_13921127\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13921127\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/Mama-Tattoo.jpg\" alt='A thigh tattoo shows a young woman standing in front of the San Francisco skyline, with the words \"Frisco Queen\" written underneath in cursive.' width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Mama-Tattoo.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Mama-Tattoo-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Mama-Tattoo-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Mama-Tattoo-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Mama-Tattoo-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Mama-Tattoo-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Mama-Tattoo-1536x2048.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A tattoo to honor a true “Frisco Queen.” \u003ccite>(Rocky Rivera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When I moved out on my own after college in the early aughts, I created an altar in my home to honor my ancestors. It was a way for me to stay spiritually connected while rejecting colonizer-imposed Catholicism. At first, it only contained my pictures of my grandfather and my Aunt Agnes, who had passed away at 33. When we moved the altar to the outside balcony, the sugar skulls were soon invaded by pests, the ceremonial chocolate from Colombia eaten and the altar toppled by roof rats. After that, I moved it back inside. Now, it’s crowded with loved ones who passed within the last five years, the most impactful being my father-in-law, my Tita Lita and, of course, my mother.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>I was too broken to make a food altar for my mother on Araw ng mga Patay (All Saints Day), the Filipino version of Día de los Muertos, the year she passed. I was too sad to even feed myself and instead ordered Tipunan again to comfort myself, the takeout cartons taking the place of the traditional catfish adobo she had taught me to make.\u003c/p>\n\u003cp>The last time she visited us in Oakland, my mother soared over the zoo in the gondola, laughing as she pointed out all the animals below she could prepare adobo-style. Toward the end of her life, as her health deteriorated, she began to only speak to me in Kapampangan. It was a gift that I was still able to understand her. Meanwhile, my Tita Lita, who famously never cooked Filipino food during the holidays, began to request it from us as she recovered from her first stroke, and again a decade later while succumbing to her next. And my father-in-law, Danny, used to order sisig for every family party after I requested it just one time, even though half of his biological children are now vegan.\u003c/p>\n\u003cfigure id=\"attachment_13921129\" class=\"wp-caption alignnone\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13921129\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/altar-sisig-scaled.jpg\" alt=\"Close-up of a section of a home altar, with a plate of Filipino sisig on display as an offering to the dead.\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/altar-sisig-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/altar-sisig-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/altar-sisig-1020x1529.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/altar-sisig-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/altar-sisig-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/altar-sisig-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/altar-sisig-1366x2048.jpg 1366w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">The plate of sisig is an offering to the author’s father-in-law, who insisted on ordering it for family parties even after many of his children became vegan. \u003ccite>(Fernando Godinez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The comfort of familiarity is too strong in the end, especially as we are close to death. And as immigrants and children of immigrants, our relationship to food is the strongest relationship we have to culture and lineage, because food is made and prepared with love when it is made at home.\u003c/p>\n\u003cp>This Día de los Muertos, I am returning to that food altar with my recently passed loved ones in mind. Persimmons for Mom and Tita Lita, their favorite winter fruit. A mango for my motherland (and the name of the enchi ball python we bought to celebrate \u003ca href=\"https://www.kqed.org/arts/13894648/rapper-and-activist-rocky-rivera-embraces-growth-in-her-first-book-snakeskin\">the release of my book\u003c/a> — and to keep future roof rats away). A plate of sisig for my father-in-law. A joint for my boy Dex, who just passed from cancer. And a plate of garlic noodles for the Frisco that only exists in my memories now, made with love by Yours Truly.\u003c/p>\n\u003cp>As we eat and savor each bite with our ancestors, remembering places and names that no longer exist on this earthly plane, we say thank you for the sustenance. And the memories. This will be our first holiday without many of them, and I can only hope to be half the foodie they were.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13921131\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/mom-altar-scaled.jpg\" alt=\"A framed photo of an older Filipino woman in a polka dotted blouse.\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/mom-altar-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/mom-altar-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/mom-altar-1020x1529.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/mom-altar-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/mom-altar-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/mom-altar-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/mom-altar-1366x2048.jpg 1366w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.kqed.org/arts/13921079/mom-tribute-dia-de-los-muertos-filipino-food-altar-frisco-foodies\">Rocky Rivera\u003c/a> is a journalist, emcee, author and activist from San Francisco. She has four musical projects out, three of those with her label Beatrock Music. She released her first book last year, entitled \u003c/em>Snakeskin: Essays by Rocky Rivera\u003cem>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "a-family-tradition-of-altar-making-as-told-by-rio-yanez",
"title": "A Family Tradition of Altar Making, As Told by Rio Yañez",
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"content": "\u003cp>\u003cspan style=\"font-weight: 400;\">At the heart of Día de los Muertos is a celebration of the cycle of life. It’s a time to talk with our dead. We sing to them, prepare altars with flower and food offerings, and share stories to keep their memories alive. It’s both a sacred and joyous time.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">Here in the Bay Area, we go all out for the tradition. Elaborate public altars are constructed in \u003c/span>\u003ca href=\"https://www.dayofthedeadsf.org/\">\u003cspan style=\"font-weight: 400;\">parks\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\">, schools, and \u003ca href=\"https://www.schoolofartsandculture.org/events/2019/11/2/avenida-de-altares-amp-cumbia-g7kzt-82smw\">community spaces\u003c/a>. Museums and \u003c/span>\u003ca href=\"https://richmondartcenter.org/exhibitions/de-fantasias-y-realidades/\">\u003cspan style=\"font-weight: 400;\">galleries\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\"> have exhibits with Day of the Dead themed art and \u003ca href=\"https://missionculturalcenter.org/event/day-of-the-dead-events/\">installations\u003c/a>. It’s truly a moment of visibility for Latino and Latinx culture and tradition.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">But it wasn’t always this way in the Bay Area or the United States, for that matter. To shed light on the history of how Day of the Dead became such a significant tradition in San Francisco, we are talking to artist and curator Rio Yañez.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13921006\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921006\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/Rio-and-Rene-Polaroid-800x800.jpg\" alt=\"A polaroid photo of young Rio Yañez holding a comic book and embraced by his father Rene.\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Rio-and-Rene-Polaroid-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Rio-and-Rene-Polaroid-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Rio-and-Rene-Polaroid-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Rio-and-Rene-Polaroid.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Father and son, Rene and Rio Yañez co-curated Day of the Dead Altar exhibits at SOMArts until Rene’s passing. \u003ccite>(Courtesy of Rio Yañez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400;\">His father, \u003c/span>\u003ca href=\"https://rioyanez.com/\">\u003cspan style=\"font-weight: 400;\">Rene Yañez\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\">, is credited with helping start the Day of the Dead procession that runs through the Mission. The procession (now in its 41st year) started in 1981 and was an extension of the curatorial and educational work Rene Yañez and other Chicano/Latino artists were doing at \u003ca href=\"http://www.galeriadelaraza.org/\">Galería de La Raza\u003c/a> to educate the community about Dia de los Muertos. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">Rio carries the legacy forward by continuing to curate annual Day of the Dead altar exhibits that his father, Rene, started at SOMArts. In doing so, he also continues his parents’ work of mentoring younger artists. Now in its 23rd year at \u003ca href=\"https://somarts.org/\">SOMArts\u003c/a>, this year’s Day of the Dead show is titled, “\u003ca href=\"https://somarts.org/event/toloveandbeloved/\">To Love and Be Loved in Return\u003c/a>,” and invites viewers to collectively grieve and heal. The exhibit is open through November 4th and can also be viewed \u003ca href=\"https://somarts.org/toloveandbeloved-virtual/\">virtually\u003c/a>. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13921007\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13921007 size-large\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/IMG_1138-1020x1020.jpg\" alt=\"A light up lantern sculpture made with papel picado cut outs. Patterns include hummingbirds and hearts. \" width=\"640\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/IMG_1138-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/IMG_1138-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/IMG_1138-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/IMG_1138-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/IMG_1138-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/IMG_1138-2048x2048.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/IMG_1138-1920x1920.jpg 1920w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Day of the Dead altar sculpture at SOMArts by Victor-Mario Zaballa. \u003ccite>(Marisol Medina-Cadena/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC3684311534&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"https://bit.ly/3sD5yV6\">Read the podcast transcript\u003c/a>.\u003c/p>\n\u003cp>\u003cb>Below are lightly edited excerpts of my conversation with Rio Yañez\u003c/b>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400;\">Marisol: Do you remember your earliest memory of celebrating Day of the Dead in San Francisco? \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\"> \u003c/span>\u003cspan style=\"font-weight: 400;\">Rio: It would probably be watching my dad assemble an altar at Galeria de la Raza on 24th and Bryant Street here in San Francisco in an art gallery that he was the creative director of. I just remember sitting on the carpet of the gallery and looking at my dad assemble it and I was so little. It was probably before I could walk. So it just seemed like he was putting together some sort of like puzzle or some sort of like sculpture. I just remember the colors! It was black and white and then these, like, pastel purples. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400;\">Marisol: Growing up, do you remember any conversations with your mom? Like when she was teaching you the tradition, creating a home altar… Was there any explicit conversation about, oh, “the way we do it here in California, in San Francisco isn’t necessarily the way it’s done in Mexico”? For example, like we don’t spend the night in cemeteries… \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">Rio: I think it’s always been for my family, and I think really the roots of it in San Francisco have always been very Mexican-American, without the pretense of doing like a super “authentic,” you know, replication of what’s being practiced in Mexico. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">To me… the procession, the altars, the art exhibits like it, it’s very 2nd generation. It’s very Mexican-American. I think it’s always been about kind of making something that’s our own and not necessarily just trying to duplicate something. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400;\">Marisol: Separate from your curatorial artistic practice. I’m just curious for your home altar or your private altar. What are some of the things you’re going to put on your altar for your parents and why? \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\"> \u003c/span>\u003cspan style=\"font-weight: 400;\">Rio: So for my dad, outside of being a curator, when he would get home, he just loved to draw in his sketchbooks. And, you know, his routine was just always to brew a cup of coffee and roll a joint and work at his sketchbook. And so art supplies coffee and a little bit of mota is always what I leave out for him. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">Rio: For my mom… I left out some of her favorite CDs in in our altar and photographs of her uncle, who is the reason why she came to the Bay Area in the first place. Even in grief, having lost both of my parents in the recent years, there’s just a lot of joy in making these things and sharing them with them for the night. \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400;\">At the heart of Día de los Muertos is a celebration of the cycle of life. It’s a time to talk with our dead. We sing to them, prepare altars with flower and food offerings, and share stories to keep their memories alive. It’s both a sacred and joyous time.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">Here in the Bay Area, we go all out for the tradition. Elaborate public altars are constructed in \u003c/span>\u003ca href=\"https://www.dayofthedeadsf.org/\">\u003cspan style=\"font-weight: 400;\">parks\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\">, schools, and \u003ca href=\"https://www.schoolofartsandculture.org/events/2019/11/2/avenida-de-altares-amp-cumbia-g7kzt-82smw\">community spaces\u003c/a>. Museums and \u003c/span>\u003ca href=\"https://richmondartcenter.org/exhibitions/de-fantasias-y-realidades/\">\u003cspan style=\"font-weight: 400;\">galleries\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\"> have exhibits with Day of the Dead themed art and \u003ca href=\"https://missionculturalcenter.org/event/day-of-the-dead-events/\">installations\u003c/a>. It’s truly a moment of visibility for Latino and Latinx culture and tradition.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">But it wasn’t always this way in the Bay Area or the United States, for that matter. To shed light on the history of how Day of the Dead became such a significant tradition in San Francisco, we are talking to artist and curator Rio Yañez.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13921006\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921006\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/Rio-and-Rene-Polaroid-800x800.jpg\" alt=\"A polaroid photo of young Rio Yañez holding a comic book and embraced by his father Rene.\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Rio-and-Rene-Polaroid-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Rio-and-Rene-Polaroid-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Rio-and-Rene-Polaroid-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Rio-and-Rene-Polaroid.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Father and son, Rene and Rio Yañez co-curated Day of the Dead Altar exhibits at SOMArts until Rene’s passing. \u003ccite>(Courtesy of Rio Yañez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400;\">His father, \u003c/span>\u003ca href=\"https://rioyanez.com/\">\u003cspan style=\"font-weight: 400;\">Rene Yañez\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\">, is credited with helping start the Day of the Dead procession that runs through the Mission. The procession (now in its 41st year) started in 1981 and was an extension of the curatorial and educational work Rene Yañez and other Chicano/Latino artists were doing at \u003ca href=\"http://www.galeriadelaraza.org/\">Galería de La Raza\u003c/a> to educate the community about Dia de los Muertos. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">Rio carries the legacy forward by continuing to curate annual Day of the Dead altar exhibits that his father, Rene, started at SOMArts. In doing so, he also continues his parents’ work of mentoring younger artists. Now in its 23rd year at \u003ca href=\"https://somarts.org/\">SOMArts\u003c/a>, this year’s Day of the Dead show is titled, “\u003ca href=\"https://somarts.org/event/toloveandbeloved/\">To Love and Be Loved in Return\u003c/a>,” and invites viewers to collectively grieve and heal. The exhibit is open through November 4th and can also be viewed \u003ca href=\"https://somarts.org/toloveandbeloved-virtual/\">virtually\u003c/a>. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13921007\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13921007 size-large\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/IMG_1138-1020x1020.jpg\" alt=\"A light up lantern sculpture made with papel picado cut outs. Patterns include hummingbirds and hearts. \" width=\"640\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/IMG_1138-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/IMG_1138-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/IMG_1138-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/IMG_1138-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/IMG_1138-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/IMG_1138-2048x2048.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/IMG_1138-1920x1920.jpg 1920w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Day of the Dead altar sculpture at SOMArts by Victor-Mario Zaballa. \u003ccite>(Marisol Medina-Cadena/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC3684311534&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://bit.ly/3sD5yV6\">Read the podcast transcript\u003c/a>.\u003c/p>\n\u003cp>\u003cb>Below are lightly edited excerpts of my conversation with Rio Yañez\u003c/b>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400;\">Marisol: Do you remember your earliest memory of celebrating Day of the Dead in San Francisco? \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\"> \u003c/span>\u003cspan style=\"font-weight: 400;\">Rio: It would probably be watching my dad assemble an altar at Galeria de la Raza on 24th and Bryant Street here in San Francisco in an art gallery that he was the creative director of. I just remember sitting on the carpet of the gallery and looking at my dad assemble it and I was so little. It was probably before I could walk. So it just seemed like he was putting together some sort of like puzzle or some sort of like sculpture. I just remember the colors! It was black and white and then these, like, pastel purples. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400;\">Marisol: Growing up, do you remember any conversations with your mom? Like when she was teaching you the tradition, creating a home altar… Was there any explicit conversation about, oh, “the way we do it here in California, in San Francisco isn’t necessarily the way it’s done in Mexico”? For example, like we don’t spend the night in cemeteries… \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">Rio: I think it’s always been for my family, and I think really the roots of it in San Francisco have always been very Mexican-American, without the pretense of doing like a super “authentic,” you know, replication of what’s being practiced in Mexico. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">To me… the procession, the altars, the art exhibits like it, it’s very 2nd generation. It’s very Mexican-American. I think it’s always been about kind of making something that’s our own and not necessarily just trying to duplicate something. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400;\">Marisol: Separate from your curatorial artistic practice. I’m just curious for your home altar or your private altar. What are some of the things you’re going to put on your altar for your parents and why? \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\"> \u003c/span>\u003cspan style=\"font-weight: 400;\">Rio: So for my dad, outside of being a curator, when he would get home, he just loved to draw in his sketchbooks. And, you know, his routine was just always to brew a cup of coffee and roll a joint and work at his sketchbook. And so art supplies coffee and a little bit of mota is always what I leave out for him. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">Rio: For my mom… I left out some of her favorite CDs in in our altar and photographs of her uncle, who is the reason why she came to the Bay Area in the first place. Even in grief, having lost both of my parents in the recent years, there’s just a lot of joy in making these things and sharing them with them for the night. \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "This Fall Marks the Return of the In-Person Food Festival",
"headTitle": "This Fall Marks the Return of the In-Person Food Festival | KQED",
"content": "\u003cp>\u003ca href=\"https://www.kqed.org/fallarts2022\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>\u003cstrong>Find more of KQED’s picks for the best Fall 2022 events here\u003c/strong>\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>For the food enthusiast, fall in the Bay Area means bacon-wrapped hot dogs, pumpkin pie eating contests and ungodly quantities of garlic noodles scarfed out of a little paper tray. In other words, it’s peak food festival season—or at least it was until the past two years, when COVID safety concerns cancelled most of these gatherings outright and forced others to shrink themselves down into Zoom- and takeout-friendly form.\u003c/p>\n\u003cp>It’s a sign of how far we’ve come, then, that most of the biggest and most beloved fall food festivals and other food-related events are back in full force—and fully in person—this year. Make no mistake: We’re still in a pandemic, and it’s important to be mindful of other festival-goers’ safety and comfort level. (Don’t let anyone shame you for wearing a mask!) But if you’ve been looking forward to standing in a line with a couple dozen other lumpia lovers or vegan ice cream aficionados, we’ve got some great options for you.\u003c/p>\n\u003cfigure id=\"attachment_13918351\" class=\"wp-caption alignnone\" style=\"max-width: 1951px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13918351\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Pastitsio-2022-cooked-pan-CROPPED-BD864E13-48D0-415F-BB7B-C1436AEC7DA9.jpg\" alt=\"A big aluminum tray of Greek pastitsio, the top cooked to golden brown.\" width=\"1951\" height=\"1063\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Pastitsio-2022-cooked-pan-CROPPED-BD864E13-48D0-415F-BB7B-C1436AEC7DA9.jpg 1951w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Pastitsio-2022-cooked-pan-CROPPED-BD864E13-48D0-415F-BB7B-C1436AEC7DA9-800x436.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Pastitsio-2022-cooked-pan-CROPPED-BD864E13-48D0-415F-BB7B-C1436AEC7DA9-1020x556.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Pastitsio-2022-cooked-pan-CROPPED-BD864E13-48D0-415F-BB7B-C1436AEC7DA9-160x87.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Pastitsio-2022-cooked-pan-CROPPED-BD864E13-48D0-415F-BB7B-C1436AEC7DA9-768x418.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Pastitsio-2022-cooked-pan-CROPPED-BD864E13-48D0-415F-BB7B-C1436AEC7DA9-1536x837.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Pastitsio-2022-cooked-pan-CROPPED-BD864E13-48D0-415F-BB7B-C1436AEC7DA9-1920x1046.jpg 1920w\" sizes=\"(max-width: 1951px) 100vw, 1951px\">\u003cfigcaption class=\"wp-caption-text\">Big trays of bubbling-hot, golden-brown pastitsio are one of the savory attractions at the annual Belmont Greek Festival. \u003ccite>(Emmy Denton)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.belmontgreekfestival.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Belmont Greek Festival\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Church of the Holy Cross, Belmont\u003cbr>\nSept. 3–4, noon–10pm\u003c/i>\u003c/p>\n\u003cp>Michelin-starred restaurants are fine and all, but real connoisseurs of cuisine know that some of the most memorable eating happens not on white tablecloth but at the church (or mosque or temple) festival—the kind of paper-plate, bring-your-own-Tupperware affair where Uncle and Grandma trot out their most sacred family recipes. Hence the enduring popularity of the Belmont Greek Festival, which this year celebrates both its 50th anniversary and its first year back in person since the start of the pandemic.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Hosted by the Church of the Holy Cross, the fully volunteer-staffed festival is returning with a full slate of live music and traditional dancing (“\u003ca href=\"https://fb.watch/eXDNM67P4s/\">Opa!\u003c/a>”), but like any church festival worth its salt, food will be front and center—big, gut-busting plates of spanakopita, gyros and lasagna-like beef pastitsio, which visitors can enjoy on the church’s outdoor “platia,” made to resemble a bustling village square in Greece. Be sure to save room for dessert: It’d be a shame to leave without a taste of baklava or, the crowning glory of any big Greek celebration, the honey-drenched fried dough balls known as loukoumades. —\u003cem>L.T.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13918354\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13918354\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/KCB01625-2-scaled.jpg\" alt='A man and woman in face masks squirt sauce on a paper tray of fried cauliflower. Their shirts read \"Plant N Soul.\"' width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/KCB01625-2-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/KCB01625-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/KCB01625-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/KCB01625-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/KCB01625-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/KCB01625-2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/KCB01625-2-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/KCB01625-2-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Plant N Soul staff squirt sauce onto fried cauliflower. The vegan pizza pop-up will be one of more than 50 vendors at this year’s Bizerkeley vegan food festival. \u003ccite>(Courtesy of Bizerkeley Food Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.thebizerkeleyvegan.com/foodfest\" target=\"_blank\" rel=\"noopener noreferrer\">Bizerkeley Food Festival\u003c/a>\u003c/h2>\n\u003cp>\u003ci>2727 Milvia Street, Berkeley\u003cbr>\nSept. 4, 11am–5pm\u003c/i>\u003c/p>\n\u003cp>When Erika Hazel \u003ca href=\"https://www.kqed.org/arts/13915889/berkeley-vegan-food-festival-bizerkeley-vegan\">launched the Bizerkeley Food Festival\u003c/a>, she wanted to make people more aware of just how diverse the Bay Area’s vegan food scene is—it’s not just “rabbit food,” after all. This Labor Day weekend, she’s continuing that mission with an event that will feature over 50 vegan vendors—more than double its 2021 debut.\u003c/p>\n\u003cp>“The purpose of the Bizerkeley Food Festival is to promote and uplift small businesses, POC businesses and women-owned businesses that are 100% plant-based/vegan while raising necessary funds for the Berkeley municipal animal shelter,” Hazel says.\u003c/p>\n\u003cp>The community-centered event has quickly become the premier vegan festival in the Bay. Held in the Sports Basement parking lot, this year’s edition will feature local favorites like \u003ca href=\"https://www.kqed.org/arts/13916044/sucka-free-soul-the-vegan-hood-chefs-honor-southern-heritage-with-a-frisco-twist\">Vegan Hood Chefs\u003c/a>, \u003ca href=\"https://www.instagram.com/kubenicecream/?hl=en\">Kubé Nice Cream\u003c/a>, and \u003ca href=\"https://thebolditalic.com/this-woman-owned-business-is-introducing-organic-beverages-to-a-food-desert-in-richmond-7b8ce3d8243\">Liquified Juicery\u003c/a> serving a wide array of vegan treats—everything from jambalaya and barbecue sliders to full-fat coconut ice cream. All food and beverages will be sold a la carte. As Hazel notes, a portion of the \u003ca href=\"https://www.eventbrite.com/e/2022-bizerkeley-food-festival-tickets-323004123027\">ticket proceeds\u003c/a> will benefit the \u003ca href=\"https://friendsofbacs.org/\">Friends of Berkeley Animal Care Services\u003c/a>. —\u003cem>A.C.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13900324\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13900324\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/Bryant-Terry_bw-portrait-AOW-scaled.jpg\" alt=\"Black and white author headshot for Bryant Terry, posing in sunglasses.\" width=\"2560\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Bryant-Terry_bw-portrait-AOW-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Bryant-Terry_bw-portrait-AOW-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Bryant-Terry_bw-portrait-AOW-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Bryant-Terry_bw-portrait-AOW-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Bryant-Terry_bw-portrait-AOW-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Bryant-Terry_bw-portrait-AOW-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Bryant-Terry_bw-portrait-AOW-2048x2048.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Bryant-Terry_bw-portrait-AOW-1920x1920.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Bryant Terry wants to provide mentorship opportunities for aspiring BIPOC food creatives. That’s the inspiration behind the Black Food Summit, which he’s organizing in collaboration with the Museum of the African Diaspora. \u003ccite>(Adrian Octavius Walker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.moadsf.org/event/chef-in-residence-bryant-terry-presents-black-food-summit\" target=\"_blank\" rel=\"noopener noreferrer\">Black Food Summit\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Museum of the African Diaspora, San Francisco; TomKat Ranch, Pescadero\u003cbr>\nSept. 9–10\u003c/i>\u003c/p>\n\u003cp>When Bryant Terry started 4 Color Books, his \u003ca href=\"https://www.kqed.org/arts/13900311/bryant-terry-four-color-books-imprint-food-media-diversity\">new imprint\u003c/a> that’s focused on BIPOC artists, writers and chefs, the Oakland-based chef and food activist wanted to help create an ecosystem in which Black and other BIPOC creatives would be able to thrive. Where were all of the talented Black cookbook authors, food stylists and food photographers, and why weren’t they landing the most coveted gigs from the prestige magazines and publishing houses? Were they getting the mentorship opportunities they needed?\u003c/p>\n\u003cp>Now Terry is using his platform as \u003ca href=\"https://www.moadsf.org/\">MoAD’s\u003c/a> chef-in-residence to help grow that pipeline: In September, he’ll host a two-day \u003ca href=\"https://www.moadsf.org/event/chef-in-residence-bryant-terry-presents-black-food-summit\">Black Food Summit\u003c/a> that will inspire—and teach practical skills to—anyone looking to publish a cookbook or carve out a career in food media. The summit will function, among other things, as one of the food world’s most exciting gatherings of Black talent, with nationally prominent writers like \u003ca href=\"http://www.nicoleataylor.com/\">Nicole Taylor\u003c/a> (of the Juneteenth cookbook \u003cem>Watermelon & Red Birds\u003c/em>) and \u003ca href=\"https://osayiendolyn.com/\">Osayi Endolyn\u003c/a> (the \u003cem>New York Times\u003c/em>, \u003cem>Food & Wine\u003c/em> and more) on hand for a full day of panel discussions on topics such as storytelling, design and how to navigate the publishing world. On the second day, the summit will move to Pescadero’s \u003ca href=\"https://tomkatranch.org/\">TomKat Ranch\u003c/a> for a day of restful rejuvenation and hands-on activities (some of which may involve horses).\u003c/p>\n\u003cp>It all culminates with a big, celebratory dinner out on the ranch, cooked by some of the Bay Area’s most accomplished chefs, including Matt Horn (Horn BBQ) and Fernay McPherson (Minnie Bells). Participants can buy a ticket for just one day or for the whole two-day summit. There’s also a livestream option for the Friday events at MoAD. —\u003cem>L.T.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13918355\" class=\"wp-caption alignnone\" style=\"max-width: 2111px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13918355\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/038_1st-Annual-Chuseok-Festival-SELECTS-06189.jpg\" alt=\"A plate of napa cabbage kimchi.\" width=\"2111\" height=\"1408\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/038_1st-Annual-Chuseok-Festival-SELECTS-06189.jpg 2111w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/038_1st-Annual-Chuseok-Festival-SELECTS-06189-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/038_1st-Annual-Chuseok-Festival-SELECTS-06189-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/038_1st-Annual-Chuseok-Festival-SELECTS-06189-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/038_1st-Annual-Chuseok-Festival-SELECTS-06189-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/038_1st-Annual-Chuseok-Festival-SELECTS-06189-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/038_1st-Annual-Chuseok-Festival-SELECTS-06189-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/038_1st-Annual-Chuseok-Festival-SELECTS-06189-1920x1281.jpg 1920w\" sizes=\"(max-width: 2111px) 100vw, 2111px\">\u003cfigcaption class=\"wp-caption-text\">This year’s Chuseok Festival will celebrate traditional Korean foods such as kimchi, but it’ll also offer a wide range of fusion and Korean American diasporic dishes. \u003ccite>(Mark Shigenaga)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/4th-annual-bay-area-chuseok-festival-tickets-355585554967\" target=\"_blank\" rel=\"noopener noreferrer\">Chuseok Festival\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Presidio Main Parade Lawn, San Francisco\u003cbr>\nSept. 10, 11am–5pm\u003c/i>\u003c/p>\n\u003cp>Ever since the event’s splashy 2019 debut, the organizers of the Bay Area Chuseok Festival have been chomping at the bit to bring the Korean harvest festival back to its in-person, deliciously food-focused glory after a couple of Zoom-centric editions during the peak of the pandemic. Eun-Joo Chang of San Francisco’s \u003ca href=\"https://koreancentersf.org/\">Korean Center, Inc.\u003c/a>, which organizes the event, describes Chuseok as the Korean equivalent of Thanksgiving. Hosted at the Presidio, this year’s festival is expected to be bigger and better than ever—a larger outdoor space; more family-friendly entertainment, from K-pop to traditional crafts; and, of course, a whole host of food and beverage vendors.\u003c/p>\n\u003cp>Not all of the food will be strictly Korean, though most of the featured businesses have at least one Korean chef or co-owner. So, while there will be traditional items such as Korean barbecue and \u003ca href=\"https://www.eater.com/drinks/2017/2/20/14645442/makgeolli-korean-rice-wine\">makgeolli\u003c/a>, there also might be bulgogi-topped pizza and Korean-Mexican fusion. Oakland’s Noodle Belly will be on hand serving its signature garlic noodles; SF-based Dokkabier will be on hand to pour its lineup of Asian-inspired microbrews.\u003c/p>\n\u003cp>For those who like to get their hands dirty, San Francisco’s Korean consulate and the Korean food conglomerate and kimchi brand Jong Ga Foods will co-host K-Food, an event-within-event happening at the same time. The centerpiece: a hands-on cooking demonstration in which participants make their own ssamjang, the spicy-sweet condiment traditionally eaten with Korean barbecue. —\u003cem>L.T.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13918362\" class=\"wp-caption alignnone\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13918362\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/calisoulfood_saucey-oysters-bbq.jpg\" alt=\"Four oysters, elaborately topped with shrimp, cheese and spices, on a grill.\" width=\"1440\" height=\"1800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/calisoulfood_saucey-oysters-bbq.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/calisoulfood_saucey-oysters-bbq-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/calisoulfood_saucey-oysters-bbq-1020x1275.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/calisoulfood_saucey-oysters-bbq-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/calisoulfood_saucey-oysters-bbq-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/calisoulfood_saucey-oysters-bbq-1229x1536.jpg 1229w\" sizes=\"(max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">Saucey Oysters & BBQ specializes in elaborately topped grilled oysters. The Sacramento-based pop-up will be one of the 30-plus food vendors on hand at the California Soul Food Cookout. \u003ccite>(Courtesy of Saucey Oysters & BBQ)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.californiasoulfoodcookoutandfestival.com/\" target=\"_blank\" rel=\"noopener noreferrer\">California Soul Food Cookout\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Alameda County Fairgrounds, Pleasanton\u003cbr>\nSept. 17–18, 1–11pm\u003c/i>\u003c/p>\n\u003cp>For concert goers who love soul food, the \u003ca href=\"https://www.instagram.com/calisoulfoodfest/?hl=en\">California Soul Food Cookout & Festival\u003c/a> promises the best of both worlds. Going on its 12th year, the two-day event features a mix of family activities, gospel music, R&B, food trucks and comedy—with a portion of the proceeds going towards Bay Area charities to aid houseless individuals and domestic violence victims.\u003c/p>\n\u003cp>On the food side, the festival’s 2022 edition will be hosted by Chef Milly, known for his stints as a contestant on \u003cem>Hell’s Kitchen\u003c/em>—and for dishes like his signature Crabby Cheese Fries (topped with lump crab meat and Old Bay seasoning). Other vendors will include Hayward-based Filipino fusion pop-up \u003ca href=\"https://www.instagram.com/mekeni_kapampangankami/\">Mekeni’s Kitchen\u003c/a>, Sacramento-based grilled oyster specialist \u003ca href=\"https://www.instagram.com/sauceyoysters_bbq/?hl=en\">Saucey Oysters & BBQ\u003c/a> and the Filipino barbecue stand \u003ca href=\"https://www.instagram.com/gim.belly/?hl=en\">Gim Belly\u003c/a>. The 30-plus diverse, mostly POC food makers were chosen by the organizers to represent the Bay Area’s cultural vibrancy.\u003c/p>\n\u003cp>If you come to California Soul for the food, you’ll stay for the grooves: Musical headliners include gospel and R&B stars like Musiq Soulchild, Angie Stone, Mario Hodge and Fred Hammond. There will also be a job fair and career expo sponsored by the Oakland African American Chamber of Commerce and Silicon Valley Black Chamber of Commerce. —\u003cem>A.C.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13918364\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13918364\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/STL_Shenarri_Freeman_HighRes.jpg\" alt=\"A smiling woman shows off a dish of sautéed mushrooms.\" width=\"1920\" height=\"2322\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/STL_Shenarri_Freeman_HighRes.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/STL_Shenarri_Freeman_HighRes-800x968.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/STL_Shenarri_Freeman_HighRes-1020x1234.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/STL_Shenarri_Freeman_HighRes-160x194.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/STL_Shenarri_Freeman_HighRes-768x929.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/STL_Shenarri_Freeman_HighRes-1270x1536.jpg 1270w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/STL_Shenarri_Freeman_HighRes-1693x2048.jpg 1693w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">During her Shifting the Lens residency, Chef Shenarri Freeman will serve an elaborate tasting menu of vegan soul food dishes. \u003ccite>(Courtesy of J Vineyards & Winery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.exploretock.com/jvineyardswinery/experience/340529/shifting-the-lens-chef-shenarri-freeman\" target=\"_blank\" rel=\"noopener noreferrer\">Shifting the Lens with Chef Shenarri Freeman\u003c/a>\u003c/h2>\n\u003cp>\u003ci>J Vineyards & Winery, Healdsburg\u003cbr>\nSept. 29–Oct. 9\u003c/i>\u003c/p>\n\u003cp>Preeti Mistry was tired of hearing people say there wasn’t any point in pairing wine with Indian food—and that the richly spiced foods found throughout, say, South Asia, West Africa or the Caribbean were best just washed down with beer. So, the chef decided to change the conversation. \u003ca href=\"https://www.jwine.com/shifting-the-lens.html\">Shifting the Lens\u003c/a>, Mistry’s summer-long residency series J Winery in Healdsburg, \u003ca href=\"https://www.kqed.org/arts/13917165/preeti-mistry-wants-to-show-that-wine-pairing-isnt-just-for-white-food\">reexamines wine pairing in the context of cuisines that are often excluded from the fine dining discourse\u003c/a> here in the United States: Chinese food, Indian food, soul food. Each residency features a talented BIPOC woman guest chef.\u003c/p>\n\u003cp>Starting Sept. 29, Shifting the Lens will close out its first year with a residency by Shenarri “Greens” Freeman, a New York City-based wellness advocate and the chef of the vegan soul food restaurant \u003ca href=\"https://www.instagram.com/cadence.newyork/?hl=en\">Cadence\u003c/a>. Over the course of two weeks, Thursday to Sunday, guests can book a two-hour, five-plus-course, fully plant-based tasting menu ($200) that comes with a thoughtful wine pairing for each dish. For those who want a little extra face time with the chef, a special VIP dinner on Oct. 1 will include a Q&A session. —\u003cem>L.T.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13918360\" class=\"wp-caption alignnone\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13918360\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Turontastic-3_photo-from-Kultivate-Labs.jpg\" alt=\"A cup of halo halo, with layers of bright purple ube ice cream, flan and sweet beans.\" width=\"1600\" height=\"1068\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Turontastic-3_photo-from-Kultivate-Labs.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Turontastic-3_photo-from-Kultivate-Labs-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Turontastic-3_photo-from-Kultivate-Labs-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Turontastic-3_photo-from-Kultivate-Labs-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Turontastic-3_photo-from-Kultivate-Labs-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Turontastic-3_photo-from-Kultivate-Labs-1536x1025.jpg 1536w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">Turontastic’s halo-halo, from last year’s edition of Undiscovered SF. \u003ccite>(Photography by Albert Law: www.porkbellystudio.com)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.undiscoveredsf.com/#tickets\" target=\"_blank\" rel=\"noopener noreferrer\">Undiscovered SF Festival\u003c/a>\u003c/h2>\n\u003cp>\u003ci>SOMA Pilipinas, San Francisco\u003cbr>\nOct. 22, noon–6pm\u003c/i>\u003c/p>\n\u003cp>This year, the Undiscovered SF Festival asks the age-old question: If San Francisco had its very own Filipino theme park, what would that look like? Would mobile DJ crews usher each visitor in through ube-purple turnstiles? Would there be a lumpia-themed rollercoaster or a karaoke-themed merry-go-round? Most importantly: What would there be to eat?\u003c/p>\n\u003cp>Undiscovered SF 2022 will offer visitors the opportunity to see one possible vision for such a theme park come to life—though rollercoaster enthusiasts might have to wait for a future edition. Though the event’s earliest incarnations were set up as a \u003ca href=\"https://digital.modernluxury.com/publication/?m=3609&i=453302&p=84&ver=html5\">Filipino night market\u003c/a>, during the pandemic Undiscovered SF evolved into a daytime event spread across multiple indoor and outdoor venues in the SOMA Pilipinas cultural district. This year’s version promises to be the largest one yet, with a rollicking main stage set up at \u003ca href=\"https://www.sfchronicle.com/sf/article/S-F-s-newest-green-space-just-opened-in-SoMa-16969411.php\">Parks at 5M\u003c/a>, the neighborhood’s brand new outdoor park; a kaleidoscope of crafts and streetwear vendors; art exhibitions; and more than 20 food vendors (including local legends like \u003ca href=\"https://www.instagram.com/thelumpiacompany/\">Lumpia Company\u003c/a> and \u003ca href=\"https://www.instagram.com/thesarapshop/\">Sarap Shop\u003c/a>). —\u003cem>L.T.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13918350\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13918350\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/dia-altar_fruitvale.jpg\" alt=\"A marigold-covered altar for Día de los Muertos on a street corner in Fruitvale.\" width=\"1920\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/dia-altar_fruitvale.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/dia-altar_fruitvale-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/dia-altar_fruitvale-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/dia-altar_fruitvale-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/dia-altar_fruitvale-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/dia-altar_fruitvale-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A marigold-covered altar for the ancestors at Oakland’s Día de los Muertos festival in Fruitvale. \u003ccite>(Courtesy of the Unity Council)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://diaoakland.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Día de los Muertos Festival\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Fruitvale District, Oakland\u003cbr>\nOct. 30, 10am–5pm\u003c/i>\u003c/p>\n\u003cp>You can’t celebrate fall in the Bay Area without attending a \u003ca href=\"https://www.instagram.com/diaoakland/?hl=en\">Día de los Muertos event\u003c/a>—and, if you’re around Oakland, there’s no better place to do it than in Fruitvale. The cultural gathering has become one of the highlights of October, signaling the peak of “spooky szn,” autumnal changes and, of course, festival goodies. Now in its 27th year, Fruitvale’s Día de los Muertos event will return fully in person this Oct. 30 with a day of Aztec dancing, altar exhibits, live music and a more-than-you-can-eat offering of food.\u003c/p>\n\u003cp>According to the \u003ca href=\"https://unitycouncil.org/program/diaoakland/\">Oakland Unity Council\u003c/a>, which organizes the event, “The festival will resume in-person activities, highlighting the ofrendas, Danza Azteca, and low-riders which are all vital elements of the celebration. Our goal for the 2022 festival is to create a physical space where people can safely gather and hone in art and culture as tools for community healing.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>With a themed-focus on honoring essential workers, this year’s celebration is meant to express a strong sense of gratitude to the food workers, cooks and purveyors of Latinx-focused meals. For the first time since the start of the pandemic, the street vendors that the Día event is known for will be back in full force. From street-style elote dripping with sour cream, cheese and powdered chile, to classic Fruitvale staples like tacos, burritos and tortas, you can’t go wrong with a celebratory afternoon of comida in one of the Bay Area’s most vibrant communities. —\u003cem>A.C.\u003c/em>\u003c/p>\n\n",
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"excerpt": "’Tis the season for outdoor lumpia, loukoumades and garlic noodles, served in a paper tray.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.kqed.org/fallarts2022\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>\u003cstrong>Find more of KQED’s picks for the best Fall 2022 events here\u003c/strong>\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>For the food enthusiast, fall in the Bay Area means bacon-wrapped hot dogs, pumpkin pie eating contests and ungodly quantities of garlic noodles scarfed out of a little paper tray. In other words, it’s peak food festival season—or at least it was until the past two years, when COVID safety concerns cancelled most of these gatherings outright and forced others to shrink themselves down into Zoom- and takeout-friendly form.\u003c/p>\n\u003cp>It’s a sign of how far we’ve come, then, that most of the biggest and most beloved fall food festivals and other food-related events are back in full force—and fully in person—this year. Make no mistake: We’re still in a pandemic, and it’s important to be mindful of other festival-goers’ safety and comfort level. (Don’t let anyone shame you for wearing a mask!) But if you’ve been looking forward to standing in a line with a couple dozen other lumpia lovers or vegan ice cream aficionados, we’ve got some great options for you.\u003c/p>\n\u003cfigure id=\"attachment_13918351\" class=\"wp-caption alignnone\" style=\"max-width: 1951px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13918351\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Pastitsio-2022-cooked-pan-CROPPED-BD864E13-48D0-415F-BB7B-C1436AEC7DA9.jpg\" alt=\"A big aluminum tray of Greek pastitsio, the top cooked to golden brown.\" width=\"1951\" height=\"1063\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Pastitsio-2022-cooked-pan-CROPPED-BD864E13-48D0-415F-BB7B-C1436AEC7DA9.jpg 1951w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Pastitsio-2022-cooked-pan-CROPPED-BD864E13-48D0-415F-BB7B-C1436AEC7DA9-800x436.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Pastitsio-2022-cooked-pan-CROPPED-BD864E13-48D0-415F-BB7B-C1436AEC7DA9-1020x556.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Pastitsio-2022-cooked-pan-CROPPED-BD864E13-48D0-415F-BB7B-C1436AEC7DA9-160x87.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Pastitsio-2022-cooked-pan-CROPPED-BD864E13-48D0-415F-BB7B-C1436AEC7DA9-768x418.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Pastitsio-2022-cooked-pan-CROPPED-BD864E13-48D0-415F-BB7B-C1436AEC7DA9-1536x837.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Pastitsio-2022-cooked-pan-CROPPED-BD864E13-48D0-415F-BB7B-C1436AEC7DA9-1920x1046.jpg 1920w\" sizes=\"(max-width: 1951px) 100vw, 1951px\">\u003cfigcaption class=\"wp-caption-text\">Big trays of bubbling-hot, golden-brown pastitsio are one of the savory attractions at the annual Belmont Greek Festival. \u003ccite>(Emmy Denton)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.belmontgreekfestival.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Belmont Greek Festival\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Church of the Holy Cross, Belmont\u003cbr>\nSept. 3–4, noon–10pm\u003c/i>\u003c/p>\n\u003cp>Michelin-starred restaurants are fine and all, but real connoisseurs of cuisine know that some of the most memorable eating happens not on white tablecloth but at the church (or mosque or temple) festival—the kind of paper-plate, bring-your-own-Tupperware affair where Uncle and Grandma trot out their most sacred family recipes. Hence the enduring popularity of the Belmont Greek Festival, which this year celebrates both its 50th anniversary and its first year back in person since the start of the pandemic.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Hosted by the Church of the Holy Cross, the fully volunteer-staffed festival is returning with a full slate of live music and traditional dancing (“\u003ca href=\"https://fb.watch/eXDNM67P4s/\">Opa!\u003c/a>”), but like any church festival worth its salt, food will be front and center—big, gut-busting plates of spanakopita, gyros and lasagna-like beef pastitsio, which visitors can enjoy on the church’s outdoor “platia,” made to resemble a bustling village square in Greece. Be sure to save room for dessert: It’d be a shame to leave without a taste of baklava or, the crowning glory of any big Greek celebration, the honey-drenched fried dough balls known as loukoumades. —\u003cem>L.T.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13918354\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13918354\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/KCB01625-2-scaled.jpg\" alt='A man and woman in face masks squirt sauce on a paper tray of fried cauliflower. Their shirts read \"Plant N Soul.\"' width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/KCB01625-2-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/KCB01625-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/KCB01625-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/KCB01625-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/KCB01625-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/KCB01625-2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/KCB01625-2-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/KCB01625-2-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Plant N Soul staff squirt sauce onto fried cauliflower. The vegan pizza pop-up will be one of more than 50 vendors at this year’s Bizerkeley vegan food festival. \u003ccite>(Courtesy of Bizerkeley Food Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.thebizerkeleyvegan.com/foodfest\" target=\"_blank\" rel=\"noopener noreferrer\">Bizerkeley Food Festival\u003c/a>\u003c/h2>\n\u003cp>\u003ci>2727 Milvia Street, Berkeley\u003cbr>\nSept. 4, 11am–5pm\u003c/i>\u003c/p>\n\u003cp>When Erika Hazel \u003ca href=\"https://www.kqed.org/arts/13915889/berkeley-vegan-food-festival-bizerkeley-vegan\">launched the Bizerkeley Food Festival\u003c/a>, she wanted to make people more aware of just how diverse the Bay Area’s vegan food scene is—it’s not just “rabbit food,” after all. This Labor Day weekend, she’s continuing that mission with an event that will feature over 50 vegan vendors—more than double its 2021 debut.\u003c/p>\n\u003cp>“The purpose of the Bizerkeley Food Festival is to promote and uplift small businesses, POC businesses and women-owned businesses that are 100% plant-based/vegan while raising necessary funds for the Berkeley municipal animal shelter,” Hazel says.\u003c/p>\n\u003cp>The community-centered event has quickly become the premier vegan festival in the Bay. Held in the Sports Basement parking lot, this year’s edition will feature local favorites like \u003ca href=\"https://www.kqed.org/arts/13916044/sucka-free-soul-the-vegan-hood-chefs-honor-southern-heritage-with-a-frisco-twist\">Vegan Hood Chefs\u003c/a>, \u003ca href=\"https://www.instagram.com/kubenicecream/?hl=en\">Kubé Nice Cream\u003c/a>, and \u003ca href=\"https://thebolditalic.com/this-woman-owned-business-is-introducing-organic-beverages-to-a-food-desert-in-richmond-7b8ce3d8243\">Liquified Juicery\u003c/a> serving a wide array of vegan treats—everything from jambalaya and barbecue sliders to full-fat coconut ice cream. All food and beverages will be sold a la carte. As Hazel notes, a portion of the \u003ca href=\"https://www.eventbrite.com/e/2022-bizerkeley-food-festival-tickets-323004123027\">ticket proceeds\u003c/a> will benefit the \u003ca href=\"https://friendsofbacs.org/\">Friends of Berkeley Animal Care Services\u003c/a>. —\u003cem>A.C.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13900324\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13900324\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/Bryant-Terry_bw-portrait-AOW-scaled.jpg\" alt=\"Black and white author headshot for Bryant Terry, posing in sunglasses.\" width=\"2560\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Bryant-Terry_bw-portrait-AOW-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Bryant-Terry_bw-portrait-AOW-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Bryant-Terry_bw-portrait-AOW-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Bryant-Terry_bw-portrait-AOW-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Bryant-Terry_bw-portrait-AOW-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Bryant-Terry_bw-portrait-AOW-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Bryant-Terry_bw-portrait-AOW-2048x2048.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Bryant-Terry_bw-portrait-AOW-1920x1920.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Bryant Terry wants to provide mentorship opportunities for aspiring BIPOC food creatives. That’s the inspiration behind the Black Food Summit, which he’s organizing in collaboration with the Museum of the African Diaspora. \u003ccite>(Adrian Octavius Walker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.moadsf.org/event/chef-in-residence-bryant-terry-presents-black-food-summit\" target=\"_blank\" rel=\"noopener noreferrer\">Black Food Summit\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Museum of the African Diaspora, San Francisco; TomKat Ranch, Pescadero\u003cbr>\nSept. 9–10\u003c/i>\u003c/p>\n\u003cp>When Bryant Terry started 4 Color Books, his \u003ca href=\"https://www.kqed.org/arts/13900311/bryant-terry-four-color-books-imprint-food-media-diversity\">new imprint\u003c/a> that’s focused on BIPOC artists, writers and chefs, the Oakland-based chef and food activist wanted to help create an ecosystem in which Black and other BIPOC creatives would be able to thrive. Where were all of the talented Black cookbook authors, food stylists and food photographers, and why weren’t they landing the most coveted gigs from the prestige magazines and publishing houses? Were they getting the mentorship opportunities they needed?\u003c/p>\n\u003cp>Now Terry is using his platform as \u003ca href=\"https://www.moadsf.org/\">MoAD’s\u003c/a> chef-in-residence to help grow that pipeline: In September, he’ll host a two-day \u003ca href=\"https://www.moadsf.org/event/chef-in-residence-bryant-terry-presents-black-food-summit\">Black Food Summit\u003c/a> that will inspire—and teach practical skills to—anyone looking to publish a cookbook or carve out a career in food media. The summit will function, among other things, as one of the food world’s most exciting gatherings of Black talent, with nationally prominent writers like \u003ca href=\"http://www.nicoleataylor.com/\">Nicole Taylor\u003c/a> (of the Juneteenth cookbook \u003cem>Watermelon & Red Birds\u003c/em>) and \u003ca href=\"https://osayiendolyn.com/\">Osayi Endolyn\u003c/a> (the \u003cem>New York Times\u003c/em>, \u003cem>Food & Wine\u003c/em> and more) on hand for a full day of panel discussions on topics such as storytelling, design and how to navigate the publishing world. On the second day, the summit will move to Pescadero’s \u003ca href=\"https://tomkatranch.org/\">TomKat Ranch\u003c/a> for a day of restful rejuvenation and hands-on activities (some of which may involve horses).\u003c/p>\n\u003cp>It all culminates with a big, celebratory dinner out on the ranch, cooked by some of the Bay Area’s most accomplished chefs, including Matt Horn (Horn BBQ) and Fernay McPherson (Minnie Bells). Participants can buy a ticket for just one day or for the whole two-day summit. There’s also a livestream option for the Friday events at MoAD. —\u003cem>L.T.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13918355\" class=\"wp-caption alignnone\" style=\"max-width: 2111px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13918355\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/038_1st-Annual-Chuseok-Festival-SELECTS-06189.jpg\" alt=\"A plate of napa cabbage kimchi.\" width=\"2111\" height=\"1408\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/038_1st-Annual-Chuseok-Festival-SELECTS-06189.jpg 2111w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/038_1st-Annual-Chuseok-Festival-SELECTS-06189-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/038_1st-Annual-Chuseok-Festival-SELECTS-06189-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/038_1st-Annual-Chuseok-Festival-SELECTS-06189-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/038_1st-Annual-Chuseok-Festival-SELECTS-06189-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/038_1st-Annual-Chuseok-Festival-SELECTS-06189-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/038_1st-Annual-Chuseok-Festival-SELECTS-06189-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/038_1st-Annual-Chuseok-Festival-SELECTS-06189-1920x1281.jpg 1920w\" sizes=\"(max-width: 2111px) 100vw, 2111px\">\u003cfigcaption class=\"wp-caption-text\">This year’s Chuseok Festival will celebrate traditional Korean foods such as kimchi, but it’ll also offer a wide range of fusion and Korean American diasporic dishes. \u003ccite>(Mark Shigenaga)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/4th-annual-bay-area-chuseok-festival-tickets-355585554967\" target=\"_blank\" rel=\"noopener noreferrer\">Chuseok Festival\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Presidio Main Parade Lawn, San Francisco\u003cbr>\nSept. 10, 11am–5pm\u003c/i>\u003c/p>\n\u003cp>Ever since the event’s splashy 2019 debut, the organizers of the Bay Area Chuseok Festival have been chomping at the bit to bring the Korean harvest festival back to its in-person, deliciously food-focused glory after a couple of Zoom-centric editions during the peak of the pandemic. Eun-Joo Chang of San Francisco’s \u003ca href=\"https://koreancentersf.org/\">Korean Center, Inc.\u003c/a>, which organizes the event, describes Chuseok as the Korean equivalent of Thanksgiving. Hosted at the Presidio, this year’s festival is expected to be bigger and better than ever—a larger outdoor space; more family-friendly entertainment, from K-pop to traditional crafts; and, of course, a whole host of food and beverage vendors.\u003c/p>\n\u003cp>Not all of the food will be strictly Korean, though most of the featured businesses have at least one Korean chef or co-owner. So, while there will be traditional items such as Korean barbecue and \u003ca href=\"https://www.eater.com/drinks/2017/2/20/14645442/makgeolli-korean-rice-wine\">makgeolli\u003c/a>, there also might be bulgogi-topped pizza and Korean-Mexican fusion. Oakland’s Noodle Belly will be on hand serving its signature garlic noodles; SF-based Dokkabier will be on hand to pour its lineup of Asian-inspired microbrews.\u003c/p>\n\u003cp>For those who like to get their hands dirty, San Francisco’s Korean consulate and the Korean food conglomerate and kimchi brand Jong Ga Foods will co-host K-Food, an event-within-event happening at the same time. The centerpiece: a hands-on cooking demonstration in which participants make their own ssamjang, the spicy-sweet condiment traditionally eaten with Korean barbecue. —\u003cem>L.T.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13918362\" class=\"wp-caption alignnone\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13918362\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/calisoulfood_saucey-oysters-bbq.jpg\" alt=\"Four oysters, elaborately topped with shrimp, cheese and spices, on a grill.\" width=\"1440\" height=\"1800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/calisoulfood_saucey-oysters-bbq.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/calisoulfood_saucey-oysters-bbq-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/calisoulfood_saucey-oysters-bbq-1020x1275.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/calisoulfood_saucey-oysters-bbq-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/calisoulfood_saucey-oysters-bbq-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/calisoulfood_saucey-oysters-bbq-1229x1536.jpg 1229w\" sizes=\"(max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">Saucey Oysters & BBQ specializes in elaborately topped grilled oysters. The Sacramento-based pop-up will be one of the 30-plus food vendors on hand at the California Soul Food Cookout. \u003ccite>(Courtesy of Saucey Oysters & BBQ)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.californiasoulfoodcookoutandfestival.com/\" target=\"_blank\" rel=\"noopener noreferrer\">California Soul Food Cookout\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Alameda County Fairgrounds, Pleasanton\u003cbr>\nSept. 17–18, 1–11pm\u003c/i>\u003c/p>\n\u003cp>For concert goers who love soul food, the \u003ca href=\"https://www.instagram.com/calisoulfoodfest/?hl=en\">California Soul Food Cookout & Festival\u003c/a> promises the best of both worlds. Going on its 12th year, the two-day event features a mix of family activities, gospel music, R&B, food trucks and comedy—with a portion of the proceeds going towards Bay Area charities to aid houseless individuals and domestic violence victims.\u003c/p>\n\u003cp>On the food side, the festival’s 2022 edition will be hosted by Chef Milly, known for his stints as a contestant on \u003cem>Hell’s Kitchen\u003c/em>—and for dishes like his signature Crabby Cheese Fries (topped with lump crab meat and Old Bay seasoning). Other vendors will include Hayward-based Filipino fusion pop-up \u003ca href=\"https://www.instagram.com/mekeni_kapampangankami/\">Mekeni’s Kitchen\u003c/a>, Sacramento-based grilled oyster specialist \u003ca href=\"https://www.instagram.com/sauceyoysters_bbq/?hl=en\">Saucey Oysters & BBQ\u003c/a> and the Filipino barbecue stand \u003ca href=\"https://www.instagram.com/gim.belly/?hl=en\">Gim Belly\u003c/a>. The 30-plus diverse, mostly POC food makers were chosen by the organizers to represent the Bay Area’s cultural vibrancy.\u003c/p>\n\u003cp>If you come to California Soul for the food, you’ll stay for the grooves: Musical headliners include gospel and R&B stars like Musiq Soulchild, Angie Stone, Mario Hodge and Fred Hammond. There will also be a job fair and career expo sponsored by the Oakland African American Chamber of Commerce and Silicon Valley Black Chamber of Commerce. —\u003cem>A.C.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13918364\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13918364\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/STL_Shenarri_Freeman_HighRes.jpg\" alt=\"A smiling woman shows off a dish of sautéed mushrooms.\" width=\"1920\" height=\"2322\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/STL_Shenarri_Freeman_HighRes.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/STL_Shenarri_Freeman_HighRes-800x968.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/STL_Shenarri_Freeman_HighRes-1020x1234.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/STL_Shenarri_Freeman_HighRes-160x194.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/STL_Shenarri_Freeman_HighRes-768x929.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/STL_Shenarri_Freeman_HighRes-1270x1536.jpg 1270w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/STL_Shenarri_Freeman_HighRes-1693x2048.jpg 1693w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">During her Shifting the Lens residency, Chef Shenarri Freeman will serve an elaborate tasting menu of vegan soul food dishes. \u003ccite>(Courtesy of J Vineyards & Winery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.exploretock.com/jvineyardswinery/experience/340529/shifting-the-lens-chef-shenarri-freeman\" target=\"_blank\" rel=\"noopener noreferrer\">Shifting the Lens with Chef Shenarri Freeman\u003c/a>\u003c/h2>\n\u003cp>\u003ci>J Vineyards & Winery, Healdsburg\u003cbr>\nSept. 29–Oct. 9\u003c/i>\u003c/p>\n\u003cp>Preeti Mistry was tired of hearing people say there wasn’t any point in pairing wine with Indian food—and that the richly spiced foods found throughout, say, South Asia, West Africa or the Caribbean were best just washed down with beer. So, the chef decided to change the conversation. \u003ca href=\"https://www.jwine.com/shifting-the-lens.html\">Shifting the Lens\u003c/a>, Mistry’s summer-long residency series J Winery in Healdsburg, \u003ca href=\"https://www.kqed.org/arts/13917165/preeti-mistry-wants-to-show-that-wine-pairing-isnt-just-for-white-food\">reexamines wine pairing in the context of cuisines that are often excluded from the fine dining discourse\u003c/a> here in the United States: Chinese food, Indian food, soul food. Each residency features a talented BIPOC woman guest chef.\u003c/p>\n\u003cp>Starting Sept. 29, Shifting the Lens will close out its first year with a residency by Shenarri “Greens” Freeman, a New York City-based wellness advocate and the chef of the vegan soul food restaurant \u003ca href=\"https://www.instagram.com/cadence.newyork/?hl=en\">Cadence\u003c/a>. Over the course of two weeks, Thursday to Sunday, guests can book a two-hour, five-plus-course, fully plant-based tasting menu ($200) that comes with a thoughtful wine pairing for each dish. For those who want a little extra face time with the chef, a special VIP dinner on Oct. 1 will include a Q&A session. —\u003cem>L.T.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13918360\" class=\"wp-caption alignnone\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13918360\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Turontastic-3_photo-from-Kultivate-Labs.jpg\" alt=\"A cup of halo halo, with layers of bright purple ube ice cream, flan and sweet beans.\" width=\"1600\" height=\"1068\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Turontastic-3_photo-from-Kultivate-Labs.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Turontastic-3_photo-from-Kultivate-Labs-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Turontastic-3_photo-from-Kultivate-Labs-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Turontastic-3_photo-from-Kultivate-Labs-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Turontastic-3_photo-from-Kultivate-Labs-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Turontastic-3_photo-from-Kultivate-Labs-1536x1025.jpg 1536w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">Turontastic’s halo-halo, from last year’s edition of Undiscovered SF. \u003ccite>(Photography by Albert Law: www.porkbellystudio.com)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.undiscoveredsf.com/#tickets\" target=\"_blank\" rel=\"noopener noreferrer\">Undiscovered SF Festival\u003c/a>\u003c/h2>\n\u003cp>\u003ci>SOMA Pilipinas, San Francisco\u003cbr>\nOct. 22, noon–6pm\u003c/i>\u003c/p>\n\u003cp>This year, the Undiscovered SF Festival asks the age-old question: If San Francisco had its very own Filipino theme park, what would that look like? Would mobile DJ crews usher each visitor in through ube-purple turnstiles? Would there be a lumpia-themed rollercoaster or a karaoke-themed merry-go-round? Most importantly: What would there be to eat?\u003c/p>\n\u003cp>Undiscovered SF 2022 will offer visitors the opportunity to see one possible vision for such a theme park come to life—though rollercoaster enthusiasts might have to wait for a future edition. Though the event’s earliest incarnations were set up as a \u003ca href=\"https://digital.modernluxury.com/publication/?m=3609&i=453302&p=84&ver=html5\">Filipino night market\u003c/a>, during the pandemic Undiscovered SF evolved into a daytime event spread across multiple indoor and outdoor venues in the SOMA Pilipinas cultural district. This year’s version promises to be the largest one yet, with a rollicking main stage set up at \u003ca href=\"https://www.sfchronicle.com/sf/article/S-F-s-newest-green-space-just-opened-in-SoMa-16969411.php\">Parks at 5M\u003c/a>, the neighborhood’s brand new outdoor park; a kaleidoscope of crafts and streetwear vendors; art exhibitions; and more than 20 food vendors (including local legends like \u003ca href=\"https://www.instagram.com/thelumpiacompany/\">Lumpia Company\u003c/a> and \u003ca href=\"https://www.instagram.com/thesarapshop/\">Sarap Shop\u003c/a>). —\u003cem>L.T.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13918350\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13918350\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/dia-altar_fruitvale.jpg\" alt=\"A marigold-covered altar for Día de los Muertos on a street corner in Fruitvale.\" width=\"1920\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/dia-altar_fruitvale.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/dia-altar_fruitvale-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/dia-altar_fruitvale-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/dia-altar_fruitvale-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/dia-altar_fruitvale-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/dia-altar_fruitvale-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A marigold-covered altar for the ancestors at Oakland’s Día de los Muertos festival in Fruitvale. \u003ccite>(Courtesy of the Unity Council)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://diaoakland.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Día de los Muertos Festival\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Fruitvale District, Oakland\u003cbr>\nOct. 30, 10am–5pm\u003c/i>\u003c/p>\n\u003cp>You can’t celebrate fall in the Bay Area without attending a \u003ca href=\"https://www.instagram.com/diaoakland/?hl=en\">Día de los Muertos event\u003c/a>—and, if you’re around Oakland, there’s no better place to do it than in Fruitvale. The cultural gathering has become one of the highlights of October, signaling the peak of “spooky szn,” autumnal changes and, of course, festival goodies. Now in its 27th year, Fruitvale’s Día de los Muertos event will return fully in person this Oct. 30 with a day of Aztec dancing, altar exhibits, live music and a more-than-you-can-eat offering of food.\u003c/p>\n\u003cp>According to the \u003ca href=\"https://unitycouncil.org/program/diaoakland/\">Oakland Unity Council\u003c/a>, which organizes the event, “The festival will resume in-person activities, highlighting the ofrendas, Danza Azteca, and low-riders which are all vital elements of the celebration. Our goal for the 2022 festival is to create a physical space where people can safely gather and hone in art and culture as tools for community healing.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>With a themed-focus on honoring essential workers, this year’s celebration is meant to express a strong sense of gratitude to the food workers, cooks and purveyors of Latinx-focused meals. For the first time since the start of the pandemic, the street vendors that the Día event is known for will be back in full force. From street-style elote dripping with sour cream, cheese and powdered chile, to classic Fruitvale staples like tacos, burritos and tortas, you can’t go wrong with a celebratory afternoon of comida in one of the Bay Area’s most vibrant communities. —\u003cem>A.C.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Bay Area Art Scene Lost So Many in 2021, This Altar-Maker Could Barely Keep Up",
"headTitle": "The Bay Area Art Scene Lost So Many in 2021, This Altar-Maker Could Barely Keep Up | KQED",
"content": "\u003cp>At the \u003ca href=\"https://missionculturalcenter.org/day-of-the-dead\" target=\"_blank\" rel=\"noopener noreferrer\">Mission Cultural Center for Latino Arts\u003c/a> in San Francisco, Oakland-based artist \u003ca href=\"http://adrianarias.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Adrian Arias\u003c/a> stands in front of an altar he created to memorialize Bay Area visual artist \u003ca href=\"https://www.kqed.org/arts/13903264/yolanda-lopez-remembrance-chicanx-art\" target=\"_blank\" rel=\"noopener noreferrer\">Yolanda López\u003c/a>, who died in September of cancer.\u003c/p>\n\u003cp>The elaborate assemblage of objects from López’s life features tubes of paint, brushes, furniture and clothes framing Arias’ feathery painted portrait of López wearing a sweeping pair of wings.\u003c/p>\n\u003cp>“She was a friend, a mentor, and one of the most important Chicano artists,” Arias says. “She was an inspiration for the community.”\u003c/p>\n\u003cfigure id=\"attachment_13905682\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13905682\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/RS52253_IMG_5954-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/RS52253_IMG_5954-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/RS52253_IMG_5954-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/RS52253_IMG_5954-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/RS52253_IMG_5954-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/RS52253_IMG_5954-qut-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/RS52253_IMG_5954-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Adrian Arias’s altar to Bay Area artist Yolanda López at Mission Cultural Center for Latino Arts \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This altar is one of several memorials Arias has created this year for Día de los Muertos (Day of the Dead) in honor of Bay Area artists who died in 2021.\u003c/p>\n\u003cp>[aside postID='arts_13903264']With its roots in Mexico, Day of the Dead is now observed across Latin America and the United States, and honors loved ones who have died. One of the main traditions is making elaborate memorial altars featuring candles, photographs, the deceased’s possessions, and candy skulls.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Some of the altars on view at the Mission Cultural Center—which serves as a kind of “ground zero” for the holiday in San Francisco—are not focused on artists. But altars dedicated specifically to memorializing artists have been a particular focus at the center over the years.\u003c/p>\n\u003cp>“This being a cultural and artistic center, we particularly think that this should be the place where we honor artists,” says Jennie Rodriguez, the center’s executive director.\u003c/p>\n\u003cfigure id=\"attachment_13905683\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13905683\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/RS52254_IMG_5950-qut-1-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/RS52254_IMG_5950-qut-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/RS52254_IMG_5950-qut-1-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/RS52254_IMG_5950-qut-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/RS52254_IMG_5950-qut-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/RS52254_IMG_5950-qut-1-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/RS52254_IMG_5950-qut-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The main altar at Mission Cultural Center for Latino Arts, by the Bay Area artist collective Manos Creativas, riffs on many symbols associated with Dia de los Muertos, rather than on memorializing a specific artists. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A Bridge Between the Dead and the Living\u003c/h2>\n\u003cp>The theme and title of this year’s Day of the Dead celebration (the Mission Cultural Center’s 35th), is \u003ci>\u003ca href=\"https://missionculturalcenter.org/day-of-the-dead?event_date=2021-11-02\" target=\"_blank\" rel=\"noopener noreferrer\">Ni Tanto Ni Tan Muertos (Neither so many nor so dead)\u003c/a>\u003c/i>.\u003c/p>\n\u003cp>“Neither so many, because there are so many more of us that are alive,” Rodriguez says. “And nor so dead, because the dead are still with us; they accompany us in our memories.”\u003c/p>\n\u003cp>Arias takes this theme to heart as an artist who’s been \u003ca href=\"http://adrianarias.com/dia-de-los-muertos/\" target=\"_blank\" rel=\"noopener noreferrer\">making these altars for years\u003c/a> as a sort of bridge between the dead and the living. “The aim is to create these invisible lines that inspire people to do things,” Arias says, adding that the action he hopes to inspire can take several forms, from making art to being kind to others.\u003c/p>\n\u003cfigure id=\"attachment_13905684\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13905684\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/RS52249_IMG_5938-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/RS52249_IMG_5938-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/RS52249_IMG_5938-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/RS52249_IMG_5938-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/RS52249_IMG_5938-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/RS52249_IMG_5938-qut-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/RS52249_IMG_5938-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">From left to right: Artist Adrian Arias, Mission Cultural Center executive director Jennie Rodriguez and Manos Creativas member Marco Morales. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>His installations honoring dead artists have been exhibited at Davies Symphony Hall and the Oakland Museum of California, among other cultural spaces.\u003c/p>\n\u003cp>The artist typically does one or two installations a year. But in 2021, Arias says he’s barely been able to keep up with the death toll among his friends and mentors—even when the COVID-19 pandemic lockdown gave him plenty of focused studio time.\u003c/p>\n\u003cp>“That was so intense,” he says. “You just paint and paint and paint and paint.”\u003c/p>\n\u003cp>Besides the altar to López, his offerings for 2021 honor postmodern dance pioneer \u003ca href=\"https://www.kqed.org/arts/13897850/remembering-anna-halprin-a-pioneering-choreographer\" target=\"_blank\" rel=\"noopener noreferrer\">Anna Halprin\u003c/a>, visual artist \u003ca href=\"https://www.kqed.org/arts/13901605/hung-liu-devoted-her-career-to-remembering-others-now-the-art-world-remembers-her\" target=\"_blank\" rel=\"noopener noreferrer\">Hung Liu\u003c/a>, and poets \u003ca href=\"https://en.wikipedia.org/wiki/Jack_Hirschman#Biography\" target=\"_blank\" rel=\"noopener noreferrer\">Jack Hirschman\u003c/a> and \u003ca href=\"https://www.kqed.org/news/11883109/janice-mirikitani-glide-co-founder-and-sf-poet-laureate-dies\" target=\"_blank\" rel=\"noopener noreferrer\">Janice Mirikitani\u003c/a>. All died this year and had strong ties to the Bay Area. All but one, Liu, were people with whom Arias had a powerful personal connection.\u003c/p>\n\u003cp>“He became my mentor in poetry,” Arias says of Hirschman, who died Aug. 22 at age 87. “Very generous, like a father figure.”\u003c/p>\n\u003cp>Arias studied dance with Halprin and collaborated with her. Despite her age (she was 100 when she died on May 24), Arias says, “Most of my community, we think that Anna was immortal, because she was moving at 99.”\u003c/p>\n\u003cfigure id=\"attachment_13905686\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13905686\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/RS52252_IMG_5939-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/RS52252_IMG_5939-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/RS52252_IMG_5939-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/RS52252_IMG_5939-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/RS52252_IMG_5939-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/RS52252_IMG_5939-qut-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/RS52252_IMG_5939-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A section from Adrian Arias’s altar to Anna Halprin at Mission Cultural Center for Latino Arts \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Day of the Dead As a Social Justice Tool\u003c/h2>\n\u003cp>But not all of Arias’ Day of the Dead creations are about artists.\u003c/p>\n\u003cp>Over at \u003ca href=\"https://somarts.org/\" target=\"_blank\" rel=\"noopener noreferrer\">SOMArts Cultural Center\u003c/a>, Arias has made an altar memorializing five young Latinx people killed by police officers in the U.S. and Mexico in recent years. Among them are Bay Area locals Mario Gonzalez and Sean Monterrosa.\u003c/p>\n\u003cp>Arias says the public doesn’t know enough about the many individuals who have lost their lives to police violence. Honoring them on Day of the Dead is a way to keep their lives and stories at the forefront and galvanize people to take a stand against the ongoing killings.\u003c/p>\n\u003cp>“We need to develop art as a social justice tool,” he says. “Day of the Dead is the perfect moment to do that.”\u003c/p>\n\u003cp>The massive black-and-white portraits on paper are suspended from the ceiling of the gallery. They undulate and creak whenever a breeze passes through.\u003c/p>\n\u003cp>“They look like they are alive,” Arias says.\u003c/p>\n\u003cp>Whether he knew them in life or not, Arias talks about the subjects of his Day of the Dead altars as if they’re still among us.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Putting a hand to his heart, he says: “They’re right here.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At the \u003ca href=\"https://missionculturalcenter.org/day-of-the-dead\" target=\"_blank\" rel=\"noopener noreferrer\">Mission Cultural Center for Latino Arts\u003c/a> in San Francisco, Oakland-based artist \u003ca href=\"http://adrianarias.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Adrian Arias\u003c/a> stands in front of an altar he created to memorialize Bay Area visual artist \u003ca href=\"https://www.kqed.org/arts/13903264/yolanda-lopez-remembrance-chicanx-art\" target=\"_blank\" rel=\"noopener noreferrer\">Yolanda López\u003c/a>, who died in September of cancer.\u003c/p>\n\u003cp>The elaborate assemblage of objects from López’s life features tubes of paint, brushes, furniture and clothes framing Arias’ feathery painted portrait of López wearing a sweeping pair of wings.\u003c/p>\n\u003cp>“She was a friend, a mentor, and one of the most important Chicano artists,” Arias says. “She was an inspiration for the community.”\u003c/p>\n\u003cfigure id=\"attachment_13905682\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13905682\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/RS52253_IMG_5954-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/RS52253_IMG_5954-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/RS52253_IMG_5954-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/RS52253_IMG_5954-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/RS52253_IMG_5954-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/RS52253_IMG_5954-qut-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/RS52253_IMG_5954-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Adrian Arias’s altar to Bay Area artist Yolanda López at Mission Cultural Center for Latino Arts \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This altar is one of several memorials Arias has created this year for Día de los Muertos (Day of the Dead) in honor of Bay Area artists who died in 2021.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>With its roots in Mexico, Day of the Dead is now observed across Latin America and the United States, and honors loved ones who have died. One of the main traditions is making elaborate memorial altars featuring candles, photographs, the deceased’s possessions, and candy skulls.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Some of the altars on view at the Mission Cultural Center—which serves as a kind of “ground zero” for the holiday in San Francisco—are not focused on artists. But altars dedicated specifically to memorializing artists have been a particular focus at the center over the years.\u003c/p>\n\u003cp>“This being a cultural and artistic center, we particularly think that this should be the place where we honor artists,” says Jennie Rodriguez, the center’s executive director.\u003c/p>\n\u003cfigure id=\"attachment_13905683\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13905683\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/RS52254_IMG_5950-qut-1-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/RS52254_IMG_5950-qut-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/RS52254_IMG_5950-qut-1-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/RS52254_IMG_5950-qut-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/RS52254_IMG_5950-qut-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/RS52254_IMG_5950-qut-1-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/RS52254_IMG_5950-qut-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The main altar at Mission Cultural Center for Latino Arts, by the Bay Area artist collective Manos Creativas, riffs on many symbols associated with Dia de los Muertos, rather than on memorializing a specific artists. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A Bridge Between the Dead and the Living\u003c/h2>\n\u003cp>The theme and title of this year’s Day of the Dead celebration (the Mission Cultural Center’s 35th), is \u003ci>\u003ca href=\"https://missionculturalcenter.org/day-of-the-dead?event_date=2021-11-02\" target=\"_blank\" rel=\"noopener noreferrer\">Ni Tanto Ni Tan Muertos (Neither so many nor so dead)\u003c/a>\u003c/i>.\u003c/p>\n\u003cp>“Neither so many, because there are so many more of us that are alive,” Rodriguez says. “And nor so dead, because the dead are still with us; they accompany us in our memories.”\u003c/p>\n\u003cp>Arias takes this theme to heart as an artist who’s been \u003ca href=\"http://adrianarias.com/dia-de-los-muertos/\" target=\"_blank\" rel=\"noopener noreferrer\">making these altars for years\u003c/a> as a sort of bridge between the dead and the living. “The aim is to create these invisible lines that inspire people to do things,” Arias says, adding that the action he hopes to inspire can take several forms, from making art to being kind to others.\u003c/p>\n\u003cfigure id=\"attachment_13905684\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13905684\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/RS52249_IMG_5938-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/RS52249_IMG_5938-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/RS52249_IMG_5938-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/RS52249_IMG_5938-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/RS52249_IMG_5938-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/RS52249_IMG_5938-qut-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/RS52249_IMG_5938-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">From left to right: Artist Adrian Arias, Mission Cultural Center executive director Jennie Rodriguez and Manos Creativas member Marco Morales. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>His installations honoring dead artists have been exhibited at Davies Symphony Hall and the Oakland Museum of California, among other cultural spaces.\u003c/p>\n\u003cp>The artist typically does one or two installations a year. But in 2021, Arias says he’s barely been able to keep up with the death toll among his friends and mentors—even when the COVID-19 pandemic lockdown gave him plenty of focused studio time.\u003c/p>\n\u003cp>“That was so intense,” he says. “You just paint and paint and paint and paint.”\u003c/p>\n\u003cp>Besides the altar to López, his offerings for 2021 honor postmodern dance pioneer \u003ca href=\"https://www.kqed.org/arts/13897850/remembering-anna-halprin-a-pioneering-choreographer\" target=\"_blank\" rel=\"noopener noreferrer\">Anna Halprin\u003c/a>, visual artist \u003ca href=\"https://www.kqed.org/arts/13901605/hung-liu-devoted-her-career-to-remembering-others-now-the-art-world-remembers-her\" target=\"_blank\" rel=\"noopener noreferrer\">Hung Liu\u003c/a>, and poets \u003ca href=\"https://en.wikipedia.org/wiki/Jack_Hirschman#Biography\" target=\"_blank\" rel=\"noopener noreferrer\">Jack Hirschman\u003c/a> and \u003ca href=\"https://www.kqed.org/news/11883109/janice-mirikitani-glide-co-founder-and-sf-poet-laureate-dies\" target=\"_blank\" rel=\"noopener noreferrer\">Janice Mirikitani\u003c/a>. All died this year and had strong ties to the Bay Area. All but one, Liu, were people with whom Arias had a powerful personal connection.\u003c/p>\n\u003cp>“He became my mentor in poetry,” Arias says of Hirschman, who died Aug. 22 at age 87. “Very generous, like a father figure.”\u003c/p>\n\u003cp>Arias studied dance with Halprin and collaborated with her. Despite her age (she was 100 when she died on May 24), Arias says, “Most of my community, we think that Anna was immortal, because she was moving at 99.”\u003c/p>\n\u003cfigure id=\"attachment_13905686\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13905686\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/RS52252_IMG_5939-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/RS52252_IMG_5939-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/RS52252_IMG_5939-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/RS52252_IMG_5939-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/RS52252_IMG_5939-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/RS52252_IMG_5939-qut-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/RS52252_IMG_5939-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A section from Adrian Arias’s altar to Anna Halprin at Mission Cultural Center for Latino Arts \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Day of the Dead As a Social Justice Tool\u003c/h2>\n\u003cp>But not all of Arias’ Day of the Dead creations are about artists.\u003c/p>\n\u003cp>Over at \u003ca href=\"https://somarts.org/\" target=\"_blank\" rel=\"noopener noreferrer\">SOMArts Cultural Center\u003c/a>, Arias has made an altar memorializing five young Latinx people killed by police officers in the U.S. and Mexico in recent years. Among them are Bay Area locals Mario Gonzalez and Sean Monterrosa.\u003c/p>\n\u003cp>Arias says the public doesn’t know enough about the many individuals who have lost their lives to police violence. Honoring them on Day of the Dead is a way to keep their lives and stories at the forefront and galvanize people to take a stand against the ongoing killings.\u003c/p>\n\u003cp>“We need to develop art as a social justice tool,” he says. “Day of the Dead is the perfect moment to do that.”\u003c/p>\n\u003cp>The massive black-and-white portraits on paper are suspended from the ceiling of the gallery. They undulate and creak whenever a breeze passes through.\u003c/p>\n\u003cp>“They look like they are alive,” Arias says.\u003c/p>\n\u003cp>Whether he knew them in life or not, Arias talks about the subjects of his Day of the Dead altars as if they’re still among us.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Putting a hand to his heart, he says: “They’re right here.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Normally one of the busiest and most lively days of the year in Oakland’s heavily Mexican and Latin American Fruitvale district, this year’s Día de los Muertos Festival will mark a \u003ci>partial\u003c/i> return to the before-times celebration of this holiday honoring the dead. The jaw-droppingly athletic Aztec dancers, the sleek lowriders and the moving and intricately assembled ofrendas will all be back for this year’s festival, which takes place Oct. 31, says Itzel Diaz-Romo, the Interim Director of Development & Communications for the Unity Council, which is organizing the event. The performances and displays will just be spread out throughout the district to prevent crowds from accumulating at any one place. COVID vaccines and testing will be available on site.\u003c/p>\n\u003cp>The biggest difference, for food lovers, is that there won’t be any street vendors hawking tamales or pupusas this year. Instead, in an effort to support local restaurants, the week leading up to Día de los Muertos has been designated, as it was last year, as Fruitvale Restaurant Week. Details are still being finalized, but it’s likely that all participating restaurants will offer a $20 meal deal that includes a drink.\u003c/p>\n\u003cp>\u003cem>The Día de los Muertos Festival will take place on Oct. 31 throughout the Fruitvale district. Fruitvale Restaurant Week specials will run from Oct. 24–31. Details \u003ca href=\"https://diaoakland.com/?ltclid=77d11583-837a-4d21-90d6-8c9422880804\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Normally one of the busiest and most lively days of the year in Oakland’s heavily Mexican and Latin American Fruitvale district, this year’s Día de los Muertos Festival will mark a \u003ci>partial\u003c/i> return to the before-times celebration of this holiday honoring the dead. The jaw-droppingly athletic Aztec dancers, the sleek lowriders and the moving and intricately assembled ofrendas will all be back for this year’s festival, which takes place Oct. 31, says Itzel Diaz-Romo, the Interim Director of Development & Communications for the Unity Council, which is organizing the event. The performances and displays will just be spread out throughout the district to prevent crowds from accumulating at any one place. COVID vaccines and testing will be available on site.\u003c/p>\n\u003cp>The biggest difference, for food lovers, is that there won’t be any street vendors hawking tamales or pupusas this year. Instead, in an effort to support local restaurants, the week leading up to Día de los Muertos has been designated, as it was last year, as Fruitvale Restaurant Week. Details are still being finalized, but it’s likely that all participating restaurants will offer a $20 meal deal that includes a drink.\u003c/p>\n\u003cp>\u003cem>The Día de los Muertos Festival will take place on Oct. 31 throughout the Fruitvale district. Fruitvale Restaurant Week specials will run from Oct. 24–31. Details \u003ca href=\"https://diaoakland.com/?ltclid=77d11583-837a-4d21-90d6-8c9422880804\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Looking for things to do in the Bay Area this weekend? The Do List has you covered with concerts, festivals, exhibitions, plays, performances and more.\u003c/p>\n\u003cp>You can listen to this week’s episode above with Gabe Meline, Nastia Voynovskaya and Sam Lefebvre, or read about our picks below.\u003c/p>\n\u003cp>\u003cstrong>Fire Relief\u003c/strong>: First things first, this has been a trying week for people who live up in the North Bay. The Kincade Fire has caused evacuations across Sonoma County and, for the rest of the Bay Area, air quality alerts. To help, the California Academy of Sciences is offering free admission through Nov. 1 to those in mandatory evacuation zones – and also, the SFMOMA is offering free admission to its permanent collection to the general public. If you need to get out of the smoke this weekend, remember that the de Young and Legion of Honor also offer free admission on Saturdays to San Francisco residents, too. \u003ca href=\"https://www.kqed.org/arts/13869039/sfmoma-california-academy-of-sciences-offer-free-admission-for-fire-relief\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>FKA Twigs\u003c/strong>: British art-pop singer FKA Twigs is one of the most groundbreaking artists of the past decade—not just a triple threat, but a \u003cem>quintuple\u003c/em> threat. Her voice is an angelic falsetto; she writes uncomfortable, probing lyrics that flip gender stereotypes; her CGI music videos are out of this world. And, after taking a couple years off from touring due to health issues, she came back stronger than ever with an incredible new skillset: pole dancing, which she uses as a form of theatrical storytelling. She’ll be at Oakland’s Fox Theater on Nov. 6 and 7. \u003ca href=\"http://thefoxoakland.com/events/fka-twigs-magdalene\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Día de los Muertos\u003c/strong>: If you’ve got a kid who loved the Pixar film \u003cem>Coco\u003c/em>, you’ll have some opportunities to show them a deeper look at the tradition of Día de los Muertos. At the Oakland Museum of California, there’s an exhibit called \u003cem>¡El Movimiento Vivo!: Chicano Roots of El Día de los Muertos\u003c/em>, all about the Chicano activists who brought Day of the Dead traditions to the United States. You’ll see ofrendas, and hear stories from elders in Oaxaca. That’s up now through Feb. 16 of next year. \u003ca href=\"https://museumca.org/exhibit/%C2%A1el-movimiento-vivo-chicano-roots-el-d%C3%ADa-de-los-muertos\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And another Día de Los Muertos tradition is brewing in the East Bay: the Oakland Ballet’s \u003cem>Luna Mexicana\u003c/em>. This is a dance performance in partnership with Ballet Folklórico México Danza with a Frida Kahlo theme, but it’s also a celebration of music, costumes, candles, and food. Tamales and Mexican hot chocolate will be served in the gorgeous art-deco lobby of the Paramount Theater, another great way to introduce kids to this tradition. That’s on Friday and Saturday, Nov. 1 and 2, at the Paramount Theatre in Oakland. \u003ca href=\"http://oaklandballet.org/wp/luna-mexicana/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>. \u003c/p>\n\u003cp>\u003cstrong>Lucinda Williams\u003c/strong>: Sam plays in a band, and while they were on tour recently, they spent a lot of time listening to Lucinda Williams. She’s had an unusual career, in part because her breakthrough album arrived about 20 years after her first album. It’s called \u003cem>Car Wheels on a Gravel Road\u003c/em>, and it’s an achingly beautiful record about longing, forgetting and escape with an atmosphere of road-weary realism. In the van, on repeat, it served as a soundtrack for many of the same cities and landmarks referenced on the album. Twenty years since its release, Lucinda Williams plays the album in its entirety—plus a second career-wide set—on Saturday, Nov. 2, at the Fox Theater in Oakland. \u003ca href=\"http://thefoxoakland.com/events/lucinda-williams-band-buick-6\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>‘Blanket the Homeless’\u003c/strong>: So many of our neighbors have lost homes and been forced onto the streets during the Bay Area’s housing crisis, and the problem is only getting worse. A bunch of artists recently teamed up for a benefit compilation called \u003cem>Blanket the Homeless\u003c/em>, which raises money for an organization that passes out hygiene kits and supplies to unsheltered people in the Bay Area. The compilation features Fantastic Negrito, Rainbow Girls, the Stone Foxes and many more. The Stone Foxes’ Shannon Koehler and producer Scott Mickelson perform live for a benefit concert and record release show. That’s on Nov. 7, at the Independent in San Francisco. \u003ca href=\"http://blanketthehomeless.org/events/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Looking for things to do in the Bay Area this weekend? The Do List has you covered with concerts, festivals, exhibitions, plays, performances and more.\u003c/p>\n\u003cp>You can listen to this week’s episode above with Gabe Meline, Nastia Voynovskaya and Sam Lefebvre, or read about our picks below.\u003c/p>\n\u003cp>\u003cstrong>Fire Relief\u003c/strong>: First things first, this has been a trying week for people who live up in the North Bay. The Kincade Fire has caused evacuations across Sonoma County and, for the rest of the Bay Area, air quality alerts. To help, the California Academy of Sciences is offering free admission through Nov. 1 to those in mandatory evacuation zones – and also, the SFMOMA is offering free admission to its permanent collection to the general public. If you need to get out of the smoke this weekend, remember that the de Young and Legion of Honor also offer free admission on Saturdays to San Francisco residents, too. \u003ca href=\"https://www.kqed.org/arts/13869039/sfmoma-california-academy-of-sciences-offer-free-admission-for-fire-relief\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>FKA Twigs\u003c/strong>: British art-pop singer FKA Twigs is one of the most groundbreaking artists of the past decade—not just a triple threat, but a \u003cem>quintuple\u003c/em> threat. Her voice is an angelic falsetto; she writes uncomfortable, probing lyrics that flip gender stereotypes; her CGI music videos are out of this world. And, after taking a couple years off from touring due to health issues, she came back stronger than ever with an incredible new skillset: pole dancing, which she uses as a form of theatrical storytelling. She’ll be at Oakland’s Fox Theater on Nov. 6 and 7. \u003ca href=\"http://thefoxoakland.com/events/fka-twigs-magdalene\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Día de los Muertos\u003c/strong>: If you’ve got a kid who loved the Pixar film \u003cem>Coco\u003c/em>, you’ll have some opportunities to show them a deeper look at the tradition of Día de los Muertos. At the Oakland Museum of California, there’s an exhibit called \u003cem>¡El Movimiento Vivo!: Chicano Roots of El Día de los Muertos\u003c/em>, all about the Chicano activists who brought Day of the Dead traditions to the United States. You’ll see ofrendas, and hear stories from elders in Oaxaca. That’s up now through Feb. 16 of next year. \u003ca href=\"https://museumca.org/exhibit/%C2%A1el-movimiento-vivo-chicano-roots-el-d%C3%ADa-de-los-muertos\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And another Día de Los Muertos tradition is brewing in the East Bay: the Oakland Ballet’s \u003cem>Luna Mexicana\u003c/em>. This is a dance performance in partnership with Ballet Folklórico México Danza with a Frida Kahlo theme, but it’s also a celebration of music, costumes, candles, and food. Tamales and Mexican hot chocolate will be served in the gorgeous art-deco lobby of the Paramount Theater, another great way to introduce kids to this tradition. That’s on Friday and Saturday, Nov. 1 and 2, at the Paramount Theatre in Oakland. \u003ca href=\"http://oaklandballet.org/wp/luna-mexicana/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>. \u003c/p>\n\u003cp>\u003cstrong>Lucinda Williams\u003c/strong>: Sam plays in a band, and while they were on tour recently, they spent a lot of time listening to Lucinda Williams. She’s had an unusual career, in part because her breakthrough album arrived about 20 years after her first album. It’s called \u003cem>Car Wheels on a Gravel Road\u003c/em>, and it’s an achingly beautiful record about longing, forgetting and escape with an atmosphere of road-weary realism. In the van, on repeat, it served as a soundtrack for many of the same cities and landmarks referenced on the album. Twenty years since its release, Lucinda Williams plays the album in its entirety—plus a second career-wide set—on Saturday, Nov. 2, at the Fox Theater in Oakland. \u003ca href=\"http://thefoxoakland.com/events/lucinda-williams-band-buick-6\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>‘Blanket the Homeless’\u003c/strong>: So many of our neighbors have lost homes and been forced onto the streets during the Bay Area’s housing crisis, and the problem is only getting worse. A bunch of artists recently teamed up for a benefit compilation called \u003cem>Blanket the Homeless\u003c/em>, which raises money for an organization that passes out hygiene kits and supplies to unsheltered people in the Bay Area. The compilation features Fantastic Negrito, Rainbow Girls, the Stone Foxes and many more. The Stone Foxes’ Shannon Koehler and producer Scott Mickelson perform live for a benefit concert and record release show. That’s on Nov. 7, at the Independent in San Francisco. \u003ca href=\"http://blanketthehomeless.org/events/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>René Yañez, the Chicano artist who helped introduce the United States to Día de Los Muertos and the work of Frida Kahlo, died Tuesday morning from cancer. He was 75.\u003c/p>\n\u003cp>Yañez’s son Rio announced his father’s death on Facebook, saying the influential artist passed “surrounded by people who loved him.” Diagnosed with both prostate and bone cancer seven months before, the revered artist had been hospitalized for the past two weeks.\u003c/p>\n\u003cp>“Throughout the past two weeks my Dad’s spirit has defied every expectation of his mortality to talk, laugh, joke, and sing with us,” \u003ca href=\"https://www.facebook.com/rioyanez/posts/10156920238627573\" rel=\"noopener\" target=\"_blank\">Rio wrote\u003c/a>. “Once my Dad entered the hospital he was never alone, there was always a friend by his side.”\u003c/p>\n\u003cp>Described as “\u003ca href=\"https://www.sfgate.com/art/article/Rene-Ya-ez-an-elder-of-the-Bay-Area-Chicano-12733588.php\" rel=\"noopener\" target=\"_blank\">an elder of the Bay Area Chicano arts movement\u003c/a>,” Yañez spent most of his career in San Francisco, tirelessly promoting the work of Latinx artists and Chicano culture. An accomplished artist himself, his greatest work may have been his impact on the community. \u003c/p>\n\u003cp>“He was instrumental in reconnecting [Chicanos] to the traditions we hold dear, and making them more visible in the United States,” Galería de la Raza’s executive director Ani Rivera said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Yañez came to the United States from Mexico when he was 12 and moved to San Francisco in the ’60s, after being drafted during the Vietnam War. There, he attended several schools, including California College of the Arts and the San Francisco Art Institute.\u003c/p>\n\u003cp>In 1970, he and several other artists co-founded Galería de la Raza, a cultural institution in San Francisco’s Mission District. As the space’s first artistic director, he established the gallery as a premier venue for Chicano art, but also as a home for burgeoning artists. The gallery became a hub for the community, providing services for the neighborhood like youth programs and public murals, which Yañez helped mount.\u003c/p>\n\u003cp>“There was no separation between René and the gallery,” Rivera said.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=OGBHORYEF_8\u003c/p>\n\u003cp>Yañez made history in 1972 when he and his colleague Ralph Maradiaga brought the Mexican tradition of Día de Los Muertos, or Day of the Dead, to San Francisco. It began with an altar in front of the Galería de la Raza, later expanding to exhibits at the Yerba Buena Center for the Arts. The exhibitions became an annual event, helping establish the holiday as an important cultural celebration in the Mission District. \u003c/p>\n\u003cp>“I came to realize that everything that happens in this country is hybrid. It’s not totally pure,” Yañez later said \u003ca href=\"https://journals.openedition.org/lisa/2858\" rel=\"noopener\" target=\"_blank\">about his gallery’s impact\u003c/a>. “In fact we are creating the culture here.”\u003c/p>\n\u003cp>Later, after the San Francisco Museum of Modern Art (SFMOMA) reportedly declined his idea for a retrospective of Frida Kahlo’s works, Yañez hosted it at Galería de la Raza instead. It was one of the first comprehensive exhibits of Kahlo’s art in the United States, bringing her out of the shadow of husband Diego Rivera to be recognized as a talented artist in her own right.\u003c/p>\n\u003cp>In 2001, with the help of comedian Cheech Marin and his vast collection of Chicano art, Yañez curated \u003ci>Chicano Visions: American Painters on the Verge.\u003c/i> Described as “perhaps the most \u003ca href=\"http://cheechmarin.com/chicano-visions/\" rel=\"noopener\" target=\"_blank\">complete exhibition of Chicano art\u003c/a>,” the exhibit toured the United States for five years, reaching as far as Florida and Minnesota.\u003c/p>\n\u003cp>All the while Yañez promoted the work of others, he made his own art, both physical and performance-based. He started the Chicano comedy group \u003ca href=\"https://library.csun.edu/SCA/Peek-in-the-Stacks/culture-clash\" rel=\"noopener\" target=\"_blank\">Culture Clash\u003c/a> in 1984 and later, with his son Rio, they formed The Great Tortilla Conspiracy, which combined food-based art with humor. \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=sWKFbtSTZkw\u003c/p>\n\u003cp>The community gave back to Yañez in the years before his death. In 2013, he and his family \u003ca href=\"https://www.kqed.org/news/135170/in-san-franciscos-mission-district-evicted-artists-hold-garage-sale-to-pay-for-move\" rel=\"noopener\" target=\"_blank\">faced eviction\u003c/a> from the building they had lived in since 1978. But two years later, the San Francisco Community Land Trust and the Mission Economic Development Agency bought the building, thereby allowing Yañez’s family to stay put. \u003c/p>\n\u003cp>This year, after learning he had just months to live, Yañez and friends curated one last show — a retrospective of his work. The exhibit, \u003ci>\u003ca href=\"https://www.sfgate.com/art/article/Rene-Ya-ez-an-elder-of-the-Bay-Area-Chicano-12733588.php\" rel=\"noopener\" target=\"_blank\">Into The Fade\u003c/a>\u003c/i> at the Luggage Store Gallery, showcased decades of work, from street art and abstract drawings to tortillas and virtual reality pieces. \u003c/p>\n\u003cp>When asked what he wanted to be remembered for before the opening of his show, the thoughtful, gentle Yañez did not mention his art, or his impact on the art world.\u003c/p>\n\u003cp>“I want to be remembered for how lucky I am to have such good friends,” Yañez told \u003ca href=\"http://eltecolote.org/content/en/features/rene-yanez-reflects-on-five-decades-of-being-an-artist-in-the-mission/\" rel=\"noopener\" target=\"_blank\">\u003cem>El Tecolote\u003c/em>\u003c/a>.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>At press time, a public memorial for Yañez has not been announced. We will update this story when we learn new details.\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13833788\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/Rene-Yanez-2-800x450.jpg\" alt=\"René Yañez in 2017\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13833788\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Rene-Yanez-2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Rene-Yanez-2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Rene-Yanez-2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Rene-Yanez-2.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Rene-Yanez-2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Rene-Yanez-2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Rene-Yanez-2-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">René Yañez in 2017 \u003ccite>(Rio Yañez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>René Yañez, the Chicano artist who helped introduce the United States to Día de Los Muertos and the work of Frida Kahlo, died Tuesday morning from cancer. He was 75.\u003c/p>\n\u003cp>Yañez’s son Rio announced his father’s death on Facebook, saying the influential artist passed “surrounded by people who loved him.” Diagnosed with both prostate and bone cancer seven months before, the revered artist had been hospitalized for the past two weeks.\u003c/p>\n\u003cp>“Throughout the past two weeks my Dad’s spirit has defied every expectation of his mortality to talk, laugh, joke, and sing with us,” \u003ca href=\"https://www.facebook.com/rioyanez/posts/10156920238627573\" rel=\"noopener\" target=\"_blank\">Rio wrote\u003c/a>. “Once my Dad entered the hospital he was never alone, there was always a friend by his side.”\u003c/p>\n\u003cp>Described as “\u003ca href=\"https://www.sfgate.com/art/article/Rene-Ya-ez-an-elder-of-the-Bay-Area-Chicano-12733588.php\" rel=\"noopener\" target=\"_blank\">an elder of the Bay Area Chicano arts movement\u003c/a>,” Yañez spent most of his career in San Francisco, tirelessly promoting the work of Latinx artists and Chicano culture. An accomplished artist himself, his greatest work may have been his impact on the community. \u003c/p>\n\u003cp>“He was instrumental in reconnecting [Chicanos] to the traditions we hold dear, and making them more visible in the United States,” Galería de la Raza’s executive director Ani Rivera said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Yañez came to the United States from Mexico when he was 12 and moved to San Francisco in the ’60s, after being drafted during the Vietnam War. There, he attended several schools, including California College of the Arts and the San Francisco Art Institute.\u003c/p>\n\u003cp>In 1970, he and several other artists co-founded Galería de la Raza, a cultural institution in San Francisco’s Mission District. As the space’s first artistic director, he established the gallery as a premier venue for Chicano art, but also as a home for burgeoning artists. The gallery became a hub for the community, providing services for the neighborhood like youth programs and public murals, which Yañez helped mount.\u003c/p>\n\u003cp>“There was no separation between René and the gallery,” Rivera said.\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/OGBHORYEF_8'\n title='//www.youtube.com/embed/OGBHORYEF_8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Yañez made history in 1972 when he and his colleague Ralph Maradiaga brought the Mexican tradition of Día de Los Muertos, or Day of the Dead, to San Francisco. It began with an altar in front of the Galería de la Raza, later expanding to exhibits at the Yerba Buena Center for the Arts. The exhibitions became an annual event, helping establish the holiday as an important cultural celebration in the Mission District. \u003c/p>\n\u003cp>“I came to realize that everything that happens in this country is hybrid. It’s not totally pure,” Yañez later said \u003ca href=\"https://journals.openedition.org/lisa/2858\" rel=\"noopener\" target=\"_blank\">about his gallery’s impact\u003c/a>. “In fact we are creating the culture here.”\u003c/p>\n\u003cp>Later, after the San Francisco Museum of Modern Art (SFMOMA) reportedly declined his idea for a retrospective of Frida Kahlo’s works, Yañez hosted it at Galería de la Raza instead. It was one of the first comprehensive exhibits of Kahlo’s art in the United States, bringing her out of the shadow of husband Diego Rivera to be recognized as a talented artist in her own right.\u003c/p>\n\u003cp>In 2001, with the help of comedian Cheech Marin and his vast collection of Chicano art, Yañez curated \u003ci>Chicano Visions: American Painters on the Verge.\u003c/i> Described as “perhaps the most \u003ca href=\"http://cheechmarin.com/chicano-visions/\" rel=\"noopener\" target=\"_blank\">complete exhibition of Chicano art\u003c/a>,” the exhibit toured the United States for five years, reaching as far as Florida and Minnesota.\u003c/p>\n\u003cp>All the while Yañez promoted the work of others, he made his own art, both physical and performance-based. He started the Chicano comedy group \u003ca href=\"https://library.csun.edu/SCA/Peek-in-the-Stacks/culture-clash\" rel=\"noopener\" target=\"_blank\">Culture Clash\u003c/a> in 1984 and later, with his son Rio, they formed The Great Tortilla Conspiracy, which combined food-based art with humor. \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/sWKFbtSTZkw'\n title='//www.youtube.com/embed/sWKFbtSTZkw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The community gave back to Yañez in the years before his death. In 2013, he and his family \u003ca href=\"https://www.kqed.org/news/135170/in-san-franciscos-mission-district-evicted-artists-hold-garage-sale-to-pay-for-move\" rel=\"noopener\" target=\"_blank\">faced eviction\u003c/a> from the building they had lived in since 1978. But two years later, the San Francisco Community Land Trust and the Mission Economic Development Agency bought the building, thereby allowing Yañez’s family to stay put. \u003c/p>\n\u003cp>This year, after learning he had just months to live, Yañez and friends curated one last show — a retrospective of his work. The exhibit, \u003ci>\u003ca href=\"https://www.sfgate.com/art/article/Rene-Ya-ez-an-elder-of-the-Bay-Area-Chicano-12733588.php\" rel=\"noopener\" target=\"_blank\">Into The Fade\u003c/a>\u003c/i> at the Luggage Store Gallery, showcased decades of work, from street art and abstract drawings to tortillas and virtual reality pieces. \u003c/p>\n\u003cp>When asked what he wanted to be remembered for before the opening of his show, the thoughtful, gentle Yañez did not mention his art, or his impact on the art world.\u003c/p>\n\u003cp>“I want to be remembered for how lucky I am to have such good friends,” Yañez told \u003ca href=\"http://eltecolote.org/content/en/features/rene-yanez-reflects-on-five-decades-of-being-an-artist-in-the-mission/\" rel=\"noopener\" target=\"_blank\">\u003cem>El Tecolote\u003c/em>\u003c/a>.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>At press time, a public memorial for Yañez has not been announced. We will update this story when we learn new details.\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13833788\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/Rene-Yanez-2-800x450.jpg\" alt=\"René Yañez in 2017\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13833788\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Rene-Yanez-2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Rene-Yanez-2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Rene-Yanez-2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Rene-Yanez-2.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Rene-Yanez-2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Rene-Yanez-2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Rene-Yanez-2-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">René Yañez in 2017 \u003ccite>(Rio Yañez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"title": "Día de los Muertos Altars Honor Victims of the Ghost Ship Fire",
"headTitle": "Día de los Muertos Altars Honor Victims of the Ghost Ship Fire | KQED",
"content": "\u003cp>As the Bay Area prepares for the painful one-year anniversary of the Dec. 2 \u003ca href=\"https://ww2.kqed.org/arts/programs/oakland-warehouse-memorial/\" rel=\"noopener\" target=\"_blank\">Ghost Ship warehouse fire\u003c/a>, many have taken to existing local traditions for rituals of remembrance. \u003c/p>\n\u003cp>At San Francisco’s SOMArts, two of the altars in the institution’s 18th annual Día de los Muertos exhibition, \u003ci>\u003ca href=\"http://www.somarts.org/remembrance/\" rel=\"noopener\" target=\"_blank\">Remembrance and Resistance\u003c/a>\u003c/i>, are dedicated to victims of the fire. And at the Oakland Museum of California, an altar made by Peter Foucault and Chris Treggiari for the museum’s \u003ca href=\"http://museumca.org/exhibit/days-of-the-dead-2017\" rel=\"noopener\" target=\"_blank\">Days of the Dead biennial\u003c/a> bears the names of the 36 Ghost Ship victims, along with four names of those who lost their lives in the West Oakland apartment fire on March 27. \u003c/p>\n\u003cfigure id=\"attachment_13813562\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/OMCA_1200.jpg\" alt=\"Chris Treggiari and Peter Foucault's Ghost Ship altar at OMCA's 'Metamorphosis & Migration: Days of the Dead.'\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13813562\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Chris Treggiari and Peter Foucault’s Ghost Ship altar at OMCA’s ‘Metamorphosis & Migration: Days of the Dead.’ \u003ccite>(Courtesy of the Oakland Museum of California; photo by Odell Hussey Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Foucault and Treggiari’s altar started taking shape soon after Dec. 2, 2016, at one of OMCA’s Friday Nights. They’d lost a collaborator in the fire: \u003ca href=\"https://ww2.kqed.org/arts/2016/12/06/alex-ghassan/\" rel=\"noopener\" target=\"_blank\">Alex Ghassan\u003c/a>, a filmmaker who produced three videos for Treggiari’s \u003ci>\u003ca href=\"http://museumca.org/exhibit/oakland-i-want-you-to-know\" rel=\"noopener\" target=\"_blank\">Oakland, I want you to know…\u003c/a>\u003c/i> exhibition (and also worked frequently as an on-call producer for KQED Arts). As Oakland reeled in the wake of the event, OMCA invited visitors to fill out a cards “in memory of those lost.” \u003c/p>\n\u003cp>“A lot of that was just real, raw emotion,” says Evelyn Orantes, who curated \u003ci>\u003ca href=\"http://museumca.org/exhibit/oakland-i-want-you-to-know\" rel=\"noopener\" target=\"_blank\">Oakland, I want you to know…\u003c/a>\u003c/i> and the museum’s current Days of the Dead exhibition, \u003ci>Metamorphosis & Migration\u003c/i>. “It was a week after the fire happened, and it was a rough period.”\u003c/p>\n\u003cfigure id=\"attachment_13813563\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/OMCA_FridayNights_1200.jpg\" alt=\"First installation of Chris Treggiari and Peter Foucault's Ghost Ship altar, at OMCA's Friday Nights.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13813563\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_FridayNights_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_FridayNights_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_FridayNights_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_FridayNights_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_FridayNights_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_FridayNights_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_FridayNights_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_FridayNights_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_FridayNights_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_FridayNights_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">First installation of Chris Treggiari and Peter Foucault’s Ghost Ship altar, at OMCA’s Friday Nights. \u003ccite>(Courtesy of the Oakland Museum of California)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nearly a year later, the altar now on view in the museum bears the names of the 40 victims of both fires in stitched thread — a painstaking undertaking completed in over 200 hours by Shannon Foucault, Peter’s wife. Notes written since the show opened on Oct. 18 are now joining last year’s messages. \u003c/p>\n\u003cfigure id=\"attachment_13813566\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/SOMA_GhostShip_640.jpg\" alt=\"Susan Matthews, 'Ghost Ship Memorial,' 2017.\" width=\"640\" height=\"960\" class=\"size-full wp-image-13813566\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_GhostShip_640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_GhostShip_640-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_GhostShip_640-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_GhostShip_640-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_GhostShip_640-520x780.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Susan Matthews, ‘Ghost Ship Memorial,’ 2017. \u003ccite>(Courtesy of SOMArts; photo by Danial Aziz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“People are contributing, but they’re also reading,” Orantes says. “There’s a dialogue that’s going in through the spoken, the written, and the visual, and we want to be able to have a site where that exchange can happen. We hope this expands the dialogue in a meaningful way.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At SOMArts, Susan Matthew’s installation \u003ci>Ghost Ship Memorial\u003c/i> is also punctuated by notes of remembrance and mourning. A replica of the painting that once adorned the Ghost Ship warehouse’s exterior — a skull with windswept hair — hovers over hand-painted hearts bearing the names of each victim of the fire. Beneath Cash Askew’s name, someone has written “Love you Cash.” Post-it notes with personal messages surround the altar.\u003c/p>\n\u003cp>Nearby, \u003ci>Likeness\u003c/i>, an altar dedicated to Ghost Ship fire victim \u003ca href=\"https://ww2.kqed.org/arts/2016/12/13/jason-jsun-mccarty-boundary-pushing-sound-artist-and-illustrator/\" rel=\"noopener\" target=\"_blank\">Jason “JSUN” McCarty\u003c/a>, includes McCarty’s own art and work by six of his friends. At the top of the pink foil-covered space is a painted portrait of McCarty, with colorful images — including some of McCarty’s signature plaid jacket — lining the walls below.\u003c/p>\n\u003cfigure id=\"attachment_13813567\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/SOMA_Jsun.jpg\" alt=\"Jsun Adrian McCarty, Linda Trunzo, Rosario Sotelo, Gera Lozano, Werc Alvarez, Michael Daddona and Jeremiah Jenkins, 'Likeness,' 2017.\" width=\"1200\" height=\"928\" class=\"size-full wp-image-13813567\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_Jsun.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_Jsun-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_Jsun-800x619.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_Jsun-768x594.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_Jsun-1020x789.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_Jsun-1180x913.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_Jsun-960x742.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_Jsun-240x186.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_Jsun-375x290.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_Jsun-520x402.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jsun Adrian McCarty, Linda Trunzo, Rosario Sotelo, Gera Lozano, Werc Alvarez, Michael Daddona and Jeremiah Jenkins, ‘Likeness,’ 2017. \u003ccite>(Sarah Hotchkiss/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Traditional celebrations recognize Día de los Muertos as a day for the dead to visit the living, and for the living to celebrate and remember the dead. For Angelica Rodriguez, gallery coordinator at the Mission Cultural Center (which this year hosts its 30th annual Día de los Muertos exhibition, titled \u003ci>\u003ca href=\"http://www.missionculturalcenter.org/day-of-the-dead.html\" rel=\"noopener\" target=\"_blank\">En El Cielo Como En La Tierra\u003c/a>\u003c/i>), getting comfortable with talking about death is part of the event. Leading 60 to 80 tours each year through the MCC’s exhibition, she talks about death on near-daily basis. \u003c/p>\n\u003cp>“Having to remember and having to grieve about death puts you in the space where you see your own life reflected,” she says. “I think that’s one of the most powerful things; to use that time and space to contemplate death is very healthy. Death is very much part of American culture, but we don’t allow ourselves to feel and express that.” \u003c/p>\n\u003cp>That’s why, she says, there’s such an appeal to Día de los Muertos as a celebration — and not just for the Latinx community. “If it wasn’t healthy, people wouldn’t gravitate towards it,” she says.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003ci>‘Metamorphosis & Migration: Days of the Dead’ is on view at the Oakland Museum of California through Jan. 14, 2018. For more information, \u003ca href=\"http://museumca.org/exhibit/days-of-the-dead-2017\" rel=\"noopener\" target=\"_blank\">click here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003ci>‘Remembrance and Resistance’ is on view at SOMArts through Nov. 9, 2017. For more information, \u003ca href=\"http://www.somarts.org/remembrance/\" rel=\"noopener\" target=\"_blank\">click here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003ci>‘En El Cielo Como En La Tierra’ is on view at the Mission Cultural Center through Nov. 17, 2017. For more information, \u003ca href=\"http://www.missionculturalcenter.org/day-of-the-dead.html\" rel=\"noopener\" target=\"_blank\">click here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003ci>The Marigold Project’s annual Festival of Altars takes place in San Francisco’s Garfield Park on Thursday, Nov. 2, 2017, 4-11pm with a procession beginning at 7pm at 22nd and Bryant Streets. For more information, \u003ca href=\"https://dayofthedeadsf.org/informacion-general-general-information/\" rel=\"noopener\" target=\"_blank\">click here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Joshua Bote contributed research to this story.\u003c/em>\u003c/p>\n\n",
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"excerpt": "As the one-year anniversary of the Ghost Ship warehouse fire nears, many look to existing local traditions for rituals of remembrance. ",
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"description": "As the one-year anniversary of the Ghost Ship warehouse fire nears, many look to existing local traditions for rituals of remembrance. ",
"title": "Día de los Muertos Altars Honor Victims of the Ghost Ship Fire | KQED",
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"headline": "Día de los Muertos Altars Honor Victims of the Ghost Ship Fire",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As the Bay Area prepares for the painful one-year anniversary of the Dec. 2 \u003ca href=\"https://ww2.kqed.org/arts/programs/oakland-warehouse-memorial/\" rel=\"noopener\" target=\"_blank\">Ghost Ship warehouse fire\u003c/a>, many have taken to existing local traditions for rituals of remembrance. \u003c/p>\n\u003cp>At San Francisco’s SOMArts, two of the altars in the institution’s 18th annual Día de los Muertos exhibition, \u003ci>\u003ca href=\"http://www.somarts.org/remembrance/\" rel=\"noopener\" target=\"_blank\">Remembrance and Resistance\u003c/a>\u003c/i>, are dedicated to victims of the fire. And at the Oakland Museum of California, an altar made by Peter Foucault and Chris Treggiari for the museum’s \u003ca href=\"http://museumca.org/exhibit/days-of-the-dead-2017\" rel=\"noopener\" target=\"_blank\">Days of the Dead biennial\u003c/a> bears the names of the 36 Ghost Ship victims, along with four names of those who lost their lives in the West Oakland apartment fire on March 27. \u003c/p>\n\u003cfigure id=\"attachment_13813562\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/OMCA_1200.jpg\" alt=\"Chris Treggiari and Peter Foucault's Ghost Ship altar at OMCA's 'Metamorphosis & Migration: Days of the Dead.'\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13813562\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Chris Treggiari and Peter Foucault’s Ghost Ship altar at OMCA’s ‘Metamorphosis & Migration: Days of the Dead.’ \u003ccite>(Courtesy of the Oakland Museum of California; photo by Odell Hussey Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Foucault and Treggiari’s altar started taking shape soon after Dec. 2, 2016, at one of OMCA’s Friday Nights. They’d lost a collaborator in the fire: \u003ca href=\"https://ww2.kqed.org/arts/2016/12/06/alex-ghassan/\" rel=\"noopener\" target=\"_blank\">Alex Ghassan\u003c/a>, a filmmaker who produced three videos for Treggiari’s \u003ci>\u003ca href=\"http://museumca.org/exhibit/oakland-i-want-you-to-know\" rel=\"noopener\" target=\"_blank\">Oakland, I want you to know…\u003c/a>\u003c/i> exhibition (and also worked frequently as an on-call producer for KQED Arts). As Oakland reeled in the wake of the event, OMCA invited visitors to fill out a cards “in memory of those lost.” \u003c/p>\n\u003cp>“A lot of that was just real, raw emotion,” says Evelyn Orantes, who curated \u003ci>\u003ca href=\"http://museumca.org/exhibit/oakland-i-want-you-to-know\" rel=\"noopener\" target=\"_blank\">Oakland, I want you to know…\u003c/a>\u003c/i> and the museum’s current Days of the Dead exhibition, \u003ci>Metamorphosis & Migration\u003c/i>. “It was a week after the fire happened, and it was a rough period.”\u003c/p>\n\u003cfigure id=\"attachment_13813563\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/OMCA_FridayNights_1200.jpg\" alt=\"First installation of Chris Treggiari and Peter Foucault's Ghost Ship altar, at OMCA's Friday Nights.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13813563\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_FridayNights_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_FridayNights_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_FridayNights_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_FridayNights_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_FridayNights_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_FridayNights_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_FridayNights_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_FridayNights_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_FridayNights_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_FridayNights_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">First installation of Chris Treggiari and Peter Foucault’s Ghost Ship altar, at OMCA’s Friday Nights. \u003ccite>(Courtesy of the Oakland Museum of California)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nearly a year later, the altar now on view in the museum bears the names of the 40 victims of both fires in stitched thread — a painstaking undertaking completed in over 200 hours by Shannon Foucault, Peter’s wife. Notes written since the show opened on Oct. 18 are now joining last year’s messages. \u003c/p>\n\u003cfigure id=\"attachment_13813566\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/SOMA_GhostShip_640.jpg\" alt=\"Susan Matthews, 'Ghost Ship Memorial,' 2017.\" width=\"640\" height=\"960\" class=\"size-full wp-image-13813566\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_GhostShip_640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_GhostShip_640-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_GhostShip_640-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_GhostShip_640-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_GhostShip_640-520x780.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Susan Matthews, ‘Ghost Ship Memorial,’ 2017. \u003ccite>(Courtesy of SOMArts; photo by Danial Aziz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“People are contributing, but they’re also reading,” Orantes says. “There’s a dialogue that’s going in through the spoken, the written, and the visual, and we want to be able to have a site where that exchange can happen. We hope this expands the dialogue in a meaningful way.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At SOMArts, Susan Matthew’s installation \u003ci>Ghost Ship Memorial\u003c/i> is also punctuated by notes of remembrance and mourning. A replica of the painting that once adorned the Ghost Ship warehouse’s exterior — a skull with windswept hair — hovers over hand-painted hearts bearing the names of each victim of the fire. Beneath Cash Askew’s name, someone has written “Love you Cash.” Post-it notes with personal messages surround the altar.\u003c/p>\n\u003cp>Nearby, \u003ci>Likeness\u003c/i>, an altar dedicated to Ghost Ship fire victim \u003ca href=\"https://ww2.kqed.org/arts/2016/12/13/jason-jsun-mccarty-boundary-pushing-sound-artist-and-illustrator/\" rel=\"noopener\" target=\"_blank\">Jason “JSUN” McCarty\u003c/a>, includes McCarty’s own art and work by six of his friends. At the top of the pink foil-covered space is a painted portrait of McCarty, with colorful images — including some of McCarty’s signature plaid jacket — lining the walls below.\u003c/p>\n\u003cfigure id=\"attachment_13813567\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/SOMA_Jsun.jpg\" alt=\"Jsun Adrian McCarty, Linda Trunzo, Rosario Sotelo, Gera Lozano, Werc Alvarez, Michael Daddona and Jeremiah Jenkins, 'Likeness,' 2017.\" width=\"1200\" height=\"928\" class=\"size-full wp-image-13813567\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_Jsun.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_Jsun-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_Jsun-800x619.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_Jsun-768x594.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_Jsun-1020x789.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_Jsun-1180x913.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_Jsun-960x742.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_Jsun-240x186.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_Jsun-375x290.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_Jsun-520x402.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jsun Adrian McCarty, Linda Trunzo, Rosario Sotelo, Gera Lozano, Werc Alvarez, Michael Daddona and Jeremiah Jenkins, ‘Likeness,’ 2017. \u003ccite>(Sarah Hotchkiss/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Traditional celebrations recognize Día de los Muertos as a day for the dead to visit the living, and for the living to celebrate and remember the dead. For Angelica Rodriguez, gallery coordinator at the Mission Cultural Center (which this year hosts its 30th annual Día de los Muertos exhibition, titled \u003ci>\u003ca href=\"http://www.missionculturalcenter.org/day-of-the-dead.html\" rel=\"noopener\" target=\"_blank\">En El Cielo Como En La Tierra\u003c/a>\u003c/i>), getting comfortable with talking about death is part of the event. Leading 60 to 80 tours each year through the MCC’s exhibition, she talks about death on near-daily basis. \u003c/p>\n\u003cp>“Having to remember and having to grieve about death puts you in the space where you see your own life reflected,” she says. “I think that’s one of the most powerful things; to use that time and space to contemplate death is very healthy. Death is very much part of American culture, but we don’t allow ourselves to feel and express that.” \u003c/p>\n\u003cp>That’s why, she says, there’s such an appeal to Día de los Muertos as a celebration — and not just for the Latinx community. “If it wasn’t healthy, people wouldn’t gravitate towards it,” she says.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003ci>‘Metamorphosis & Migration: Days of the Dead’ is on view at the Oakland Museum of California through Jan. 14, 2018. For more information, \u003ca href=\"http://museumca.org/exhibit/days-of-the-dead-2017\" rel=\"noopener\" target=\"_blank\">click here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003ci>‘Remembrance and Resistance’ is on view at SOMArts through Nov. 9, 2017. For more information, \u003ca href=\"http://www.somarts.org/remembrance/\" rel=\"noopener\" target=\"_blank\">click here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003ci>‘En El Cielo Como En La Tierra’ is on view at the Mission Cultural Center through Nov. 17, 2017. For more information, \u003ca href=\"http://www.missionculturalcenter.org/day-of-the-dead.html\" rel=\"noopener\" target=\"_blank\">click here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003ci>The Marigold Project’s annual Festival of Altars takes place in San Francisco’s Garfield Park on Thursday, Nov. 2, 2017, 4-11pm with a procession beginning at 7pm at 22nd and Bryant Streets. For more information, \u003ca href=\"https://dayofthedeadsf.org/informacion-general-general-information/\" rel=\"noopener\" target=\"_blank\">click here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Joshua Bote contributed research to this story.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The recovery is just beginning for residents in Napa, Sonoma and Mendocino counties, and once again we’re highlighting ways to support the arts and raise funds for the North Bay. As my co-host A-lan Holt, a playwright and associate director at Stanford’s Institute for Diversity in the Arts, says, “We support you. We support you. We support you.”\u003c/p>\n\u003cp>On the Do List this week, we had fun, too, talking about a Day of the Dead opera at Brava in San Francisco, a jazz salute to Japanese American veterans at the Presidio, and two hot singers: Son Little and Lizzo.\u003c/p>\n\u003cp>\u003cstrong>Nov. 3: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VXtx\" target=\"_blank\" rel=\"noopener\">An army of skeletons fights colonialism in a Day of the Dead opera\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 3:\u003c/strong> \u003ca href=\"http://www.jamcellarsballroom.com/event/tw-eventinfo/Fire+Relief+Fundraiser+%28unplugged%29%3ALeann+Rimes%2CZZ+Ward%2CAll+American+Rejects%2BMORE/7816595/\" target=\"_blank\" rel=\"noopener\">A Napa fundraiser for fire relief featuring LeAnn Rimes at the Margrit Mondavi Theater in the JaM Cellars Ballroom\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 4–6: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VXun\" target=\"_blank\" rel=\"noopener\">The Santa Rosa Symphony explores the power of music to heal and transform, with free tickets for those who’ve lost their homes\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Nov. 8–12: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VXtO\" target=\"_blank\" rel=\"noopener\">The Napa Film Festival goes on, also with free tickets for those who’ve lost their homes\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 11: \u003c/strong>\u003ca href=\"http://www.zspace.org/how-a-mountain-was-made\" target=\"_blank\" rel=\"noopener\">Theater company Word for Word presents a show for kids, \u003cem>How a Mountain Was Made\u003c/em>, a performance of California Indian tales written by Sonoma County resident and tribal leader Greg Sarris at Z Space in a benefit for North Bay fire relief\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 18:\u003c/strong> \u003ca href=\"https://www.facebook.com/events/2114999345402113/\" target=\"_blank\" rel=\"noopener\">The folks at BottleRock present \u003cem>For the Love of Sonoma: A Benefit Concert to Support the North Bay Fire Relief Efforts\u003c/em> featuring Counting Crows\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 4 and 11\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2017/11/01/a-salute-to-the-go-for-broke-regiment/\" target=\"_blank\" rel=\"noopener\">Anthony Brown’s Asian American Orchestra presents a salute to Japanese American vets\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 10–Dec. 16:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VXuK\" target=\"_blank\" rel=\"noopener\">A festival of ideas and performance in Oakland\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 8:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VXvf\" target=\"_blank\" rel=\"noopener\">Son Little communes with a gospel singer from the past\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 9:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VXvj\" target=\"_blank\" rel=\"noopener\">Lizzo, a voice for female empowerment, performs at the Fillmore\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"meta": {
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"rss": "https://feeds.npr.org/510313/podcast.xml"
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
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"source": "kqed",
"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"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>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
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