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"content": "\u003cp>At nine o’clock on a recent Saturday night, the \u003ca href=\"https://www.kqed.org/arts/tag/daly-city\">Daly City\u003c/a> parking lot is packed, and a line crawls down half a block while pop music blares through the front doors. I grip my daughter’s hand and lead her through the sea of people, praying we don’t get separated in the chaos. Then, “Love Me” by Fia drops, and the whole crowd sways in unison, a group of girls in front serenading each other with the chorus.\u003c/p>\n\u003cp>It’s a typical night at the club, except we aren’t at a nightclub tonight. Instead, we’re at the brand new Seafood City supermarket at St. Francis Square, and the packed area I’m making a beeline for is the snack aisle, not the women’s bathroom on Ladies’ Night. Off to the side, the hungry crowd lines up patiently for pancit, kwek kwek (batter-fried quail eggs) and BBQ on a stick. Meanwhile, a lone shopper pulls up to the one checkout aisle that’s open with a full basket of groceries. I glance at him in equal parts pity and amusement, wondering if it’s the worst day for him to go grocery shopping or the best. But the truth is, no one seems bothered that the supermarket has erupted into an all-out dance party. Everyone is having the time of their lives.\u003c/p>\n\u003cp>These days, it seems that clubs are \u003ci>out\u003c/i>, and Filipino grocery stores are \u003ci>in\u003c/i>. All you need are comfortable shoes, an appetite for street food and a brave friend to join you in the line dance when a Tita beckons.\u003c/p>\n\u003cfigure id=\"attachment_13983051\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983051\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/251018-FILIPINODANCEPARTY00288_TV-KQED.jpg\" alt=\"A Black party attendee dances in the middle of a circle that's formed in the middle of a supermarket.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/251018-FILIPINODANCEPARTY00288_TV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/251018-FILIPINODANCEPARTY00288_TV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/251018-FILIPINODANCEPARTY00288_TV-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/251018-FILIPINODANCEPARTY00288_TV-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Paul Harrell (center) dances in the circle that’s formed inside the store. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For the entire month of October, which happens to be Filipino American History Month, videos of this “Late Night Market Madness” party series have been popping up all over social media, showing a similar scene at Seafood City locations around the country: Bay Area luminaries \u003ca href=\"https://www.kqed.org/arts/13938479/p-lo-filipino-food-bay-area-hella-hungry\">P-Lo\u003c/a> and \u003ca href=\"https://www.instagram.com/noodz/reels/?hl=en\">DJ Noodles\u003c/a> flexed their Filipino star power at Eagle Rock Plaza in L.A., and DJs in Seattle hyped up the crowd with a Backstreet Boys singalong.\u003c/p>\n\u003cp>But the whole thing started in Daly City. The supermarket dance parties were the brainchild of Vallejo-raised JP Breganza, who DJed his first Seafood City gig in September to kick off the store’s new night market series. Videos of those first parties — shot by the Filipino American nonprofit \u003ca href=\"https://www.instagram.com/sf_kollective/?hl=en\">SF Kollective\u003c/a>, which co-organized several of the events — immediately went viral. \u003ca href=\"https://www.instagram.com/p/DOQs-t2kRWS/?hl=en\">In the videos\u003c/a>, the store isn’t as crowded as it would get for the later editions. But you can see random shoppers, and even Seafood City employees, getting down to Breganza’s perfectly curated set of danceable \u003ca href=\"https://www.undiscoveredsf.com/blog/2019/8/15/what-is-original-pilipino-music-opm\">Original Pilipino Music\u003c/a> (OPM), \u003ca href=\"https://en.wikipedia.org/wiki/Budots\">budots\u003c/a> tracks from Bandcamp, and other songs that he scoured obscure Facebook DJ groups to find — all with the goal of hyping up an intergenerational crowd. He always ended by playing his favorite Filipino alt-rock band, Mayonnaise.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“That whole set was to celebrate Filipino-dom in its entirety,” Breganza says about his selection of artists not usually heard outside of the Philippines.\u003c/p>\n\u003cp>The unique grocery store partnership might have never happened if Breganza hadn’t started thinking outside the box, going out of his way to play DJ sets in the most random places: an all-night \u003ca href=\"https://www.instagram.com/p/DMxwnKvxd8C/?hl=en\">Street Fighter 2 gaming session\u003c/a>, on a \u003ca href=\"https://www.instagram.com/p/DMUjanNOjG-/?hl=en\">cliffside\u003c/a>, and even at a \u003ca href=\"https://www.instagram.com/p/DOF9Hu1Dv3-/?hl=en\">driving range\u003c/a>. “I don’t like the club,” he says. “I don’t like what it offers, the environment that it brings and what it enables.\u003c/p>\n\u003cfigure id=\"attachment_13983057\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983057\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/18250511275_SUNDOWNCINEMAOCT00785_TV-KQED.jpg\" alt=\"A DJ poses for a portrait at his turntable, which is set up inside a grocery store.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/18250511275_SUNDOWNCINEMAOCT00785_TV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/18250511275_SUNDOWNCINEMAOCT00785_TV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/18250511275_SUNDOWNCINEMAOCT00785_TV-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/18250511275_SUNDOWNCINEMAOCT00785_TV-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">JP Breganza, the Filipino American DJ who spearheaded Seafood City’s popular dance party series, poses for a portrait at the supermarket’s Daly City location. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He began recording his more low-key live sets and posting them online. “Honestly speaking, I was being petty to the DJ community, saying [the scene] is oversaturated and that there’s nowhere to play. And I’m the type of person to go, ‘Well, have you played under a tree or on top of a rock?’”\u003c/p>\n\u003cp>In July, someone commented on one of those videos, “You should do this at Seafood City.” Breganza thought it was a dumb idea — but also exactly the kind of thing he was willing to try. Of course, every Filipino kid growing up in the States has memories of buying groceries at Seafood City, which has been a staple in Filipino American enclaves, especially in California, since the late ’80s. It was usually out of necessity, though, and not recreational. Still, Breganza reposted the comment, tagging Jollibee, Island Pacific Supermarket and Seafood City. Seafood City bit first, and the rest was history: Five hours later, they’d booked him for the series of night market events they were about to promote.\u003c/p>\n\u003cfigure id=\"attachment_13983055\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983055\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/251018-FILIPINODANCEPARTY01006_TV-KQED.jpg\" alt=\"A crowd lined up outside a Seafood City supermarket at nighttime.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/251018-FILIPINODANCEPARTY01006_TV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/251018-FILIPINODANCEPARTY01006_TV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/251018-FILIPINODANCEPARTY01006_TV-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/251018-FILIPINODANCEPARTY01006_TV-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A crowd of attendees lining up outside the Daly City grocery store. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But at its core, the Seafood City dance party craze that Breganza started isn’t \u003ci>just \u003c/i>about DJing in an unusual location. Growing up in the Bay Area’s Filipino American community, he says Daly City always had a special place in his heart. It’s the place he associates with the huge Filipino family parties where he watched his aunties and cousins and grandparents interact. “Whenever I went to Daly City, I always knew it was gonna be a big party. I had no idea who was going to be there,” he remembers. “I’m going to see all the aunties and uncles that I still don’t know their names because there’s so many of them. That’s also where I meet all the kids. I was absorbing it all.”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13977860,arts_13959765,arts_13938479']\u003c/span>As the youngest among his family friends, Breganza was used to peeking in during these house parties and seeing people learn how to play a video game or set up turntables for a dance in the garage. That was exactly the type of intergenerational atmosphere he wanted to recreate at Seafood City. After all those treks between Vallejo and Daly City when he was growing up, it made sense for his set to pay homage to what he calls a “\u003ca href=\"https://www.instagram.com/jpbreganza/reel/DPr-nh2EjAG/?hl=en\">home that once was\u003c/a>.”\u003c/p>\n\u003cp>It wasn’t until the day of the first gig that Breganza learned that Seafood City would be shutting down two checkstands, and that he would actually be spinning inside of the store during store hours. That setup changed everything. “I brought the loudest speakers, just to make sure I filled up the whole store,” he says, explaining how he brought his own equipment for the two-hour drive from Rancho Cordova, where he now lives. “The most important part for me was also for the employees to experience it, because they’re not built for the nightlife and they need the music. I’m giving them a piece of home.”\u003c/p>\n\u003cfigure id=\"attachment_13983052\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983052\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/251018-FILIPINODANCEPARTY00383_TV-KQED.jpg\" alt=\"A cashier rings up a customer inside a busy supermarket.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/251018-FILIPINODANCEPARTY00383_TV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/251018-FILIPINODANCEPARTY00383_TV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/251018-FILIPINODANCEPARTY00383_TV-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/251018-FILIPINODANCEPARTY00383_TV-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jasmin San Jose, a cashier, rings up a customer in the middle of one of Seafood City’s late-night DJ parties. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For other Filipino Americans who came out to the Seafood City parties after they’d turned into a full-blown phenomenon, the supermarket blowouts felt like more than just another store promotion. On the night I visited, DJ Illyst from San José was one of the DJs on deck, and she had, of course, never spun at a grocery store during the year and a half that she’d been DJing professionally. “It feels like a family party. Doing all the line dances, the singalongs — there’s way more energy than going to the club,” she says.\u003c/p>\n\u003cp>Meanwhile, Steph Balon, executive director of the nonprofit \u003ca href=\"https://kapwakulturalcenter.org/\">Kapwa Kultural Center & Café\u003c/a>, was there in the crowd with her nine-year-old son, Koa, for the second night in a row. The previous night, when DJ Cutso was on the turntables, Koa had felt the spirit of the song so intensely that “before I knew it, he was gone,” Balon recalls. Eventually, she found him on top of the checkstand, dancing his heart out for the cheering crowd. It made Balon think about her own childhood growing up between San Ramon and the Peninsula. She remembers how at family parties, everyone would dance in a circle, egged on by their aunts and uncles. Now, her son was getting to partake in the same coming-of-age ritual. Only it was on a larger scale — and at the grocery store of all places.\u003c/p>\n\u003cfigure id=\"attachment_13983047\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983047\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/251018-FILIPINODANCEPARTY00040_TV-KQED.jpg\" alt=\"Four young children eating a spread of Filipino street food in a supermarket food court.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/251018-FILIPINODANCEPARTY00040_TV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/251018-FILIPINODANCEPARTY00040_TV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/251018-FILIPINODANCEPARTY00040_TV-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/251018-FILIPINODANCEPARTY00040_TV-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Four young children take a break from the dance party to enjoy a spread of Filipino street food in the Seafood City food court. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now that the events’ popularity has spread all the way to L.A., Las Vegas and Houston, with flashier, more famous DJs, I ask Breganza whether he minds that Seafood City has taken his “dumb idea” and run with it. But Breganza says, “It was never about [claiming] it’s my terrain.” He’s just happy that the idea to spin a set in every Filipino enclave has taken off — with or without him.\u003c/p>\n\u003cp>“I want to work on a project where I can curate regional sound amongst the Filipino community,” he says of his ultimate goal. “What if the Houston DJs were playing chopped-and-screwed versions of OPM, or Chicago was playing house versions?”\u003c/p>\n\u003cp>For now, he’s focusing on the Bay Area, and instilling a sense of Filipino pride along with that early ’90s family party nostalgia. Starting with these Daly City supermarket gigs, he’s already done just that, turning a “dumb idea” into a brilliant marketing partnership — and also something much deeper. Whether it’s creating that perfect love ballad mashup for his set or grabbing the mic to entertain shoppers and workers alike, Breganza doesn’t want the important stuff to get lost in the virality of the moment, or competition between different Seafood City locations.\u003c/p>\n\u003cfigure id=\"attachment_13983050\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983050\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/251018-FILIPINODANCEPARTY00264_TV-KQED.jpg\" alt=\"A crowd of Filipino Americans dancing and singing inside a grocery store.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/251018-FILIPINODANCEPARTY00264_TV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/251018-FILIPINODANCEPARTY00264_TV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/251018-FILIPINODANCEPARTY00264_TV-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/251018-FILIPINODANCEPARTY00264_TV-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Alyssa Borland (front) dances during DJ Boogie Brown’s set. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As SF Kollective co-founder Dean Urriza \u003ca href=\"https://www.instagram.com/reel/DQUGtLPEa5Y/?utm_source=ig_web_copy_link&igsh=MzRlODBiNWFlZA==\">recently pointed out\u003c/a> on Instagram: “This is and always will be about community, and showing up for each other, not showing out.”\u003c/p>\n\u003cp>What Breganza hopes to provide, then, is that missing piece — that feeling of being among family, even with people you’ve never met. On the night I came out to Seafood City, I’d brought four cousins with me. We all grew up in Daly City when our Lola and Lolo immigrated from the Philippines in the mid-’80s. For us, the party was a chance to relive childhood memories one Filipino love ballad at a time — in true Filipino tradition, with plenty of delicious food to share with our neighbors and friends.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>The final Late Night Madness dance parties for Filipino American History Month will be on Oct. 31 and Nov. 1 from 8 p.m.–midnight at the Daly City Seafood City (1420 Southgate Ave.). Since the event coincides with Halloween, guests who come in their best Filipino costumes will get a free BBQ meal. \u003c/i>\u003ca href=\"https://www.instagram.com/sosyalstages/?hl=en\">\u003ci>Sosyal Stages\u003c/i>\u003c/a>\u003ci> will be spinning EDM. The event is all ages, and entry is free.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At nine o’clock on a recent Saturday night, the \u003ca href=\"https://www.kqed.org/arts/tag/daly-city\">Daly City\u003c/a> parking lot is packed, and a line crawls down half a block while pop music blares through the front doors. I grip my daughter’s hand and lead her through the sea of people, praying we don’t get separated in the chaos. Then, “Love Me” by Fia drops, and the whole crowd sways in unison, a group of girls in front serenading each other with the chorus.\u003c/p>\n\u003cp>It’s a typical night at the club, except we aren’t at a nightclub tonight. Instead, we’re at the brand new Seafood City supermarket at St. Francis Square, and the packed area I’m making a beeline for is the snack aisle, not the women’s bathroom on Ladies’ Night. Off to the side, the hungry crowd lines up patiently for pancit, kwek kwek (batter-fried quail eggs) and BBQ on a stick. Meanwhile, a lone shopper pulls up to the one checkout aisle that’s open with a full basket of groceries. I glance at him in equal parts pity and amusement, wondering if it’s the worst day for him to go grocery shopping or the best. But the truth is, no one seems bothered that the supermarket has erupted into an all-out dance party. Everyone is having the time of their lives.\u003c/p>\n\u003cp>These days, it seems that clubs are \u003ci>out\u003c/i>, and Filipino grocery stores are \u003ci>in\u003c/i>. All you need are comfortable shoes, an appetite for street food and a brave friend to join you in the line dance when a Tita beckons.\u003c/p>\n\u003cfigure id=\"attachment_13983051\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983051\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/251018-FILIPINODANCEPARTY00288_TV-KQED.jpg\" alt=\"A Black party attendee dances in the middle of a circle that's formed in the middle of a supermarket.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/251018-FILIPINODANCEPARTY00288_TV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/251018-FILIPINODANCEPARTY00288_TV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/251018-FILIPINODANCEPARTY00288_TV-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/251018-FILIPINODANCEPARTY00288_TV-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Paul Harrell (center) dances in the circle that’s formed inside the store. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For the entire month of October, which happens to be Filipino American History Month, videos of this “Late Night Market Madness” party series have been popping up all over social media, showing a similar scene at Seafood City locations around the country: Bay Area luminaries \u003ca href=\"https://www.kqed.org/arts/13938479/p-lo-filipino-food-bay-area-hella-hungry\">P-Lo\u003c/a> and \u003ca href=\"https://www.instagram.com/noodz/reels/?hl=en\">DJ Noodles\u003c/a> flexed their Filipino star power at Eagle Rock Plaza in L.A., and DJs in Seattle hyped up the crowd with a Backstreet Boys singalong.\u003c/p>\n\u003cp>But the whole thing started in Daly City. The supermarket dance parties were the brainchild of Vallejo-raised JP Breganza, who DJed his first Seafood City gig in September to kick off the store’s new night market series. Videos of those first parties — shot by the Filipino American nonprofit \u003ca href=\"https://www.instagram.com/sf_kollective/?hl=en\">SF Kollective\u003c/a>, which co-organized several of the events — immediately went viral. \u003ca href=\"https://www.instagram.com/p/DOQs-t2kRWS/?hl=en\">In the videos\u003c/a>, the store isn’t as crowded as it would get for the later editions. But you can see random shoppers, and even Seafood City employees, getting down to Breganza’s perfectly curated set of danceable \u003ca href=\"https://www.undiscoveredsf.com/blog/2019/8/15/what-is-original-pilipino-music-opm\">Original Pilipino Music\u003c/a> (OPM), \u003ca href=\"https://en.wikipedia.org/wiki/Budots\">budots\u003c/a> tracks from Bandcamp, and other songs that he scoured obscure Facebook DJ groups to find — all with the goal of hyping up an intergenerational crowd. He always ended by playing his favorite Filipino alt-rock band, Mayonnaise.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“That whole set was to celebrate Filipino-dom in its entirety,” Breganza says about his selection of artists not usually heard outside of the Philippines.\u003c/p>\n\u003cp>The unique grocery store partnership might have never happened if Breganza hadn’t started thinking outside the box, going out of his way to play DJ sets in the most random places: an all-night \u003ca href=\"https://www.instagram.com/p/DMxwnKvxd8C/?hl=en\">Street Fighter 2 gaming session\u003c/a>, on a \u003ca href=\"https://www.instagram.com/p/DMUjanNOjG-/?hl=en\">cliffside\u003c/a>, and even at a \u003ca href=\"https://www.instagram.com/p/DOF9Hu1Dv3-/?hl=en\">driving range\u003c/a>. “I don’t like the club,” he says. “I don’t like what it offers, the environment that it brings and what it enables.\u003c/p>\n\u003cfigure id=\"attachment_13983057\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983057\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/18250511275_SUNDOWNCINEMAOCT00785_TV-KQED.jpg\" alt=\"A DJ poses for a portrait at his turntable, which is set up inside a grocery store.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/18250511275_SUNDOWNCINEMAOCT00785_TV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/18250511275_SUNDOWNCINEMAOCT00785_TV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/18250511275_SUNDOWNCINEMAOCT00785_TV-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/18250511275_SUNDOWNCINEMAOCT00785_TV-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">JP Breganza, the Filipino American DJ who spearheaded Seafood City’s popular dance party series, poses for a portrait at the supermarket’s Daly City location. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He began recording his more low-key live sets and posting them online. “Honestly speaking, I was being petty to the DJ community, saying [the scene] is oversaturated and that there’s nowhere to play. And I’m the type of person to go, ‘Well, have you played under a tree or on top of a rock?’”\u003c/p>\n\u003cp>In July, someone commented on one of those videos, “You should do this at Seafood City.” Breganza thought it was a dumb idea — but also exactly the kind of thing he was willing to try. Of course, every Filipino kid growing up in the States has memories of buying groceries at Seafood City, which has been a staple in Filipino American enclaves, especially in California, since the late ’80s. It was usually out of necessity, though, and not recreational. Still, Breganza reposted the comment, tagging Jollibee, Island Pacific Supermarket and Seafood City. Seafood City bit first, and the rest was history: Five hours later, they’d booked him for the series of night market events they were about to promote.\u003c/p>\n\u003cfigure id=\"attachment_13983055\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983055\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/251018-FILIPINODANCEPARTY01006_TV-KQED.jpg\" alt=\"A crowd lined up outside a Seafood City supermarket at nighttime.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/251018-FILIPINODANCEPARTY01006_TV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/251018-FILIPINODANCEPARTY01006_TV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/251018-FILIPINODANCEPARTY01006_TV-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/251018-FILIPINODANCEPARTY01006_TV-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A crowd of attendees lining up outside the Daly City grocery store. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But at its core, the Seafood City dance party craze that Breganza started isn’t \u003ci>just \u003c/i>about DJing in an unusual location. Growing up in the Bay Area’s Filipino American community, he says Daly City always had a special place in his heart. It’s the place he associates with the huge Filipino family parties where he watched his aunties and cousins and grandparents interact. “Whenever I went to Daly City, I always knew it was gonna be a big party. I had no idea who was going to be there,” he remembers. “I’m going to see all the aunties and uncles that I still don’t know their names because there’s so many of them. That’s also where I meet all the kids. I was absorbing it all.”\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>As the youngest among his family friends, Breganza was used to peeking in during these house parties and seeing people learn how to play a video game or set up turntables for a dance in the garage. That was exactly the type of intergenerational atmosphere he wanted to recreate at Seafood City. After all those treks between Vallejo and Daly City when he was growing up, it made sense for his set to pay homage to what he calls a “\u003ca href=\"https://www.instagram.com/jpbreganza/reel/DPr-nh2EjAG/?hl=en\">home that once was\u003c/a>.”\u003c/p>\n\u003cp>It wasn’t until the day of the first gig that Breganza learned that Seafood City would be shutting down two checkstands, and that he would actually be spinning inside of the store during store hours. That setup changed everything. “I brought the loudest speakers, just to make sure I filled up the whole store,” he says, explaining how he brought his own equipment for the two-hour drive from Rancho Cordova, where he now lives. “The most important part for me was also for the employees to experience it, because they’re not built for the nightlife and they need the music. I’m giving them a piece of home.”\u003c/p>\n\u003cfigure id=\"attachment_13983052\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983052\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/251018-FILIPINODANCEPARTY00383_TV-KQED.jpg\" alt=\"A cashier rings up a customer inside a busy supermarket.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/251018-FILIPINODANCEPARTY00383_TV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/251018-FILIPINODANCEPARTY00383_TV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/251018-FILIPINODANCEPARTY00383_TV-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/251018-FILIPINODANCEPARTY00383_TV-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jasmin San Jose, a cashier, rings up a customer in the middle of one of Seafood City’s late-night DJ parties. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For other Filipino Americans who came out to the Seafood City parties after they’d turned into a full-blown phenomenon, the supermarket blowouts felt like more than just another store promotion. On the night I visited, DJ Illyst from San José was one of the DJs on deck, and she had, of course, never spun at a grocery store during the year and a half that she’d been DJing professionally. “It feels like a family party. Doing all the line dances, the singalongs — there’s way more energy than going to the club,” she says.\u003c/p>\n\u003cp>Meanwhile, Steph Balon, executive director of the nonprofit \u003ca href=\"https://kapwakulturalcenter.org/\">Kapwa Kultural Center & Café\u003c/a>, was there in the crowd with her nine-year-old son, Koa, for the second night in a row. The previous night, when DJ Cutso was on the turntables, Koa had felt the spirit of the song so intensely that “before I knew it, he was gone,” Balon recalls. Eventually, she found him on top of the checkstand, dancing his heart out for the cheering crowd. It made Balon think about her own childhood growing up between San Ramon and the Peninsula. She remembers how at family parties, everyone would dance in a circle, egged on by their aunts and uncles. Now, her son was getting to partake in the same coming-of-age ritual. Only it was on a larger scale — and at the grocery store of all places.\u003c/p>\n\u003cfigure id=\"attachment_13983047\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983047\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/251018-FILIPINODANCEPARTY00040_TV-KQED.jpg\" alt=\"Four young children eating a spread of Filipino street food in a supermarket food court.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/251018-FILIPINODANCEPARTY00040_TV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/251018-FILIPINODANCEPARTY00040_TV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/251018-FILIPINODANCEPARTY00040_TV-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/251018-FILIPINODANCEPARTY00040_TV-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Four young children take a break from the dance party to enjoy a spread of Filipino street food in the Seafood City food court. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now that the events’ popularity has spread all the way to L.A., Las Vegas and Houston, with flashier, more famous DJs, I ask Breganza whether he minds that Seafood City has taken his “dumb idea” and run with it. But Breganza says, “It was never about [claiming] it’s my terrain.” He’s just happy that the idea to spin a set in every Filipino enclave has taken off — with or without him.\u003c/p>\n\u003cp>“I want to work on a project where I can curate regional sound amongst the Filipino community,” he says of his ultimate goal. “What if the Houston DJs were playing chopped-and-screwed versions of OPM, or Chicago was playing house versions?”\u003c/p>\n\u003cp>For now, he’s focusing on the Bay Area, and instilling a sense of Filipino pride along with that early ’90s family party nostalgia. Starting with these Daly City supermarket gigs, he’s already done just that, turning a “dumb idea” into a brilliant marketing partnership — and also something much deeper. Whether it’s creating that perfect love ballad mashup for his set or grabbing the mic to entertain shoppers and workers alike, Breganza doesn’t want the important stuff to get lost in the virality of the moment, or competition between different Seafood City locations.\u003c/p>\n\u003cfigure id=\"attachment_13983050\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983050\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/251018-FILIPINODANCEPARTY00264_TV-KQED.jpg\" alt=\"A crowd of Filipino Americans dancing and singing inside a grocery store.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/251018-FILIPINODANCEPARTY00264_TV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/251018-FILIPINODANCEPARTY00264_TV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/251018-FILIPINODANCEPARTY00264_TV-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/251018-FILIPINODANCEPARTY00264_TV-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Alyssa Borland (front) dances during DJ Boogie Brown’s set. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As SF Kollective co-founder Dean Urriza \u003ca href=\"https://www.instagram.com/reel/DQUGtLPEa5Y/?utm_source=ig_web_copy_link&igsh=MzRlODBiNWFlZA==\">recently pointed out\u003c/a> on Instagram: “This is and always will be about community, and showing up for each other, not showing out.”\u003c/p>\n\u003cp>What Breganza hopes to provide, then, is that missing piece — that feeling of being among family, even with people you’ve never met. On the night I came out to Seafood City, I’d brought four cousins with me. We all grew up in Daly City when our Lola and Lolo immigrated from the Philippines in the mid-’80s. For us, the party was a chance to relive childhood memories one Filipino love ballad at a time — in true Filipino tradition, with plenty of delicious food to share with our neighbors and friends.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>The final Late Night Madness dance parties for Filipino American History Month will be on Oct. 31 and Nov. 1 from 8 p.m.–midnight at the Daly City Seafood City (1420 Southgate Ave.). Since the event coincides with Halloween, guests who come in their best Filipino costumes will get a free BBQ meal. \u003c/i>\u003ca href=\"https://www.instagram.com/sosyalstages/?hl=en\">\u003ci>Sosyal Stages\u003c/i>\u003c/a>\u003ci> will be spinning EDM. The event is all ages, and entry is free.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A Celebration of Asian Pacific Film in Sunnyvale",
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"content": "\u003cp>Equipped with a small camcorder and her Littlest Pet Shop figurines, Annika Magbanua began making stop-motion films when she was just six years old. 20 years later, what began as an innocent hobby has turned into a passion for animation and design.\u003c/p>\n\u003cp>“Looking back, it kind of makes sense that I ended up here,” Magbanua says. “When I was getting ready to go to college, I had an epiphany: There are people — artists — behind these animated films that I love so much.”\u003c/p>\n\u003cp>Magbanua’s short 2D-animation \u003ci>Lukso ng Dugo\u003c/i> is one of dozens included in the 11th annual \u003ca href=\"https://svapfilmfest.org/\">Silicon Valley Asian Pacific Film Fest\u003c/a>. Taking place in Sunnyvale from Oct. 17–19 and online from Oct. 20–26, the festival both depicts and celebrates the Asian American, Pacific Islander and Native Hawaiian experience.\u003c/p>\n\u003cfigure id=\"attachment_13982434\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982434\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Screenshot-2025-10-14-at-3.15.09%E2%80%AFPM.jpg\" alt=\"\" width=\"2000\" height=\"993\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Screenshot-2025-10-14-at-3.15.09 PM.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Screenshot-2025-10-14-at-3.15.09 PM-160x79.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Screenshot-2025-10-14-at-3.15.09 PM-768x381.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Screenshot-2025-10-14-at-3.15.09 PM-1536x763.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘Lukso ng Dugo,’ a short film by Annika Magbanua. \u003ccite>(Annika Magbanua)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Lukso ng Dugo” is a Filipino idiom that directly translates to “jumping blood,” and describes the sensation of immediate kinship with a stranger. This concept is demonstrated through \u003ci>Lukso ng Dugo\u003c/i>’s storyline about Mae, a Filipino girl who finds the courage to break the cycle of abuse in her family. During a tense dinner, a creature appears, helping Mae and her mother confront their fears and take the first steps toward healing.\u003c/p>\n\u003cp>Inspired greatly by the Filipino aswang folklore that Magbanua heard growing up, in combination with her love for the horror genre, \u003ci>Lukso ng Dugo\u003c/i> came to fruition as her senior capstone project at San Jose State University. Magbanua graduated this past May with a degree in animation and illustration, having worked on the film alongside a team of dozens of people for about a year.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We made this in an academic space,” Magbanua says. “To have it be screened and experienced in a space surrounded by professionals and people who are established, seasoned and esteemed, it’s really surreal, because we were just making this in a classroom a couple months ago.”\u003c/p>\n\u003cfigure id=\"attachment_13982433\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982433\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Screenshot-2025-10-14-at-3.16.14%E2%80%AFPM.jpg\" alt=\"\" width=\"2000\" height=\"834\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Screenshot-2025-10-14-at-3.16.14 PM.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Screenshot-2025-10-14-at-3.16.14 PM-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Screenshot-2025-10-14-at-3.16.14 PM-768x320.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Screenshot-2025-10-14-at-3.16.14 PM-1536x641.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘BFF Diary,’ a short film by Keya Thota. \u003ccite>(Keya Thota)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Current SJSU animation and illustration student Keya Thota will also have work showcased at the festival. Like \u003ci>Lukso ng Dugo\u003c/i>, Thota’s film \u003ci>BFF Diary\u003c/i> began as a class assignment, inspired by her personal experiences and culture.\u003c/p>\n\u003cp>“I remembered my professors always talk about how the best stories are the ones that come from within you,” Thota says.\u003c/p>\n\u003cp>[aside postID='arts_13981726']At one point, while ruminating on this advice, a purple diary from Thota’s childhood caught her eye, becoming the muse for her film. Following two inseparable elementary school best friends who exchange a diary that documents their upbringing in the suburbs of Bangalore, India, \u003ci>BFF Diary\u003c/i> shows how their friendship adapts as one of them moves away.\u003c/p>\n\u003cp>“\u003ci>BFF Diary\u003c/i> ended up being an ode to childhood, friendship and big life changes,” Thota explains. “I really wanted to explore personal and iconic locations from my childhood spent in Bangalore, India, and I try to use a lot of warm lighting, saturated colors, and familiar imagery to really invite viewers to reflect on their own friendships and the bonds that last through their lives.”\u003c/p>\n\u003cfigure id=\"attachment_13982436\" class=\"wp-caption aligncenter\" style=\"max-width: 895px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982436\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/2024-SVAPFF.-Darren.Jlam_.png\" alt=\"\" width=\"895\" height=\"545\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/2024-SVAPFF.-Darren.Jlam_.png 895w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/2024-SVAPFF.-Darren.Jlam_-160x97.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/2024-SVAPFF.-Darren.Jlam_-768x468.png 768w\" sizes=\"auto, (max-width: 895px) 100vw, 895px\">\u003cfigcaption class=\"wp-caption-text\">The audience at the 2024 Silicon Valley Asian Pacific Film Festival. \u003ccite>(Courtesy SVAPFF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Both filmmakers began with stories close to home, as well as memories, myths and the small acts of imagination that first drew them to art. Now, as their work reaches wider audiences, their films echo something shared: that storytelling at its heart is both a return and a beginning.\u003c/p>\n\u003cp>And while production logistics and audience expectations can sometimes get in the way, both Magbanua and Thota know that filmmaking is at its core about having a vision.\u003c/p>\n\u003cp>“That little version of Annika, playing with my Littlest Pet Shop toys and my little camcorder,” Magbanua reflects, “I keep her with me all the time.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The \u003c/i>\u003ca href=\"https://svapfilmfest.org/\">\u003ci>Silicon Valley Asian Pacific Film Festival\u003c/i>\u003c/a>\u003ci> takes place Oct. 17–19 at the AMC Dine-In Theater in Sunnyvale and online from Oct. 20–26. ‘Lukso ng Dugo’ and ‘BFF Diary’ screen at the festival on Sunday, Oct. 19, from 1 to 2:30 p.m. Tickets and more information can be found \u003c/i>\u003ca href=\"https://svapfilmfest.org/\">\u003ci>here\u003c/i>\u003c/a>\u003ci>. \u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Equipped with a small camcorder and her Littlest Pet Shop figurines, Annika Magbanua began making stop-motion films when she was just six years old. 20 years later, what began as an innocent hobby has turned into a passion for animation and design.\u003c/p>\n\u003cp>“Looking back, it kind of makes sense that I ended up here,” Magbanua says. “When I was getting ready to go to college, I had an epiphany: There are people — artists — behind these animated films that I love so much.”\u003c/p>\n\u003cp>Magbanua’s short 2D-animation \u003ci>Lukso ng Dugo\u003c/i> is one of dozens included in the 11th annual \u003ca href=\"https://svapfilmfest.org/\">Silicon Valley Asian Pacific Film Fest\u003c/a>. Taking place in Sunnyvale from Oct. 17–19 and online from Oct. 20–26, the festival both depicts and celebrates the Asian American, Pacific Islander and Native Hawaiian experience.\u003c/p>\n\u003cfigure id=\"attachment_13982434\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982434\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Screenshot-2025-10-14-at-3.15.09%E2%80%AFPM.jpg\" alt=\"\" width=\"2000\" height=\"993\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Screenshot-2025-10-14-at-3.15.09 PM.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Screenshot-2025-10-14-at-3.15.09 PM-160x79.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Screenshot-2025-10-14-at-3.15.09 PM-768x381.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Screenshot-2025-10-14-at-3.15.09 PM-1536x763.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘Lukso ng Dugo,’ a short film by Annika Magbanua. \u003ccite>(Annika Magbanua)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Lukso ng Dugo” is a Filipino idiom that directly translates to “jumping blood,” and describes the sensation of immediate kinship with a stranger. This concept is demonstrated through \u003ci>Lukso ng Dugo\u003c/i>’s storyline about Mae, a Filipino girl who finds the courage to break the cycle of abuse in her family. During a tense dinner, a creature appears, helping Mae and her mother confront their fears and take the first steps toward healing.\u003c/p>\n\u003cp>Inspired greatly by the Filipino aswang folklore that Magbanua heard growing up, in combination with her love for the horror genre, \u003ci>Lukso ng Dugo\u003c/i> came to fruition as her senior capstone project at San Jose State University. Magbanua graduated this past May with a degree in animation and illustration, having worked on the film alongside a team of dozens of people for about a year.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We made this in an academic space,” Magbanua says. “To have it be screened and experienced in a space surrounded by professionals and people who are established, seasoned and esteemed, it’s really surreal, because we were just making this in a classroom a couple months ago.”\u003c/p>\n\u003cfigure id=\"attachment_13982433\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982433\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Screenshot-2025-10-14-at-3.16.14%E2%80%AFPM.jpg\" alt=\"\" width=\"2000\" height=\"834\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Screenshot-2025-10-14-at-3.16.14 PM.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Screenshot-2025-10-14-at-3.16.14 PM-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Screenshot-2025-10-14-at-3.16.14 PM-768x320.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Screenshot-2025-10-14-at-3.16.14 PM-1536x641.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘BFF Diary,’ a short film by Keya Thota. \u003ccite>(Keya Thota)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Current SJSU animation and illustration student Keya Thota will also have work showcased at the festival. Like \u003ci>Lukso ng Dugo\u003c/i>, Thota’s film \u003ci>BFF Diary\u003c/i> began as a class assignment, inspired by her personal experiences and culture.\u003c/p>\n\u003cp>“I remembered my professors always talk about how the best stories are the ones that come from within you,” Thota says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>At one point, while ruminating on this advice, a purple diary from Thota’s childhood caught her eye, becoming the muse for her film. Following two inseparable elementary school best friends who exchange a diary that documents their upbringing in the suburbs of Bangalore, India, \u003ci>BFF Diary\u003c/i> shows how their friendship adapts as one of them moves away.\u003c/p>\n\u003cp>“\u003ci>BFF Diary\u003c/i> ended up being an ode to childhood, friendship and big life changes,” Thota explains. “I really wanted to explore personal and iconic locations from my childhood spent in Bangalore, India, and I try to use a lot of warm lighting, saturated colors, and familiar imagery to really invite viewers to reflect on their own friendships and the bonds that last through their lives.”\u003c/p>\n\u003cfigure id=\"attachment_13982436\" class=\"wp-caption aligncenter\" style=\"max-width: 895px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982436\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/2024-SVAPFF.-Darren.Jlam_.png\" alt=\"\" width=\"895\" height=\"545\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/2024-SVAPFF.-Darren.Jlam_.png 895w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/2024-SVAPFF.-Darren.Jlam_-160x97.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/2024-SVAPFF.-Darren.Jlam_-768x468.png 768w\" sizes=\"auto, (max-width: 895px) 100vw, 895px\">\u003cfigcaption class=\"wp-caption-text\">The audience at the 2024 Silicon Valley Asian Pacific Film Festival. \u003ccite>(Courtesy SVAPFF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Both filmmakers began with stories close to home, as well as memories, myths and the small acts of imagination that first drew them to art. Now, as their work reaches wider audiences, their films echo something shared: that storytelling at its heart is both a return and a beginning.\u003c/p>\n\u003cp>And while production logistics and audience expectations can sometimes get in the way, both Magbanua and Thota know that filmmaking is at its core about having a vision.\u003c/p>\n\u003cp>“That little version of Annika, playing with my Littlest Pet Shop toys and my little camcorder,” Magbanua reflects, “I keep her with me all the time.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The \u003c/i>\u003ca href=\"https://svapfilmfest.org/\">\u003ci>Silicon Valley Asian Pacific Film Festival\u003c/i>\u003c/a>\u003ci> takes place Oct. 17–19 at the AMC Dine-In Theater in Sunnyvale and online from Oct. 20–26. ‘Lukso ng Dugo’ and ‘BFF Diary’ screen at the festival on Sunday, Oct. 19, from 1 to 2:30 p.m. Tickets and more information can be found \u003c/i>\u003ca href=\"https://svapfilmfest.org/\">\u003ci>here\u003c/i>\u003c/a>\u003ci>. \u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Bay Area’s Own Ruby Ibarra Is the Winner of NPR’s Tiny Desk Contest",
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"content": "\u003cfigure id=\"attachment_13976107\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13976107\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/rubyv1-Gino-Lucas.jpg\" alt=\"A young Filipina woman in a silver top leans over a shiny green surface, her reflection visible\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/rubyv1-Gino-Lucas.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/rubyv1-Gino-Lucas-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/rubyv1-Gino-Lucas-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/rubyv1-Gino-Lucas-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/rubyv1-Gino-Lucas-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/rubyv1-Gino-Lucas-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/rubyv1-Gino-Lucas-1920x1920.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Growing up in San Lorenzo, 2025 Tiny Desk Contest winner Ruby Ibarra was exposed to a steady stream of Bay Area rap from artists like E-40 and Hieroglyphics. \u003ccite>(Gino Lucas)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The winner of NPR’s 2025 Tiny Desk Contest is the Bay Area’s own \u003ca href=\"https://www.kqed.org/arts/tag/ruby-ibarra\" target=\"_blank\" rel=\"noopener\">Ruby Ibarra\u003c/a>.\u003c/p>\n\u003cp>A \u003ca href=\"https://www.kqed.org/arts/13887169/whats-on-your-ballot-ruby-ibarra-rapper-and-scientist\">research scientist\u003c/a> and fiercely poetic lyricist raised in San Lorenzo, Ibarra raps in English alongside the Filipino languages of Tagalog and Bisaya. Her Tiny Desk Contest-winning track, “\u003ca href=\"https://www.youtube.com/watch?v=IBOPNgYJ9_w\">Bakunawa\u003c/a>,” was inspired by the dragon-like serpent of Philippine mythology.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=IBOPNgYJ9_w\u003c/p>\n\u003cp>Ibarra sees the Bakunawa and its \u003ca href=\"https://en.wikipedia.org/wiki/Bakunawa\">banishment from society\u003c/a> as a metaphor for the way that Filipino history, art and culture as a whole is often shunned and cast aside by the mainstream.\u003c/p>\n\u003cp>“I just wanted to flip that story,” Ibarra tells KQED. “And this time around, with this song, I wanted to embody the Bakunawa itself.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postID='arts_13887169']The track’s guest artists \u003ca href=\"https://www.instagram.com/sfduchess/\" target=\"_blank\" rel=\"noopener\">Ouida\u003c/a>, \u003ca href=\"https://www.instagram.com/indayhan/\" target=\"_blank\" rel=\"noopener\">Han Han\u003c/a> and \u003ca href=\"https://www.instagram.com/manilajune/\" target=\"_blank\" rel=\"noopener\">June Millington\u003c/a> (of the pioneering all-female rock band \u003ca href=\"https://www.kqed.org/news/11949142/buried-without-a-trace-the-all-female-rock-group-youve-probably-never-heard\">Fanny\u003c/a>) tap into their own inner mythological creature, expressing their powers through musicianship.\u003c/p>\n\u003cp>Behind the scenes, Ibarra was pregnant while filming the music video for “Bakunawa.” She gave birth to her first child in 2024, the Year of the Dragon. “My daughter,” Ibarra says, “she is my baby dragon, she is my revolution, she is my power.”\u003c/p>\n\u003cp>“Bakunawa” anchors Ibarra’s upcoming album, the release of which will coincide with a 10-show tour. But first, she has to go to Washington D.C. to perform at NPR’s Tiny Desk.\u003c/p>\n\u003cfigure id=\"attachment_13976112\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13976112\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/ruby-1-2-Gino-Lucas.jpg\" alt=\"\" width=\"1600\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/ruby-1-2-Gino-Lucas.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/ruby-1-2-Gino-Lucas-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/ruby-1-2-Gino-Lucas-1020x1275.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/ruby-1-2-Gino-Lucas-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/ruby-1-2-Gino-Lucas-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/ruby-1-2-Gino-Lucas-1229x1536.jpg 1229w\" sizes=\"auto, (max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">Ruby Ibarra. \u003ccite>(Gino Lucas)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Giving me goosebumps’\u003c/h2>\n\u003cp>When she learned that she won this year’s contest, Ibarra was so surprised that she started crying and her hands started shaking.\u003c/p>\n\u003cp>“I will say, that typically does not happen to me,” Ibarra says, adding that she’s usually calm and composed. “I think that alone really tells you how much excitement and joy it brought to me.”\u003c/p>\n\u003cp>[aside postID='arts_13905208']Born in the Philippines and raised in the East Bay, Ibarra has been around hip-hop for as long as she can remember. E-40, Hieroglyphics, Lauryn Hill and the late Filipino rapper Francis Magalona were all influences on Ibarra, who started rapping professionally in 2016. She dropped her first album \u003cem>Circa ’91\u003c/em> a year later, and entered the Tiny Desk Contest in 2019 with \u003ca href=\"https://www.kqed.org/arts/13860137/this-tiny-desk-contestant-rapped-a-love-letter-to-her-immigrant-mother\">an attention-grabbing ode to her immigrant mother\u003c/a>.\u003c/p>\n\u003cp>In 2021, she stepped away from her career as \u003ca href=\"https://www.today.com/tmrw/vaccine-scientist-day-rapper-night-how-ruby-ibarra-defying-stereotypes-t218167\" target=\"_blank\" rel=\"noopener\">a research scientist\u003c/a> to pursue music full-time. In 2023, along with Ouida, she \u003ca href=\"https://www.kqed.org/arts/13938866/ruby-ibarras-new-record-label-comes-out-swinging\">cofounded\u003c/a> a Bay Area-based indie collective, \u003ca href=\"https://www.bolomusicgroup.com/\" target=\"_blank\" rel=\"noopener\">BOLO Music Group\u003c/a>.\u003c/p>\n\u003cp>Her music has appeared on Fox’s \u003cem>The Cleaning Lady\u003c/em> as well as the soundtracks for the NBA2K23 and NBA2K24 video games.\u003c/p>\n\u003cfigure id=\"attachment_13976005\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13976005\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/GettyImages-2059247696.jpg\" alt=\"A young FIlipina woman in a beanie and mesh top holds a microphone at a custom-lit party\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/GettyImages-2059247696.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/GettyImages-2059247696-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/GettyImages-2059247696-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/GettyImages-2059247696-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/GettyImages-2059247696-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/GettyImages-2059247696-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/GettyImages-2059247696-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Ruby Ibarra guest stars in ‘The Cleaning Lady’ during a March 12, 2024 episode, rapping “Pilipino ako sa gawa, Pilipino sa mga mata (I am Filipino by action, Filipino in the eyes).” \u003ccite>(FOX via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now, with this opportunity to bring her art, Filipina heritage and Bay Area culture to the world via NPR’s Tiny Desk, Ibarra joins a long list of legendary artists with humility and appreciation.\u003c/p>\n\u003cp>“To be there in a few weeks,” she says, “it’s giving me goosebumps.”\u003c/p>\n\u003cp>Ultimately, she sees it as another way to showcase the diverse culture and creativity that emanated from the Bay Area.\u003c/p>\n\u003cp>“There’s so much talent here,” she says. “I’m just excited to put on for the Bay.”\u003c/p>\n\u003chr>\n\u003cp>\u003cem>Ruby Ibarra headlines NPR’s ‘Tiny Desk on the Road’ tour with \u003ca href=\"https://www.eventbrite.com/e/npr-music-presents-tiny-desk-contest-on-the-road-lagunitas-petaluma-tickets-1325707941139?aff=oddtdtcreator\">a Bay Area show on June 13 at Lagunitas Brewing Co.\u003c/a> in Petaluma. \u003ca href=\"https://tinydeskcontest.npr.org/2025/tour-page/\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Learn more about Ruby Ibarra at \u003ca href=\"https://www.rubyibarra.com/\">her official website\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/tag/ruby-ibarra\">in KQED’s own archives\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13976107\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13976107\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/rubyv1-Gino-Lucas.jpg\" alt=\"A young Filipina woman in a silver top leans over a shiny green surface, her reflection visible\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/rubyv1-Gino-Lucas.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/rubyv1-Gino-Lucas-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/rubyv1-Gino-Lucas-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/rubyv1-Gino-Lucas-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/rubyv1-Gino-Lucas-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/rubyv1-Gino-Lucas-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/rubyv1-Gino-Lucas-1920x1920.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Growing up in San Lorenzo, 2025 Tiny Desk Contest winner Ruby Ibarra was exposed to a steady stream of Bay Area rap from artists like E-40 and Hieroglyphics. \u003ccite>(Gino Lucas)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The winner of NPR’s 2025 Tiny Desk Contest is the Bay Area’s own \u003ca href=\"https://www.kqed.org/arts/tag/ruby-ibarra\" target=\"_blank\" rel=\"noopener\">Ruby Ibarra\u003c/a>.\u003c/p>\n\u003cp>A \u003ca href=\"https://www.kqed.org/arts/13887169/whats-on-your-ballot-ruby-ibarra-rapper-and-scientist\">research scientist\u003c/a> and fiercely poetic lyricist raised in San Lorenzo, Ibarra raps in English alongside the Filipino languages of Tagalog and Bisaya. Her Tiny Desk Contest-winning track, “\u003ca href=\"https://www.youtube.com/watch?v=IBOPNgYJ9_w\">Bakunawa\u003c/a>,” was inspired by the dragon-like serpent of Philippine mythology.\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/IBOPNgYJ9_w'\n title='//www.youtube.com/embed/IBOPNgYJ9_w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Ibarra sees the Bakunawa and its \u003ca href=\"https://en.wikipedia.org/wiki/Bakunawa\">banishment from society\u003c/a> as a metaphor for the way that Filipino history, art and culture as a whole is often shunned and cast aside by the mainstream.\u003c/p>\n\u003cp>“I just wanted to flip that story,” Ibarra tells KQED. “And this time around, with this song, I wanted to embody the Bakunawa itself.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The track’s guest artists \u003ca href=\"https://www.instagram.com/sfduchess/\" target=\"_blank\" rel=\"noopener\">Ouida\u003c/a>, \u003ca href=\"https://www.instagram.com/indayhan/\" target=\"_blank\" rel=\"noopener\">Han Han\u003c/a> and \u003ca href=\"https://www.instagram.com/manilajune/\" target=\"_blank\" rel=\"noopener\">June Millington\u003c/a> (of the pioneering all-female rock band \u003ca href=\"https://www.kqed.org/news/11949142/buried-without-a-trace-the-all-female-rock-group-youve-probably-never-heard\">Fanny\u003c/a>) tap into their own inner mythological creature, expressing their powers through musicianship.\u003c/p>\n\u003cp>Behind the scenes, Ibarra was pregnant while filming the music video for “Bakunawa.” She gave birth to her first child in 2024, the Year of the Dragon. “My daughter,” Ibarra says, “she is my baby dragon, she is my revolution, she is my power.”\u003c/p>\n\u003cp>“Bakunawa” anchors Ibarra’s upcoming album, the release of which will coincide with a 10-show tour. But first, she has to go to Washington D.C. to perform at NPR’s Tiny Desk.\u003c/p>\n\u003cfigure id=\"attachment_13976112\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13976112\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/ruby-1-2-Gino-Lucas.jpg\" alt=\"\" width=\"1600\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/ruby-1-2-Gino-Lucas.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/ruby-1-2-Gino-Lucas-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/ruby-1-2-Gino-Lucas-1020x1275.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/ruby-1-2-Gino-Lucas-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/ruby-1-2-Gino-Lucas-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/ruby-1-2-Gino-Lucas-1229x1536.jpg 1229w\" sizes=\"auto, (max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">Ruby Ibarra. \u003ccite>(Gino Lucas)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Giving me goosebumps’\u003c/h2>\n\u003cp>When she learned that she won this year’s contest, Ibarra was so surprised that she started crying and her hands started shaking.\u003c/p>\n\u003cp>“I will say, that typically does not happen to me,” Ibarra says, adding that she’s usually calm and composed. “I think that alone really tells you how much excitement and joy it brought to me.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Born in the Philippines and raised in the East Bay, Ibarra has been around hip-hop for as long as she can remember. E-40, Hieroglyphics, Lauryn Hill and the late Filipino rapper Francis Magalona were all influences on Ibarra, who started rapping professionally in 2016. She dropped her first album \u003cem>Circa ’91\u003c/em> a year later, and entered the Tiny Desk Contest in 2019 with \u003ca href=\"https://www.kqed.org/arts/13860137/this-tiny-desk-contestant-rapped-a-love-letter-to-her-immigrant-mother\">an attention-grabbing ode to her immigrant mother\u003c/a>.\u003c/p>\n\u003cp>In 2021, she stepped away from her career as \u003ca href=\"https://www.today.com/tmrw/vaccine-scientist-day-rapper-night-how-ruby-ibarra-defying-stereotypes-t218167\" target=\"_blank\" rel=\"noopener\">a research scientist\u003c/a> to pursue music full-time. In 2023, along with Ouida, she \u003ca href=\"https://www.kqed.org/arts/13938866/ruby-ibarras-new-record-label-comes-out-swinging\">cofounded\u003c/a> a Bay Area-based indie collective, \u003ca href=\"https://www.bolomusicgroup.com/\" target=\"_blank\" rel=\"noopener\">BOLO Music Group\u003c/a>.\u003c/p>\n\u003cp>Her music has appeared on Fox’s \u003cem>The Cleaning Lady\u003c/em> as well as the soundtracks for the NBA2K23 and NBA2K24 video games.\u003c/p>\n\u003cfigure id=\"attachment_13976005\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13976005\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/GettyImages-2059247696.jpg\" alt=\"A young FIlipina woman in a beanie and mesh top holds a microphone at a custom-lit party\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/GettyImages-2059247696.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/GettyImages-2059247696-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/GettyImages-2059247696-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/GettyImages-2059247696-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/GettyImages-2059247696-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/GettyImages-2059247696-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/GettyImages-2059247696-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Ruby Ibarra guest stars in ‘The Cleaning Lady’ during a March 12, 2024 episode, rapping “Pilipino ako sa gawa, Pilipino sa mga mata (I am Filipino by action, Filipino in the eyes).” \u003ccite>(FOX via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now, with this opportunity to bring her art, Filipina heritage and Bay Area culture to the world via NPR’s Tiny Desk, Ibarra joins a long list of legendary artists with humility and appreciation.\u003c/p>\n\u003cp>“To be there in a few weeks,” she says, “it’s giving me goosebumps.”\u003c/p>\n\u003cp>Ultimately, she sees it as another way to showcase the diverse culture and creativity that emanated from the Bay Area.\u003c/p>\n\u003cp>“There’s so much talent here,” she says. “I’m just excited to put on for the Bay.”\u003c/p>\n\u003chr>\n\u003cp>\u003cem>Ruby Ibarra headlines NPR’s ‘Tiny Desk on the Road’ tour with \u003ca href=\"https://www.eventbrite.com/e/npr-music-presents-tiny-desk-contest-on-the-road-lagunitas-petaluma-tickets-1325707941139?aff=oddtdtcreator\">a Bay Area show on June 13 at Lagunitas Brewing Co.\u003c/a> in Petaluma. \u003ca href=\"https://tinydeskcontest.npr.org/2025/tour-page/\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Learn more about Ruby Ibarra at \u003ca href=\"https://www.rubyibarra.com/\">her official website\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/tag/ruby-ibarra\">in KQED’s own archives\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Filipino Arts Accelerator Balay Kreative Pauses Operations in SF, Citing Funding",
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"content": "\u003cp>As the federal government makes huge cuts to arts funding, local organizations like Balay Kreative are feeling the pressure from Washington, D.C. all the way down to the city level.\u003c/p>\n\u003cp>Last week, the San Francisco-based Filipino arts accelerator \u003ca href=\"https://balaykreative.org/stories-content/balay-kreative-is-pressing-pause\">announced a pause on its operations\u003c/a>.\u003c/p>\n\u003cp>Desi Danganan, executive director of Balay Kreative’s umbrella organization \u003ca href=\"https://www.kultivatelabs.org/\">Kultivate Labs\u003c/a>, explained in a post on the organization’s website that the decision was due to funding. Over the past two years, the organization has had to lay off staff and cut their budget by more than $500,000, while from 2024 to 2025, funding dropped by 80%, according to Danganan.\u003c/p>\n\u003cp>[aside postID='arts_13913947']“We can no longer operate as if it’s business as usual,” he wrote.\u003c/p>\n\u003cp>Located on Mission Street in the retail floor level of a city parking garage, where it receives free rent from SFMTA, \u003ca href=\"https://www.kqed.org/arts/13913947/balay-kreative-soma-pilipinas-filipino-heritage-district\">Balay Kreative provides pop-up studio space\u003c/a> to Filipino American artists, designers and small businesses in the SOMA Pilipinas Filipino Heritage District. It has also dispersed grants to individual artists. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Kultivate Labs will work on repurposing the Balay Kreative space on Mission Street for Republika, an artisan marketplace and art gallery, which is fully funded, Danganan said.\u003c/p>\n\u003cfigure id=\"attachment_13972582\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13972582 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Balay-Open-Studios-27-800x449.jpg\" alt=\"An audience of people sit, gathered at an open studio at Balay Kreative in San Francisco. \" width=\"800\" height=\"449\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Balay-Open-Studios-27-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Balay-Open-Studios-27-1020x572.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Balay-Open-Studios-27-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Balay-Open-Studios-27-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Balay-Open-Studios-27-1536x862.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Balay-Open-Studios-27-2048x1149.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Balay-Open-Studios-27-1920x1078.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An audience of people gather at an open studio at Balay Kreative in San Francisco. \u003ccite>(Courtesy of Balay Kreative)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Danganan explained that future funding for Balay Kreative has been jeopardized by the NEA’s \u003ca href=\"https://www.kqed.org/arts/13971749/nea-arts-funding-canceled-dei-trump\">cancellation of the Challenge America grant\u003c/a>, and its announcement to \u003ca href=\"https://www.kqed.org/arts/13971749/nea-arts-funding-canceled-dei-trump\">no longer support organizations grounded in diversity, equity and inclusion\u003c/a>. In the \u003ca href=\"https://www.kqed.org/arts/13970297/nea-grants-list-of-sf-bay-area-organizations-receiving-grants-in-2025\">latest round of NEA grants\u003c/a>, Balay Kreative received $15,000 to support the Balay Kreative Growth Masterclass Series.\u003c/p>\n\u003cp>Over the phone Danganan called the NEA announcement “salt in the wound,” and illustrative of the federal government’s priorities as a whole. “They want to dismantle anything that is for marginalized communities,” Danganan said of the current administration. \u003c/p>\n\u003cp>[aside postID='arts_13971749']Locally, in San Francisco, he sees a systematic problem in which the city is promoting itself as an arts and culture hub but not providing enough resources.\u003c/p>\n\u003cp>“We were one of those organizations that they highlighted,” Danganan said of the city. He noted that Kultivate Labs has a few “arms,” which allows the organization to generate revenue for programs like Kapwa Gardens and Undiscovered SF. “We were the ones doing really well,” said Danganan, “and we’re still getting a 60% cut.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/grants-for-the-arts\">Grants for the Arts\u003c/a>, funded by a hotel tax, has seen reduced revenue in the wake of the COVID pandemic and a “doom loop” narrative about San Francisco, both of which have kept tourists away from the city. \u003c/p>\n\u003cp>[aside postID='arts_13970297']While the city has been \u003ca href=\"https://www.kqed.org/arts/13967182/svane-family-foundation-culture-forward-grant\">encouraging artists and organizations to move back downtown\u003c/a>, Danganan has seen several recent closures on his organization’s block in SoMa.\u003c/p>\n\u003cp>“There \u003cem>was\u003c/em> a restaurant next to us,” he said. “SF Pizza closed. The T-Mobile store on our block closed.” He adds to the list the upcoming closure of department store Bloomingdales, across the street from Balay Kreative, and a recently closed Starbucks at the end of the block (another Starbucks, directly across the street from it, remains open).\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Are they going to have to bring in arts and culture from the outside,” Danganan said, “instead of incubating the arts and culture that we have here?”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Kultivate Labs will work on repurposing the Balay Kreative space on Mission Street for Republika, an artisan marketplace and art gallery, which is fully funded, Danganan said.\u003c/p>\n\u003cfigure id=\"attachment_13972582\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13972582 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Balay-Open-Studios-27-800x449.jpg\" alt=\"An audience of people sit, gathered at an open studio at Balay Kreative in San Francisco. \" width=\"800\" height=\"449\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Balay-Open-Studios-27-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Balay-Open-Studios-27-1020x572.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Balay-Open-Studios-27-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Balay-Open-Studios-27-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Balay-Open-Studios-27-1536x862.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Balay-Open-Studios-27-2048x1149.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Balay-Open-Studios-27-1920x1078.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An audience of people gather at an open studio at Balay Kreative in San Francisco. \u003ccite>(Courtesy of Balay Kreative)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Danganan explained that future funding for Balay Kreative has been jeopardized by the NEA’s \u003ca href=\"https://www.kqed.org/arts/13971749/nea-arts-funding-canceled-dei-trump\">cancellation of the Challenge America grant\u003c/a>, and its announcement to \u003ca href=\"https://www.kqed.org/arts/13971749/nea-arts-funding-canceled-dei-trump\">no longer support organizations grounded in diversity, equity and inclusion\u003c/a>. In the \u003ca href=\"https://www.kqed.org/arts/13970297/nea-grants-list-of-sf-bay-area-organizations-receiving-grants-in-2025\">latest round of NEA grants\u003c/a>, Balay Kreative received $15,000 to support the Balay Kreative Growth Masterclass Series.\u003c/p>\n\u003cp>Over the phone Danganan called the NEA announcement “salt in the wound,” and illustrative of the federal government’s priorities as a whole. “They want to dismantle anything that is for marginalized communities,” Danganan said of the current administration. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Locally, in San Francisco, he sees a systematic problem in which the city is promoting itself as an arts and culture hub but not providing enough resources.\u003c/p>\n\u003cp>“We were one of those organizations that they highlighted,” Danganan said of the city. He noted that Kultivate Labs has a few “arms,” which allows the organization to generate revenue for programs like Kapwa Gardens and Undiscovered SF. “We were the ones doing really well,” said Danganan, “and we’re still getting a 60% cut.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/grants-for-the-arts\">Grants for the Arts\u003c/a>, funded by a hotel tax, has seen reduced revenue in the wake of the COVID pandemic and a “doom loop” narrative about San Francisco, both of which have kept tourists away from the city. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>While the city has been \u003ca href=\"https://www.kqed.org/arts/13967182/svane-family-foundation-culture-forward-grant\">encouraging artists and organizations to move back downtown\u003c/a>, Danganan has seen several recent closures on his organization’s block in SoMa.\u003c/p>\n\u003cp>“There \u003cem>was\u003c/em> a restaurant next to us,” he said. “SF Pizza closed. The T-Mobile store on our block closed.” He adds to the list the upcoming closure of department store Bloomingdales, across the street from Balay Kreative, and a recently closed Starbucks at the end of the block (another Starbucks, directly across the street from it, remains open).\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Are they going to have to bring in arts and culture from the outside,” Danganan said, “instead of incubating the arts and culture that we have here?”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "In San Francisco, Mitchell’s Ice Cream Is the People’s Choice",
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"content": "\u003cfigure id=\"attachment_13966816\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966816\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mitchells.jpg\" alt=\"Illustration: Two men eating ice cream outside an ice cream shop at night. The sign above reads, "Mitchell's Ice Cream."\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mitchells.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mitchells-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mitchells-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mitchells-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mitchells-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mitchells-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A San Francisco classic since 1953, Mitchell’s Ice Cream’s Mission District shop is known for its tropical fruit flavors and its late-night hours. \u003ccite>(Thien Pham)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/the-midnight-diners\">\u003ci>The Midnight Diners\u003c/i>\u003c/a>\u003ci> is a regular collaboration between KQED food editor Luke Tsai and graphic novelist \u003c/i>\u003ca href=\"https://www.instagram.com/thiendog/?hl=en\">\u003ci>Thien Pham\u003c/i>\u003c/a>\u003ci>. Follow them each week as they explore the hot pot restaurants, taco carts and 24-hour casino buffets that make up the Bay Area’s after-hours dining scene.\u003c/i>\u003c/p>\n\u003cp>If you wondered what everyone in San Francisco was doing at 10:30 on a Friday night during the \u003ca href=\"https://www.kqed.org/science/1994643/yes-these-california-heat-waves-are-connected-to-climate-change-heres-how\">hottest week\u003c/a> of the entire year, I can offer some insight: Almost all of them were standing in line outside \u003ca href=\"https://www.instagram.com/mitchellsicecreamsanfran/?hl=en\">Mitchell’s Ice Cream\u003c/a>.\u003c/p>\n\u003cp>That’s what it felt like, anyway, when we pulled up to the classic Mission District scoop shop, sticky with the sweat of yet \u003ci>another\u003c/i> 90-degree October day. Even half an hour before closing time, there were probably three dozen eager ice cream eaters gathered on the sidewalk and crammed inside the shop — a 20-minute wait at a minimum after you grab your number from the ticket machine inside. Go on a weekend, almost any time of day, and it’s always the same. This is an ice cream shop for people who don’t mind standing in line.\u003c/p>\n\u003cp>Anyway, Mitchell’s enduring popularity — \u003ca href=\"https://mitchellsicecream.com/celebrating-70-years/\">now going on 71 years\u003c/a> — speaks for itself. On the night of our recent visit, the chatty, upbeat crowd consisted of almost every imaginable demographic: flocks of teens, big, multigenerational immigrant families (Arab, South Asian and Filipino American), jocks, nerds, lovey-dovey young couples and at least a handful of solo middle-aged men treating themselves to a late-night sundae (because why not).\u003c/p>\n\u003cp>And that’s because in the Bay Area ice cream scene, Mitchell’s has long been the people’s choice — the big-name San Francisco ice cream brand that most resonates with so many of our region’s multicultural communities.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Some context: When it comes to ice cream, I’ve always been a texture snob, which means I usually gravitate toward newer-school shops that emphasize the extra-creaminess of their product — say, a \u003ca href=\"https://www.instagram.com/biritecreamery/\">Bi-Rite\u003c/a> or a \u003ca href=\"https://www.instagram.com/lushgelato\">Lush\u003c/a> \u003ca href=\"https://eastbayexpress.com/the-mad-science-of-gelato-1/\">Gelato\u003c/a>. Mitchell’s, on the other hand, makes pretty classic, old-fashioned hard scoop ice cream. What sets it apart is its near-encyclopedic selection of tropical fruit flavors you’d be hard-pressed to find anywhere else, at least in the same quality and sheer variety: mango, lychee, ube, avocado (treated properly here as a fruit, as it is throughout most of Asia), lucuma, coconut pineapple, jackfruit and more. Back in the ’60s and ’70s, it was the \u003ca href=\"https://www.sfgate.com/food/article/mitchells-ice-cream-has-Filipino-flavors-sf-16588683.php\">first ice cream shop to bring these tropical flavors to the Bay Area\u003c/a>, using fruit imported directly from Southeast Asia.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cspan style=\"color: #2b2b2b;font-weight: 400\">[aside postID='arts_13966030,arts_13959808,arts_13956683']\u003c/span>\u003c/span>It’s no wonder, then, that in my heavily Latino neighborhood in Richmond, there are only two ice cream shops — and both of them sell Mitchell’s exclusively. And no wonder that the Bay Area’s Filipino American community has largely adopted the brand as its own. After all, what other local ice cream shop sells buko (young coconut), macapuno (“sweet, meaty coconut”) \u003ci>and \u003c/i>vegan roasted coconut flavors — all made with coconuts imported from the Philippines? And that’s before we even get to Mitchell’s two most iconic Filipino flavors, its mango and ube ice creams. The shop even sells a version of halo-halo, as a “sundae,” that’s as well regarded as many of the ones sold at proper Filipino restaurants. (In fact, for many years I labored under the illusion that Mitchell’s was actually owned by Filipinos. It isn’t.)\u003c/p>\n\u003cp>So when I’m in the mood to travel to that particular island of frozen-dessert paradise, Mitchell’s Ice Cream hits the spot like no other shop in the Bay.\u003c/p>\n\u003cfigure id=\"attachment_13966817\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966817\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mitchells-2.jpg\" alt=\"Illustration: Customers inside a busy ice cream shop.\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mitchells-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mitchells-2-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mitchells-2-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mitchells-2-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mitchells-2-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mitchells-2-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Even at 10:30 p.m., you can expect long lines. \u003ccite>(Thien Pham)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What we loved, too, was the controlled chaos of the place on a busy night — the patience with which the staff divvied out sample tastes to the crowd pressed up against the display case; the hulking Australian who marveled, as he watched his sundae getting made, “This guy’s a legend. Look at the size of that, it’s the size of a baby’s bottom!” This is the kind of place where a stranger will, unprompted, give you a glowing review of the lucuma ice cream — a butterscotch-like flavor made with a Peruvian fruit, the man explained. It’s next on my list to try.\u003c/p>\n\u003cp>This time, we stuck to the classics: a double scoop of avocado and ube, both luxurious in both their bright colors and the way the flavors were a true, sweet distillation of the original fruit. And then, because we were caught up in the whole celebratory spirit of the place, we got one of Mitchell’s exorbitantly sized banana split sundaes — something we hadn’t even thought about ordering in years.\u003c/p>\n\u003cp>What a joyous thing to eat! It came topped, old-school McDonald’s style, with strawberry sauce, peanuts and whipped cream, plus Maraschino cherries for good measure. For the ice cream, we’d chosen toasted almond (a more flavorful stand-in for vanilla) and mango (some of the best we’ve had in the States), adding a tropical twist to the all-American treat. And in the heat of the night, as we ate our sundae hunched over on the sidewalk, the strawberry sauce and the whipped cream and the melted parts of the ice cream slowly mixed together into the most delicious slurry.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/mitchellsicecreamsanfran/?hl=en\">\u003ci>Mitchell’s Ice Cream\u003c/i>\u003c/a>\u003ci> is open 11 a.m.–11 p.m. daily at 688 San Jose Ave. in San Francisco. \u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13966816\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966816\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mitchells.jpg\" alt=\"Illustration: Two men eating ice cream outside an ice cream shop at night. The sign above reads, "Mitchell's Ice Cream."\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mitchells.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mitchells-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mitchells-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mitchells-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mitchells-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mitchells-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A San Francisco classic since 1953, Mitchell’s Ice Cream’s Mission District shop is known for its tropical fruit flavors and its late-night hours. \u003ccite>(Thien Pham)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/the-midnight-diners\">\u003ci>The Midnight Diners\u003c/i>\u003c/a>\u003ci> is a regular collaboration between KQED food editor Luke Tsai and graphic novelist \u003c/i>\u003ca href=\"https://www.instagram.com/thiendog/?hl=en\">\u003ci>Thien Pham\u003c/i>\u003c/a>\u003ci>. Follow them each week as they explore the hot pot restaurants, taco carts and 24-hour casino buffets that make up the Bay Area’s after-hours dining scene.\u003c/i>\u003c/p>\n\u003cp>If you wondered what everyone in San Francisco was doing at 10:30 on a Friday night during the \u003ca href=\"https://www.kqed.org/science/1994643/yes-these-california-heat-waves-are-connected-to-climate-change-heres-how\">hottest week\u003c/a> of the entire year, I can offer some insight: Almost all of them were standing in line outside \u003ca href=\"https://www.instagram.com/mitchellsicecreamsanfran/?hl=en\">Mitchell’s Ice Cream\u003c/a>.\u003c/p>\n\u003cp>That’s what it felt like, anyway, when we pulled up to the classic Mission District scoop shop, sticky with the sweat of yet \u003ci>another\u003c/i> 90-degree October day. Even half an hour before closing time, there were probably three dozen eager ice cream eaters gathered on the sidewalk and crammed inside the shop — a 20-minute wait at a minimum after you grab your number from the ticket machine inside. Go on a weekend, almost any time of day, and it’s always the same. This is an ice cream shop for people who don’t mind standing in line.\u003c/p>\n\u003cp>Anyway, Mitchell’s enduring popularity — \u003ca href=\"https://mitchellsicecream.com/celebrating-70-years/\">now going on 71 years\u003c/a> — speaks for itself. On the night of our recent visit, the chatty, upbeat crowd consisted of almost every imaginable demographic: flocks of teens, big, multigenerational immigrant families (Arab, South Asian and Filipino American), jocks, nerds, lovey-dovey young couples and at least a handful of solo middle-aged men treating themselves to a late-night sundae (because why not).\u003c/p>\n\u003cp>And that’s because in the Bay Area ice cream scene, Mitchell’s has long been the people’s choice — the big-name San Francisco ice cream brand that most resonates with so many of our region’s multicultural communities.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Some context: When it comes to ice cream, I’ve always been a texture snob, which means I usually gravitate toward newer-school shops that emphasize the extra-creaminess of their product — say, a \u003ca href=\"https://www.instagram.com/biritecreamery/\">Bi-Rite\u003c/a> or a \u003ca href=\"https://www.instagram.com/lushgelato\">Lush\u003c/a> \u003ca href=\"https://eastbayexpress.com/the-mad-science-of-gelato-1/\">Gelato\u003c/a>. Mitchell’s, on the other hand, makes pretty classic, old-fashioned hard scoop ice cream. What sets it apart is its near-encyclopedic selection of tropical fruit flavors you’d be hard-pressed to find anywhere else, at least in the same quality and sheer variety: mango, lychee, ube, avocado (treated properly here as a fruit, as it is throughout most of Asia), lucuma, coconut pineapple, jackfruit and more. Back in the ’60s and ’70s, it was the \u003ca href=\"https://www.sfgate.com/food/article/mitchells-ice-cream-has-Filipino-flavors-sf-16588683.php\">first ice cream shop to bring these tropical flavors to the Bay Area\u003c/a>, using fruit imported directly from Southeast Asia.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cspan style=\"color: #2b2b2b;font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/span>It’s no wonder, then, that in my heavily Latino neighborhood in Richmond, there are only two ice cream shops — and both of them sell Mitchell’s exclusively. And no wonder that the Bay Area’s Filipino American community has largely adopted the brand as its own. After all, what other local ice cream shop sells buko (young coconut), macapuno (“sweet, meaty coconut”) \u003ci>and \u003c/i>vegan roasted coconut flavors — all made with coconuts imported from the Philippines? And that’s before we even get to Mitchell’s two most iconic Filipino flavors, its mango and ube ice creams. The shop even sells a version of halo-halo, as a “sundae,” that’s as well regarded as many of the ones sold at proper Filipino restaurants. (In fact, for many years I labored under the illusion that Mitchell’s was actually owned by Filipinos. It isn’t.)\u003c/p>\n\u003cp>So when I’m in the mood to travel to that particular island of frozen-dessert paradise, Mitchell’s Ice Cream hits the spot like no other shop in the Bay.\u003c/p>\n\u003cfigure id=\"attachment_13966817\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966817\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mitchells-2.jpg\" alt=\"Illustration: Customers inside a busy ice cream shop.\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mitchells-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mitchells-2-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mitchells-2-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mitchells-2-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mitchells-2-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mitchells-2-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Even at 10:30 p.m., you can expect long lines. \u003ccite>(Thien Pham)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What we loved, too, was the controlled chaos of the place on a busy night — the patience with which the staff divvied out sample tastes to the crowd pressed up against the display case; the hulking Australian who marveled, as he watched his sundae getting made, “This guy’s a legend. Look at the size of that, it’s the size of a baby’s bottom!” This is the kind of place where a stranger will, unprompted, give you a glowing review of the lucuma ice cream — a butterscotch-like flavor made with a Peruvian fruit, the man explained. It’s next on my list to try.\u003c/p>\n\u003cp>This time, we stuck to the classics: a double scoop of avocado and ube, both luxurious in both their bright colors and the way the flavors were a true, sweet distillation of the original fruit. And then, because we were caught up in the whole celebratory spirit of the place, we got one of Mitchell’s exorbitantly sized banana split sundaes — something we hadn’t even thought about ordering in years.\u003c/p>\n\u003cp>What a joyous thing to eat! It came topped, old-school McDonald’s style, with strawberry sauce, peanuts and whipped cream, plus Maraschino cherries for good measure. For the ice cream, we’d chosen toasted almond (a more flavorful stand-in for vanilla) and mango (some of the best we’ve had in the States), adding a tropical twist to the all-American treat. And in the heat of the night, as we ate our sundae hunched over on the sidewalk, the strawberry sauce and the whipped cream and the melted parts of the ice cream slowly mixed together into the most delicious slurry.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/mitchellsicecreamsanfran/?hl=en\">\u003ci>Mitchell’s Ice Cream\u003c/i>\u003c/a>\u003ci> is open 11 a.m.–11 p.m. daily at 688 San Jose Ave. in San Francisco. \u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Not many in the 21st century can say their life has been changed by a Buffalo Soldier. Then there’s John Calloway, and an entirely unexpected family tale from the Philippines that reconfigured his identity.\u003c/p>\n\u003cp>In the Bay Area, there’s no mystery around the San Francisco flutist, percussionist and educator. Calloway is a Latin jazz master who’s nurtured generations of young musicians as a professor at San Francisco State and the director of the \u003ca href=\"https://www.kqed.org/arts/10949235/a-new-generation-of-latin-jazz-artists\">Latin Jazz Youth Ensemble of San Francisco\u003c/a>. But as a mixed-race Filipino American, he’s always felt between worlds, beset by questions about how he looks and speaks.\u003c/p>\n\u003cp>“If I’m Filipino, how come I have light skin, don’t speak Tagalog and don’t have a Spanish surname?” he said.\u003c/p>\n\u003cfigure id=\"attachment_13966676\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/John-Calloway.jpg\" alt=\"\" width=\"2000\" height=\"938\" class=\"size-full wp-image-13966676\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/John-Calloway.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/John-Calloway-800x375.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/John-Calloway-1020x478.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/John-Calloway-160x75.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/John-Calloway-768x360.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/John-Calloway-1536x720.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/John-Calloway-1920x900.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">John Calloway (front row, second from right) and the Afro-Filipino Project. \u003ccite>(Courtesy John Calloway)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The astonishing discovery of the story of his Filipino roots, a saga enmeshed with the advent of United States’ global empire and a campaign of political persecution, fueled his creation of \u003ca href=\"https://johncalloway.com/buffalo-soldier-afro-filipino-project\">John Calloway & the Afro-Filipino Project\u003c/a>, which celebrates Filipino American Heritage Month at Santa Cruz’s \u003ca href=\"https://www.kuumbwajazz.org/calendar/john-calloway-the-afro-filipino-project-filipino-american-heritage-month-celebration/\">Kuumbwa Jazz Center on Oct. 17\u003c/a> and the \u003ca href=\"https://museumca.org/event/spotlight-sundays-buffalo-soldiers-and-the-philippine-american-war-a-multimedia-experience/\">Oakland Museum of California on Oct. 20\u003c/a>.\u003c/p>\n\u003cp>Featuring a stellar cast of African-American, Filipino, and Filipino-American artists, including bassist Ron Belcher, drummer Deszon Claiborne and Conrad Benedicto and Manuel Dragon on kulintang instruments, the ensemble will reprise Calloway’s suite \u003cem>Buffalo Soldiers and the Philippine American War: A Crisis of Conscience\u003c/em> at the Oakland Museum. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The gig at Kuumbwa is the Afro-Filipino Project, which brings together two different worlds with new compositions combining traditional instruments of the Philippines with jazz and blues, as well as Afro-Filipinos and our musical influences,” Calloway explained. “The key thing is that people come together to create meaningful music reflective of their identities.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=uO7fWpgmZsI\u003c/p>\n\u003cp>The long-buried answers regarding Calloway’s identity surfaced suddenly about 10 years ago, when he received a copy of the essay anthology \u003cem>Mixed Blessings: The Impact of the Colonial Experience On Politics and Society In the Philippines\u003c/em>. It included a chapter by Australian historian Gill H. Boehringer about a John W. Calloway.\u003c/p>\n\u003cp>Calloway’s paternal grandfather, born in 1872, was a Buffalo Solider, an African-American noncommissioned officer serving in the segregated U.S. Army. He died when Callaway’s father was 13, “and we knew very little about him, but when the book showed up 10 years ago it blew us out of the water,” Calloway said, noting he shares his grandfather’s middle initial.\u003c/p>\n\u003cp>“I have a different middle name, but to see ‘John W. Calloway’ as the first three words of the chapter and to find out about his experience as a Buffalo Solider in the Philippines was more than mind-blowing.”\u003c/p>\n\u003cfigure id=\"attachment_13966671\" class=\"wp-caption aligncenter\" style=\"max-width: 1294px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-4.jpg\" alt=\"\" width=\"1294\" height=\"2000\" class=\"size-full wp-image-13966671\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-4.jpg 1294w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-4-800x1236.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-4-1020x1577.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-4-160x247.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-4-768x1187.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-4-994x1536.jpg 994w\" sizes=\"(max-width: 1294px) 100vw, 1294px\">\u003cfigcaption class=\"wp-caption-text\">Dancers Daniel Giray and Marcela Pabros-Clark perform with John Calloway and the Afro-Filipino Project. \u003ccite>(Bob Hsiang Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Among his discoveries was that struggling with identity is something of a Calloway legacy. Before his grandfather was sent to the Philippines, he fought in Cuba during the 1898 Spanish American War, the conflict that turned the U.S. into global imperial power with territories in the Caribbean (Cuba and Puerto Rico) and South Pacific (Guam and the Philippines).\u003c/p>\n\u003cp>In the Philippines, the war against Spain quickly turned into a brutal campaign to suppress the independence of the newly declared Philippine Republic. Many Buffalo Soldiers were sent to fight in a war that was cast in starkly racist terms, as British writer Rudyard Kipling’s poem “The White Man’s Burden” urged the U.S. to replace Spain as a colonial power and uplift “Your new-caught, sullen peoples / Half devil and half child.”\u003c/p>\n\u003cp>Many Buffalo Soldiers wanted to earn credit for the Black community back home by serving with distinction, a dynamic carried over from the thousands of Black men who served in the Union Army during the Civil War (and that was replayed, with disappointment, again in World War I and World War II). That hope often co-existed with sympathy for the Philippine anti-colonial struggle, a sentiment that canny independence activists fed “by scattering leaflets in Central Luzon telling Black soldiers they were fighting and dying in a war for their political masters while their kin were being lynched at home,” writes historian Gill H. Boehringer.\u003c/p>\n\u003cfigure id=\"attachment_13966673\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-3.jpg\" alt=\"\" width=\"2000\" height=\"1353\" class=\"size-full wp-image-13966673\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-3.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-3-800x541.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-3-1020x690.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-3-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-3-768x520.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-3-1536x1039.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-3-1920x1299.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Umali Horne performs with John Calloway and the Afro-Filipino Project. \u003ccite>(Bob Hsiang Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Back home, the African-American press was often vocal in opposing U.S. colonial ambitions, and Calloway was a regular correspondent for \u003cem>The Richmond Planet\u003c/em>, a Black newspaper in Virginia. His missives provided “an account of how, and why, some pro-Filipino sentiments were developing amongst the Americans, especially the Black troops,” Boehringer wrote.\u003c/p>\n\u003cp>But one letter in particular, to a Filipino friend who supported the independence movement, derailed Sgt. Major Calloway’s military career. While serving in the 24th infantry, he wrote of being “constantly haunted by the feeling of how wrong morally we Americans are in the present affair with you.” The letter’s discovery by military intelligence led to his court martial; the fact that he’d married a Filipina was considered proof of his treachery.\u003c/p>\n\u003cp>“He was imprisoned at the Presidio, and tried to get the conviction overturned,” Calloway said. Upon his release, he returned to the Philippines, then was deported and returned to the U.S. territory again, “where he spent the rest of his life,” Calloway said. It’s where he and his wife had 14 children, including Calloway’s father, one of the last born, in 1919.\u003c/p>\n\u003cfigure id=\"attachment_13966674\" class=\"wp-caption aligncenter\" style=\"max-width: 1343px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-2.jpg\" alt=\"\" width=\"1343\" height=\"2000\" class=\"size-full wp-image-13966674\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-2.jpg 1343w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-2-800x1191.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-2-1020x1519.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-2-160x238.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-2-768x1144.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-2-1031x1536.jpg 1031w\" sizes=\"(max-width: 1343px) 100vw, 1343px\">\u003cfigcaption class=\"wp-caption-text\">Ting Josue Alvarez-Maquinta performs with John Calloway and the Afro-Filipino Project. \u003ccite>(Bob Hsiang Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While learning his new family history, Calloway never thought of exploring it in music. He’d spent his career in Latin jazz and Cuban music, including recordings with Cuban jazz luminaries such as bassist Israel “Cachao” Lopez, conguero Carlos “Patato” Valdez and pianist Omar Sosa. He’s recorded more than a dozen albums with fellow Mission District native John Santos.\u003c/p>\n\u003cp>But when the California Jazz Conservatory asked him to put on a Black History Month concert in 2022, he wrote a grant to develop compositions exploring his Buffalo Solider lineage.\u003c/p>\n\u003cp>“And after a long beautiful journey playing Afro-Latin music, this whole other thing came about, a much deeper project about my inner self and identity,” Calloway said.\u003c/p>\n\u003cp>“At the deepest level, this is something I’ve carried with me since adolescence. But this project is in its infancy. I want to pay homage to all the Afro-Filipinos who play music, like Sugar Pie DeSanto and Joe Bataan.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>John Calloway & the Afro-Filipino Project performs Thursday, Oct. 17, at Kuumbwa Jazz Center in Santa Cruz; \u003ca href=\"https://www.kuumbwajazz.org/calendar/john-calloway-the-afro-filipino-project-filipino-american-heritage-month-celebration/\">details here\u003c/a>. The ensemble also performs Sunday, Oct. 20, at the Oakland Museum of California in Oakland; \u003ca href=\"https://museumca.org/event/spotlight-sundays-buffalo-soldiers-and-the-philippine-american-war-a-multimedia-experience/\">details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Not many in the 21st century can say their life has been changed by a Buffalo Soldier. Then there’s John Calloway, and an entirely unexpected family tale from the Philippines that reconfigured his identity.\u003c/p>\n\u003cp>In the Bay Area, there’s no mystery around the San Francisco flutist, percussionist and educator. Calloway is a Latin jazz master who’s nurtured generations of young musicians as a professor at San Francisco State and the director of the \u003ca href=\"https://www.kqed.org/arts/10949235/a-new-generation-of-latin-jazz-artists\">Latin Jazz Youth Ensemble of San Francisco\u003c/a>. But as a mixed-race Filipino American, he’s always felt between worlds, beset by questions about how he looks and speaks.\u003c/p>\n\u003cp>“If I’m Filipino, how come I have light skin, don’t speak Tagalog and don’t have a Spanish surname?” he said.\u003c/p>\n\u003cfigure id=\"attachment_13966676\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/John-Calloway.jpg\" alt=\"\" width=\"2000\" height=\"938\" class=\"size-full wp-image-13966676\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/John-Calloway.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/John-Calloway-800x375.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/John-Calloway-1020x478.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/John-Calloway-160x75.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/John-Calloway-768x360.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/John-Calloway-1536x720.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/John-Calloway-1920x900.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">John Calloway (front row, second from right) and the Afro-Filipino Project. \u003ccite>(Courtesy John Calloway)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The astonishing discovery of the story of his Filipino roots, a saga enmeshed with the advent of United States’ global empire and a campaign of political persecution, fueled his creation of \u003ca href=\"https://johncalloway.com/buffalo-soldier-afro-filipino-project\">John Calloway & the Afro-Filipino Project\u003c/a>, which celebrates Filipino American Heritage Month at Santa Cruz’s \u003ca href=\"https://www.kuumbwajazz.org/calendar/john-calloway-the-afro-filipino-project-filipino-american-heritage-month-celebration/\">Kuumbwa Jazz Center on Oct. 17\u003c/a> and the \u003ca href=\"https://museumca.org/event/spotlight-sundays-buffalo-soldiers-and-the-philippine-american-war-a-multimedia-experience/\">Oakland Museum of California on Oct. 20\u003c/a>.\u003c/p>\n\u003cp>Featuring a stellar cast of African-American, Filipino, and Filipino-American artists, including bassist Ron Belcher, drummer Deszon Claiborne and Conrad Benedicto and Manuel Dragon on kulintang instruments, the ensemble will reprise Calloway’s suite \u003cem>Buffalo Soldiers and the Philippine American War: A Crisis of Conscience\u003c/em> at the Oakland Museum. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The gig at Kuumbwa is the Afro-Filipino Project, which brings together two different worlds with new compositions combining traditional instruments of the Philippines with jazz and blues, as well as Afro-Filipinos and our musical influences,” Calloway explained. “The key thing is that people come together to create meaningful music reflective of their identities.”\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/uO7fWpgmZsI'\n title='//www.youtube.com/embed/uO7fWpgmZsI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The long-buried answers regarding Calloway’s identity surfaced suddenly about 10 years ago, when he received a copy of the essay anthology \u003cem>Mixed Blessings: The Impact of the Colonial Experience On Politics and Society In the Philippines\u003c/em>. It included a chapter by Australian historian Gill H. Boehringer about a John W. Calloway.\u003c/p>\n\u003cp>Calloway’s paternal grandfather, born in 1872, was a Buffalo Solider, an African-American noncommissioned officer serving in the segregated U.S. Army. He died when Callaway’s father was 13, “and we knew very little about him, but when the book showed up 10 years ago it blew us out of the water,” Calloway said, noting he shares his grandfather’s middle initial.\u003c/p>\n\u003cp>“I have a different middle name, but to see ‘John W. Calloway’ as the first three words of the chapter and to find out about his experience as a Buffalo Solider in the Philippines was more than mind-blowing.”\u003c/p>\n\u003cfigure id=\"attachment_13966671\" class=\"wp-caption aligncenter\" style=\"max-width: 1294px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-4.jpg\" alt=\"\" width=\"1294\" height=\"2000\" class=\"size-full wp-image-13966671\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-4.jpg 1294w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-4-800x1236.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-4-1020x1577.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-4-160x247.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-4-768x1187.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-4-994x1536.jpg 994w\" sizes=\"(max-width: 1294px) 100vw, 1294px\">\u003cfigcaption class=\"wp-caption-text\">Dancers Daniel Giray and Marcela Pabros-Clark perform with John Calloway and the Afro-Filipino Project. \u003ccite>(Bob Hsiang Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Among his discoveries was that struggling with identity is something of a Calloway legacy. Before his grandfather was sent to the Philippines, he fought in Cuba during the 1898 Spanish American War, the conflict that turned the U.S. into global imperial power with territories in the Caribbean (Cuba and Puerto Rico) and South Pacific (Guam and the Philippines).\u003c/p>\n\u003cp>In the Philippines, the war against Spain quickly turned into a brutal campaign to suppress the independence of the newly declared Philippine Republic. Many Buffalo Soldiers were sent to fight in a war that was cast in starkly racist terms, as British writer Rudyard Kipling’s poem “The White Man’s Burden” urged the U.S. to replace Spain as a colonial power and uplift “Your new-caught, sullen peoples / Half devil and half child.”\u003c/p>\n\u003cp>Many Buffalo Soldiers wanted to earn credit for the Black community back home by serving with distinction, a dynamic carried over from the thousands of Black men who served in the Union Army during the Civil War (and that was replayed, with disappointment, again in World War I and World War II). That hope often co-existed with sympathy for the Philippine anti-colonial struggle, a sentiment that canny independence activists fed “by scattering leaflets in Central Luzon telling Black soldiers they were fighting and dying in a war for their political masters while their kin were being lynched at home,” writes historian Gill H. Boehringer.\u003c/p>\n\u003cfigure id=\"attachment_13966673\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-3.jpg\" alt=\"\" width=\"2000\" height=\"1353\" class=\"size-full wp-image-13966673\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-3.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-3-800x541.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-3-1020x690.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-3-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-3-768x520.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-3-1536x1039.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-3-1920x1299.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Umali Horne performs with John Calloway and the Afro-Filipino Project. \u003ccite>(Bob Hsiang Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Back home, the African-American press was often vocal in opposing U.S. colonial ambitions, and Calloway was a regular correspondent for \u003cem>The Richmond Planet\u003c/em>, a Black newspaper in Virginia. His missives provided “an account of how, and why, some pro-Filipino sentiments were developing amongst the Americans, especially the Black troops,” Boehringer wrote.\u003c/p>\n\u003cp>But one letter in particular, to a Filipino friend who supported the independence movement, derailed Sgt. Major Calloway’s military career. While serving in the 24th infantry, he wrote of being “constantly haunted by the feeling of how wrong morally we Americans are in the present affair with you.” The letter’s discovery by military intelligence led to his court martial; the fact that he’d married a Filipina was considered proof of his treachery.\u003c/p>\n\u003cp>“He was imprisoned at the Presidio, and tried to get the conviction overturned,” Calloway said. Upon his release, he returned to the Philippines, then was deported and returned to the U.S. territory again, “where he spent the rest of his life,” Calloway said. It’s where he and his wife had 14 children, including Calloway’s father, one of the last born, in 1919.\u003c/p>\n\u003cfigure id=\"attachment_13966674\" class=\"wp-caption aligncenter\" style=\"max-width: 1343px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-2.jpg\" alt=\"\" width=\"1343\" height=\"2000\" class=\"size-full wp-image-13966674\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-2.jpg 1343w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-2-800x1191.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-2-1020x1519.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-2-160x238.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-2-768x1144.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-2-1031x1536.jpg 1031w\" sizes=\"(max-width: 1343px) 100vw, 1343px\">\u003cfigcaption class=\"wp-caption-text\">Ting Josue Alvarez-Maquinta performs with John Calloway and the Afro-Filipino Project. \u003ccite>(Bob Hsiang Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While learning his new family history, Calloway never thought of exploring it in music. He’d spent his career in Latin jazz and Cuban music, including recordings with Cuban jazz luminaries such as bassist Israel “Cachao” Lopez, conguero Carlos “Patato” Valdez and pianist Omar Sosa. He’s recorded more than a dozen albums with fellow Mission District native John Santos.\u003c/p>\n\u003cp>But when the California Jazz Conservatory asked him to put on a Black History Month concert in 2022, he wrote a grant to develop compositions exploring his Buffalo Solider lineage.\u003c/p>\n\u003cp>“And after a long beautiful journey playing Afro-Latin music, this whole other thing came about, a much deeper project about my inner self and identity,” Calloway said.\u003c/p>\n\u003cp>“At the deepest level, this is something I’ve carried with me since adolescence. But this project is in its infancy. I want to pay homage to all the Afro-Filipinos who play music, like Sugar Pie DeSanto and Joe Bataan.”\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>John Calloway & the Afro-Filipino Project performs Thursday, Oct. 17, at Kuumbwa Jazz Center in Santa Cruz; \u003ca href=\"https://www.kuumbwajazz.org/calendar/john-calloway-the-afro-filipino-project-filipino-american-heritage-month-celebration/\">details here\u003c/a>. The ensemble also performs Sunday, Oct. 20, at the Oakland Museum of California in Oakland; \u003ca href=\"https://museumca.org/event/spotlight-sundays-buffalo-soldiers-and-the-philippine-american-war-a-multimedia-experience/\">details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "mestiza-filipino-vegan-restaurant-kamayan-soma-sf",
"title": "SF's Mestiza Returns With 13-Inch Lumpia and Vegan Filipino Bites",
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"headTitle": "SF’s Mestiza Returns With 13-Inch Lumpia and Vegan Filipino Bites | KQED",
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"content": "\u003cp>\u003cstrong>\u003ca href=\"https://www.kqed.org/hellahungry\">\u003ci>¡Hella Hungry!\u003c/i>\u003c/a>\u003ci> is a series of interviews with Bay Area foodmakers exploring the region’s culinary innovations through the mouth of a first-generation local.\u003c/i>\u003c/strong>\u003c/p>\n\u003cp>[dropcap]O[/dropcap]perating a restaurant in San Francisco isn’t for the faint-hearted.\u003c/p>\n\u003cp>In a \u003ci>San Francisco Chronicle\u003c/i> column published earlier this year, former restaurant \u003ca href=\"https://www.sfchronicle.com/opinion/article/san-francisco-restaurant-small-business-18494773.php\">critic Soleil Ho outlined the debilitating costs of running a food business in a city\u003c/a> where even the most heralded institutions straddle a precarious tightrope “between stability and destitution.” In Ho’s eyes, the American notion of getting rewarded for hard work is merely a “fairy tale” — and that’s especially apparent in \u003ca href=\"https://www.sfchronicle.com/food/restaurants/article/sales-revenue-san-francisco-18659409.php\">the local restaurant industry’s recent struggles\u003c/a>.\u003c/p>\n\u003cp>Don’t tell Deanna Sison, though. As a savvy Filipina American hustler who operates a chicken-and-waffles spot (\u003ca href=\"https://www.instagram.com/littleskilletsf/?hl=en\">Little Skillet\u003c/a>) inside a cocktail bar (\u003ca href=\"https://www.instagram.com/victoryhallsf/?hl=en\">Victory Hall\u003c/a>) in Frisco’s SoMa district, Sison is far from feeble-spirited.\u003c/p>\n\u003cp>Now, she’s doubling — tripling? — down on her vision by re-launching Mestiza, the fast-casual Filipino noshery she opened in 2016. After the restaurant shuttered in 2020 due to the pandemic, most people would have just walked away. Not Sison.\u003c/p>\n\u003cfigure id=\"attachment_13961825\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13961825\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-07-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-07-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-07-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-07-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-07-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-07-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-07-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-07-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Deanna Sison poses for a portrait at her restaurant Mestiza, which reopened at a new location in SoMa in April 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Open since April, Mestiza blooms again in a fresh, open-air venue with a vegetarian-friendly twist that isn’t usually at the forefront of Filipino cuisine. The revamped menu features a 13-inch lumpia roll stuffed with sweet potato, shaved Brussels sprouts and water chestnuts, served with pineapple-chili dipping sauce; flamed kofta skewers made from mashed chickpeas; crunchy quinoa-and-mint salad tossed with spicy mango-jalapeño slaw and tamarind vinaigrette; and for those with a sweet tooth, oat milk vanilla soft-serve doused with chili crisps.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The restaurant additionally offers a bold kamayan dinner meant to be eaten with one’s bare hands: an island-style platter for large groups served on giant banana leaves piled high with fish, fruit, vegetables and lumpia.\u003c/p>\n\u003cp>The vegan-leaning offerings are at once succulent, tropical and abundant — a reflection of both Sison’s health-conscious dietary shifts and chef Syl Mislang’s heritage as a Filipina Mexican. There’s also a hefty dose of savory proteins like pork adobo, grilled shrimp and cured pork belly.\u003c/p>\n\u003cp>When I visited Sison at the new location, I could see why she refused to let it all go. A sense of place (there’s a vibrant \u003ca href=\"https://www.instagram.com/indiangiver\">Cheyenne Randall\u003c/a> mural on the back wall) and family (Sison’s mother regularly visits to water the patio plants) was palpable.\u003c/p>\n\u003cp>For Sison, who has worked in SoMa since arriving in the Bay Area from Florida in 1999, Mestiza is about more than her culinary ambitions. It’s also a reflection of everything she has risked in pursuit of a fuller identity. She came to the Bay Area as a film student eager to build community, particularly among Pinoys, a group she admits was scarce in the American South of the ’80s. Decades later, in Sison’s homebase of San Francisco’s Filipino Cultural District, she hasn’t backed down from her original intentions.\u003c/p>\n\u003cfigure id=\"attachment_13961823\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13961823\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-02-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-02-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-02-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-02-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-02-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-02-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-02-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-02-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A mural by artist Cheyenne Randall titled ‘Vanilla Sky’ covers the back wall of the restaurant. The mural depicts the Filipina singer Grace Nono. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In its most elemental nature, Mestiza reminds us that, no matter the setbacks, our hunger should never go unattended — especially when that hunger feeds a sense of self.\u003c/p>\n\u003cp>\u003ci>This interview has been edited for length and clarity.\u003c/i>\u003c/p>\n\u003cp style=\"text-align: center\">********\u003c/p>\n\u003cp>\u003cb>Alan Chazaro: What’s your connection to SoMa? I know you’re proud of your roots here.\u003c/b>\u003c/p>\n\u003cp>\u003cb>Deanna Sison:\u003c/b> I was born in Florida, then moved to Germany when I was 10. I moved back to the U.S. when I went to college in Florida, but was always drawn to San Francisco. When I finished school, my one focus was to make it west: to go to San Francisco. The appeal was mainly around the diversity, but also the food culture. I came here in 1999 after college and have been here ever since. My first job was on Natoma Street. I had a Bachelor of Arts in film, and this neighborhood was a hub for independent filmmakers.\u003c/p>\n\u003cp>\u003cb>Whoa, I was not expecting that. What have been the biggest changes in the area since then?\u003c/b>\u003c/p>\n\u003cp>I’ve seen the whole neighborhood evolve and go through multiple changes. There are still some remnants from that time, but there was something about SoMa that used to feel very industrial and creative, filled with artists, working-class people. It had an edginess. Through the years it has turned into mostly a tech neighborhood with echoes of that gritty, innovative atmosphere.\u003c/p>\n\u003cp>To be here and have my own roots feels just as important because of Filipino Americans and their history in this neighborhood. I came to this city to connect with my Filipino roots. When the neighborhood was designated as the Filipino Cultural District in 2017, it was a reawakening for me. It actually coincided with the opening of the previous Mestiza. I had been open for a year and a half before that. It was a big moment of discovery, a journey to reconnect with what it meant to be Filipino American. To be in this neighborhood. To continue that legacy that preceded my time here. It was important for me to stay in this neighborhood for those cultural and practical reasons.\u003c/p>\n\u003cfigure id=\"attachment_13961824\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13961824\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-04-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-04-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-04-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-04-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-04-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-04-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-04-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-04-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Sison sits with her mother, who is a frequent presence at the restaurant. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>I imagine Filipinos in Florida weren’t extremely visible back then. Or were they?\u003c/b>\u003c/p>\n\u003cp>It didn’t feel huge. In my younger years, the Filipinos would sometimes get together. It didn’t feel like I was hanging out with Filipinos a lot though. Only during family gatherings in the community. Maybe once a month at a local park. For important celebrations. But in my school there were only one or two others. It didn’t feel as prevalent [as it does in the Bay Area].\u003c/p>\n\u003cp>\u003cb>Your mom was watering the plants when I visited. She told me she grew up in the Philippines as one out of nine children. What’s her connection to this area?\u003c/b>\u003c/p>\n\u003cp>My mom was born in San Francisco and moved back to the Philippines and was raised there. But she came back to San Francisco eventually. There was just something in the ether about coming back here. It’s the only place I would choose to live anywhere in the country. Not LA. Not New York City. I actually did New York for a while. San Francisco is geographically my home.\u003c/p>\n\u003cp>\u003cb>Have you ever been to the Philippines? \u003c/b>\u003c/p>\n\u003cp>I’ve only been twice in my life. The first time I was seven years old. It was eye-opening. The role that food plays in everyday life is extremely important. It’s the connector between everyone. There was never a table that didn’t have food on it. As a kid, being at my aunt’s house, they’d go out and kill a chicken to put on the table that night. They made fresh coconut milk. All of the activities of making food: preparing it, serving it, enjoying it. Food is just such a big part of your daily experience. When I went back in my 20s, I basically went from one meal to the next. Big tables laden with food. Maybe coffee in between. Food is just a magnet to come and gather and connect. I remember that clearly. Memories are captured in the taste, flavors, smells of food. Sometimes no one even had to speak. We had food.\u003c/p>\n\u003cp>\u003cb>What’s your background in the culinary world? When did you get into the food industry?\u003c/b>\u003c/p>\n\u003cp>I always had second and third jobs in food service throughout my life. My first job was at Burger King. I worked in fast food, cocktailing, bussing, baking. On and on. I’ve had every role in a restaurant. Even when I was taking up jobs in film, I had a second or third job at a restaurant or bar. I found the perfect job on Craigslist working for an indie production company that created cooking shows. It was a PBS show. That was my favorite. I just wanted to watch those PBS cooking shows as a kid (laughs). Not cartoons.\u003c/p>\n\u003cp>The producer was at KQED, and she started \u003ca href=\"https://www.kqed.org/jacquespepin\">Jacques Pépin\u003c/a> and a few other series. They branched off to producing their own shows and distribution. They needed a production assistant. I ended up getting the job, and she was amazed at what I knew about cooking shows. I was there for five, six years. That was eye-opening for not just food and restaurants, but food culture. In that role I was able to go and read cookbooks, meet authors, professors, teachers. Cooking techniques. We were filming, but we had to prep a lot of food that would be aired on segments. I learned a lot that way.\u003c/p>\n\u003cfigure id=\"attachment_13961829\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13961829\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-16-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-16-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-16-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-16-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-16-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-16-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-16-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-16-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Chef Syl Mislang prepares an order of calabasa coconut curry. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>How has the concept of Mestiza evolved over time, especially since closing in 2020? You took four years to re-open it.\u003c/b>\u003c/p>\n\u003cp>When I first opened, the space I took over was a taqueria that I knew from my time working in SoMa. I wanted to preserve that concept of a taqueria. Having experienced it in the neighborhood, I felt it was an important thing. But I wanted to bring my own heritage to the mix. That was the original Mestiza. It was a celebration of the Mexican and Filipino connection. There was a trade route for 200 years between Manila and Mexico, and we were both colonized by the Spaniards. We share a lot of cultural aspects. Catholicism. Holidays. Our names. Ingredients. So we made the menu around that fusion. Then we closed in 2020 because of the pandemic. We flirted with staying partially open, but it just didn’t work.\u003c/p>\n\u003cp>Until about 2022, I had been thinking about it but not really planning on reopening it. Some developers approached me to bring the concept to certain locations. It never felt right. Then, this spot around the corner from Little Skillet and Victory Hall opened up. I remember it from my 20s, a little Caribbean lunch spot with sangrias all day long that I enjoyed. It felt like it could be the perfect place for a new iteration of Mestiza.\u003c/p>\n\u003cp>\u003cb>Where did the idea of doing more plant-forward dishes originate? What are the joys and challenges with that — especially since Filipino food can be very meat-heavy?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13938479,arts_13959765,arts_13956683']\u003c/span>That was a long process. COVID definitely was the only opportunity that I had to really evaluate my habits, our behaviors as a society. What do we put into our bodies? How important is our health? My dad had gout and high cholesterol and died of a heart attack. I have cousins with diabetes. So many of our illnesses are related to our diets. During COVID I experimented with all kinds of diets. Gluten-free. Plant-only. Plant-forward. Exercising. It had a profound impact on how I felt, my energy. Knowing I felt healthier during that scary time of sickness made me realize we should be healthier and better to ourselves. That informed my decision.\u003c/p>\n\u003cp>I thought about doing fully plant-based, but I felt, personally, that my body needs different kinds of protein. It doesn’t have to be such a drastic change in your diet. It can be incremental. It’s healthy for us, and the planet, to have choices. Being plant-forward means focusing on plants and minimizing the amount of meats we use, but it doesn’t completely exclude meat. I don’t know that going strictly plant based is 100% healthy for everyone’s body. But it’s lighter, easier to digest, and even more nurturing in some ways, with other nutritious vitamins and minerals.\u003c/p>\n\u003cfigure id=\"attachment_13961831\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13961831\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-29-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-29-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-29-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-29-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-29-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-29-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-29-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-29-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">An abundant spread of pulled pork adobo and shrimp gambas. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Who else is doing plant-based Filipino cuisine around here?\u003c/b>\u003c/p>\n\u003cp>Reina [Montenegro] helped me in the beginning to go plant-based. \u003ca href=\"https://www.instagram.com/chef.reina/?hl=en\">Chef Reina\u003c/a> has a spot in Brisbane. It’s vegan Filipino. She helped me a lot in my exploration of that idea. Just trying to extract the best flavors and texture from Filipino food. Shout out Chef Reina.\u003c/p>\n\u003cp>\u003cb>What are your favorite places to get Filipino food in the Bay?\u003c/b>\u003c/p>\n\u003cp>There is a strong community of Filipino and Filipino Americans doing work right now in the Bay Area. We’re all pretty tight and encourage each other. Sarap Shop. Ox and Tiger. Abaca. That’s top-notch fine dining Filipino. It’s kind of its own genre. Chef Harold Villarosa helped me out; he has spots all over the country. Tselogs, a super solid restaurant with great food. I’m just impressed by the community we have in general. Everyone is super dope. [Chef Alex Retodo from] Lumpia Company has partnered with E-40, I love them. [They] bring so much of that Bay Area culture, and I respect them as business owners. Señor Sisig, with chefs Evan and Gil. Oh, and there was this one kamayan restaurant in SoMa. About six years ago, we took our whole staff there and it was a great experience that we still talk about.\u003c/p>\n\u003cp>\u003cb>Can you tell me more about the kamayan feast you host?\u003c/b>\u003c/p>\n\u003cp>Kamayan feast is offered any night of the week for a minimum reservation of four people or more. We used to only do it twice a week, but it’s so heavily requested now. It comes from the idea of hands, eating with your hands. The experience incorporates all of your senses. Seeing something gorgeous, touching it, tasting it, smelling it. It’s tactile. It’s communal and meant to be shared with others. It’s similar to sitting at my grandmother’s table. There’s something fulfilling when you share an experience full of joy with others. That creates memories, and it becomes an indelible memory when you use all of your sense. That’s what resonates. We love seeing people’s reactions when we bring a board to the table. We’re here in service of our community.\u003c/p>\n\u003cfigure id=\"attachment_13961827\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13961827\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-14-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-14-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-14-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-14-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-14-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-14-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-14-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-14-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The lumpia at Mestiza measure 13 inches long. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Very important question: How long is the lumpia at Mestiza? I’ve honestly never seen one that length. What’s your secret?\u003c/b>\u003c/p>\n\u003cp>Ummmm (laughs). I think it’s 13 inches. We just leave our ends open. I like those crispy ends. You have to get the filling to a right consistency so it doesn’t fall out. Roll it open ended. Frozen. And fried. I love it.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/mestizasf/?hl=en\">\u003ci>Mestiza\u003c/i>\u003c/a>\u003ci> (214 Townsend St., San Francisco) is open Tues. through Sat. from 11:30 a.m. to 7:30 p.m.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>\u003ca href=\"https://www.kqed.org/hellahungry\">\u003ci>¡Hella Hungry!\u003c/i>\u003c/a>\u003ci> is a series of interviews with Bay Area foodmakers exploring the region’s culinary innovations through the mouth of a first-generation local.\u003c/i>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">O\u003c/span>\u003c/p>\u003cp>perating a restaurant in San Francisco isn’t for the faint-hearted.\u003c/p>\n\u003cp>In a \u003ci>San Francisco Chronicle\u003c/i> column published earlier this year, former restaurant \u003ca href=\"https://www.sfchronicle.com/opinion/article/san-francisco-restaurant-small-business-18494773.php\">critic Soleil Ho outlined the debilitating costs of running a food business in a city\u003c/a> where even the most heralded institutions straddle a precarious tightrope “between stability and destitution.” In Ho’s eyes, the American notion of getting rewarded for hard work is merely a “fairy tale” — and that’s especially apparent in \u003ca href=\"https://www.sfchronicle.com/food/restaurants/article/sales-revenue-san-francisco-18659409.php\">the local restaurant industry’s recent struggles\u003c/a>.\u003c/p>\n\u003cp>Don’t tell Deanna Sison, though. As a savvy Filipina American hustler who operates a chicken-and-waffles spot (\u003ca href=\"https://www.instagram.com/littleskilletsf/?hl=en\">Little Skillet\u003c/a>) inside a cocktail bar (\u003ca href=\"https://www.instagram.com/victoryhallsf/?hl=en\">Victory Hall\u003c/a>) in Frisco’s SoMa district, Sison is far from feeble-spirited.\u003c/p>\n\u003cp>Now, she’s doubling — tripling? — down on her vision by re-launching Mestiza, the fast-casual Filipino noshery she opened in 2016. After the restaurant shuttered in 2020 due to the pandemic, most people would have just walked away. Not Sison.\u003c/p>\n\u003cfigure id=\"attachment_13961825\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13961825\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-07-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-07-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-07-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-07-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-07-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-07-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-07-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-07-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Deanna Sison poses for a portrait at her restaurant Mestiza, which reopened at a new location in SoMa in April 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Open since April, Mestiza blooms again in a fresh, open-air venue with a vegetarian-friendly twist that isn’t usually at the forefront of Filipino cuisine. The revamped menu features a 13-inch lumpia roll stuffed with sweet potato, shaved Brussels sprouts and water chestnuts, served with pineapple-chili dipping sauce; flamed kofta skewers made from mashed chickpeas; crunchy quinoa-and-mint salad tossed with spicy mango-jalapeño slaw and tamarind vinaigrette; and for those with a sweet tooth, oat milk vanilla soft-serve doused with chili crisps.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The restaurant additionally offers a bold kamayan dinner meant to be eaten with one’s bare hands: an island-style platter for large groups served on giant banana leaves piled high with fish, fruit, vegetables and lumpia.\u003c/p>\n\u003cp>The vegan-leaning offerings are at once succulent, tropical and abundant — a reflection of both Sison’s health-conscious dietary shifts and chef Syl Mislang’s heritage as a Filipina Mexican. There’s also a hefty dose of savory proteins like pork adobo, grilled shrimp and cured pork belly.\u003c/p>\n\u003cp>When I visited Sison at the new location, I could see why she refused to let it all go. A sense of place (there’s a vibrant \u003ca href=\"https://www.instagram.com/indiangiver\">Cheyenne Randall\u003c/a> mural on the back wall) and family (Sison’s mother regularly visits to water the patio plants) was palpable.\u003c/p>\n\u003cp>For Sison, who has worked in SoMa since arriving in the Bay Area from Florida in 1999, Mestiza is about more than her culinary ambitions. It’s also a reflection of everything she has risked in pursuit of a fuller identity. She came to the Bay Area as a film student eager to build community, particularly among Pinoys, a group she admits was scarce in the American South of the ’80s. Decades later, in Sison’s homebase of San Francisco’s Filipino Cultural District, she hasn’t backed down from her original intentions.\u003c/p>\n\u003cfigure id=\"attachment_13961823\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13961823\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-02-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-02-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-02-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-02-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-02-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-02-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-02-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-02-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A mural by artist Cheyenne Randall titled ‘Vanilla Sky’ covers the back wall of the restaurant. The mural depicts the Filipina singer Grace Nono. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In its most elemental nature, Mestiza reminds us that, no matter the setbacks, our hunger should never go unattended — especially when that hunger feeds a sense of self.\u003c/p>\n\u003cp>\u003ci>This interview has been edited for length and clarity.\u003c/i>\u003c/p>\n\u003cp style=\"text-align: center\">********\u003c/p>\n\u003cp>\u003cb>Alan Chazaro: What’s your connection to SoMa? I know you’re proud of your roots here.\u003c/b>\u003c/p>\n\u003cp>\u003cb>Deanna Sison:\u003c/b> I was born in Florida, then moved to Germany when I was 10. I moved back to the U.S. when I went to college in Florida, but was always drawn to San Francisco. When I finished school, my one focus was to make it west: to go to San Francisco. The appeal was mainly around the diversity, but also the food culture. I came here in 1999 after college and have been here ever since. My first job was on Natoma Street. I had a Bachelor of Arts in film, and this neighborhood was a hub for independent filmmakers.\u003c/p>\n\u003cp>\u003cb>Whoa, I was not expecting that. What have been the biggest changes in the area since then?\u003c/b>\u003c/p>\n\u003cp>I’ve seen the whole neighborhood evolve and go through multiple changes. There are still some remnants from that time, but there was something about SoMa that used to feel very industrial and creative, filled with artists, working-class people. It had an edginess. Through the years it has turned into mostly a tech neighborhood with echoes of that gritty, innovative atmosphere.\u003c/p>\n\u003cp>To be here and have my own roots feels just as important because of Filipino Americans and their history in this neighborhood. I came to this city to connect with my Filipino roots. When the neighborhood was designated as the Filipino Cultural District in 2017, it was a reawakening for me. It actually coincided with the opening of the previous Mestiza. I had been open for a year and a half before that. It was a big moment of discovery, a journey to reconnect with what it meant to be Filipino American. To be in this neighborhood. To continue that legacy that preceded my time here. It was important for me to stay in this neighborhood for those cultural and practical reasons.\u003c/p>\n\u003cfigure id=\"attachment_13961824\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13961824\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-04-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-04-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-04-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-04-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-04-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-04-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-04-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-04-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Sison sits with her mother, who is a frequent presence at the restaurant. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>I imagine Filipinos in Florida weren’t extremely visible back then. Or were they?\u003c/b>\u003c/p>\n\u003cp>It didn’t feel huge. In my younger years, the Filipinos would sometimes get together. It didn’t feel like I was hanging out with Filipinos a lot though. Only during family gatherings in the community. Maybe once a month at a local park. For important celebrations. But in my school there were only one or two others. It didn’t feel as prevalent [as it does in the Bay Area].\u003c/p>\n\u003cp>\u003cb>Your mom was watering the plants when I visited. She told me she grew up in the Philippines as one out of nine children. What’s her connection to this area?\u003c/b>\u003c/p>\n\u003cp>My mom was born in San Francisco and moved back to the Philippines and was raised there. But she came back to San Francisco eventually. There was just something in the ether about coming back here. It’s the only place I would choose to live anywhere in the country. Not LA. Not New York City. I actually did New York for a while. San Francisco is geographically my home.\u003c/p>\n\u003cp>\u003cb>Have you ever been to the Philippines? \u003c/b>\u003c/p>\n\u003cp>I’ve only been twice in my life. The first time I was seven years old. It was eye-opening. The role that food plays in everyday life is extremely important. It’s the connector between everyone. There was never a table that didn’t have food on it. As a kid, being at my aunt’s house, they’d go out and kill a chicken to put on the table that night. They made fresh coconut milk. All of the activities of making food: preparing it, serving it, enjoying it. Food is just such a big part of your daily experience. When I went back in my 20s, I basically went from one meal to the next. Big tables laden with food. Maybe coffee in between. Food is just a magnet to come and gather and connect. I remember that clearly. Memories are captured in the taste, flavors, smells of food. Sometimes no one even had to speak. We had food.\u003c/p>\n\u003cp>\u003cb>What’s your background in the culinary world? When did you get into the food industry?\u003c/b>\u003c/p>\n\u003cp>I always had second and third jobs in food service throughout my life. My first job was at Burger King. I worked in fast food, cocktailing, bussing, baking. On and on. I’ve had every role in a restaurant. Even when I was taking up jobs in film, I had a second or third job at a restaurant or bar. I found the perfect job on Craigslist working for an indie production company that created cooking shows. It was a PBS show. That was my favorite. I just wanted to watch those PBS cooking shows as a kid (laughs). Not cartoons.\u003c/p>\n\u003cp>The producer was at KQED, and she started \u003ca href=\"https://www.kqed.org/jacquespepin\">Jacques Pépin\u003c/a> and a few other series. They branched off to producing their own shows and distribution. They needed a production assistant. I ended up getting the job, and she was amazed at what I knew about cooking shows. I was there for five, six years. That was eye-opening for not just food and restaurants, but food culture. In that role I was able to go and read cookbooks, meet authors, professors, teachers. Cooking techniques. We were filming, but we had to prep a lot of food that would be aired on segments. I learned a lot that way.\u003c/p>\n\u003cfigure id=\"attachment_13961829\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13961829\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-16-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-16-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-16-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-16-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-16-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-16-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-16-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-16-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Chef Syl Mislang prepares an order of calabasa coconut curry. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>How has the concept of Mestiza evolved over time, especially since closing in 2020? You took four years to re-open it.\u003c/b>\u003c/p>\n\u003cp>When I first opened, the space I took over was a taqueria that I knew from my time working in SoMa. I wanted to preserve that concept of a taqueria. Having experienced it in the neighborhood, I felt it was an important thing. But I wanted to bring my own heritage to the mix. That was the original Mestiza. It was a celebration of the Mexican and Filipino connection. There was a trade route for 200 years between Manila and Mexico, and we were both colonized by the Spaniards. We share a lot of cultural aspects. Catholicism. Holidays. Our names. Ingredients. So we made the menu around that fusion. Then we closed in 2020 because of the pandemic. We flirted with staying partially open, but it just didn’t work.\u003c/p>\n\u003cp>Until about 2022, I had been thinking about it but not really planning on reopening it. Some developers approached me to bring the concept to certain locations. It never felt right. Then, this spot around the corner from Little Skillet and Victory Hall opened up. I remember it from my 20s, a little Caribbean lunch spot with sangrias all day long that I enjoyed. It felt like it could be the perfect place for a new iteration of Mestiza.\u003c/p>\n\u003cp>\u003cb>Where did the idea of doing more plant-forward dishes originate? What are the joys and challenges with that — especially since Filipino food can be very meat-heavy?\u003c/b>\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>That was a long process. COVID definitely was the only opportunity that I had to really evaluate my habits, our behaviors as a society. What do we put into our bodies? How important is our health? My dad had gout and high cholesterol and died of a heart attack. I have cousins with diabetes. So many of our illnesses are related to our diets. During COVID I experimented with all kinds of diets. Gluten-free. Plant-only. Plant-forward. Exercising. It had a profound impact on how I felt, my energy. Knowing I felt healthier during that scary time of sickness made me realize we should be healthier and better to ourselves. That informed my decision.\u003c/p>\n\u003cp>I thought about doing fully plant-based, but I felt, personally, that my body needs different kinds of protein. It doesn’t have to be such a drastic change in your diet. It can be incremental. It’s healthy for us, and the planet, to have choices. Being plant-forward means focusing on plants and minimizing the amount of meats we use, but it doesn’t completely exclude meat. I don’t know that going strictly plant based is 100% healthy for everyone’s body. But it’s lighter, easier to digest, and even more nurturing in some ways, with other nutritious vitamins and minerals.\u003c/p>\n\u003cfigure id=\"attachment_13961831\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13961831\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-29-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-29-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-29-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-29-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-29-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-29-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-29-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-29-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">An abundant spread of pulled pork adobo and shrimp gambas. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Who else is doing plant-based Filipino cuisine around here?\u003c/b>\u003c/p>\n\u003cp>Reina [Montenegro] helped me in the beginning to go plant-based. \u003ca href=\"https://www.instagram.com/chef.reina/?hl=en\">Chef Reina\u003c/a> has a spot in Brisbane. It’s vegan Filipino. She helped me a lot in my exploration of that idea. Just trying to extract the best flavors and texture from Filipino food. Shout out Chef Reina.\u003c/p>\n\u003cp>\u003cb>What are your favorite places to get Filipino food in the Bay?\u003c/b>\u003c/p>\n\u003cp>There is a strong community of Filipino and Filipino Americans doing work right now in the Bay Area. We’re all pretty tight and encourage each other. Sarap Shop. Ox and Tiger. Abaca. That’s top-notch fine dining Filipino. It’s kind of its own genre. Chef Harold Villarosa helped me out; he has spots all over the country. Tselogs, a super solid restaurant with great food. I’m just impressed by the community we have in general. Everyone is super dope. [Chef Alex Retodo from] Lumpia Company has partnered with E-40, I love them. [They] bring so much of that Bay Area culture, and I respect them as business owners. Señor Sisig, with chefs Evan and Gil. Oh, and there was this one kamayan restaurant in SoMa. About six years ago, we took our whole staff there and it was a great experience that we still talk about.\u003c/p>\n\u003cp>\u003cb>Can you tell me more about the kamayan feast you host?\u003c/b>\u003c/p>\n\u003cp>Kamayan feast is offered any night of the week for a minimum reservation of four people or more. We used to only do it twice a week, but it’s so heavily requested now. It comes from the idea of hands, eating with your hands. The experience incorporates all of your senses. Seeing something gorgeous, touching it, tasting it, smelling it. It’s tactile. It’s communal and meant to be shared with others. It’s similar to sitting at my grandmother’s table. There’s something fulfilling when you share an experience full of joy with others. That creates memories, and it becomes an indelible memory when you use all of your sense. That’s what resonates. We love seeing people’s reactions when we bring a board to the table. We’re here in service of our community.\u003c/p>\n\u003cfigure id=\"attachment_13961827\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13961827\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-14-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-14-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-14-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-14-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-14-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-14-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-14-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-14-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The lumpia at Mestiza measure 13 inches long. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Very important question: How long is the lumpia at Mestiza? I’ve honestly never seen one that length. What’s your secret?\u003c/b>\u003c/p>\n\u003cp>Ummmm (laughs). I think it’s 13 inches. We just leave our ends open. I like those crispy ends. You have to get the filling to a right consistency so it doesn’t fall out. Roll it open ended. Frozen. And fried. I love it.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/mestizasf/?hl=en\">\u003ci>Mestiza\u003c/i>\u003c/a>\u003ci> (214 Townsend St., San Francisco) is open Tues. through Sat. from 11:30 a.m. to 7:30 p.m.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A South San Francisco Rapper Turned His Sneaker Collection Into an Album",
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"content": "\u003cp>\u003cspan style=\"font-weight: 400\">\u003ca href=\"https://www.instagram.com/justpaulnow/?img_index=1\">San Francisco-born artist Paul Solis\u003c/a> first fell in love with hip-hop and basketball as a youth who grew up on the Peninsula during the mall-going culture of the ’90s.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Back then, Raekwon and Ghostface Killah of the indomitable Wu-Tang Clan were two of the flyest humans to traverse the planet. With tri-colored Polo jackets, Nike visors, baggy jeans and wheat-hued Timberland stompers, the rappers helped to define a New York street aesthetic that is still heralded in fashion circles today. \u003c/span>\u003cspan style=\"font-weight: 400\">Meanwhile, saucy NBA players like Penny Hardaway, Jason Kidd and Charles Barkley began rocking signature pairs of Nikes and revolutionizing the way athletes could express themselves off the court.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Solis grew obsessed with it all, regularly visiting shops where he could baptize himself in the freshest gear. His go-to spot became Niketown on Post Street, where he would camp out overnight for sought-after footwear and apparel.\u003c/span>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=LLJdIK6PAbM\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Solis — whose hip-hop nom de guerre is \u003ca href=\"https://www.instagram.com/justpaulnow/?img_index=1\">JustPaulNow\u003c/a> — has stitched that energy into his most recent album, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Swoosh Pack \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">(named after Nike’s timeless insignia). \u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The 11-track project is a sentimental look at the MC’s childhood fascination-turned-spending addiction. Each song is titled after a specific sneaker — or a sneaker-related memory — in Solis’ collection. The Devin Booker 1s. The Air Force 180s. The Uptempos.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13960756\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960756\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh2-scaled.jpg\" alt=\"a group of three rappers stand outside in San Francisco-themed apparel\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh2-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh2-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh2-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh2-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh2-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh2-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh2-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh2-1920x2880.jpg 1920w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">ShootYourShot Records co-founders Charles “CeeRock” Ubungen (right) and Paul “JustPaulNow” Solis (center) stand with Fredo Algebra (left) outside of their studio in South San Francisco. \u003ccite>(@80_west_collective)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Produced by New Zealand’s uber-smooth Kowhai, who connected with Solis online, \u003cem>Swoosh Pack\u003c/em> features Union City battle rapper \u003ca href=\"https://www.instagram.com/fredoalgebra/?hl=en\">Fredo Algebra\u003c/a>, Frisco spitter \u003ca href=\"https://twitter.com/jbillion\">J-Billion\u003c/a> and Solis’ longtime childhood friend, Charles “\u003ca href=\"https://www.instagram.com/ceerock/reels/?locale=%25E5%2588%25B6%25E4%25BD%259C%25E4%25B8%2580%25E4%25B8%25AA%25E9%2598%25BF%25E8%2581%25944%25E9%2585%258BPSGobank%25E9%2593%25B6%25E8%25A1%258C%25E5%25AF%25B9%25E8%25B4%25A6%25E5%258D%2595%25E3%2580%2596%25E5%25AE%25A2%25E6%259C%258D%25E5%25A8%2581%25E4%25BF%25A1%252BTG%252F%25E9%25A3%259E%25E6%259C%25BA%253A%2540buth2788%25E3%2580%2597dGXbi%7B%3F%3F%3F%3F1%7DRvPtN%258C%25E5%25AF%25B9%25E8%25B4%25A6%25E5%258D%2595%25E3%2580%2596%25E5%25AE%25A2%25E6%259C%258D%25E5%25A8%2581%25E4%25BF%25A1%252BTG%252F%25E9%25A3%259E%25E%25A2%25E6%259C%258D%25E5%25A8%2581%25E4%25BF%25A1%252BTG%252F%25E9%25A3%259E%25E6%259C%25BA%253Aw.instagram.com%2Fbluegodzi%2F%3Flocale%3D%25E5%2588%25B6%25E4%25BD%259C%25E4%25B8%2580%25E4%25B8%25AA%25E9%2598%25BF%25E8%2581%2594%25E9%2585%258BPSGobank%25E9%2593%25B6%25E8%25A1%258C%25E5%25AF%25B9%25E8%25B4%25A6%25E5%258D%2595%25E3%2580%2596%25E5%25AE%25A2%25E6%259C%258D%25E5%25A8%2581%25E4%25BF%25A1%252BTG%252F%25E9%25A3%259E%25E6%259C%25BA%253A%2540buth2788%25E3%2580%2597dGXbi%7B%3F%3F%3F%3F1%7D1VzTx\">CeeRock\u003c/a>” Ubungen.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> The LP is a trademark collaboration with Ubungen, who is also a sound engineer and videographer. \u003c/span>It’s not the homegrown duo’s first effort, though. Together, they’ve been \u003cspan style=\"font-weight: 400\">dabbling in Golden Era, boom-bap music and showcasing the Peninsula’s fashion-driven subculture.\u003c/span>\u003c/p>\n\u003ch2>Music meets fashion at Shoot Your Shot Records\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">Solis and Ubungen have known each other since adolescence, and have been in the local circuit for decades. They’ve performed alongside national acts like Curren$y and The Cool Kids, and have established themselves as de facto Bay Area shopping plugs for artists on tour here.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In 2018, Solis and Ubungen co-founded \u003c/span>\u003ca href=\"https://www.instagram.com/shootyourshotrecords/\">\u003cspan style=\"font-weight: 400\">Shoot Your Shot Records\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. Together, they run the independent label from a DIY studio located on the poetically named Victory Avenue in South San Francisco. It’s where they record music and film a live series called “\u003ca href=\"https://www.youtube.com/@shootyourshotTV\">Hat Chat\u003c/a>” with \u003c/span>\u003cspan style=\"font-weight: 400\">Fredo Algebra\u003c/span>\u003cspan style=\"font-weight: 400\">, a fellow fashionista who designs baseball caps for streetwear boutiques around the country. When their crew isn’t making music, the rappers discuss the Bay’s latest fitted clothing releases and trends on YouTube. They also\u003c/span> occasionally host pop-up events for exclusive drops at spots like \u003ca href=\"https://www.instagram.com/1985gallery/\">Gallery 1985, an independent sneaker shop in Daly City\u003c/a>.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Prior to \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Swoosh Pack\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, Solis delivered no shortage of fashion-forward albums like \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Arc’teryx To The Neck\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> (a slick reference to the Canadian outdoor apparel company with a dash of Bay Area slang) and regionally popular singles like “Jordan Poole,” a former Golden State Warrior known for his drip.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13960760\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960760\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh1-1-scaled.jpg\" alt=\"a pile of Nikes sneakers in the center of an empty room\" width=\"2560\" height=\"1589\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh1-1-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh1-1-800x497.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh1-1-1020x633.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh1-1-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh1-1-768x477.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh1-1-1536x954.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh1-1-2048x1272.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh1-1-1920x1192.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">From Jordan XIIIs to Nike Foamposites, Paul “JustPaulNow” Solis’s latest album is an ode to his sneaker collection. \u003ccite>(Courtesy Paul Solis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Over six years, Shoot Your Shot has evolved into a multimedia platform for like-minded artists. \u003ci>\u003cspan style=\"font-weight: 400\">Swoosh Pack\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> is simply their latest, most polished offering.\u003c/span>\u003c/p>\n\u003ch2>‘The Nikes on my feet keep my cypher complete’\u003c/h2>\n\u003cp>It’s easy for music about the halcyon days to get lost in a meaningless glorification of the past. What \u003cem>Swoosh Pack\u003c/em> excels in, though, is balancing nostalgia with an intimate kind of reflection and vulnerability. \u003cspan style=\"font-weight: 400\">The album is introspective and thoughtful in ways one might not expect for an album dedicated to branded footwear.\u003c/span>\u003c/p>\n\u003cp>In “Campouts,” \u003cspan style=\"font-weight: 400\">Solis references selling sneakers to pay rent and sipping E&J while camping out in Union Square to cop the Jordan Laser 4s and other lionized sneaker releases of yore. The rapper outlines an era of early MySpace, before you could just order UberEats and had to “camp out for kicks with the homies” to be a part of the culture. “Man, I really miss this thing of ours,” he croons on the hook, providing a window into the kind of human connectivity that feels absent today.\u003c/span>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=XuSyl115XII\u003c/p>\n\u003cp>On the title track, Solis goes even further into his past. Slant rhymes\u003cspan style=\"font-weight: 400\"> like “Just me and my mom on those lonely nights / engulfed in pop culture as an only child” provide a depth that goes beyond a show of bravado and clout chasing. \u003c/span>\u003c/p>\n\u003cp>There are moments of levity and geeking out as well. On “Air Force 180s,” for example, Solis’s flow \u003cspan style=\"font-weight: 400\">is simplistic, clean and to the point: “vintage mountain North Face with the ladder locks from 94 / two tone Rangers [fitted hat] when I step up to the batter’s box… keep a clean fade, Nike Air bubbles what I’m standing on.” [aside postid='arts_13961014']\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For the unenlightened, it may sound like a litany of gibberish. But for true sultans of coolness, Solis’ outline of individual style are a feast of references — like the ultra-specific fashion terminology of a throwback North Face jacket that features a certain kind of buttoning system for ultimate cold-weather functionality. \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">By the album’s end, it’s easy to appreciate the rapper’s attachment to sneakers and fashion accoutrements as not simply material objects, but as artifacts of memory, of pride, of a time and place that hold power whenever he wears them. \u003c/span>\u003cspan style=\"font-weight: 400\">And we get to wear that power as listeners, too.\u003c/span>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">\u003ca href=\"https://www.instagram.com/justpaulnow/?img_index=1\">San Francisco-born artist Paul Solis\u003c/a> first fell in love with hip-hop and basketball as a youth who grew up on the Peninsula during the mall-going culture of the ’90s.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Back then, Raekwon and Ghostface Killah of the indomitable Wu-Tang Clan were two of the flyest humans to traverse the planet. With tri-colored Polo jackets, Nike visors, baggy jeans and wheat-hued Timberland stompers, the rappers helped to define a New York street aesthetic that is still heralded in fashion circles today. \u003c/span>\u003cspan style=\"font-weight: 400\">Meanwhile, saucy NBA players like Penny Hardaway, Jason Kidd and Charles Barkley began rocking signature pairs of Nikes and revolutionizing the way athletes could express themselves off the court.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Solis grew obsessed with it all, regularly visiting shops where he could baptize himself in the freshest gear. His go-to spot became Niketown on Post Street, where he would camp out overnight for sought-after footwear and apparel.\u003c/span>\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/LLJdIK6PAbM'\n title='//www.youtube.com/embed/LLJdIK6PAbM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">Solis — whose hip-hop nom de guerre is \u003ca href=\"https://www.instagram.com/justpaulnow/?img_index=1\">JustPaulNow\u003c/a> — has stitched that energy into his most recent album, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Swoosh Pack \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">(named after Nike’s timeless insignia). \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The 11-track project is a sentimental look at the MC’s childhood fascination-turned-spending addiction. Each song is titled after a specific sneaker — or a sneaker-related memory — in Solis’ collection. The Devin Booker 1s. The Air Force 180s. The Uptempos.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13960756\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960756\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh2-scaled.jpg\" alt=\"a group of three rappers stand outside in San Francisco-themed apparel\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh2-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh2-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh2-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh2-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh2-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh2-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh2-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh2-1920x2880.jpg 1920w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">ShootYourShot Records co-founders Charles “CeeRock” Ubungen (right) and Paul “JustPaulNow” Solis (center) stand with Fredo Algebra (left) outside of their studio in South San Francisco. \u003ccite>(@80_west_collective)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Produced by New Zealand’s uber-smooth Kowhai, who connected with Solis online, \u003cem>Swoosh Pack\u003c/em> features Union City battle rapper \u003ca href=\"https://www.instagram.com/fredoalgebra/?hl=en\">Fredo Algebra\u003c/a>, Frisco spitter \u003ca href=\"https://twitter.com/jbillion\">J-Billion\u003c/a> and Solis’ longtime childhood friend, Charles “\u003ca href=\"https://www.instagram.com/ceerock/reels/?locale=%25E5%2588%25B6%25E4%25BD%259C%25E4%25B8%2580%25E4%25B8%25AA%25E9%2598%25BF%25E8%2581%25944%25E9%2585%258BPSGobank%25E9%2593%25B6%25E8%25A1%258C%25E5%25AF%25B9%25E8%25B4%25A6%25E5%258D%2595%25E3%2580%2596%25E5%25AE%25A2%25E6%259C%258D%25E5%25A8%2581%25E4%25BF%25A1%252BTG%252F%25E9%25A3%259E%25E6%259C%25BA%253A%2540buth2788%25E3%2580%2597dGXbi%7B%3F%3F%3F%3F1%7DRvPtN%258C%25E5%25AF%25B9%25E8%25B4%25A6%25E5%258D%2595%25E3%2580%2596%25E5%25AE%25A2%25E6%259C%258D%25E5%25A8%2581%25E4%25BF%25A1%252BTG%252F%25E9%25A3%259E%25E%25A2%25E6%259C%258D%25E5%25A8%2581%25E4%25BF%25A1%252BTG%252F%25E9%25A3%259E%25E6%259C%25BA%253Aw.instagram.com%2Fbluegodzi%2F%3Flocale%3D%25E5%2588%25B6%25E4%25BD%259C%25E4%25B8%2580%25E4%25B8%25AA%25E9%2598%25BF%25E8%2581%2594%25E9%2585%258BPSGobank%25E9%2593%25B6%25E8%25A1%258C%25E5%25AF%25B9%25E8%25B4%25A6%25E5%258D%2595%25E3%2580%2596%25E5%25AE%25A2%25E6%259C%258D%25E5%25A8%2581%25E4%25BF%25A1%252BTG%252F%25E9%25A3%259E%25E6%259C%25BA%253A%2540buth2788%25E3%2580%2597dGXbi%7B%3F%3F%3F%3F1%7D1VzTx\">CeeRock\u003c/a>” Ubungen.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> The LP is a trademark collaboration with Ubungen, who is also a sound engineer and videographer. \u003c/span>It’s not the homegrown duo’s first effort, though. Together, they’ve been \u003cspan style=\"font-weight: 400\">dabbling in Golden Era, boom-bap music and showcasing the Peninsula’s fashion-driven subculture.\u003c/span>\u003c/p>\n\u003ch2>Music meets fashion at Shoot Your Shot Records\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">Solis and Ubungen have known each other since adolescence, and have been in the local circuit for decades. They’ve performed alongside national acts like Curren$y and The Cool Kids, and have established themselves as de facto Bay Area shopping plugs for artists on tour here.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In 2018, Solis and Ubungen co-founded \u003c/span>\u003ca href=\"https://www.instagram.com/shootyourshotrecords/\">\u003cspan style=\"font-weight: 400\">Shoot Your Shot Records\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. Together, they run the independent label from a DIY studio located on the poetically named Victory Avenue in South San Francisco. It’s where they record music and film a live series called “\u003ca href=\"https://www.youtube.com/@shootyourshotTV\">Hat Chat\u003c/a>” with \u003c/span>\u003cspan style=\"font-weight: 400\">Fredo Algebra\u003c/span>\u003cspan style=\"font-weight: 400\">, a fellow fashionista who designs baseball caps for streetwear boutiques around the country. When their crew isn’t making music, the rappers discuss the Bay’s latest fitted clothing releases and trends on YouTube. They also\u003c/span> occasionally host pop-up events for exclusive drops at spots like \u003ca href=\"https://www.instagram.com/1985gallery/\">Gallery 1985, an independent sneaker shop in Daly City\u003c/a>.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Prior to \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Swoosh Pack\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, Solis delivered no shortage of fashion-forward albums like \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Arc’teryx To The Neck\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> (a slick reference to the Canadian outdoor apparel company with a dash of Bay Area slang) and regionally popular singles like “Jordan Poole,” a former Golden State Warrior known for his drip.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13960760\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960760\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh1-1-scaled.jpg\" alt=\"a pile of Nikes sneakers in the center of an empty room\" width=\"2560\" height=\"1589\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh1-1-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh1-1-800x497.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh1-1-1020x633.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh1-1-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh1-1-768x477.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh1-1-1536x954.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh1-1-2048x1272.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh1-1-1920x1192.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">From Jordan XIIIs to Nike Foamposites, Paul “JustPaulNow” Solis’s latest album is an ode to his sneaker collection. \u003ccite>(Courtesy Paul Solis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Over six years, Shoot Your Shot has evolved into a multimedia platform for like-minded artists. \u003ci>\u003cspan style=\"font-weight: 400\">Swoosh Pack\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> is simply their latest, most polished offering.\u003c/span>\u003c/p>\n\u003ch2>‘The Nikes on my feet keep my cypher complete’\u003c/h2>\n\u003cp>It’s easy for music about the halcyon days to get lost in a meaningless glorification of the past. What \u003cem>Swoosh Pack\u003c/em> excels in, though, is balancing nostalgia with an intimate kind of reflection and vulnerability. \u003cspan style=\"font-weight: 400\">The album is introspective and thoughtful in ways one might not expect for an album dedicated to branded footwear.\u003c/span>\u003c/p>\n\u003cp>In “Campouts,” \u003cspan style=\"font-weight: 400\">Solis references selling sneakers to pay rent and sipping E&J while camping out in Union Square to cop the Jordan Laser 4s and other lionized sneaker releases of yore. The rapper outlines an era of early MySpace, before you could just order UberEats and had to “camp out for kicks with the homies” to be a part of the culture. “Man, I really miss this thing of ours,” he croons on the hook, providing a window into the kind of human connectivity that feels absent today.\u003c/span>\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/XuSyl115XII'\n title='//www.youtube.com/embed/XuSyl115XII'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>On the title track, Solis goes even further into his past. Slant rhymes\u003cspan style=\"font-weight: 400\"> like “Just me and my mom on those lonely nights / engulfed in pop culture as an only child” provide a depth that goes beyond a show of bravado and clout chasing. \u003c/span>\u003c/p>\n\u003cp>There are moments of levity and geeking out as well. On “Air Force 180s,” for example, Solis’s flow \u003cspan style=\"font-weight: 400\">is simplistic, clean and to the point: “vintage mountain North Face with the ladder locks from 94 / two tone Rangers [fitted hat] when I step up to the batter’s box… keep a clean fade, Nike Air bubbles what I’m standing on.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For the unenlightened, it may sound like a litany of gibberish. But for true sultans of coolness, Solis’ outline of individual style are a feast of references — like the ultra-specific fashion terminology of a throwback North Face jacket that features a certain kind of buttoning system for ultimate cold-weather functionality. \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">By the album’s end, it’s easy to appreciate the rapper’s attachment to sneakers and fashion accoutrements as not simply material objects, but as artifacts of memory, of pride, of a time and place that hold power whenever he wears them. \u003c/span>\u003cspan style=\"font-weight: 400\">And we get to wear that power as listeners, too.\u003c/span>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>As summertime’s slow, relaxing pace descend upon us, one Filipino American rapper is here to remind us that sunny days are meant for partying — and ice cream.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/ceo_nump_beastmobile/?hl=en\">Nump\u003c/a>, the East Bay rapper of “I Gott Grapes” fame \u003ca href=\"https://www.kqed.org/arts/13924042/nump-hyphy-i-gott-grapes-interview\">who also engineered some of hyphy music’s biggest hits\u003c/a>, has mastered the art of riling others up with both his thumping basslines and romanticizing of purple-colored foods. The man who refers to himself as Manny Snackquiao delivers once again with his freshest single, “\u003ca href=\"https://www.instagram.com/p/C7NvFfpNy2c/\">Halo Halo\u003c/a>” — named after the Filipino cold treat that typically includes crushed ice, condensed milk, ube ice cream, leche flan and other sweet toppings.\u003c/p>\n\u003cp>The rapper’s latest effort, which features another Bay Area hyphy legend in Vallejo’s \u003ca href=\"https://www.instagram.com/babybash/?hl=en\">Baby Bash\u003c/a> and production from Houston’s \u003ca href=\"https://www.instagram.com/imixbrucebang/?hl=en\">Bruce Bang\u003c/a>, is adding an extra scoop of sweetness with a release party this Friday at the Union City Filipino-owned cafe \u003ca href=\"https://www.instagram.com/macs.by.icky/?hl=en\">Macs By Ickys\u003c/a> — equally cult-favored for its creation of the\u003ca href=\"https://www.kqed.org/arts/13929263/ube-choco-taco-macs-by-icky-filipino-union-city\"> ube choco taco ice cream sandwich\u003c/a>.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@jessehperez1/video/7367190323035950378\" data-video-id=\"7367190323035950378\">\n\u003csection>\u003ca title=\"@jessehperez1\" href=\"https://www.tiktok.com/@jessehperez1?refer=embed\" target=\"_blank\" rel=\"noopener\">@jessehperez1\u003c/a> New music May 24 – Halo Halo by Nump featuring Baby Bash. \u003ca title=\"halohalo\" href=\"https://www.tiktok.com/tag/halohalo?refer=embed\" target=\"_blank\" rel=\"noopener\">#halohalo\u003c/a> @Baby Bash \u003ca title=\"nump\" href=\"https://www.tiktok.com/tag/nump?refer=embed\" target=\"_blank\" rel=\"noopener\">#Nump\u003c/a> \u003ca title=\"filipino\" href=\"https://www.tiktok.com/tag/filipino?refer=embed\" target=\"_blank\" rel=\"noopener\">#filipino\u003c/a> \u003ca title=\"♬ original sound - JPerez\" href=\"https://www.tiktok.com/music/original-sound-7367190355119115051?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ original sound – JPerez\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>[tiktok]\u003c/p>\n\u003cp>During Nump’s appearance at the cafe, attendees can get a taste of halo halo soft serve, an original Macs By Icky flavor that is essentially a frozen swirl of halo halo goodness in a cup. If that’s not enough to make this the official Bay Area Filipino event of the summer, Nump will also give those in attendance a chance to appear in the official music video for his newest blap.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"color: #2b2b2b;font-weight: 400\">\u003cb>\u003cstrong>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13940127,arts_13924042']\u003c/span>\u003c/strong>\u003c/b>\u003c/span>Leading up to the song’s release, \u003ca href=\"https://www.instagram.com/p/C7DgCrmt5iA/?hl=en\">Nump has been touring different dessert shops in search of halo halo\u003c/a>, going as far as Hawaii. His partnership with Macs By Icky formed organically when \u003ca href=\"https://www.instagram.com/p/C6rYXaLPFyx/?hl=en&img_index=1\">Nump posted on his Instagram page asking, “Who got the best halo halo?”\u003c/a> The masses responded by tagging Union City’s Filipino dessert destination. From there, the well-known lyricist reached out to the local business and quarterbacked the play.\u003c/p>\n\u003cp>The snippet of “\u003ca href=\"https://www.instagram.com/p/C69FL3npGmW/\">Halo Halo\u003c/a>” that can be heard on Nump’s page has a chill island love song vibe, and one can only assume that the entire song will be as sugary and delicious as the dessert itself. Consider this the kick-off anthem to start your “Hot Halo Halo Summer.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Nump’s “Halo Halo” release party will be hosted at Macs By Icky (3900 Smith St., Union City) on Fri., May 24 at 5 p.m. The music video filming will start at 6 p.m.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As summertime’s slow, relaxing pace descend upon us, one Filipino American rapper is here to remind us that sunny days are meant for partying — and ice cream.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/ceo_nump_beastmobile/?hl=en\">Nump\u003c/a>, the East Bay rapper of “I Gott Grapes” fame \u003ca href=\"https://www.kqed.org/arts/13924042/nump-hyphy-i-gott-grapes-interview\">who also engineered some of hyphy music’s biggest hits\u003c/a>, has mastered the art of riling others up with both his thumping basslines and romanticizing of purple-colored foods. The man who refers to himself as Manny Snackquiao delivers once again with his freshest single, “\u003ca href=\"https://www.instagram.com/p/C7NvFfpNy2c/\">Halo Halo\u003c/a>” — named after the Filipino cold treat that typically includes crushed ice, condensed milk, ube ice cream, leche flan and other sweet toppings.\u003c/p>\n\u003cp>The rapper’s latest effort, which features another Bay Area hyphy legend in Vallejo’s \u003ca href=\"https://www.instagram.com/babybash/?hl=en\">Baby Bash\u003c/a> and production from Houston’s \u003ca href=\"https://www.instagram.com/imixbrucebang/?hl=en\">Bruce Bang\u003c/a>, is adding an extra scoop of sweetness with a release party this Friday at the Union City Filipino-owned cafe \u003ca href=\"https://www.instagram.com/macs.by.icky/?hl=en\">Macs By Ickys\u003c/a> — equally cult-favored for its creation of the\u003ca href=\"https://www.kqed.org/arts/13929263/ube-choco-taco-macs-by-icky-filipino-union-city\"> ube choco taco ice cream sandwich\u003c/a>.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@jessehperez1/video/7367190323035950378\" data-video-id=\"7367190323035950378\">\n\u003csection>\u003ca title=\"@jessehperez1\" href=\"https://www.tiktok.com/@jessehperez1?refer=embed\" target=\"_blank\" rel=\"noopener\">@jessehperez1\u003c/a> New music May 24 – Halo Halo by Nump featuring Baby Bash. \u003ca title=\"halohalo\" href=\"https://www.tiktok.com/tag/halohalo?refer=embed\" target=\"_blank\" rel=\"noopener\">#halohalo\u003c/a> @Baby Bash \u003ca title=\"nump\" href=\"https://www.tiktok.com/tag/nump?refer=embed\" target=\"_blank\" rel=\"noopener\">#Nump\u003c/a> \u003ca title=\"filipino\" href=\"https://www.tiktok.com/tag/filipino?refer=embed\" target=\"_blank\" rel=\"noopener\">#filipino\u003c/a> \u003ca title=\"♬ original sound - JPerez\" href=\"https://www.tiktok.com/music/original-sound-7367190355119115051?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ original sound – JPerez\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/strong>\u003c/b>\u003c/span>Leading up to the song’s release, \u003ca href=\"https://www.instagram.com/p/C7DgCrmt5iA/?hl=en\">Nump has been touring different dessert shops in search of halo halo\u003c/a>, going as far as Hawaii. His partnership with Macs By Icky formed organically when \u003ca href=\"https://www.instagram.com/p/C6rYXaLPFyx/?hl=en&img_index=1\">Nump posted on his Instagram page asking, “Who got the best halo halo?”\u003c/a> The masses responded by tagging Union City’s Filipino dessert destination. From there, the well-known lyricist reached out to the local business and quarterbacked the play.\u003c/p>\n\u003cp>The snippet of “\u003ca href=\"https://www.instagram.com/p/C69FL3npGmW/\">Halo Halo\u003c/a>” that can be heard on Nump’s page has a chill island love song vibe, and one can only assume that the entire song will be as sugary and delicious as the dessert itself. Consider this the kick-off anthem to start your “Hot Halo Halo Summer.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Nump’s “Halo Halo” release party will be hosted at Macs By Icky (3900 Smith St., Union City) on Fri., May 24 at 5 p.m. The music video filming will start at 6 p.m.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
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"id": "baycurious",
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"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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"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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"id": "commonwealth-club",
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"order": 10
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"meta": {
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"source": "WNYC"
},
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
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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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"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.",
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"airtime": "SUN 7:30pm-8pm",
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"info": "Inside Europe, a one-hour weekly news magazine hosted by Helen Seeney and Keith Walker, explores the topical issues shaping the continent. No other part of the globe has experienced such dynamic political and social change in recent years.",
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"title": "Latino USA",
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"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
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"live-from-here-highlights": {
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"title": "Live from Here Highlights",
"info": "Chris Thile steps to the mic as the host of Live from Here (formerly A Prairie Home Companion), a live public radio variety show. Download Chris’s Song of the Week plus other highlights from the broadcast. Produced by American Public Media.",
"airtime": "SAT 6pm-8pm, SUN 11am-1pm",
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"meta": {
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"link": "/radio/program/live-from-here-highlights",
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"rss": "https://feeds.publicradio.org/public_feeds/a-prairie-home-companion-highlights/rss/rss"
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"marketplace": {
"id": "marketplace",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"mindshift": {
"id": "mindshift",
"title": "MindShift",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 13
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"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.",
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"onourwatch": {
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"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",
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"order": 12
},
"link": "/podcasts/onourwatch",
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"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",
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"link": "/radio/program/on-the-media",
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},
"our-body-politic": {
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"title": "Our Body Politic",
"info": "Presented by KQED, KCRW and KPCC, and created and hosted by award-winning journalist Farai Chideya, Our Body Politic is unapologetically centered on reporting on not just how women of color experience the major political events of today, but how they’re impacting those very issues.",
"airtime": "SAT 6pm-7pm, SUN 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Our-Body-Politic-Podcast-Tile-360x360-1.jpg",
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},
"link": "/radio/program/our-body-politic",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5zaW1wbGVjYXN0LmNvbS9feGFQaHMxcw",
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},
"perspectives": {
"id": "perspectives",
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"tagline": "KQED's series of daily listener commentaries since 1991",
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"officialWebsiteLink": "/perspectives/",
"meta": {
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"order": 15
},
"link": "/perspectives",
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