Looking At The Ground: A Photo Walk Through Frisco
For Lowriders in San Francisco, It’s Not Just a Stamp — It’s Respect at the Federal Level
Van Morrison Finds His Happy Place in the Mission District
Lovers Lane Unites San Francisco’s Mission District with Art and Cultura
How’s Bad Bunny Left His Mark on the Bay Area? Let Us Count the Ways
José ‘Dr. Loco’ Cuéllar, Chicano Scholar, Bandleader and Activist, Dies at 84
A Mission District Dance Party Wants to ‘Melt the ICE’
Poised to Blow Up, Spiritual Cramp Is Bringing San Francisco Along for the Ride
Lowriders Cruise Onto the National Stage In Smithsonian Exhibition
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Pablo, co-founder of the \u003ca href=\"https://www.instagram.com/camerasandcoffeeclub/\">Cameras and Coffee Club\u003c/a>, leads us on a two-hour exercise in artistic exploration and community building; a reminder that photography doesn’t have to be a solo sport.\u003c/p>\n\u003cp>I’m in the back of the crowd, chit-chatting and cracking jokes with some familiar faces as we head out. A few blocks into our journey, Pablo tells us to be aware of a turd on the corner of 17th and Harrison streets. From that point on, I take note of the ground.\u003c/p>\n\u003cfigure id=\"attachment_13989138\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989138\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1152-scaled.jpg\" alt=\"A woman walks past and looks down at a hypodermic needle on the ground in San Francisco. \" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1152-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1152-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1152-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1152-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1152-1536x2048.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Photographer Fatosh Arabacıoğlu walks past a hypodermic needle in San Francisco’s Clarion Alley. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>San Francisco’s pavement is evidence of a unique civilization. Urban decay alongside glimpses of innovation. Expensive cars and unhoused people. Fallen leaves entangled with discarded trash. Everywhere, political messages on stickers and tags; artwork rules the avenues.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As I kneel down to photograph the words “CURB CREEPS” painted on the street, renowned photographer and dancer \u003ca href=\"https://www.instagram.com/tracibartlow/\">Traci Bartlow\u003c/a> makes my day by telling me she enjoys watching my process, and seeing what catches my eye.\u003c/p>\n\u003cfigure id=\"attachment_13989145\" class=\"wp-caption aligncenter\" style=\"max-width: 1900px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989145\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1204-scaled-e1777922504569.jpg\" alt='The words \"CURB CREEPS\" etched in aerosol spray on the corner of 17th and Capp Street in San Francisco.' width=\"1900\" height=\"2360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1204-scaled-e1777922504569.jpg 1900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1204-scaled-e1777922504569-160x199.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1204-scaled-e1777922504569-768x954.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1204-scaled-e1777922504569-1237x1536.jpg 1237w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1204-scaled-e1777922504569-1649x2048.jpg 1649w\" sizes=\"auto, (max-width: 1900px) 100vw, 1900px\">\u003cfigcaption class=\"wp-caption-text\">The words ‘CURB CREEPS’ spraypainted on the corner of 17th and Capp Street in San Francisco. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And in that, she names my internal reaction on the photo walk: by seeing other photographers on this excursion work in real time, my eye became a bit more keen. What are other folks \u003cem>not\u003c/em> seeing?\u003c/p>\n\u003cp>We’re all on the same street, and we have essentially the same tools. But what sticks out to you? What story do you tell? What gives you a unique perspective? That’s what I kept asking myself.\u003c/p>\n\u003cfigure id=\"attachment_13989140\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989140\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1205-scaled.jpg\" alt=\"Fallen pink flower pedals line the curb of a street in San Francisco. \" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1205-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1205-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1205-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1205-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1205-1536x2048.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Fallen pink flower pedals line the curb along 17th Street in San Francisco. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Murals made for dope backgrounds as people posed for portraits. Photographers took candid images of moped-riding delivery men. Others clicked away making landscape portraits of the MUNI bus along Mission Street.\u003c/p>\n\u003cp>I kept my eyes affixed to the sidewalk. Gum stains, dried paint, a dead rat and a small bush growing through the pavement. A soiled pair of pants and the six-pack plastic ring that we used to cut up back in the ’90s. “How in the hell are companies still making those?” I asked to anyone within earshot.\u003c/p>\n\u003cfigure id=\"attachment_13989146\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989146\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1166-scaled.jpg\" alt=\"Translucent 6-pack plastic rings sit in front of a mural in an alleyway. \" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1166-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1166-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1166-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1166-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1166-1536x2048.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">How is it still legal to produce six-pack plastic rings? \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As we walked, the conversations flowed. Photographers \u003ca href=\"https://www.instagram.com/p/BAqncd_lfBf/\">Rudi Tcruz\u003c/a> and \u003ca href=\"https://www.instagram.com/galexsir/\">Galex Tcruz\u003c/a> joked about the need to focus less on our 9-5s and more on our 5-10s.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/shamikaszn/\">Shamika\u003c/a>, a part-time multi-hyphenate creative and full-time cyber threat intelligence analyst at Twilio, told me about the theory of recycled faces. Now I can’t stop seeing the similarities in people.\u003c/p>\n\u003cp>Lost in a conversation with educator and portrait photographer \u003ca href=\"https://www.instagram.com/madannud21\">Adam Dunn\u003c/a> about his move from Cleveland to Sebastopol, I hesitated and missed out on a photo of an older woman in front of her business, cleaning the stoop. The perspective of the water hitting the sidewalk would’ve been refreshing, but the conversation’s currents were too strong.\u003c/p>\n\u003cfigure id=\"attachment_13989143\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989143\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1211-scaled-e1777919408926.jpg\" alt=\"A condom wrapper rests on the street in San Francisco. \" width=\"1920\" height=\"2402\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1211-scaled-e1777919408926.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1211-scaled-e1777919408926-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1211-scaled-e1777919408926-768x961.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1211-scaled-e1777919408926-1228x1536.jpg 1228w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1211-scaled-e1777919408926-1637x2048.jpg 1637w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A condom wrapper straddles the lines in the concrete on the street in San Francisco. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One photographer told me about his unique telephoto lens, another told me about the evolution of microchips inside the camera.\u003c/p>\n\u003cp>At one point, our posse crossed paths with a bunch of adorable dogs and their owners. I thought we were going to heal the world right then and there.\u003c/p>\n\u003cfigure id=\"attachment_13989151\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989151\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1194-scaled.jpg\" alt=\"A close image of a dog in a park. \" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1194-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1194-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1194-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1194-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1194-1536x2048.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">One of the many dogs enjoying a Saturday at Dolores Park in San Francisco. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At another moment, I stopped on a corner to watch photographer \u003ca href=\"https://www.instagram.com/hourvoyses/\">Darius Riley\u003c/a> capture the smiles of a family walking down Valencia Street. An \u003ca href=\"https://www.kqed.org/arts/13964439/east-palo-alto-hidden-beauty-photography-darius-riley\">extremely talented photographer\u003c/a>, Riley goes on group photo walks regularly, he says, “because they offer spaces to be connected with other photographers, and also be inspired.”\u003c/p>\n\u003cp>“We need more photography community events, things that bring us together,” he says. An entrepreneur and artist from East Palo Alto who often works in isolation, Riley finds solace and affirmation in the creative circles of Oakland and Frisco.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13989141\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1178-scaled.jpg\" alt=\"\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1178-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1178-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1178-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1178-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1178-1536x2048.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>“To be in company with other people who are in the same field, and recognize me for my craft,” he says, “is very validating and makes me want to keep going.”\u003c/p>\n\u003cp>He’s right. Photography is an isolating sport. At times, I’ll bring my camera to an event as my plus-one, hiding behind the lens instead of socializing. But at a photo walk, the device becomes a way to introduce yourself to others.\u003c/p>\n\u003cp>Before even telling me their names, people would ask questions like “What are you shooting with?” or “Who do you shoot for?” One person asked me, “What are you taking photos of?” I answered, “The ground.”\u003c/p>\n\u003cfigure id=\"attachment_13989148\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989148\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1209-scaled.jpg\" alt=\"A dead rat near a curb in San Francisco. \" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1209-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1209-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1209-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1209-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1209-1536x2048.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A local rat laid to rest in a curbside grave. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It was musician and photographer \u003ca href=\"https://www.instagram.com/fatoshphotography/\">Fatosh Arabacıoğlu\u003c/a>’s first time out with the group, and she didn’t know what to expect. “But it ended up being one of those days where you just \u003cem>click\u003c/em> with people instantly,” she says.\u003c/p>\n\u003cp>Photography is so much richer as a shared experience — creating art while learning about others and seeing what inspires them lit something inside her during the event. She’s already scheduled get-togethers with new friends made from the photo walk.\u003c/p>\n\u003cfigure id=\"attachment_13989137\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989137\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1160-scaled.jpg\" alt=\"A fallen piece of fruit sits in font of a colorfully painted portrait image of an African American man.\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1160-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1160-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1160-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1160-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1160-1536x2048.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">In San Francisco’s Clarion Alley, a fallen piece of fruit rests in front of an image of the late Oakland-raised lyricist, Stephen ‘Baba Zumbi’ Gaines. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This particular photo walk only happens once or twice a year. But the Cameras and Coffee Club offers monthly meet ups, mostly in the East Bay. Those gatherings, pablo circa says, are “intended to slow things down,” giving space and opportunity for visual storytellers “to connect around the craft and shift out of their usual rhythm.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>That’s what the two-hour walk did for me. After all the conversations and photos, I left with a handful of new photographer friends and a new perspective on the streets of San Francisco.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s just after 9 a.m. Saturday morning, and I’m late for my adult field trip. No bag lunch, forgot my name tag and I’m rolling solo — clearly not adhering to the buddy system. But I got my camera.\u003c/p>\n\u003cp>Photographer \u003ca href=\"https://www.instagram.com/pablocirca/\">pablo circa\u003c/a> stands in front of about 40 to 50 other camera-toting people, explaining that we’re set to embark on a journey through the Mission: down Clarion Alley, around Dolores Park and back to KQED headquarters.\u003c/p>\n\u003cp>The meet up & photo walk is a part of a \u003ca href=\"https://www.catchlight.io/\">CatchLight\u003c/a> Visual Storytelling Summit. Pablo, co-founder of the \u003ca href=\"https://www.instagram.com/camerasandcoffeeclub/\">Cameras and Coffee Club\u003c/a>, leads us on a two-hour exercise in artistic exploration and community building; a reminder that photography doesn’t have to be a solo sport.\u003c/p>\n\u003cp>I’m in the back of the crowd, chit-chatting and cracking jokes with some familiar faces as we head out. A few blocks into our journey, Pablo tells us to be aware of a turd on the corner of 17th and Harrison streets. From that point on, I take note of the ground.\u003c/p>\n\u003cfigure id=\"attachment_13989138\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989138\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1152-scaled.jpg\" alt=\"A woman walks past and looks down at a hypodermic needle on the ground in San Francisco. \" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1152-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1152-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1152-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1152-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1152-1536x2048.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Photographer Fatosh Arabacıoğlu walks past a hypodermic needle in San Francisco’s Clarion Alley. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>San Francisco’s pavement is evidence of a unique civilization. Urban decay alongside glimpses of innovation. Expensive cars and unhoused people. Fallen leaves entangled with discarded trash. Everywhere, political messages on stickers and tags; artwork rules the avenues.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As I kneel down to photograph the words “CURB CREEPS” painted on the street, renowned photographer and dancer \u003ca href=\"https://www.instagram.com/tracibartlow/\">Traci Bartlow\u003c/a> makes my day by telling me she enjoys watching my process, and seeing what catches my eye.\u003c/p>\n\u003cfigure id=\"attachment_13989145\" class=\"wp-caption aligncenter\" style=\"max-width: 1900px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989145\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1204-scaled-e1777922504569.jpg\" alt='The words \"CURB CREEPS\" etched in aerosol spray on the corner of 17th and Capp Street in San Francisco.' width=\"1900\" height=\"2360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1204-scaled-e1777922504569.jpg 1900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1204-scaled-e1777922504569-160x199.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1204-scaled-e1777922504569-768x954.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1204-scaled-e1777922504569-1237x1536.jpg 1237w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1204-scaled-e1777922504569-1649x2048.jpg 1649w\" sizes=\"auto, (max-width: 1900px) 100vw, 1900px\">\u003cfigcaption class=\"wp-caption-text\">The words ‘CURB CREEPS’ spraypainted on the corner of 17th and Capp Street in San Francisco. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And in that, she names my internal reaction on the photo walk: by seeing other photographers on this excursion work in real time, my eye became a bit more keen. What are other folks \u003cem>not\u003c/em> seeing?\u003c/p>\n\u003cp>We’re all on the same street, and we have essentially the same tools. But what sticks out to you? What story do you tell? What gives you a unique perspective? That’s what I kept asking myself.\u003c/p>\n\u003cfigure id=\"attachment_13989140\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989140\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1205-scaled.jpg\" alt=\"Fallen pink flower pedals line the curb of a street in San Francisco. \" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1205-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1205-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1205-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1205-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1205-1536x2048.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Fallen pink flower pedals line the curb along 17th Street in San Francisco. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Murals made for dope backgrounds as people posed for portraits. Photographers took candid images of moped-riding delivery men. Others clicked away making landscape portraits of the MUNI bus along Mission Street.\u003c/p>\n\u003cp>I kept my eyes affixed to the sidewalk. Gum stains, dried paint, a dead rat and a small bush growing through the pavement. A soiled pair of pants and the six-pack plastic ring that we used to cut up back in the ’90s. “How in the hell are companies still making those?” I asked to anyone within earshot.\u003c/p>\n\u003cfigure id=\"attachment_13989146\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989146\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1166-scaled.jpg\" alt=\"Translucent 6-pack plastic rings sit in front of a mural in an alleyway. \" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1166-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1166-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1166-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1166-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1166-1536x2048.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">How is it still legal to produce six-pack plastic rings? \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As we walked, the conversations flowed. Photographers \u003ca href=\"https://www.instagram.com/p/BAqncd_lfBf/\">Rudi Tcruz\u003c/a> and \u003ca href=\"https://www.instagram.com/galexsir/\">Galex Tcruz\u003c/a> joked about the need to focus less on our 9-5s and more on our 5-10s.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/shamikaszn/\">Shamika\u003c/a>, a part-time multi-hyphenate creative and full-time cyber threat intelligence analyst at Twilio, told me about the theory of recycled faces. Now I can’t stop seeing the similarities in people.\u003c/p>\n\u003cp>Lost in a conversation with educator and portrait photographer \u003ca href=\"https://www.instagram.com/madannud21\">Adam Dunn\u003c/a> about his move from Cleveland to Sebastopol, I hesitated and missed out on a photo of an older woman in front of her business, cleaning the stoop. The perspective of the water hitting the sidewalk would’ve been refreshing, but the conversation’s currents were too strong.\u003c/p>\n\u003cfigure id=\"attachment_13989143\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989143\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1211-scaled-e1777919408926.jpg\" alt=\"A condom wrapper rests on the street in San Francisco. \" width=\"1920\" height=\"2402\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1211-scaled-e1777919408926.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1211-scaled-e1777919408926-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1211-scaled-e1777919408926-768x961.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1211-scaled-e1777919408926-1228x1536.jpg 1228w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1211-scaled-e1777919408926-1637x2048.jpg 1637w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A condom wrapper straddles the lines in the concrete on the street in San Francisco. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One photographer told me about his unique telephoto lens, another told me about the evolution of microchips inside the camera.\u003c/p>\n\u003cp>At one point, our posse crossed paths with a bunch of adorable dogs and their owners. I thought we were going to heal the world right then and there.\u003c/p>\n\u003cfigure id=\"attachment_13989151\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989151\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1194-scaled.jpg\" alt=\"A close image of a dog in a park. \" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1194-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1194-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1194-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1194-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1194-1536x2048.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">One of the many dogs enjoying a Saturday at Dolores Park in San Francisco. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At another moment, I stopped on a corner to watch photographer \u003ca href=\"https://www.instagram.com/hourvoyses/\">Darius Riley\u003c/a> capture the smiles of a family walking down Valencia Street. An \u003ca href=\"https://www.kqed.org/arts/13964439/east-palo-alto-hidden-beauty-photography-darius-riley\">extremely talented photographer\u003c/a>, Riley goes on group photo walks regularly, he says, “because they offer spaces to be connected with other photographers, and also be inspired.”\u003c/p>\n\u003cp>“We need more photography community events, things that bring us together,” he says. An entrepreneur and artist from East Palo Alto who often works in isolation, Riley finds solace and affirmation in the creative circles of Oakland and Frisco.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13989141\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1178-scaled.jpg\" alt=\"\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1178-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1178-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1178-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1178-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1178-1536x2048.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>“To be in company with other people who are in the same field, and recognize me for my craft,” he says, “is very validating and makes me want to keep going.”\u003c/p>\n\u003cp>He’s right. Photography is an isolating sport. At times, I’ll bring my camera to an event as my plus-one, hiding behind the lens instead of socializing. But at a photo walk, the device becomes a way to introduce yourself to others.\u003c/p>\n\u003cp>Before even telling me their names, people would ask questions like “What are you shooting with?” or “Who do you shoot for?” One person asked me, “What are you taking photos of?” I answered, “The ground.”\u003c/p>\n\u003cfigure id=\"attachment_13989148\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989148\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1209-scaled.jpg\" alt=\"A dead rat near a curb in San Francisco. \" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1209-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1209-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1209-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1209-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1209-1536x2048.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A local rat laid to rest in a curbside grave. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It was musician and photographer \u003ca href=\"https://www.instagram.com/fatoshphotography/\">Fatosh Arabacıoğlu\u003c/a>’s first time out with the group, and she didn’t know what to expect. “But it ended up being one of those days where you just \u003cem>click\u003c/em> with people instantly,” she says.\u003c/p>\n\u003cp>Photography is so much richer as a shared experience — creating art while learning about others and seeing what inspires them lit something inside her during the event. She’s already scheduled get-togethers with new friends made from the photo walk.\u003c/p>\n\u003cfigure id=\"attachment_13989137\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989137\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1160-scaled.jpg\" alt=\"A fallen piece of fruit sits in font of a colorfully painted portrait image of an African American man.\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1160-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1160-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1160-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1160-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1160-1536x2048.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">In San Francisco’s Clarion Alley, a fallen piece of fruit rests in front of an image of the late Oakland-raised lyricist, Stephen ‘Baba Zumbi’ Gaines. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This particular photo walk only happens once or twice a year. But the Cameras and Coffee Club offers monthly meet ups, mostly in the East Bay. Those gatherings, pablo circa says, are “intended to slow things down,” giving space and opportunity for visual storytellers “to connect around the craft and shift out of their usual rhythm.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That’s what the two-hour walk did for me. After all the conversations and photos, I left with a handful of new photographer friends and a new perspective on the streets of San Francisco.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "For Lowriders in San Francisco, It’s Not Just a Stamp — It’s Respect at the Federal Level",
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"headTitle": "For Lowriders in San Francisco, It’s Not Just a Stamp — It’s Respect at the Federal Level | KQED",
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"content": "\u003cp>On Saturday morning, \u003ca href=\"https://www.kqed.org/arts/tag/lowriders\">lowrider\u003c/a> cars in a spectrum of colors cruised into the parking lot of the USPS processing center in Hunters Point, their glistening chrome finish and intricate airbrushings drawing attention from attendees. \u003c/p>\n\u003cp>This was no ordinary lowrider show, however. The gathering marked the United States Postal Service’s unveiling of a \u003ca href=\"https://store.usps.com/store/product/lowriders-stamps-S_488204\">new set of five lowrider stamps\u003c/a>. Organized in part by the San Francisco Lowrider Council, the event honored the history of lowriding and the recognition, at the federal level, of a culture long stereotyped and stigmatized. \u003c/p>\n\u003cp>“It represents showing us respect,” council founder Roberto Hernández told KQED. “It’s atoning for what’s been done to us, it’s recognizing that this is an art form, and it’s part of the Chicano Latino culture.”\u003c/p>\n\u003cfigure id=\"attachment_13987602\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/FullSizeRender.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13987602\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/FullSizeRender.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/FullSizeRender-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/FullSizeRender-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/FullSizeRender-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">USPS employees sell sets of the new lowrider stamps to a long line of customers in San Francisco on March 14, 2026. \u003ccite>(Courtesy USPS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lines to purchase the stamps wrapped around the stage as USPS officials, community leaders and members of the Lowrider Council delivered speeches. Woven into the festivities were performances from Danza Azteca Xitlalli-Xolotl and Mariachi San Francisco. \u003c/p>\n\u003cp>Joe Moreno, the president of the San José Lowrider Council, shared similar sentiments as Hernández. “It’s a sense of pride,” Moreno said. “Everybody felt a sense of pride that this is happening.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Hernández, a \u003ca href=\"https://www.kqed.org/arts/tag/mission-district\">Mission District\u003c/a> native, founded the San Francisco Lowrider Council in 1981. For the next four decades, he advocated for the community and challenged restrictions against lowriding and cruising, which were heavily regulated across California. In 2023, those statewide regulations were finally eased, allowing cruising without fear of being pulled over, ticketed or arrested. \u003c/p>\n\u003cp>[aside postID='news_12001199']During the late 1970s and early ’80s, Hernández said, he endured over 100 arrests or violent encounters with San Francisco law enforcement. He eventually filed a federal civil rights lawsuit against the city and police department — and won. \u003c/p>\n\u003cp>The Bay Area community that formed around lowriding is what made the fight worthwhile, Hernández said.\u003c/p>\n\u003cp>“From the very beginning, there were African Americans cruising with us, Filipinos, Samoans, every kind of Latino,” he said. “So that melting pot has been very special here in the Bay. Just growing up here in the Mission District, I got fed by every culture … in my tummy, but also, my heart, soul, and spirit got fed. I was exposed to all these cultures.”\u003c/p>\n\u003cfigure id=\"attachment_13987603\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/IMG_0505.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13987603\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/IMG_0505.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/IMG_0505-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/IMG_0505-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/IMG_0505-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Some of the many cars on display to commemorate the USPS release of new lowrider stamps in San Francisco on March 14, 2026. \u003ccite>(Courtesy USPS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While Saturday’s event celebrated a tradition of customized automobiles, Hernández says that recognition represents something larger than cars. Especially now, when immigration policies and ICE continue to target Mexican and Chicano communities.\u003c/p>\n\u003cp>“The federal government is at war with our people, criminalizing our people, deporting our people, illegally detaining people,” Hernández said, adding that it’s important for his community to keep mobilizing and organizing.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“But today,” he said, “we’ll take the celebration.”\u003c/p>\n\n",
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"excerpt": "The United States Postal Service unveiled new lowrider stamps in Hunters Point on Saturday.\r\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Saturday morning, \u003ca href=\"https://www.kqed.org/arts/tag/lowriders\">lowrider\u003c/a> cars in a spectrum of colors cruised into the parking lot of the USPS processing center in Hunters Point, their glistening chrome finish and intricate airbrushings drawing attention from attendees. \u003c/p>\n\u003cp>This was no ordinary lowrider show, however. The gathering marked the United States Postal Service’s unveiling of a \u003ca href=\"https://store.usps.com/store/product/lowriders-stamps-S_488204\">new set of five lowrider stamps\u003c/a>. Organized in part by the San Francisco Lowrider Council, the event honored the history of lowriding and the recognition, at the federal level, of a culture long stereotyped and stigmatized. \u003c/p>\n\u003cp>“It represents showing us respect,” council founder Roberto Hernández told KQED. “It’s atoning for what’s been done to us, it’s recognizing that this is an art form, and it’s part of the Chicano Latino culture.”\u003c/p>\n\u003cfigure id=\"attachment_13987602\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/FullSizeRender.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13987602\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/FullSizeRender.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/FullSizeRender-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/FullSizeRender-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/FullSizeRender-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">USPS employees sell sets of the new lowrider stamps to a long line of customers in San Francisco on March 14, 2026. \u003ccite>(Courtesy USPS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lines to purchase the stamps wrapped around the stage as USPS officials, community leaders and members of the Lowrider Council delivered speeches. Woven into the festivities were performances from Danza Azteca Xitlalli-Xolotl and Mariachi San Francisco. \u003c/p>\n\u003cp>Joe Moreno, the president of the San José Lowrider Council, shared similar sentiments as Hernández. “It’s a sense of pride,” Moreno said. “Everybody felt a sense of pride that this is happening.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Hernández, a \u003ca href=\"https://www.kqed.org/arts/tag/mission-district\">Mission District\u003c/a> native, founded the San Francisco Lowrider Council in 1981. For the next four decades, he advocated for the community and challenged restrictions against lowriding and cruising, which were heavily regulated across California. In 2023, those statewide regulations were finally eased, allowing cruising without fear of being pulled over, ticketed or arrested. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>During the late 1970s and early ’80s, Hernández said, he endured over 100 arrests or violent encounters with San Francisco law enforcement. He eventually filed a federal civil rights lawsuit against the city and police department — and won. \u003c/p>\n\u003cp>The Bay Area community that formed around lowriding is what made the fight worthwhile, Hernández said.\u003c/p>\n\u003cp>“From the very beginning, there were African Americans cruising with us, Filipinos, Samoans, every kind of Latino,” he said. “So that melting pot has been very special here in the Bay. Just growing up here in the Mission District, I got fed by every culture … in my tummy, but also, my heart, soul, and spirit got fed. I was exposed to all these cultures.”\u003c/p>\n\u003cfigure id=\"attachment_13987603\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/IMG_0505.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13987603\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/IMG_0505.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/IMG_0505-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/IMG_0505-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/IMG_0505-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Some of the many cars on display to commemorate the USPS release of new lowrider stamps in San Francisco on March 14, 2026. \u003ccite>(Courtesy USPS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While Saturday’s event celebrated a tradition of customized automobiles, Hernández says that recognition represents something larger than cars. Especially now, when immigration policies and ICE continue to target Mexican and Chicano communities.\u003c/p>\n\u003cp>“The federal government is at war with our people, criminalizing our people, deporting our people, illegally detaining people,” Hernández said, adding that it’s important for his community to keep mobilizing and organizing.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“But today,” he said, “we’ll take the celebration.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>If you’d been traveling down \u003ca href=\"https://www.kqed.org/news/tag/valencia-street\">Valencia Street\u003c/a> on Monday afternoon, you might have seen a 100-boomer-long procession snaking down the sidewalk in the light drizzle, its umbrella-toting occupants looking halfway like mourners. As one among the age 50-, 60- and 70-and-up gathered, I can verify: Our line was not for a funeral.\u003c/p>\n\u003cp>Rather, it was a celebration of a living legend. Van Morrison, with a touch of the deadpan, had chosen The Chapel — a former mortuary — as the site of an invite-only run-through of his new, blues-heavy album, \u003cem>Somebody Tried to Sell Me a Bridge\u003c/em>. He’s \u003ca href=\"https://www.palaceoffinearts.org/\">in town the rest of the week over at the Palace of Fine Arts\u003c/a>, and presumably, those five shows will yield more standard-issue sets.\u003c/p>\n\u003cp>[aside postID='arts_13847949']On Monday, though, between the setlist, the 400-capacity room and the 3 p.m. start time, well, this was a one-of-a-kind Van Morrison show. That much was evident after he took the stage and — just two minutes into set opener “Kidney Stew Blues” — Morrison turned to his seven-piece band, and … \u003cem>cracked a smile and laughed\u003c/em>?!?\u003c/p>\n\u003cp>If Polymarket or Kalshi, or \u003ca href=\"https://www.nytimes.com/2026/01/22/business/prediction-markets-polymarket-kalshi.html\">whatever the world’s crypto weirdos are into\u003c/a>, took bets on events to happen at a Van Morrison show, “smiling and laughing” would pay out 500 to 1. On record, he’s \u003ca href=\"https://en.wikipedia.org/wiki/What%27s_It_Gonna_Take%3F\">complained bitterly about COVID guidelines\u003c/a>; onstage, he sometimes gets compared to Oscar the Grouch. He has lodged himself in the showbiz grump hall of fame along with \u003ca href=\"https://www.youtube.com/watch?v=O3cBp_Bf43M\">Billy Joel when he is in Russia and it is the 1980s\u003c/a>.\u003c/p>\n\u003cp>But man, give the Irish guy a small club and a bunch of blues songs from Black American artists like Willie Dixon, Sonny Terry & Brownie McGhee and Eddie “Cleanhead” Vinson, and he loosens up like a rusty bolt blasted with WD-40.\u003c/p>\n\u003cfigure id=\"attachment_13986761\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986761\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/IMG_7021-1.jpg\" alt=\"Van Morrison performs at The Chapel in San Francisco on Feb. 16, 2026. The singer performed songs from his 48th album, ‘Somebody Tried to Sell Me a Bridge,’ for an invite-only crowd.\" width=\"1500\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/IMG_7021-1.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/IMG_7021-1-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/IMG_7021-1-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/IMG_7021-1-1152x1536.jpg 1152w\" sizes=\"auto, (max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Van Morrison performs at The Chapel in San Francisco on Feb. 16, 2026. \u003ccite>(Kathy Henson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During “Madame Butterfly Blues,” he jokingly “fined” keyboardist Mitch Woods with five full-finger hand signals, \u003ca href=\"https://www.reddit.com/r/todayilearned/comments/k42u89/til_that_james_brown_would_impose_fines_on_his/\">James Brown-style\u003c/a>. After the rollicking “I’m Gonna Play the Honky Tonks,” an obscurity by blues singer Marie Adams, he \u003cem>arooooo-ed\u003c/em> and \u003cem>yip yip yip yip yip yip\u003c/em>ped into the mic like an excited hound or \u003ca href=\"https://www.instagram.com/p/DSAiDHqkeAH/\">an East Bay punk singer on drugs\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In the set’s most transcendent moment, Morrison reinvented Fats Domino’s “Ain’t That a Shame,” introducing new phrasing, rhythm and melody to create something hallowed and tender. That’s Van the singer; there was also Van the music director, conducting his band piece by piece — a piano chord here, a cymbal crash there. Morrison ad-libbed the phrase “stop breaking down” 17 times in a row while the band crested its long crescendo, turning the air into gold.\u003c/p>\n\u003cp>When the music writer \u003ca href=\"https://www.joelselvin.com/\">Joel Selvin\u003c/a>, a proud part-time grump himself, included droplets in his \u003cem>San Francisco Chronicle\u003c/em> columns like “\u003ca href=\"https://www.sfgate.com/entertainment/article/grammy-nominations-a-snooze-3181907.php\">Truth be told, many people in the industry don’t like the music they are making. They go home and listen to old Van Morrison records like everyone else\u003c/a>” — this is the Van Morrison he meant.\u003c/p>\n\u003cfigure id=\"attachment_13986760\" class=\"wp-caption aligncenter\" style=\"max-width: 1046px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986760\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/IMG_1037.jpg\" alt=\"\" width=\"1046\" height=\"697\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/IMG_1037.jpg 1046w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/IMG_1037-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/IMG_1037-768x512.jpg 768w\" sizes=\"auto, (max-width: 1046px) 100vw, 1046px\">\u003cfigcaption class=\"wp-caption-text\">A marquee outside the Chapel announces Van Morrison’s afternoon set. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Naturally, over the 80-minute set, some sections lagged, with the top-notch band applying formulaic arrangements to “I’m Ready,” “Can’t Help Myself” and “Social Climbing Scene,” the latter a Morrison original about the vapid quest for clout. During his other original composition, the complainy “Somebody Tried to Sell Me a Bridge,” Morrison hunched over his printed lyrics and sang them with only a few ounces of conviction.\u003c/p>\n\u003cp>Then there was Van the perfectionist, kicking off “Rock Me Baby” after two false starts: “Too fast,” he said. During the first verse, in an agreeable tempo, he looked toward Woods: “Play!” Woods ran up and down the keys. “Not that much!” Morrison said. “Cut it in half!”\u003c/p>\n\u003cp>But the man knows what he wants, and when he gets it, everything falls into place. After an encore of Sonny Boy Williamson’s “Help Me,” the familiar three chords of “Gloria” charged in, somehow both a surprise and a foregone conclusion. For a few minutes, the crowd forgot about the troubles outside, chanting with a collective uplift of \u003cem>G-L-O-R-I-A\u003c/em>, and Morrison was in his happy place of being in a bar band again.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Van Morrison performs Feb. 17, 18, 19, 23 and 24 at the Palace of Fine Arts (3301 Lyon St., San Francisco). \u003ca href=\"https://www.palaceoffinearts.org/\">Tickets and more information here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you’d been traveling down \u003ca href=\"https://www.kqed.org/news/tag/valencia-street\">Valencia Street\u003c/a> on Monday afternoon, you might have seen a 100-boomer-long procession snaking down the sidewalk in the light drizzle, its umbrella-toting occupants looking halfway like mourners. As one among the age 50-, 60- and 70-and-up gathered, I can verify: Our line was not for a funeral.\u003c/p>\n\u003cp>Rather, it was a celebration of a living legend. Van Morrison, with a touch of the deadpan, had chosen The Chapel — a former mortuary — as the site of an invite-only run-through of his new, blues-heavy album, \u003cem>Somebody Tried to Sell Me a Bridge\u003c/em>. He’s \u003ca href=\"https://www.palaceoffinearts.org/\">in town the rest of the week over at the Palace of Fine Arts\u003c/a>, and presumably, those five shows will yield more standard-issue sets.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>On Monday, though, between the setlist, the 400-capacity room and the 3 p.m. start time, well, this was a one-of-a-kind Van Morrison show. That much was evident after he took the stage and — just two minutes into set opener “Kidney Stew Blues” — Morrison turned to his seven-piece band, and … \u003cem>cracked a smile and laughed\u003c/em>?!?\u003c/p>\n\u003cp>If Polymarket or Kalshi, or \u003ca href=\"https://www.nytimes.com/2026/01/22/business/prediction-markets-polymarket-kalshi.html\">whatever the world’s crypto weirdos are into\u003c/a>, took bets on events to happen at a Van Morrison show, “smiling and laughing” would pay out 500 to 1. On record, he’s \u003ca href=\"https://en.wikipedia.org/wiki/What%27s_It_Gonna_Take%3F\">complained bitterly about COVID guidelines\u003c/a>; onstage, he sometimes gets compared to Oscar the Grouch. He has lodged himself in the showbiz grump hall of fame along with \u003ca href=\"https://www.youtube.com/watch?v=O3cBp_Bf43M\">Billy Joel when he is in Russia and it is the 1980s\u003c/a>.\u003c/p>\n\u003cp>But man, give the Irish guy a small club and a bunch of blues songs from Black American artists like Willie Dixon, Sonny Terry & Brownie McGhee and Eddie “Cleanhead” Vinson, and he loosens up like a rusty bolt blasted with WD-40.\u003c/p>\n\u003cfigure id=\"attachment_13986761\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986761\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/IMG_7021-1.jpg\" alt=\"Van Morrison performs at The Chapel in San Francisco on Feb. 16, 2026. The singer performed songs from his 48th album, ‘Somebody Tried to Sell Me a Bridge,’ for an invite-only crowd.\" width=\"1500\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/IMG_7021-1.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/IMG_7021-1-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/IMG_7021-1-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/IMG_7021-1-1152x1536.jpg 1152w\" sizes=\"auto, (max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Van Morrison performs at The Chapel in San Francisco on Feb. 16, 2026. \u003ccite>(Kathy Henson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During “Madame Butterfly Blues,” he jokingly “fined” keyboardist Mitch Woods with five full-finger hand signals, \u003ca href=\"https://www.reddit.com/r/todayilearned/comments/k42u89/til_that_james_brown_would_impose_fines_on_his/\">James Brown-style\u003c/a>. After the rollicking “I’m Gonna Play the Honky Tonks,” an obscurity by blues singer Marie Adams, he \u003cem>arooooo-ed\u003c/em> and \u003cem>yip yip yip yip yip yip\u003c/em>ped into the mic like an excited hound or \u003ca href=\"https://www.instagram.com/p/DSAiDHqkeAH/\">an East Bay punk singer on drugs\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the set’s most transcendent moment, Morrison reinvented Fats Domino’s “Ain’t That a Shame,” introducing new phrasing, rhythm and melody to create something hallowed and tender. That’s Van the singer; there was also Van the music director, conducting his band piece by piece — a piano chord here, a cymbal crash there. Morrison ad-libbed the phrase “stop breaking down” 17 times in a row while the band crested its long crescendo, turning the air into gold.\u003c/p>\n\u003cp>When the music writer \u003ca href=\"https://www.joelselvin.com/\">Joel Selvin\u003c/a>, a proud part-time grump himself, included droplets in his \u003cem>San Francisco Chronicle\u003c/em> columns like “\u003ca href=\"https://www.sfgate.com/entertainment/article/grammy-nominations-a-snooze-3181907.php\">Truth be told, many people in the industry don’t like the music they are making. They go home and listen to old Van Morrison records like everyone else\u003c/a>” — this is the Van Morrison he meant.\u003c/p>\n\u003cfigure id=\"attachment_13986760\" class=\"wp-caption aligncenter\" style=\"max-width: 1046px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986760\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/IMG_1037.jpg\" alt=\"\" width=\"1046\" height=\"697\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/IMG_1037.jpg 1046w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/IMG_1037-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/IMG_1037-768x512.jpg 768w\" sizes=\"auto, (max-width: 1046px) 100vw, 1046px\">\u003cfigcaption class=\"wp-caption-text\">A marquee outside the Chapel announces Van Morrison’s afternoon set. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Naturally, over the 80-minute set, some sections lagged, with the top-notch band applying formulaic arrangements to “I’m Ready,” “Can’t Help Myself” and “Social Climbing Scene,” the latter a Morrison original about the vapid quest for clout. During his other original composition, the complainy “Somebody Tried to Sell Me a Bridge,” Morrison hunched over his printed lyrics and sang them with only a few ounces of conviction.\u003c/p>\n\u003cp>Then there was Van the perfectionist, kicking off “Rock Me Baby” after two false starts: “Too fast,” he said. During the first verse, in an agreeable tempo, he looked toward Woods: “Play!” Woods ran up and down the keys. “Not that much!” Morrison said. “Cut it in half!”\u003c/p>\n\u003cp>But the man knows what he wants, and when he gets it, everything falls into place. After an encore of Sonny Boy Williamson’s “Help Me,” the familiar three chords of “Gloria” charged in, somehow both a surprise and a foregone conclusion. For a few minutes, the crowd forgot about the troubles outside, chanting with a collective uplift of \u003cem>G-L-O-R-I-A\u003c/em>, and Morrison was in his happy place of being in a bar band again.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Van Morrison performs Feb. 17, 18, 19, 23 and 24 at the Palace of Fine Arts (3301 Lyon St., San Francisco). \u003ca href=\"https://www.palaceoffinearts.org/\">Tickets and more information here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Lovers Lane Unites San Francisco’s Mission District with Art and Cultura",
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"content": "\u003cfigure id=\"attachment_13986600\" class=\"wp-caption aligncenter\" style=\"max-width: 1703px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986600\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/DSC_8258-scaled.jpg\" alt=\"\" width=\"1703\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/DSC_8258-scaled.jpg 1703w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/DSC_8258-2000x3006.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/DSC_8258-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/DSC_8258-768x1154.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/DSC_8258-1022x1536.jpg 1022w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/DSC_8258-1363x2048.jpg 1363w\" sizes=\"auto, (max-width: 1703px) 100vw, 1703px\">\u003cfigcaption class=\"wp-caption-text\">Lovers Lane is a grassroots festival put on by the artists and activists of San Francisco’s Mission District. \u003ccite>(Andrew Brobst)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When Kookie Gonzalez was a teenager in San Francisco during the 1970s, the \u003ca href=\"https://www.kqed.org/arts/tag/mission-district\">Mission District\u003c/a> was bustling with block parties where local musicians would jam, lowriders would cruise and neighborhood activists would organize.\u003c/p>\n\u003cp>Decades later, Latinos in the Mission are fighting to keep their homes and cultural institutions intact in the face of rising rents and gentrification. But for Gonzalez and many others, events like \u003ca href=\"https://www.eventbrite.com/e/lovers-lane-2026-tickets-1979837225437?gclsrc=aw.ds&&utm_source=google&utm_medium=ebps&utm_campaign=PSNB_CUAL_PMK_PDO_0_US_SFC_BAU_0_GA05&utm_term=&aff=ebmkmxperformance&gad_source=1&gad_campaignid=21473931321&gbraid=0AAAAAo0IdU0eNfw5moP30SBXpe-2PyIhe&gclid=Cj0KCQiAy6vMBhDCARIsAK8rOgmJWohvHBvFIH83hD6XsgdJvSJmsnVi0l5fn8FIGAM8XeHruK_6UP8aAvkSEALw_wcB\">Lovers Lane\u003c/a> are a much-needed source of joy and resilience.\u003c/p>\n\u003cp>“Lovers Lane continues the tradition of community unity,” he says.\u003c/p>\n\u003cp>The free Valentine’s Day block party gets underway on Feb. 14 in the area surrounding Balmy Alley. It offers a love letter to the Mission in the form of live music, kids’ activities, local vendors, an art gallery, live painting, custom cars and wellness services. [aside postid='arts_13986534']\u003c/p>\n\u003cp>For Gonzalez, who’s performing at Lovers Lane with his band Los OG Luv Daddys, gathering around art and culture feels essential this year. The Trump administration’s ICE operations are spreading fear through Latino neighborhoods across the country. Locally, the \u003ca href=\"https://missionlocal.org/2026/02/how-to-save-the-mission-cultural-center/\">abrupt closure of the 49-year-old Mission Cultural Center for Latino Arts\u003c/a> last month brought more grief and frustration.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Everything that was gained is now being taken away from us again,” Gonzalez says. “And especially with what’s going on with ICE … people are going to unite again.”\u003c/p>\n\u003cp>Now in its fifth year, Lovers Lane will feature performances from rapper Raquel, whose anti-gentrification banger “\u003ca href=\"https://www.instagram.com/_.raaqel._/reel/DRu2hrqEkfP/?hl=en\">2MNYTESLAS\u003c/a>” has been gaining traction; soul band Andre Cruz & the Black Diamond Rhythm Band; música Mexicana singer Mxka; and Palestinian rapper MC Abdul. Richard Bean of “Suavecito” hitmakers Malo will join Los OG Luv Daddys on stage.\u003c/p>\n\u003cp>https://youtu.be/B4uF9pfu_UM?si=IHhzPPZOvNoRvxAs\u003c/p>\n\u003cp>The live painting lineup highlights some of the Bay’s most prolific muralists, including Vogue, Timothy B, Agana and Twin Walls Mural Company. Health offerings begin at 10 a.m. with a stretching class and continue with free massages, cupping, a blood-pressure check station and information tables from local health organizations. And families will have no shortage of options to keep kids occupied, including bounce houses, live reptiles, an arts-and-crafts station and even a skate ramp.\u003c/p>\n\u003cp>Singer Andre Cruz first attended Lovers Lane last year and knew it was his dream gig when he heard soul music blasting from every corner. “I’m Chicano and I’m Black. The second I walked in, I was like, ‘Oh, I’m home, this is it,’” he says. “I got involved basically by banging on the door, being like, ‘Yo, please, please let me bring my soul music. … Give me a little corner. We’ll do our thing.’”\u003c/p>\n\u003cp>https://youtu.be/1vqzFdoo-Tk?si=yWl9ZxkdlSLLdzI9\u003c/p>\n\u003cp>Singer Nataly Ortiz, who organizes the festival with founder and muralist Lucia Ippolito, says she often sees that type of enthusiasm from attendees, many of whom have signed up to help with the event. Sixty volunteers run the festival the day-of, and 30 more support planning throughout the year. Among those are local residents as well as born-and-raised San Franciscans who have since been priced out.\u003c/p>\n\u003cp>When Lovers Lane ran into permitting issues with the San Francisco Municipal Transportation Agency last year, dozens of neighbors showed up to a hearing to support the festival. “It was like one after the other in public comment,” Ortiz says. “Like, ‘We are here for it, we’re here for, we’re here for it.’ And a lot of love from different organizations, neighbors.”\u003c/p>\n\u003cp>By day Ortiz works at a family shelter and says many of the Lovers Lane volunteers also work in local nonprofits serving the community. She says her work often leaves her frustrated at the ways local governments and institutions leave behind society’s most vulnerable. For her and many others, Lovers Lane is the fuel that keeps them going.\u003c/p>\n\u003cp>“This is like art therapy in a festival,” she says.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.eventbrite.com/e/lovers-lane-2026-tickets-1979837225437?gclsrc=aw.ds&&utm_source=google&utm_medium=ebps&utm_campaign=PSNB_CUAL_PMK_PDO_0_US_SFC_BAU_0_GA05&utm_term=&aff=ebmkmxperformance&gad_source=1&gad_campaignid=21473931321&gbraid=0AAAAAo0IdU0eNfw5moP30SBXpe-2PyIhe&gclid=Cj0KCQiAy6vMBhDCARIsAK8rOgmJWohvHBvFIH83hD6XsgdJvSJmsnVi0l5fn8FIGAM8XeHruK_6UP8aAvkSEALw_wcB\">Lovers Lane\u003c/a> takes place on Harrison Street between 24th and 26th Streets, Balmy Alley and 25th Street from Harrison to Treat on Feb. 14, 2026, 10 a.m.–6 p.m.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13986600\" class=\"wp-caption aligncenter\" style=\"max-width: 1703px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986600\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/DSC_8258-scaled.jpg\" alt=\"\" width=\"1703\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/DSC_8258-scaled.jpg 1703w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/DSC_8258-2000x3006.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/DSC_8258-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/DSC_8258-768x1154.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/DSC_8258-1022x1536.jpg 1022w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/DSC_8258-1363x2048.jpg 1363w\" sizes=\"auto, (max-width: 1703px) 100vw, 1703px\">\u003cfigcaption class=\"wp-caption-text\">Lovers Lane is a grassroots festival put on by the artists and activists of San Francisco’s Mission District. \u003ccite>(Andrew Brobst)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When Kookie Gonzalez was a teenager in San Francisco during the 1970s, the \u003ca href=\"https://www.kqed.org/arts/tag/mission-district\">Mission District\u003c/a> was bustling with block parties where local musicians would jam, lowriders would cruise and neighborhood activists would organize.\u003c/p>\n\u003cp>Decades later, Latinos in the Mission are fighting to keep their homes and cultural institutions intact in the face of rising rents and gentrification. But for Gonzalez and many others, events like \u003ca href=\"https://www.eventbrite.com/e/lovers-lane-2026-tickets-1979837225437?gclsrc=aw.ds&&utm_source=google&utm_medium=ebps&utm_campaign=PSNB_CUAL_PMK_PDO_0_US_SFC_BAU_0_GA05&utm_term=&aff=ebmkmxperformance&gad_source=1&gad_campaignid=21473931321&gbraid=0AAAAAo0IdU0eNfw5moP30SBXpe-2PyIhe&gclid=Cj0KCQiAy6vMBhDCARIsAK8rOgmJWohvHBvFIH83hD6XsgdJvSJmsnVi0l5fn8FIGAM8XeHruK_6UP8aAvkSEALw_wcB\">Lovers Lane\u003c/a> are a much-needed source of joy and resilience.\u003c/p>\n\u003cp>“Lovers Lane continues the tradition of community unity,” he says.\u003c/p>\n\u003cp>The free Valentine’s Day block party gets underway on Feb. 14 in the area surrounding Balmy Alley. It offers a love letter to the Mission in the form of live music, kids’ activities, local vendors, an art gallery, live painting, custom cars and wellness services. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For Gonzalez, who’s performing at Lovers Lane with his band Los OG Luv Daddys, gathering around art and culture feels essential this year. The Trump administration’s ICE operations are spreading fear through Latino neighborhoods across the country. Locally, the \u003ca href=\"https://missionlocal.org/2026/02/how-to-save-the-mission-cultural-center/\">abrupt closure of the 49-year-old Mission Cultural Center for Latino Arts\u003c/a> last month brought more grief and frustration.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Everything that was gained is now being taken away from us again,” Gonzalez says. “And especially with what’s going on with ICE … people are going to unite again.”\u003c/p>\n\u003cp>Now in its fifth year, Lovers Lane will feature performances from rapper Raquel, whose anti-gentrification banger “\u003ca href=\"https://www.instagram.com/_.raaqel._/reel/DRu2hrqEkfP/?hl=en\">2MNYTESLAS\u003c/a>” has been gaining traction; soul band Andre Cruz & the Black Diamond Rhythm Band; música Mexicana singer Mxka; and Palestinian rapper MC Abdul. Richard Bean of “Suavecito” hitmakers Malo will join Los OG Luv Daddys on stage.\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/B4uF9pfu_UM'\n title='//www.youtube.com/embed/B4uF9pfu_UM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The live painting lineup highlights some of the Bay’s most prolific muralists, including Vogue, Timothy B, Agana and Twin Walls Mural Company. Health offerings begin at 10 a.m. with a stretching class and continue with free massages, cupping, a blood-pressure check station and information tables from local health organizations. And families will have no shortage of options to keep kids occupied, including bounce houses, live reptiles, an arts-and-crafts station and even a skate ramp.\u003c/p>\n\u003cp>Singer Andre Cruz first attended Lovers Lane last year and knew it was his dream gig when he heard soul music blasting from every corner. “I’m Chicano and I’m Black. The second I walked in, I was like, ‘Oh, I’m home, this is it,’” he says. “I got involved basically by banging on the door, being like, ‘Yo, please, please let me bring my soul music. … Give me a little corner. We’ll do our thing.’”\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/1vqzFdoo-Tk'\n title='//www.youtube.com/embed/1vqzFdoo-Tk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Singer Nataly Ortiz, who organizes the festival with founder and muralist Lucia Ippolito, says she often sees that type of enthusiasm from attendees, many of whom have signed up to help with the event. Sixty volunteers run the festival the day-of, and 30 more support planning throughout the year. Among those are local residents as well as born-and-raised San Franciscans who have since been priced out.\u003c/p>\n\u003cp>When Lovers Lane ran into permitting issues with the San Francisco Municipal Transportation Agency last year, dozens of neighbors showed up to a hearing to support the festival. “It was like one after the other in public comment,” Ortiz says. “Like, ‘We are here for it, we’re here for, we’re here for it.’ And a lot of love from different organizations, neighbors.”\u003c/p>\n\u003cp>By day Ortiz works at a family shelter and says many of the Lovers Lane volunteers also work in local nonprofits serving the community. She says her work often leaves her frustrated at the ways local governments and institutions leave behind society’s most vulnerable. For her and many others, Lovers Lane is the fuel that keeps them going.\u003c/p>\n\u003cp>“This is like art therapy in a festival,” she says.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.eventbrite.com/e/lovers-lane-2026-tickets-1979837225437?gclsrc=aw.ds&&utm_source=google&utm_medium=ebps&utm_campaign=PSNB_CUAL_PMK_PDO_0_US_SFC_BAU_0_GA05&utm_term=&aff=ebmkmxperformance&gad_source=1&gad_campaignid=21473931321&gbraid=0AAAAAo0IdU0eNfw5moP30SBXpe-2PyIhe&gclid=Cj0KCQiAy6vMBhDCARIsAK8rOgmJWohvHBvFIH83hD6XsgdJvSJmsnVi0l5fn8FIGAM8XeHruK_6UP8aAvkSEALw_wcB\">Lovers Lane\u003c/a> takes place on Harrison Street between 24th and 26th Streets, Balmy Alley and 25th Street from Harrison to Treat on Feb. 14, 2026, 10 a.m.–6 p.m.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "bad-bunny-bay-area-imoact-sol-food-mural-pinatas-super-bowl-mission-district",
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"content": "\u003cp>Fresh off winning three Grammy awards and selling out a world tour, \u003ca href=\"https://www.kqed.org/arts/tag/bad-bunny\">Bad Bunny\u003c/a> visits the Bay Area this weekend to perform \u003ca href=\"https://www.kqed.org/arts/13986188/super-bowl-2026-ice-levis-stadium-bad-bunny-politics-protest\">at the Super Bowl halftime show\u003c/a> — and the Bay is fired up for “Benito Bowl.”\u003c/p>\n\u003cp>“We are so proud of him,” says María Medina Serafín, a musician who moved to San Francisco from Puerto Rico to form an all-women salsa band. “He has elevated Puerto Rican culture and has done it in a way that is true to himself.”\u003c/p>\n\u003cp>[aside postID='arts_13986188']While the Bay doesn’t boast a Puerto Rican diaspora as large as New York City or Philadelphia, Bad Bunny’s music and style have been embraced by the region’s many Latin American communities. His views on the \u003ca href=\"https://www.teenvogue.com/story/bad-bunny-debi-tirar-mas-fotos-political-lines-explained\">gentrification\u003c/a> of his home island, \u003ca href=\"https://www.npr.org/2022/05/28/1101921360/what-it-means-for-pop-music-to-raise-awareness-about-intimate-partner-violence\">female empowerment\u003c/a> and the role of U.S. Immigration and Customs Enforcement have strongly resonated with those in the Bay Area that live between two cultures.\u003c/p>\n\u003cp>“Y claro, it gives you a lot of pride to hear your language on the biggest show on the planet — all right where you live,” adds Medina Serafín.\u003c/p>\n\u003cp>Below, read about local artists whose work is inspired by Benito, along with moments in Bay Area history marked by the reggaetonero’s influence.\u003c/p>\n\u003cfigure id=\"attachment_13986285\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986285\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/012026_BadBunnyBayArea_GH_002_qed.jpg\" alt=\"A Latina woman in black top poses next to a large red heart-shaped piñata, with shelves of merchandise in the background\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/012026_BadBunnyBayArea_GH_002_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/012026_BadBunnyBayArea_GH_002_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/012026_BadBunnyBayArea_GH_002_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/012026_BadBunnyBayArea_GH_002_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Nayeli Bustamante, owner of Flor de Oaxaca, poses with a Bad Bunny-themed piñata inside her shop in San Francisco on Jan. 20, 2026. Bustamante runs the Mission District store as both a retail space for traditional Oaxacan clothing and a workshop where she makes custom piñatas. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Piñatas for Benito\u003c/h2>\n\u003cp>A short ride on the 14 or the 49 Muni bus from Celis Castro’s mural is the Excelsior District, home to Flor de Oaxaca, a shop that for years has imported craftware, clothing and art from the Mexican state of Oaxaca to San Francisco. In recent years, owner Nayeli Bustamante has also sold masterfully decorated piñatas, which she and her staff make by hand.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>While she doesn’t describe herself as a “superfan,” Bustamante has followed Bad Bunny’s career, and admires his dedication. “I have also learned a lot about Puerto Rico through him, and the way he talks about his home reminds me of Oaxaca.”\u003c/p>\n\u003cp>Ahead of his halftime show, she’s been making Bad Bunny-inspired piñatas. Some look like the unhappy heart from the \u003ci>Un Verano Sin Ti\u003c/i> album cover, and others take the form of the singer’s original logo: a white bunny with crossed-out eyes.\u003c/p>\n\u003cp>“We start with a basic image, but as you build the piñata, you find so many different ways to add more detail, texture and spark,” Bustamante says. “When you present the piñata to a child on their big day, and you see their huge smile, that’s the best part of the process.”\u003c/p>\n\u003cfigure id=\"attachment_13986284\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986284\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/012026_BadBunnyBayArea_GH_022_qed.jpg\" alt=\"A Latino man with short black hair and a beard, in a black top, stands in front of a colorful mural of a heart with a sad face, a sunset, and dolphins, as an elderly man walks past\" width=\"2000\" height=\"1293\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/012026_BadBunnyBayArea_GH_022_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/012026_BadBunnyBayArea_GH_022_qed-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/012026_BadBunnyBayArea_GH_022_qed-768x497.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/012026_BadBunnyBayArea_GH_022_qed-1536x993.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Efren Celis Castro with his Bad Bunny-inspired mural on a neighborhood convenience store in San Francisco’s Mission District, with passerby, on Jan. 20, 2026. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Mission District’s ‘Un Verano Sin Ti’ mural\u003c/h2>\n\u003cp>A block away from the 24th and Mission BART station stands a larger-than-life recreation of Benito’s 2022 album \u003ci>Un Verano Sin Ti\u003c/i>, complete with a sun setting over the horizon, flying dolphins and, of course, a very sad heart. On the side of a liquor store at the corner of 24th and Bartlett streets, the mural was painted in 2022 by 22-year-old Efren Celis Castro.\u003c/p>\n\u003cp>Growing up in the Mission, Celis Castro was surrounded by the neighborhood’s murals — testaments to the social justice and artistic movements constantly moving through the neighborhood. In high school, while selling his own paintings along Mission Street, a local restaurant owner gave him his very first mural commission. While he soon received more opportunities, there was one image he wanted to paint.\u003c/p>\n\u003cp>“The album art of \u003ci>Un Verano Sin Ti\u003c/i>. It was the album of the summer,” he says. “The vibes, the sound, you had to experience it in that moment.”\u003c/p>\n\u003cp>No one was willing to commission it, though, so he walked to a liquor store nearby and convinced the owner to let him paint the mural for free. Years later, he still gets tagged on Instagram from Bad Bunny fans who happen upon the mural while walking to BART.\u003c/p>\n\u003cp>“Kids see it too, and they’re going to remember that,” he says. “I think that’s what’s most important for me. Helping out the youth and giving inspiration to the young ones.”\u003c/p>\n\u003cfigure id=\"attachment_13986283\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986283\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/GettyImages-1321640886.jpg\" alt=\"A plate of chicken, rice, plantains and soup\" width=\"1024\" height=\"694\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/GettyImages-1321640886.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/GettyImages-1321640886-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/GettyImages-1321640886-768x521.jpg 768w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">The Pollo Al Horno, with rice, plantains and soup, at Sol Food restaurant in San Rafael. \u003ccite>(Liz Hafalia/The San Francisco Chronicle via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The day Bad Bunny brought a party of 80 to a Marin restaurant\u003c/h2>\n\u003cp>Two days before an Oakland show in 2022, Benito brought an entourage of 80 friends and members of his production crew across the Golden Gate Bridge for Puerto Rican food. They found it at Sol Food in San Rafael, and packed the place, ordering almost everything on the menu, says restaurant manager Francisco Gómez.\u003c/p>\n\u003cp>“In the beginning, we didn’t even know if he was with the group,” he says. “We assumed it was just his team working the concert — until he walked inside.”\u003c/p>\n\u003cp>With such a big party, all hands were on deck. Gómez himself jumped into the kitchen line to get orders out. “But everybody was laughing, eating, taking pictures, and enjoying the food,” he says, adding that Benito took plenty of selfies with the restaurant staff and thanked them for the meal.\u003c/p>\n\u003cp>Since that visit, Gómez says, Sol Food gets new customers from all over who heard about the restaurant after \u003ca href=\"https://www.sfgate.com/food/article/Bad-Bunny-dines-at-SF-Bay-Area-Sol-Food-17444606.php\">the reggaetonero’s visit\u003c/a>. He’s particularly excited that more people are trying out Puerto Rican food.\u003c/p>\n\u003cp>https://youtu.be/NO7EtdR3Dyw?si=VAkiKNXYaL5bkxIt\u003c/p>\n\u003ch2>San Francisco stars in a Bad Bunny music video\u003c/h2>\n\u003cp>Close your eyes and picture a Bad Bunny music video: a Caribbean beach, most likely, toasted by the warm sun, with happy people running and dancing. Pretty good guess — that essentially describes the visualisers from \u003ci>Un Verano Sin Ti\u003c/i>.\u003c/p>\n\u003cp>A cold and foggy day in San Francisco may not immediately come to mind, but that’s precisely the setting for the \u003ca href=\"https://youtu.be/NO7EtdR3Dyw?si=VAkiKNXYaL5bkxIt\">music video for 2021’s “Lo Siento BB:/,”\u003c/a> featuring producer Tainy and Mexican indie legend Julieta Venegas. Directed by Colombian-American director Stillz, the video follows a large, hairy \u003ci>Where the Wild Things Are\u003c/i>-like creature as it joylessly walks around the city, interrupted by memories of its sweetheart.\u003c/p>\n\u003cp>Matching the song’s melancholy lyrics, the video shows the quiet solitude that comes when fog envelops the city. Potrero Hill, the Mission, Ocean Beach and Chinatown become the background for the protagonist’s journey through heartbreak.\u003c/p>\n\u003cfigure id=\"attachment_13986286\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986286\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/ChingaLaMigra.BadBunny.jpg\" alt=\"\" width=\"2000\" height=\"1006\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/ChingaLaMigra.BadBunny.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/ChingaLaMigra.BadBunny-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/ChingaLaMigra.BadBunny-768x386.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/ChingaLaMigra.BadBunny-1536x773.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A ‘Chinga La Migra’ poster design featuring Sapo Concho, the Puerto Rican crested toad that appears in Bad Bunny’s Debí Tirar Más Fotos world tour. \u003ccite>(Designer Unknown)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>In the Bay’s anti-ICE protests, Benito’s creative symbols find a home\u003c/h2>\n\u003cp>Bay Area immigrant advocates have worked \u003ca href=\"https://www.kqed.org/news/12050993/a-day-in-the-life-of-san-joses-rapid-response-network-built-to-resist-ice-fear\">around the clock\u003c/a> to prevent deportations, assist families with legal proceedings and \u003ca href=\"https://www.kqed.org/news/12071746/thousands-gather-in-san-francisco-businesses-close-as-part-of-nationwide-ice-out-protest\">speak out\u003c/a> against violent acts by ICE agents, most recently the killings of \u003ca href=\"https://www.mprnews.org/story/2026/01/09/renee-goods-wife-releases-statement-about-ice-shooting\">Renée Macklin Good\u003c/a> and \u003ca href=\"https://www.npr.org/2026/01/26/nx-s1-5688898/alex-pretti-remembered-as-friend-nurse-and-dog-dad\">Alex Pretti\u003c/a> in Minneapolis.\u003c/p>\n\u003cp>While there’s no shortage of symbols used by folks on the ground to organize, posters have lately gone up in San Francisco with a familiar character: \u003ca href=\"https://wearemitu.com/wearemitu/entertainment/bad-bunny-sapo-concho-puerto-rico-visual-album/\">Sapo Concho\u003c/a>, the Puerto Rican crested toad that appears prominently in his Debí Tirar Más Fotos world tour.\u003c/p>\n\u003cp>The design is simple: Sapo Concho staring directly at the viewer while bold Barbara Kruger-style letters spell out “Chinga la Migra” or “Fuck ICE.” Around his neck, Sapo Concho wears a whistle similar to those used by volunteers with rapid response networks trained to spot ICE activity and alert vulnerable community members.\u003c/p>\n\u003cp>[aside postID='arts_13953317']In an interview \u003ca href=\"https://i-d.co/article/bad-bunny-puerto-rico-residency-issue-375-cover/\">last year\u003c/a>, Bad Bunny said he decided against performing in the United States on his Debí Tirar Más Fotos tour out of fear that ICE would target fans attending his shows. And although several Department of Homeland Security officials previously threatened to bring immigration enforcement to the big game, local officials and the NFL \u003ca href=\"https://www.kqed.org/news/12071704/ice-super-bowl-immigration-enforcement-santa-clara-san-francisco-bay-area-2026\">affirmed this week\u003c/a> that “there are no planned ICE or immigration enforcement operations that are scheduled around the Super Bowl or any of the Super Bowl related events.”\u003c/p>\n\u003cp>During his Grammy acceptance speech for Best Album, Benito sent out a clear message on a night when other major celebrities strongly criticized the White House’s immigration policies. “Before I say thanks to God, I’m going to say: ‘ICE out’,” said the musician. “We’re not savages, we’re not animals, we’re not aliens. We are humans, and we are Americans.”\u003c/p>\n\u003cfigure id=\"attachment_13935418\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935418\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/KQEDLIVE21LaDona-039-scaled.jpg\" alt=\"La Doña sings on stage next to her saxophonist and bassist.\" width=\"2560\" height=\"1703\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/KQEDLIVE21LaDona-039-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/KQEDLIVE21LaDona-039-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/KQEDLIVE21LaDona-039-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/KQEDLIVE21LaDona-039-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/KQEDLIVE21LaDona-039-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/KQEDLIVE21LaDona-039-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/KQEDLIVE21LaDona-039-2048x1363.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/KQEDLIVE21LaDona-039-1920x1277.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">La Doña performs at The Commons in KQED’s headquarters in 2021. \u003ccite>(Alain McLaughlin for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>And the Bay is ready to party for Benito Bowl\u003c/h2>\n\u003cp>Many young Latinos organizing Super Bowl watch parties are ensuring their events acknowledge immigrant families’ current fears. In Oakland on Sunday, local musician and educator La Doña hosts \u003ca href=\"https://www.instagram.com/p/DUHWjGCgcah\">a watch party at Crybaby\u003c/a>, with event proceeds going to the \u003ca href=\"https://www.ccijustice.org/\">California Collaborative for Immigrant Justice\u003c/a>, a group that demands transparency and better conditions at immigration detention centers.\u003c/p>\n\u003cp>In San Francisco, El Rio in the Mission District hosts eight DJs for a \u003ca href=\"https://tockify.com/elriosf2/detail/4093/1770591600000\">Super Bowl and halftime show watch party\u003c/a>. Event organizers tell KQED they plan to distribute stacks of “red cards,” which list people’s rights during encounters with federal immigration agents.\u003c/p>\n\u003cp>“We’re not going to be afraid. We’re going to be smart. We’re going to be informed and we’re going to be there to protect one another,” organizer Óscar Delgado says. The party’s name — “Play Bad Bunny” — is inspired by a constant request that he and other DJs unanimously get from their audiences.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>For those who won’t be at the stadium but still want to be close to Benito \u003ci>somehow\u003c/i>, Bad Bunny impersonator \u003ca href=\"https://www.instagram.com/abdul__bunny\">Abdul Bunny\u003c/a> performs \u003ca href=\"https://www.instagram.com/p/DUClv1akcDm/\">Feb. 4 at Beaux\u003c/a> in San Francisco and \u003ca href=\"https://www.instagram.com/p/DUT3q1SkkxR\">Feb. 6 at Que Rico\u003c/a> in Oakland.\u003c/p>\n\n",
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"excerpt": "From piñatas in the Mission District to anti-ICE signs inspired by his music, Bad Bunny has left a lasting impression ahead of his big gameday show.\r\n",
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"title": "How’s Bad Bunny Left His Mark on the Bay Area? Let Us Count the Ways | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Fresh off winning three Grammy awards and selling out a world tour, \u003ca href=\"https://www.kqed.org/arts/tag/bad-bunny\">Bad Bunny\u003c/a> visits the Bay Area this weekend to perform \u003ca href=\"https://www.kqed.org/arts/13986188/super-bowl-2026-ice-levis-stadium-bad-bunny-politics-protest\">at the Super Bowl halftime show\u003c/a> — and the Bay is fired up for “Benito Bowl.”\u003c/p>\n\u003cp>“We are so proud of him,” says María Medina Serafín, a musician who moved to San Francisco from Puerto Rico to form an all-women salsa band. “He has elevated Puerto Rican culture and has done it in a way that is true to himself.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>While the Bay doesn’t boast a Puerto Rican diaspora as large as New York City or Philadelphia, Bad Bunny’s music and style have been embraced by the region’s many Latin American communities. His views on the \u003ca href=\"https://www.teenvogue.com/story/bad-bunny-debi-tirar-mas-fotos-political-lines-explained\">gentrification\u003c/a> of his home island, \u003ca href=\"https://www.npr.org/2022/05/28/1101921360/what-it-means-for-pop-music-to-raise-awareness-about-intimate-partner-violence\">female empowerment\u003c/a> and the role of U.S. Immigration and Customs Enforcement have strongly resonated with those in the Bay Area that live between two cultures.\u003c/p>\n\u003cp>“Y claro, it gives you a lot of pride to hear your language on the biggest show on the planet — all right where you live,” adds Medina Serafín.\u003c/p>\n\u003cp>Below, read about local artists whose work is inspired by Benito, along with moments in Bay Area history marked by the reggaetonero’s influence.\u003c/p>\n\u003cfigure id=\"attachment_13986285\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986285\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/012026_BadBunnyBayArea_GH_002_qed.jpg\" alt=\"A Latina woman in black top poses next to a large red heart-shaped piñata, with shelves of merchandise in the background\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/012026_BadBunnyBayArea_GH_002_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/012026_BadBunnyBayArea_GH_002_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/012026_BadBunnyBayArea_GH_002_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/012026_BadBunnyBayArea_GH_002_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Nayeli Bustamante, owner of Flor de Oaxaca, poses with a Bad Bunny-themed piñata inside her shop in San Francisco on Jan. 20, 2026. Bustamante runs the Mission District store as both a retail space for traditional Oaxacan clothing and a workshop where she makes custom piñatas. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Piñatas for Benito\u003c/h2>\n\u003cp>A short ride on the 14 or the 49 Muni bus from Celis Castro’s mural is the Excelsior District, home to Flor de Oaxaca, a shop that for years has imported craftware, clothing and art from the Mexican state of Oaxaca to San Francisco. In recent years, owner Nayeli Bustamante has also sold masterfully decorated piñatas, which she and her staff make by hand.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>While she doesn’t describe herself as a “superfan,” Bustamante has followed Bad Bunny’s career, and admires his dedication. “I have also learned a lot about Puerto Rico through him, and the way he talks about his home reminds me of Oaxaca.”\u003c/p>\n\u003cp>Ahead of his halftime show, she’s been making Bad Bunny-inspired piñatas. Some look like the unhappy heart from the \u003ci>Un Verano Sin Ti\u003c/i> album cover, and others take the form of the singer’s original logo: a white bunny with crossed-out eyes.\u003c/p>\n\u003cp>“We start with a basic image, but as you build the piñata, you find so many different ways to add more detail, texture and spark,” Bustamante says. “When you present the piñata to a child on their big day, and you see their huge smile, that’s the best part of the process.”\u003c/p>\n\u003cfigure id=\"attachment_13986284\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986284\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/012026_BadBunnyBayArea_GH_022_qed.jpg\" alt=\"A Latino man with short black hair and a beard, in a black top, stands in front of a colorful mural of a heart with a sad face, a sunset, and dolphins, as an elderly man walks past\" width=\"2000\" height=\"1293\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/012026_BadBunnyBayArea_GH_022_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/012026_BadBunnyBayArea_GH_022_qed-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/012026_BadBunnyBayArea_GH_022_qed-768x497.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/012026_BadBunnyBayArea_GH_022_qed-1536x993.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Efren Celis Castro with his Bad Bunny-inspired mural on a neighborhood convenience store in San Francisco’s Mission District, with passerby, on Jan. 20, 2026. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Mission District’s ‘Un Verano Sin Ti’ mural\u003c/h2>\n\u003cp>A block away from the 24th and Mission BART station stands a larger-than-life recreation of Benito’s 2022 album \u003ci>Un Verano Sin Ti\u003c/i>, complete with a sun setting over the horizon, flying dolphins and, of course, a very sad heart. On the side of a liquor store at the corner of 24th and Bartlett streets, the mural was painted in 2022 by 22-year-old Efren Celis Castro.\u003c/p>\n\u003cp>Growing up in the Mission, Celis Castro was surrounded by the neighborhood’s murals — testaments to the social justice and artistic movements constantly moving through the neighborhood. In high school, while selling his own paintings along Mission Street, a local restaurant owner gave him his very first mural commission. While he soon received more opportunities, there was one image he wanted to paint.\u003c/p>\n\u003cp>“The album art of \u003ci>Un Verano Sin Ti\u003c/i>. It was the album of the summer,” he says. “The vibes, the sound, you had to experience it in that moment.”\u003c/p>\n\u003cp>No one was willing to commission it, though, so he walked to a liquor store nearby and convinced the owner to let him paint the mural for free. Years later, he still gets tagged on Instagram from Bad Bunny fans who happen upon the mural while walking to BART.\u003c/p>\n\u003cp>“Kids see it too, and they’re going to remember that,” he says. “I think that’s what’s most important for me. Helping out the youth and giving inspiration to the young ones.”\u003c/p>\n\u003cfigure id=\"attachment_13986283\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986283\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/GettyImages-1321640886.jpg\" alt=\"A plate of chicken, rice, plantains and soup\" width=\"1024\" height=\"694\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/GettyImages-1321640886.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/GettyImages-1321640886-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/GettyImages-1321640886-768x521.jpg 768w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">The Pollo Al Horno, with rice, plantains and soup, at Sol Food restaurant in San Rafael. \u003ccite>(Liz Hafalia/The San Francisco Chronicle via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The day Bad Bunny brought a party of 80 to a Marin restaurant\u003c/h2>\n\u003cp>Two days before an Oakland show in 2022, Benito brought an entourage of 80 friends and members of his production crew across the Golden Gate Bridge for Puerto Rican food. They found it at Sol Food in San Rafael, and packed the place, ordering almost everything on the menu, says restaurant manager Francisco Gómez.\u003c/p>\n\u003cp>“In the beginning, we didn’t even know if he was with the group,” he says. “We assumed it was just his team working the concert — until he walked inside.”\u003c/p>\n\u003cp>With such a big party, all hands were on deck. Gómez himself jumped into the kitchen line to get orders out. “But everybody was laughing, eating, taking pictures, and enjoying the food,” he says, adding that Benito took plenty of selfies with the restaurant staff and thanked them for the meal.\u003c/p>\n\u003cp>Since that visit, Gómez says, Sol Food gets new customers from all over who heard about the restaurant after \u003ca href=\"https://www.sfgate.com/food/article/Bad-Bunny-dines-at-SF-Bay-Area-Sol-Food-17444606.php\">the reggaetonero’s visit\u003c/a>. He’s particularly excited that more people are trying out Puerto Rican food.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/NO7EtdR3Dyw'\n title='//www.youtube.com/embed/NO7EtdR3Dyw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>San Francisco stars in a Bad Bunny music video\u003c/h2>\n\u003cp>Close your eyes and picture a Bad Bunny music video: a Caribbean beach, most likely, toasted by the warm sun, with happy people running and dancing. Pretty good guess — that essentially describes the visualisers from \u003ci>Un Verano Sin Ti\u003c/i>.\u003c/p>\n\u003cp>A cold and foggy day in San Francisco may not immediately come to mind, but that’s precisely the setting for the \u003ca href=\"https://youtu.be/NO7EtdR3Dyw?si=VAkiKNXYaL5bkxIt\">music video for 2021’s “Lo Siento BB:/,”\u003c/a> featuring producer Tainy and Mexican indie legend Julieta Venegas. Directed by Colombian-American director Stillz, the video follows a large, hairy \u003ci>Where the Wild Things Are\u003c/i>-like creature as it joylessly walks around the city, interrupted by memories of its sweetheart.\u003c/p>\n\u003cp>Matching the song’s melancholy lyrics, the video shows the quiet solitude that comes when fog envelops the city. Potrero Hill, the Mission, Ocean Beach and Chinatown become the background for the protagonist’s journey through heartbreak.\u003c/p>\n\u003cfigure id=\"attachment_13986286\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986286\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/ChingaLaMigra.BadBunny.jpg\" alt=\"\" width=\"2000\" height=\"1006\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/ChingaLaMigra.BadBunny.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/ChingaLaMigra.BadBunny-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/ChingaLaMigra.BadBunny-768x386.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/ChingaLaMigra.BadBunny-1536x773.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A ‘Chinga La Migra’ poster design featuring Sapo Concho, the Puerto Rican crested toad that appears in Bad Bunny’s Debí Tirar Más Fotos world tour. \u003ccite>(Designer Unknown)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>In the Bay’s anti-ICE protests, Benito’s creative symbols find a home\u003c/h2>\n\u003cp>Bay Area immigrant advocates have worked \u003ca href=\"https://www.kqed.org/news/12050993/a-day-in-the-life-of-san-joses-rapid-response-network-built-to-resist-ice-fear\">around the clock\u003c/a> to prevent deportations, assist families with legal proceedings and \u003ca href=\"https://www.kqed.org/news/12071746/thousands-gather-in-san-francisco-businesses-close-as-part-of-nationwide-ice-out-protest\">speak out\u003c/a> against violent acts by ICE agents, most recently the killings of \u003ca href=\"https://www.mprnews.org/story/2026/01/09/renee-goods-wife-releases-statement-about-ice-shooting\">Renée Macklin Good\u003c/a> and \u003ca href=\"https://www.npr.org/2026/01/26/nx-s1-5688898/alex-pretti-remembered-as-friend-nurse-and-dog-dad\">Alex Pretti\u003c/a> in Minneapolis.\u003c/p>\n\u003cp>While there’s no shortage of symbols used by folks on the ground to organize, posters have lately gone up in San Francisco with a familiar character: \u003ca href=\"https://wearemitu.com/wearemitu/entertainment/bad-bunny-sapo-concho-puerto-rico-visual-album/\">Sapo Concho\u003c/a>, the Puerto Rican crested toad that appears prominently in his Debí Tirar Más Fotos world tour.\u003c/p>\n\u003cp>The design is simple: Sapo Concho staring directly at the viewer while bold Barbara Kruger-style letters spell out “Chinga la Migra” or “Fuck ICE.” Around his neck, Sapo Concho wears a whistle similar to those used by volunteers with rapid response networks trained to spot ICE activity and alert vulnerable community members.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In an interview \u003ca href=\"https://i-d.co/article/bad-bunny-puerto-rico-residency-issue-375-cover/\">last year\u003c/a>, Bad Bunny said he decided against performing in the United States on his Debí Tirar Más Fotos tour out of fear that ICE would target fans attending his shows. And although several Department of Homeland Security officials previously threatened to bring immigration enforcement to the big game, local officials and the NFL \u003ca href=\"https://www.kqed.org/news/12071704/ice-super-bowl-immigration-enforcement-santa-clara-san-francisco-bay-area-2026\">affirmed this week\u003c/a> that “there are no planned ICE or immigration enforcement operations that are scheduled around the Super Bowl or any of the Super Bowl related events.”\u003c/p>\n\u003cp>During his Grammy acceptance speech for Best Album, Benito sent out a clear message on a night when other major celebrities strongly criticized the White House’s immigration policies. “Before I say thanks to God, I’m going to say: ‘ICE out’,” said the musician. “We’re not savages, we’re not animals, we’re not aliens. We are humans, and we are Americans.”\u003c/p>\n\u003cfigure id=\"attachment_13935418\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935418\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/KQEDLIVE21LaDona-039-scaled.jpg\" alt=\"La Doña sings on stage next to her saxophonist and bassist.\" width=\"2560\" height=\"1703\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/KQEDLIVE21LaDona-039-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/KQEDLIVE21LaDona-039-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/KQEDLIVE21LaDona-039-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/KQEDLIVE21LaDona-039-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/KQEDLIVE21LaDona-039-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/KQEDLIVE21LaDona-039-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/KQEDLIVE21LaDona-039-2048x1363.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/KQEDLIVE21LaDona-039-1920x1277.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">La Doña performs at The Commons in KQED’s headquarters in 2021. \u003ccite>(Alain McLaughlin for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>And the Bay is ready to party for Benito Bowl\u003c/h2>\n\u003cp>Many young Latinos organizing Super Bowl watch parties are ensuring their events acknowledge immigrant families’ current fears. In Oakland on Sunday, local musician and educator La Doña hosts \u003ca href=\"https://www.instagram.com/p/DUHWjGCgcah\">a watch party at Crybaby\u003c/a>, with event proceeds going to the \u003ca href=\"https://www.ccijustice.org/\">California Collaborative for Immigrant Justice\u003c/a>, a group that demands transparency and better conditions at immigration detention centers.\u003c/p>\n\u003cp>In San Francisco, El Rio in the Mission District hosts eight DJs for a \u003ca href=\"https://tockify.com/elriosf2/detail/4093/1770591600000\">Super Bowl and halftime show watch party\u003c/a>. Event organizers tell KQED they plan to distribute stacks of “red cards,” which list people’s rights during encounters with federal immigration agents.\u003c/p>\n\u003cp>“We’re not going to be afraid. We’re going to be smart. We’re going to be informed and we’re going to be there to protect one another,” organizer Óscar Delgado says. The party’s name — “Play Bad Bunny” — is inspired by a constant request that he and other DJs unanimously get from their audiences.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For those who won’t be at the stadium but still want to be close to Benito \u003ci>somehow\u003c/i>, Bad Bunny impersonator \u003ca href=\"https://www.instagram.com/abdul__bunny\">Abdul Bunny\u003c/a> performs \u003ca href=\"https://www.instagram.com/p/DUClv1akcDm/\">Feb. 4 at Beaux\u003c/a> in San Francisco and \u003ca href=\"https://www.instagram.com/p/DUT3q1SkkxR\">Feb. 6 at Que Rico\u003c/a> in Oakland.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "José ‘Dr. Loco’ Cuéllar, Chicano Scholar, Bandleader and Activist, Dies at 84",
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"headTitle": "José ‘Dr. Loco’ Cuéllar, Chicano Scholar, Bandleader and Activist, Dies at 84 | KQED",
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"content": "\u003cp>The last pachuco is gone.\u003c/p>\n\u003cp>Anthropologist José B. Cuéllar, who carved out a singular musical career as the saxophonist, accordionist, vocalist and leader of \u003ca href=\"https://www.kqed.org/arts/13934296/8-over-80-jose-cuellar-dr-loco\">Dr. Loco’s Rockin’ Jalapeño Band\u003c/a>, died at his Mission District home Jan. 21 surrounded by family. He was 84. The cause was lung cancer, according to his wife, Stacie Powers Cuéllar.\u003c/p>\n\u003cp>With his bushy eyebrows, impish smile, braided beard and long hair worn in a tight plait, Cuéllar was an iconic figure who effortlessly intertwined his twin callings as an educator and bandleader. His distinguished career as an academic included two decades studying and documenting Chicano culture as chair and director of San Francisco State’s Cesar Chavez Public Policy Institute.\u003c/p>\n\u003cp>But it was as Dr. Loco that he himself took the reins of Chicano culture.\u003c/p>\n\u003cp>[aside postID=arts_13934296 hero='https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/RS67183_230721-Jose%CC%81Cue%CC%81llar8over80-06-BL_COVER.jpg']Launched during his years teaching at Stanford in the mid-1980s, the Rockin’ Jalapeno Band drew upon his earlier career as an R&B musician in San Antonio, and later, Las Vegas. But the inveterately curious Cuéllar kept expanding the Rockin’ Jalapeno sound, deepening its connections to New Orleans grooves, jazz, and soul. Over the decades, the group included dozens of top Bay Area musicians, including many who went on to lead their own bands, and became known as a sure-fire act for fundraisers, community events, rallies and protests.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Even early on he had killer musicians, guys who represented the real Tejano sound he’d come from,” said Jesse “Chuy” Varela, a Latin music expert and program and music director at the radio station KCSM. “As he evolved he kept bringing in different folks, like trombonist/arranger Wayne Wallace and drummer Brian Andres. A lot of the gigs weren’t going to pay a lot, and he’d be paying musicians out of his pocket. For Loco, it was more about spreading joy through the message.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=J-WMhAJONdk\u003c/p>\n\u003cp>That message traveled much further than Cuéllar expected. His sound and visage made a particularly deep impression in Mexico City, where rock en español pioneers \u003ca href=\"https://www.instagram.com/malditavecindad/?hl=en\">Maldita Vecindad\u003c/a> viewed him as the embodiment of borderlands cool. They’d scored a major hit in 1991 with “\u003ca href=\"https://www.youtube.com/watch?v=jRN6n9Wgq2Q\">Pachuco\u003c/a>,” a song celebrating the sartorial style of Mexican American young men exemplified by zoot suits, “and they saw him as the last pachuco,” said Greg Landau, the eight-time Grammy Award nominee who started working with Dr. Loco as a producer and sideman in the 1990s.\u003c/p>\n\u003cp>In a final act of friendship, Landau produced an \u003ca href=\"https://missionlocal.org/2025/12/dr-locos-last-jam-at-brava/\">era-encompassing concert last month at Brava Theater Center\u003c/a>, “A Rockin’ Jalapeño Tribute Concert: Celebrating the Musical Legacy of Dr. Loco.” Landau had already been thinking about pulling together a celebration, but Cuéllar’s terminal diagnosis put the project on a fast track. The sold-out event featured three generations of Rockin’ Jalapeno bands playing songs from the albums \u003cem>Movimiento Music\u003c/em>, \u003cem>¡Puro Party!\u003c/em> and \u003cem>Barrio Ritmos & Blues\u003c/em>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zbY1JHtRFI8\u003c/p>\n\u003cp>“He was so overwhelmed,” Stacie Powers Cuéllar said of the concert, which Dr. Loco attended but was unable to perform at in his full capacity. “One thing he did through his music was connecting people all the time, in the classroom, at events. He had a really good time, but it was also heartbreaking for him, to know that was a defining moment and not be able to direct it. He so was proud of all the musicians and all the work and gigs they’d done.”\u003c/p>\n\u003cp>Born April 3, 1941 in San Antonio, Texas, Cuéllar often described obtaining a saxophone as a high school senior as a strike of lightning that changed the course of his life. He learned the ropes on the Texas roadhouse circuit with the Del–Kings, a mostly Chicano R&B band with a book of full of honking numbers by Junior Parker, Bobby “Blue” Bland, B.B. King and T–Bone Walker, with a little Five Satins-style doo-wop thrown in for romance.\u003c/p>\n\u003cp>He put down his horn when he enlisted in the Air Force, and trained as a dental technician. But upon mustering out, he realized that he didn’t want to face the hurdles “it would take for a Mexican to be a dentist in Texas, as presented to me by my dentist,” he told KQED in a 2023 interview. He returned to the saxophone, a more stimulating work tool than a dental drill. \u003c/p>\n\u003cfigure id=\"attachment_13931989\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS67199_230721-Jose%CC%81Cue%CC%81llar8over80-21-BL-KQED.jpg\" alt=\"A person with gray hair and a gray moustache and beard holds a photo of himself playing music at an earlier age.\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13931989\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS67199_230721-JoséCuéllar8over80-21-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS67199_230721-JoséCuéllar8over80-21-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS67199_230721-JoséCuéllar8over80-21-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS67199_230721-JoséCuéllar8over80-21-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS67199_230721-JoséCuéllar8over80-21-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS67199_230721-JoséCuéllar8over80-21-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS67199_230721-JoséCuéllar8over80-21-BL-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">José Cuéllar, 82, holds a photo of himself playing music in the early 1990s at his home in San Francisco on July 21, 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While Cuéllar spent the ’60s performing in Vegas and Southern California, he gradually found his way back to school, enrolling at Golden West College in Huntington Beach to study music. The anti-Vietnam War movement started his politicization, and when he transferred to Long Beach State in 1969, the rising Chicano movement, then deeply entwined with anti-war protests, shaped his scholarly direction.\u003c/p>\n\u003cp>He managed to juggle music and graduate studies, eventually earning a PhD in anthropology from UCLA in 1977. A tenure-track position at the University of Colorado at Boulder, however, left him bereft of musical comrades. “I wanted to get more involved in my academics too,” he said. “So the horn went into the closet and stayed there until I got to Stanford in 1983.”\u003c/p>\n\u003cp>[aside postID='arts_13880670']It was his students at Stanford who inspired him to get his groove back. Teaching Chicano Studies and serving as senior ethnogerontologist at the School of Medicine, they urged Cuéllar to form a combo to play campus events. Always in the thick of the cultural ferment, he often backed the Chicano comedy troupe Culture Clash, who felt he needed a catchy stage name. The problem was solved while he was doing research on gang kids, cholos, in Tijuana.\u003c/p>\n\u003cp>“I was standing there with a bunch of kids, and this kid comes up and says ‘Is it true you’re a doctor?’ And I said ‘Yeah, I’m an anthropologist,’ but in Spanish its \u003cem>antropólogo\u003c/em>, so he goes, ‘Dr. Loco.’” The name stuck.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Cuéllar is survived by his younger brothers, Hector and Tony Cuéllar, his son Benny Cuéllar, wife Stacie Powers Cuéllar, and their daughter Ixchel Cuéllar. A GoFundMe campaign to help funeral expenses will soon be created, according to his wife Stacie. A celebration of his life is planned for early April.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The last pachuco is gone.\u003c/p>\n\u003cp>Anthropologist José B. Cuéllar, who carved out a singular musical career as the saxophonist, accordionist, vocalist and leader of \u003ca href=\"https://www.kqed.org/arts/13934296/8-over-80-jose-cuellar-dr-loco\">Dr. Loco’s Rockin’ Jalapeño Band\u003c/a>, died at his Mission District home Jan. 21 surrounded by family. He was 84. The cause was lung cancer, according to his wife, Stacie Powers Cuéllar.\u003c/p>\n\u003cp>With his bushy eyebrows, impish smile, braided beard and long hair worn in a tight plait, Cuéllar was an iconic figure who effortlessly intertwined his twin callings as an educator and bandleader. His distinguished career as an academic included two decades studying and documenting Chicano culture as chair and director of San Francisco State’s Cesar Chavez Public Policy Institute.\u003c/p>\n\u003cp>But it was as Dr. Loco that he himself took the reins of Chicano culture.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Launched during his years teaching at Stanford in the mid-1980s, the Rockin’ Jalapeno Band drew upon his earlier career as an R&B musician in San Antonio, and later, Las Vegas. But the inveterately curious Cuéllar kept expanding the Rockin’ Jalapeno sound, deepening its connections to New Orleans grooves, jazz, and soul. Over the decades, the group included dozens of top Bay Area musicians, including many who went on to lead their own bands, and became known as a sure-fire act for fundraisers, community events, rallies and protests.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Even early on he had killer musicians, guys who represented the real Tejano sound he’d come from,” said Jesse “Chuy” Varela, a Latin music expert and program and music director at the radio station KCSM. “As he evolved he kept bringing in different folks, like trombonist/arranger Wayne Wallace and drummer Brian Andres. A lot of the gigs weren’t going to pay a lot, and he’d be paying musicians out of his pocket. For Loco, it was more about spreading joy through the message.”\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/J-WMhAJONdk'\n title='//www.youtube.com/embed/J-WMhAJONdk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>That message traveled much further than Cuéllar expected. His sound and visage made a particularly deep impression in Mexico City, where rock en español pioneers \u003ca href=\"https://www.instagram.com/malditavecindad/?hl=en\">Maldita Vecindad\u003c/a> viewed him as the embodiment of borderlands cool. They’d scored a major hit in 1991 with “\u003ca href=\"https://www.youtube.com/watch?v=jRN6n9Wgq2Q\">Pachuco\u003c/a>,” a song celebrating the sartorial style of Mexican American young men exemplified by zoot suits, “and they saw him as the last pachuco,” said Greg Landau, the eight-time Grammy Award nominee who started working with Dr. Loco as a producer and sideman in the 1990s.\u003c/p>\n\u003cp>In a final act of friendship, Landau produced an \u003ca href=\"https://missionlocal.org/2025/12/dr-locos-last-jam-at-brava/\">era-encompassing concert last month at Brava Theater Center\u003c/a>, “A Rockin’ Jalapeño Tribute Concert: Celebrating the Musical Legacy of Dr. Loco.” Landau had already been thinking about pulling together a celebration, but Cuéllar’s terminal diagnosis put the project on a fast track. The sold-out event featured three generations of Rockin’ Jalapeno bands playing songs from the albums \u003cem>Movimiento Music\u003c/em>, \u003cem>¡Puro Party!\u003c/em> and \u003cem>Barrio Ritmos & Blues\u003c/em>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/zbY1JHtRFI8'\n title='//www.youtube.com/embed/zbY1JHtRFI8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“He was so overwhelmed,” Stacie Powers Cuéllar said of the concert, which Dr. Loco attended but was unable to perform at in his full capacity. “One thing he did through his music was connecting people all the time, in the classroom, at events. He had a really good time, but it was also heartbreaking for him, to know that was a defining moment and not be able to direct it. He so was proud of all the musicians and all the work and gigs they’d done.”\u003c/p>\n\u003cp>Born April 3, 1941 in San Antonio, Texas, Cuéllar often described obtaining a saxophone as a high school senior as a strike of lightning that changed the course of his life. He learned the ropes on the Texas roadhouse circuit with the Del–Kings, a mostly Chicano R&B band with a book of full of honking numbers by Junior Parker, Bobby “Blue” Bland, B.B. King and T–Bone Walker, with a little Five Satins-style doo-wop thrown in for romance.\u003c/p>\n\u003cp>He put down his horn when he enlisted in the Air Force, and trained as a dental technician. But upon mustering out, he realized that he didn’t want to face the hurdles “it would take for a Mexican to be a dentist in Texas, as presented to me by my dentist,” he told KQED in a 2023 interview. He returned to the saxophone, a more stimulating work tool than a dental drill. \u003c/p>\n\u003cfigure id=\"attachment_13931989\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS67199_230721-Jose%CC%81Cue%CC%81llar8over80-21-BL-KQED.jpg\" alt=\"A person with gray hair and a gray moustache and beard holds a photo of himself playing music at an earlier age.\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13931989\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS67199_230721-JoséCuéllar8over80-21-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS67199_230721-JoséCuéllar8over80-21-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS67199_230721-JoséCuéllar8over80-21-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS67199_230721-JoséCuéllar8over80-21-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS67199_230721-JoséCuéllar8over80-21-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS67199_230721-JoséCuéllar8over80-21-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS67199_230721-JoséCuéllar8over80-21-BL-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">José Cuéllar, 82, holds a photo of himself playing music in the early 1990s at his home in San Francisco on July 21, 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While Cuéllar spent the ’60s performing in Vegas and Southern California, he gradually found his way back to school, enrolling at Golden West College in Huntington Beach to study music. The anti-Vietnam War movement started his politicization, and when he transferred to Long Beach State in 1969, the rising Chicano movement, then deeply entwined with anti-war protests, shaped his scholarly direction.\u003c/p>\n\u003cp>He managed to juggle music and graduate studies, eventually earning a PhD in anthropology from UCLA in 1977. A tenure-track position at the University of Colorado at Boulder, however, left him bereft of musical comrades. “I wanted to get more involved in my academics too,” he said. “So the horn went into the closet and stayed there until I got to Stanford in 1983.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It was his students at Stanford who inspired him to get his groove back. Teaching Chicano Studies and serving as senior ethnogerontologist at the School of Medicine, they urged Cuéllar to form a combo to play campus events. Always in the thick of the cultural ferment, he often backed the Chicano comedy troupe Culture Clash, who felt he needed a catchy stage name. The problem was solved while he was doing research on gang kids, cholos, in Tijuana.\u003c/p>\n\u003cp>“I was standing there with a bunch of kids, and this kid comes up and says ‘Is it true you’re a doctor?’ And I said ‘Yeah, I’m an anthropologist,’ but in Spanish its \u003cem>antropólogo\u003c/em>, so he goes, ‘Dr. Loco.’” The name stuck.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Cuéllar is survived by his younger brothers, Hector and Tony Cuéllar, his son Benny Cuéllar, wife Stacie Powers Cuéllar, and their daughter Ixchel Cuéllar. A GoFundMe campaign to help funeral expenses will soon be created, according to his wife Stacie. A celebration of his life is planned for early April.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A Mission District Dance Party Wants to ‘Melt the ICE’",
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"content": "\u003cp>This Sunday, like so many other nights at the \u003ca href=\"https://www.kqed.org/arts/tag/mission-district\">Mission District\u003c/a> queer bar \u003ca href=\"https://www.elriosf.com/\">El Rio\u003c/a>, the dance floor will fill up with partygoers getting down to a live set of Latin fusion beats. There will be a full lineup of all trans DJs. There will be homemade tamales.\u003c/p>\n\u003cp>But the goal of this dance party won’t \u003cem>only \u003c/em>be for everyone to have a good time. Organized by the queer mutual aid collective \u003ca href=\"https://www.instagram.com/abundancealchemy_bayarea/\">Abundance Alchemy\u003c/a>, the Jan. 18 event will double as a fundraiser to support Bay Area families impacted by the recent spate of ICE deportation crackdowns — and as a form of grassroots resistance, its organizers say.\u003c/p>\n\u003cp>The name of the party? The \u003ca href=\"https://www.instagram.com/abundancealchemy_bayarea/\">Melt the ICE Fest\u003c/a>.\u003c/p>\n\u003cp>Collective member Yara, an Oakland-based visual artist, explains that Abundance Alchemy formed in late in 2023 in response to the widespread death and destruction happening in Gaza, as well as the police crackdowns on protests right here in the Bay Area. The idea, Yara says, was to figure out how folks could mobilize to help ease some of the suffering they were witnessing.\u003c/p>\n\u003cp>The collective’s first action was an art raffle in early 2024 that wound up raising $2,000 for organizations doing on-the-ground work to support victims in Palestine, Congo and Sudan. “That made us realize, ‘Oh, we can do something!'” Yara says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Since then, the collective has mostly focused on distributing food, clothing and other supplies to unhoused communities in Oakland and San Francisco. It now has 25 to 30 active members, most of them queer, spread all over the Bay Area.\u003c/p>\n\u003cfigure id=\"attachment_13985527\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985527\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/abundance-alchemy-food-distro.jpg\" alt=\"People pass out food in grocery bags from the trunk of a car.\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/abundance-alchemy-food-distro.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/abundance-alchemy-food-distro-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/abundance-alchemy-food-distro-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/abundance-alchemy-food-distro-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Members of Abundance Alchemy passing out food. \u003ccite>(Courtesy of Abundance Alchemy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sunday’s “Melt the ICE” event comes at a time when ICE’s aggressive, often violent deportation campaigns have sparked outrage nationwide, especially in the wake of an federal immigration agent’s \u003ca href=\"https://www.kqed.org/news/12069104/bay-area-immigrant-defense-groups-report-surge-in-support-after-minneapolis-ice-killing\">fatal shooting of Minneapolis mother Renee Good\u003c/a> last week. “\u003cspan style=\"font-weight: 400\">It’s heartbreaking what’s happening ,” Yara says. “The way they’re just killing people in the street is disgusting.”\u003c/span>\u003c/p>\n\u003cp>That said, Yara notes that the fundraising event has been in the works ever since ICE agents started \u003ca href=\"https://www.vox.com/policy/474842/ice-enforcement-operation-culture-violence-minneapolis-border\">ramping up the aggressiveness\u003c/a> of their on-the-ground tactics \u003ca href=\"https://www.kqed.org/news/12057190/fear-of-ice-raids-drains-sales-for-businesses-in-oaklands-fruitvale\">this past fall\u003c/a>. Members of Abundance Alchemy wanted to raise money to support local immigrant communities, but they also wanted do something fun and celebratory.\u003c/p>\n\u003cp>“\u003cspan style=\"font-weight: 400\">In this world we live in where everything can feel so bleak, sometimes we need to make things that will make us happy and make us come together in joy — to not only cry together but dance together, and share in this trauma together,” Yara says.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"color: #2b2b2b;font-weight: 400\">\u003cb>\u003cstrong>\u003cspan style=\"font-weight: 400\">[aside postID='news_12069590,arts_13953497']\u003c/span>\u003c/strong>\u003c/b>\u003c/span>Slowly, the different elements of the event came together: El Rio was an obvious fit to host because of how queer-friendly it is — and the bar was even willing to waive its usual fees for the fundraiser. A local cook, \u003ca href=\"https://www.instagram.com/veritas_cooking/\">Verita\u003c/a>, volunteered to make tamales to sell at the event. A ceramicist will also have a table set up.\u003c/p>\n\u003cp>Meanwhile, the fact that the DJ lineup is all trans wasn’t something they planned on purpose, Yara says. Those were just the DJs who responded to their call for volunteers. “They were the people who stepped up,” Yara says.\u003c/p>\n\u003cp>According to Yara, the bulk of the money raised at Sunday’s event will be distributed directly to a handful of Bay Area families who have been impacted by the ICE crackdowns. If there are extra funds, they’ll be donated to the Oakland Education Alliance’s \u003ca href=\"https://www.instagram.com/oea_rapidresponse/\">Rapid Response Team\u003c/a>, which provides legal services to immigrant families facing deportation.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.instagram.com/p/DTG7HGbEoZS/\">Melt the Ice Fest\u003c/a>, featuring DeAlma, Tranzmutation, DJMJ and Maryama, will take place at El Rio (3158 Mission St., San Francisco) on Sunday, Jan. 18, 3–8 p.m. The door fee will be a sliding scale of $10–$20. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This Sunday, like so many other nights at the \u003ca href=\"https://www.kqed.org/arts/tag/mission-district\">Mission District\u003c/a> queer bar \u003ca href=\"https://www.elriosf.com/\">El Rio\u003c/a>, the dance floor will fill up with partygoers getting down to a live set of Latin fusion beats. There will be a full lineup of all trans DJs. There will be homemade tamales.\u003c/p>\n\u003cp>But the goal of this dance party won’t \u003cem>only \u003c/em>be for everyone to have a good time. Organized by the queer mutual aid collective \u003ca href=\"https://www.instagram.com/abundancealchemy_bayarea/\">Abundance Alchemy\u003c/a>, the Jan. 18 event will double as a fundraiser to support Bay Area families impacted by the recent spate of ICE deportation crackdowns — and as a form of grassroots resistance, its organizers say.\u003c/p>\n\u003cp>The name of the party? The \u003ca href=\"https://www.instagram.com/abundancealchemy_bayarea/\">Melt the ICE Fest\u003c/a>.\u003c/p>\n\u003cp>Collective member Yara, an Oakland-based visual artist, explains that Abundance Alchemy formed in late in 2023 in response to the widespread death and destruction happening in Gaza, as well as the police crackdowns on protests right here in the Bay Area. The idea, Yara says, was to figure out how folks could mobilize to help ease some of the suffering they were witnessing.\u003c/p>\n\u003cp>The collective’s first action was an art raffle in early 2024 that wound up raising $2,000 for organizations doing on-the-ground work to support victims in Palestine, Congo and Sudan. “That made us realize, ‘Oh, we can do something!'” Yara says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Since then, the collective has mostly focused on distributing food, clothing and other supplies to unhoused communities in Oakland and San Francisco. It now has 25 to 30 active members, most of them queer, spread all over the Bay Area.\u003c/p>\n\u003cfigure id=\"attachment_13985527\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985527\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/abundance-alchemy-food-distro.jpg\" alt=\"People pass out food in grocery bags from the trunk of a car.\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/abundance-alchemy-food-distro.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/abundance-alchemy-food-distro-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/abundance-alchemy-food-distro-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/abundance-alchemy-food-distro-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Members of Abundance Alchemy passing out food. \u003ccite>(Courtesy of Abundance Alchemy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sunday’s “Melt the ICE” event comes at a time when ICE’s aggressive, often violent deportation campaigns have sparked outrage nationwide, especially in the wake of an federal immigration agent’s \u003ca href=\"https://www.kqed.org/news/12069104/bay-area-immigrant-defense-groups-report-surge-in-support-after-minneapolis-ice-killing\">fatal shooting of Minneapolis mother Renee Good\u003c/a> last week. “\u003cspan style=\"font-weight: 400\">It’s heartbreaking what’s happening ,” Yara says. “The way they’re just killing people in the street is disgusting.”\u003c/span>\u003c/p>\n\u003cp>That said, Yara notes that the fundraising event has been in the works ever since ICE agents started \u003ca href=\"https://www.vox.com/policy/474842/ice-enforcement-operation-culture-violence-minneapolis-border\">ramping up the aggressiveness\u003c/a> of their on-the-ground tactics \u003ca href=\"https://www.kqed.org/news/12057190/fear-of-ice-raids-drains-sales-for-businesses-in-oaklands-fruitvale\">this past fall\u003c/a>. Members of Abundance Alchemy wanted to raise money to support local immigrant communities, but they also wanted do something fun and celebratory.\u003c/p>\n\u003cp>“\u003cspan style=\"font-weight: 400\">In this world we live in where everything can feel so bleak, sometimes we need to make things that will make us happy and make us come together in joy — to not only cry together but dance together, and share in this trauma together,” Yara says.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"color: #2b2b2b;font-weight: 400\">\u003cb>\u003cstrong>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/strong>\u003c/b>\u003c/span>Slowly, the different elements of the event came together: El Rio was an obvious fit to host because of how queer-friendly it is — and the bar was even willing to waive its usual fees for the fundraiser. A local cook, \u003ca href=\"https://www.instagram.com/veritas_cooking/\">Verita\u003c/a>, volunteered to make tamales to sell at the event. A ceramicist will also have a table set up.\u003c/p>\n\u003cp>Meanwhile, the fact that the DJ lineup is all trans wasn’t something they planned on purpose, Yara says. Those were just the DJs who responded to their call for volunteers. “They were the people who stepped up,” Yara says.\u003c/p>\n\u003cp>According to Yara, the bulk of the money raised at Sunday’s event will be distributed directly to a handful of Bay Area families who have been impacted by the ICE crackdowns. If there are extra funds, they’ll be donated to the Oakland Education Alliance’s \u003ca href=\"https://www.instagram.com/oea_rapidresponse/\">Rapid Response Team\u003c/a>, which provides legal services to immigrant families facing deportation.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.instagram.com/p/DTG7HGbEoZS/\">Melt the Ice Fest\u003c/a>, featuring DeAlma, Tranzmutation, DJMJ and Maryama, will take place at El Rio (3158 Mission St., San Francisco) on Sunday, Jan. 18, 3–8 p.m. The door fee will be a sliding scale of $10–$20. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Poised to Blow Up, Spiritual Cramp Is Bringing San Francisco Along for the Ride",
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"content": "\u003cp>If you watch one music video from a San Francisco band this year, make it Spiritual Cramp’s “\u003ca href=\"https://youtu.be/vd3FHvPtsRU?si=4_7yIt1tVbC74dgt\">At My Funeral\u003c/a>.” It begins with gold-toothed singer Michael Bingham strutting through Clarion Alley toting a block rocker boombox. He then hauls it along to dance his ass off with punk panache to frenetic riffs and sinister drums in front of the Painted Ladies, the Ocean Beach seawall, Bernal Hill, a wedding on the City Hall steps, Kilowatt, Green Apple Books and the Brian Wilson plaque at Oracle Park. \u003c/p>\n\u003cp>While the lyrics are self-deprecating (“At my funeral, nobody came / They all had plans, couldn’t remember my name”) the video resoundingly celebrates the city where the band was formed. San Francisco’s culture and soul are embedded in Bingham’s heart and exalted throughout the band’s new album, \u003cem>Rude\u003c/em>. \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vd3FHvPtsRU\u003c/p>\n\u003cp>But the thing is, Bingham has been living in Los Angeles since 2021, when his wife, who is a hairstylist, followed a big career opportunity. (“She’s hitting grand slams,” he says.) And while the move has also been a boon for the band, Bingham still grapples with impostor syndrome. “What if I went back home to the Bay where I belong?” he sings on “True Love (Is Hard To Find),” the key question to the album. \u003c/p>\n\u003cp>“That question plays in my head every day,” Bingham says on a Zoom call from his Los Angeles apartment. “Eventually I want to make my way back to Frisco, but everything’s going so good it’s infuriating. I have all these problems and they’re problems I begged to God for.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Now on their second album (out Oct. 24), Spiritual Cramp have a lot of elements in place for a proper blow up. \u003cem>Rude\u003c/em> is produced by John Congleton, noted for his guiding hand on breakout records from the likes of St. Vincent, Thao & The Get Down Stay Down and Sharon Van Etten. The album is mixed by Paramore producer Carlos de La Garza, features a duet with Van Etten (“You’ve Got My Number”) and comes out on the Blue Grape Music label, founded by alums of trailblazing hard rock label Roadrunner Records. \u003c/p>\n\u003cp>Spiritual Cramp recently \u003ca href=\"https://www.altpress.com/spiritual-cramp-rude-interview/\">graced the cover\u003c/a> of Alternative Press magazine (who’ll be presenting the band’s U.S. tour in early 2026), and are co-managed by San Francisco’s Brilliant Corners, which also has Death Cab For Cutie and Toro y Moi on its roster. A few weeks after the album drops, the band is headed to Europe for a tour with decorated Swedish punk band The Hives. \u003c/p>\n\u003cp>It’s an impressive laundry list of accomplishments, especially for a band from San Francisco. \u003cem>Rude\u003c/em> is forged on elated new wave punk, with hardcore and dancehall brushstrokes — somewhere between The Clash and Turnstile. The album plays like a ride or die homage to SF and leaves no question what scene Bingham and company represent. “Just another warm San Francisco night, where every day is the best day of my life,” Bingham sings on “Young Offenders.”\u003c/p>\n\u003cfigure id=\"attachment_13982836\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Spiritual-Cramp-w-Daniel-lurie-_Sarah-Davis_2000.jpg\" alt=\"Mayor Daniel Lurie on cell phone looks at six-member band on steps\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13982836\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Spiritual-Cramp-w-Daniel-lurie-_Sarah-Davis_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Spiritual-Cramp-w-Daniel-lurie-_Sarah-Davis_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Spiritual-Cramp-w-Daniel-lurie-_Sarah-Davis_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Spiritual-Cramp-w-Daniel-lurie-_Sarah-Davis_2000-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Spiritual Cramp got a surprise visitor at their photoshoot on the steps of San Francisco’s City Hall. \u003ccite>(Sarah Davis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Often heard more frequently in hip-hop circles, the term “loyal to the soil” comes to mind when talking to Bingham. His allegiance isn’t much different from Pinole rapper \u003ca href=\"https://www.kqed.org/arts/tag/p-lo\">P-Lo\u003c/a>, who also calls LA home, but reps Bay Area culture everywhere he goes, Warriors games and concert appearances alike. \u003c/p>\n\u003cp>“I’d love to say that it hasn’t improved the business of the band,” Bingham says. “But it’s not true. Living in LA is good for business.” \u003c/p>\n\u003cp>The members of Spiritual Cramp met in and around the San Francisco punk scene in 2017, yet the six-piece is now fully spread out geographically. Drummer Julian Smith and guitarist Orville Neeley also live in Los Angeles, guitarist Nate Punty is in the Mission, bassist Nate Fenton is in Mendocino County, and percussionist Jose Luna lives in New York. Welcome to being in a band in 2025. \u003c/p>\n\u003cp>Sessions with Congleton happened at the producer’s studio in LA. Bingham had acted as the band’s producer until this point, but he credits Congleton’s “any idea is worth exploring” approach. “He challenged me in every way and forced me to stand by my decisions,” Bingham says.\u003c/p>\n\u003cp>Bingham and Van Etten forged a friendship in LA over the years that led to her appearance on “You’ve Got My Number,” a pop-polished waxing on constantly being on the road and incessantly missing someone. Rhythmically, it’s a dynamic foil to “Violence In The Supermarket,” which calls to mind The Specials’ ska-dub classic “Ghost Town” and rings in disgust at yuppies on a shopping run complaining about minutiae — one of the album’s many not-so-subtle jabs at certain LA denizens. \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=mVBpaXiH1RY\u003c/p>\n\u003cp>There’s a palpable push-pull on \u003cem>Rude\u003c/em>; San Francisco tugs at Bingham’s heartstrings even as he and the band experience growth (amid his own discomfort) in LA. Sometimes, he gets the best of both worlds. He describes being in his element on sunny walks through the Mission from his friend’s apartment above Kilowatt to Different Fur Studios for \u003cem>Rude\u003c/em>’s pre-production sessions. Then back in LA, he bumped into Tim Armstrong at an LA coffee shop, where the Rancid frontman commended Spiritual Cramp’s recent success. \u003c/p>\n\u003cp>The balance of it all never escapes him. Still, it’s clear to Bingham which city is truly fueling the band’s ascent. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“When we started the band, everyone lived here and we came together in the punk scene in the most SF way,” Bingham says. “We practiced at Polk and Bush, our first show was at the Hemlock. I want to project images of that place that’s still in my heart.” \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you watch one music video from a San Francisco band this year, make it Spiritual Cramp’s “\u003ca href=\"https://youtu.be/vd3FHvPtsRU?si=4_7yIt1tVbC74dgt\">At My Funeral\u003c/a>.” It begins with gold-toothed singer Michael Bingham strutting through Clarion Alley toting a block rocker boombox. He then hauls it along to dance his ass off with punk panache to frenetic riffs and sinister drums in front of the Painted Ladies, the Ocean Beach seawall, Bernal Hill, a wedding on the City Hall steps, Kilowatt, Green Apple Books and the Brian Wilson plaque at Oracle Park. \u003c/p>\n\u003cp>While the lyrics are self-deprecating (“At my funeral, nobody came / They all had plans, couldn’t remember my name”) the video resoundingly celebrates the city where the band was formed. San Francisco’s culture and soul are embedded in Bingham’s heart and exalted throughout the band’s new album, \u003cem>Rude\u003c/em>. \u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/vd3FHvPtsRU'\n title='//www.youtube.com/embed/vd3FHvPtsRU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But the thing is, Bingham has been living in Los Angeles since 2021, when his wife, who is a hairstylist, followed a big career opportunity. (“She’s hitting grand slams,” he says.) And while the move has also been a boon for the band, Bingham still grapples with impostor syndrome. “What if I went back home to the Bay where I belong?” he sings on “True Love (Is Hard To Find),” the key question to the album. \u003c/p>\n\u003cp>“That question plays in my head every day,” Bingham says on a Zoom call from his Los Angeles apartment. “Eventually I want to make my way back to Frisco, but everything’s going so good it’s infuriating. I have all these problems and they’re problems I begged to God for.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Now on their second album (out Oct. 24), Spiritual Cramp have a lot of elements in place for a proper blow up. \u003cem>Rude\u003c/em> is produced by John Congleton, noted for his guiding hand on breakout records from the likes of St. Vincent, Thao & The Get Down Stay Down and Sharon Van Etten. The album is mixed by Paramore producer Carlos de La Garza, features a duet with Van Etten (“You’ve Got My Number”) and comes out on the Blue Grape Music label, founded by alums of trailblazing hard rock label Roadrunner Records. \u003c/p>\n\u003cp>Spiritual Cramp recently \u003ca href=\"https://www.altpress.com/spiritual-cramp-rude-interview/\">graced the cover\u003c/a> of Alternative Press magazine (who’ll be presenting the band’s U.S. tour in early 2026), and are co-managed by San Francisco’s Brilliant Corners, which also has Death Cab For Cutie and Toro y Moi on its roster. A few weeks after the album drops, the band is headed to Europe for a tour with decorated Swedish punk band The Hives. \u003c/p>\n\u003cp>It’s an impressive laundry list of accomplishments, especially for a band from San Francisco. \u003cem>Rude\u003c/em> is forged on elated new wave punk, with hardcore and dancehall brushstrokes — somewhere between The Clash and Turnstile. The album plays like a ride or die homage to SF and leaves no question what scene Bingham and company represent. “Just another warm San Francisco night, where every day is the best day of my life,” Bingham sings on “Young Offenders.”\u003c/p>\n\u003cfigure id=\"attachment_13982836\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Spiritual-Cramp-w-Daniel-lurie-_Sarah-Davis_2000.jpg\" alt=\"Mayor Daniel Lurie on cell phone looks at six-member band on steps\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13982836\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Spiritual-Cramp-w-Daniel-lurie-_Sarah-Davis_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Spiritual-Cramp-w-Daniel-lurie-_Sarah-Davis_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Spiritual-Cramp-w-Daniel-lurie-_Sarah-Davis_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Spiritual-Cramp-w-Daniel-lurie-_Sarah-Davis_2000-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Spiritual Cramp got a surprise visitor at their photoshoot on the steps of San Francisco’s City Hall. \u003ccite>(Sarah Davis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Often heard more frequently in hip-hop circles, the term “loyal to the soil” comes to mind when talking to Bingham. His allegiance isn’t much different from Pinole rapper \u003ca href=\"https://www.kqed.org/arts/tag/p-lo\">P-Lo\u003c/a>, who also calls LA home, but reps Bay Area culture everywhere he goes, Warriors games and concert appearances alike. \u003c/p>\n\u003cp>“I’d love to say that it hasn’t improved the business of the band,” Bingham says. “But it’s not true. Living in LA is good for business.” \u003c/p>\n\u003cp>The members of Spiritual Cramp met in and around the San Francisco punk scene in 2017, yet the six-piece is now fully spread out geographically. Drummer Julian Smith and guitarist Orville Neeley also live in Los Angeles, guitarist Nate Punty is in the Mission, bassist Nate Fenton is in Mendocino County, and percussionist Jose Luna lives in New York. Welcome to being in a band in 2025. \u003c/p>\n\u003cp>Sessions with Congleton happened at the producer’s studio in LA. Bingham had acted as the band’s producer until this point, but he credits Congleton’s “any idea is worth exploring” approach. “He challenged me in every way and forced me to stand by my decisions,” Bingham says.\u003c/p>\n\u003cp>Bingham and Van Etten forged a friendship in LA over the years that led to her appearance on “You’ve Got My Number,” a pop-polished waxing on constantly being on the road and incessantly missing someone. Rhythmically, it’s a dynamic foil to “Violence In The Supermarket,” which calls to mind The Specials’ ska-dub classic “Ghost Town” and rings in disgust at yuppies on a shopping run complaining about minutiae — one of the album’s many not-so-subtle jabs at certain LA denizens. \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/mVBpaXiH1RY'\n title='//www.youtube.com/embed/mVBpaXiH1RY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>There’s a palpable push-pull on \u003cem>Rude\u003c/em>; San Francisco tugs at Bingham’s heartstrings even as he and the band experience growth (amid his own discomfort) in LA. Sometimes, he gets the best of both worlds. He describes being in his element on sunny walks through the Mission from his friend’s apartment above Kilowatt to Different Fur Studios for \u003cem>Rude\u003c/em>’s pre-production sessions. Then back in LA, he bumped into Tim Armstrong at an LA coffee shop, where the Rancid frontman commended Spiritual Cramp’s recent success. \u003c/p>\n\u003cp>The balance of it all never escapes him. Still, it’s clear to Bingham which city is truly fueling the band’s ascent. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“When we started the band, everyone lived here and we came together in the punk scene in the most SF way,” Bingham says. “We practiced at Polk and Bush, our first show was at the Hemlock. I want to project images of that place that’s still in my heart.” \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Lowriders Cruise Onto the National Stage In Smithsonian Exhibition",
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"content": "\u003cp>Lowriders — American-made muscle cars customized with chrome plates, glossy paint and pristine rims — comprise an art form that neatly represents the ideals of this country.\u003c/p>\n\u003cp>The cars are products of engineering and ingenuity, as well as community and culture. With candy paint and gold rims, the mobile masterpieces come from a long tradition that’s been stigmatized and even criminalized.\u003c/p>\n\u003cp>Now, lowriding culture is being celebrated on the highest national level.\u003c/p>\n\u003cp>On Friday, Sept. 26, the Smithsonian National Museum of American History in Washington D.C. will open the exhibition \u003ca href=\"https://americanhistory.si.edu/explore/exhibitions/corazon-y-vida-lowriding-culture\">\u003cem>Corazón y vida\u003c/em>\u003c/a>, honoring more than 80 years of lowriding culture.\u003c/p>\n\u003cfigure id=\"attachment_13981674\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13981674 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/iwJihpZQ.jpg\" alt=\"\" width=\"1600\" height=\"794\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/iwJihpZQ.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/iwJihpZQ-160x79.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/iwJihpZQ-768x381.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/iwJihpZQ-1536x762.jpg 1536w\" sizes=\"auto, (max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">El Rey, a vintage 1963 Chevrolet Impala, has been named Lowrider of the Year three times by Lowrider Magazine. \u003ccite>(National Musuem of American History)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The exhibition includes photographs from artists like \u003ca href=\"https://www.sfmoma.org/artist/Lou_Dematteis/\">Lou Dematteis\u003c/a> and posters from the \u003ca href=\"https://library.harvard.edu/collections/royal-chicano-air-force-posters\">Royal Chicano Air Force\u003c/a>. Artifacts such as plaques, jackets, a tool box and a “No Cruising” sign from Sacramento help fill in important context.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And of course, there’s the legendary vehicles. Those include “\u003ca href=\"https://www.petersen.org/vehicle-spotlights/1963-chevrolet-impala-el-rey\">El Rey\u003c/a>,” Albert de Alba, Sr.’s 1963 cherry-and-sherbet-colored Chevrolet Impala, and “\u003ca href=\"https://www.petersen.org/vehicle-spotlights/1964-chevrolet-impala-gypsy-rose\">Gypsy Rose\u003c/a>,” a 1964 Chevrolet Impala hand-painted with a floral design by the late Jesse Valadez Sr..\u003c/p>\n\u003cp>“Yes, the car is the star,” exhibition curator Steve Velasquez tells me in a recent phone interview. “But it takes a community to build it. It takes a community to show it. It takes the community to really appreciate it.”\u003c/p>\n\u003cp>That community of lowrider lovers that Velasquez references is largely Latino. As the federal government makes it a point to accost, harass and deport immigrants — specifically Latino people — \u003ca href=\"https://www.npr.org/2025/09/23/nx-s1-5550915/trump-immigration-judges\">without due process\u003c/a>, \u003cem>Corazón y vida\u003c/em> comes at an interesting time, to say the least.\u003c/p>\n\u003cp>Add to that this administration’s \u003ca href=\"https://www.pbs.org/newshour/nation/trump-executive-order-to-force-changes-at-smithsonian-institution-targeting-funding-for-programs-with-improper-ideology\">meddling into the Smithsonian\u003c/a>, an institution under threat of a “\u003ca href=\"https://www.npr.org/2025/09/22/nx-s1-5517973/smithsonian-document-citizen-historians\">comprehensive internal review\u003c/a>” to weed out “improper ideology” and “divisive narratives.”\u003c/p>\n\u003cp>The exhibition has been in the works since the end of Trump’s first term, but it comes at the right time, says Velasquez, adding that it’s “the right thing to do” regardless of who’s in power.\u003c/p>\n\u003cp>Long before the current administration, lowriding and the culture from which it emerged faced harsh critiques, over-policing and biased legislation.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=9RAavisatXA\u003c/p>\n\u003cp>In January of last year, \u003ca href=\"https://lataco.com/california-cruising-law\">California’s Assembly Bill 436\u003c/a> took effect, ending a more than 25-year ban on “cruising zones” throughout the state. And while changing laws is a major accomplishment, changing people’s minds is a separate hurdle.\u003c/p>\n\u003cp>“It’s taken a lot of work, from a lot of people, to change the perception of lowriding as criminal and to make it more of an expression of culture,” says Velasquez.\u003c/p>\n\u003cp>Many car clubs serve the community by volunteering at hospitals, speaking to the incarcerated and organizing food drives, Velasquez says. Along with hanging fuzzy dice on the rear-view and installing hydraulics to make their cars hop, lowrider groups for years have filled the gaps created by a lack of city services and other social institutions.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13923205/best-of-roll-with-us-a-sisterhood-of-lowriding\">Dueñas\u003c/a>, an all-women, intergenerational collective from the South Bay led by Angel Romero, exemplifies the changing perception of lowriders.\u003c/p>\n\u003cp>Since their founding more than five years ago, the collective has turned heads at car shows, organized holiday toy drives for kids and performed philanthropic work throughout the South Bay.\u003c/p>\n\u003cfigure id=\"attachment_13981668\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981668\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Duen%CC%81as_2-scaled.jpeg\" alt=\"An intergenerational group of Latina women pose for a photo.\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Dueńas_2-scaled.jpeg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Dueńas_2-2000x1333.jpeg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Dueńas_2-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Dueńas_2-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Dueńas_2-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Dueńas_2-2048x1365.jpeg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Dueńas car club, pictured in 2021, is an intergenerational collective of women from the South Bay. \u003ccite>(Renée Lopez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now, an image of Dueñas will be included in the Smithsonian exhibition.\u003c/p>\n\u003cp>“I never thought that lowriding, in general, would be this widely accepted,” says Romero. “Especially in times like this, where we’re facing a lot of different things going on in our communities.”\u003c/p>\n\u003cp>Those “different things” include a widespread federal crackdown on immigration, which sharply increased after Trump’s spending bill, approved in July, dedicated a staggering $75 billion to ICE enforcement over the next four years.\u003c/p>\n\u003cp>“To see our culture and our history highlighted in the Smithsonian,” Romero says, “it shows that no matter what, we will always be here.”\u003c/p>\n\u003cp>The image of Romero’s car club included in the Smithsonian exhibit was created by Northern California-based photographer \u003ca href=\"https://www.instagram.com/misslopezmedia/?hl=en\">Renée Lopez\u003c/a>.\u003c/p>\n\u003cp>When Lopez got final confirmation of the exhibition, she printed the image and hand-delivered it to the car club members. “I was like, ‘Hey, by the way, y’all are about to be in Smithsonian,’” Lopez says. “We all cried, it was amazing.”\u003c/p>\n\u003cfigure id=\"attachment_13981669\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13981669 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Miss-Lopez-2000x2667.jpg\" alt=\"\" width=\"2000\" height=\"2667\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Miss-Lopez-2000x2667.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Miss-Lopez-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Miss-Lopez-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Miss-Lopez-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Miss-Lopez-1536x2048.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Miss-Lopez-scaled.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Renée Lopez, seen here at work in Oakland, has documented lowrider culture for years, with a specific focus on women. \u003ccite>(Courtesy of Miss Lopez Media)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://unscriptedphotographers.com/misslopezmedia\">A photographer\u003c/a> who’s spent the past six years documenting lowrider culture, specifically the women in the scene, Lopez says the inclusion in the exhibit is a huge honor, and something that she’s still trying to wrap her head around.\u003c/p>\n\u003cp>“I don’t get paid,” she says about her cultural documentation, “I do it out of love.”\u003c/p>\n\u003cp>Lopez’s mission to center women in lowriding underscores a significant shift within the culture. “We were really only allowed to be passengers,” Lopez says, in reference to older ways of thinking. “Now,” she says, “women have money to buy their own cars, they’re building their own cars and painting their own cars.” Two years ago, for the first time, she saw a woman compete in a hop contest.\u003c/p>\n\u003cp>“This is what I’ve been working for, to push the culture forward,” says Lopez. “For it to be at this time, with what’s happening in this country right now, it is so special. I can’t even explain it.”\u003c/p>\n\u003cp>Lopez, who is currently working on a documentary about women in lowriding, plans to make the trip to the nation’s capitol for this weekend’s opening.\u003c/p>\n\u003cp>“Lowriding has been happening for a long time, and it’s always about resistance and resilience, right?” she says.\u003c/p>\n\u003cp>“For it to be shown right now, I feel like the timing couldn’t have been better.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Corazón y vida’ opens Friday, Sept. 26, at the Smithsonian National Museum of American History in Washington D.C. \u003ca href=\"https://americanhistory.si.edu/explore/exhibitions/corazon-y-vida-lowriding-culture\">Details and more information here\u003c/a>. The touring exhibition \u003ca href=\"https://www.sites.si.edu/s/tour-schedule?exhibit=Lowrider%20Culture%20in%20the%20United%20States%20%2F%20Cultura%20Lowrider%20en%20los%20Estados%20Unidos\">visits three cities in California\u003c/a>: Anaheim, Port Hueneme and Fresno. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Lowriders — American-made muscle cars customized with chrome plates, glossy paint and pristine rims — comprise an art form that neatly represents the ideals of this country.\u003c/p>\n\u003cp>The cars are products of engineering and ingenuity, as well as community and culture. With candy paint and gold rims, the mobile masterpieces come from a long tradition that’s been stigmatized and even criminalized.\u003c/p>\n\u003cp>Now, lowriding culture is being celebrated on the highest national level.\u003c/p>\n\u003cp>On Friday, Sept. 26, the Smithsonian National Museum of American History in Washington D.C. will open the exhibition \u003ca href=\"https://americanhistory.si.edu/explore/exhibitions/corazon-y-vida-lowriding-culture\">\u003cem>Corazón y vida\u003c/em>\u003c/a>, honoring more than 80 years of lowriding culture.\u003c/p>\n\u003cfigure id=\"attachment_13981674\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13981674 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/iwJihpZQ.jpg\" alt=\"\" width=\"1600\" height=\"794\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/iwJihpZQ.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/iwJihpZQ-160x79.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/iwJihpZQ-768x381.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/iwJihpZQ-1536x762.jpg 1536w\" sizes=\"auto, (max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">El Rey, a vintage 1963 Chevrolet Impala, has been named Lowrider of the Year three times by Lowrider Magazine. \u003ccite>(National Musuem of American History)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The exhibition includes photographs from artists like \u003ca href=\"https://www.sfmoma.org/artist/Lou_Dematteis/\">Lou Dematteis\u003c/a> and posters from the \u003ca href=\"https://library.harvard.edu/collections/royal-chicano-air-force-posters\">Royal Chicano Air Force\u003c/a>. Artifacts such as plaques, jackets, a tool box and a “No Cruising” sign from Sacramento help fill in important context.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And of course, there’s the legendary vehicles. Those include “\u003ca href=\"https://www.petersen.org/vehicle-spotlights/1963-chevrolet-impala-el-rey\">El Rey\u003c/a>,” Albert de Alba, Sr.’s 1963 cherry-and-sherbet-colored Chevrolet Impala, and “\u003ca href=\"https://www.petersen.org/vehicle-spotlights/1964-chevrolet-impala-gypsy-rose\">Gypsy Rose\u003c/a>,” a 1964 Chevrolet Impala hand-painted with a floral design by the late Jesse Valadez Sr..\u003c/p>\n\u003cp>“Yes, the car is the star,” exhibition curator Steve Velasquez tells me in a recent phone interview. “But it takes a community to build it. It takes a community to show it. It takes the community to really appreciate it.”\u003c/p>\n\u003cp>That community of lowrider lovers that Velasquez references is largely Latino. As the federal government makes it a point to accost, harass and deport immigrants — specifically Latino people — \u003ca href=\"https://www.npr.org/2025/09/23/nx-s1-5550915/trump-immigration-judges\">without due process\u003c/a>, \u003cem>Corazón y vida\u003c/em> comes at an interesting time, to say the least.\u003c/p>\n\u003cp>Add to that this administration’s \u003ca href=\"https://www.pbs.org/newshour/nation/trump-executive-order-to-force-changes-at-smithsonian-institution-targeting-funding-for-programs-with-improper-ideology\">meddling into the Smithsonian\u003c/a>, an institution under threat of a “\u003ca href=\"https://www.npr.org/2025/09/22/nx-s1-5517973/smithsonian-document-citizen-historians\">comprehensive internal review\u003c/a>” to weed out “improper ideology” and “divisive narratives.”\u003c/p>\n\u003cp>The exhibition has been in the works since the end of Trump’s first term, but it comes at the right time, says Velasquez, adding that it’s “the right thing to do” regardless of who’s in power.\u003c/p>\n\u003cp>Long before the current administration, lowriding and the culture from which it emerged faced harsh critiques, over-policing and biased legislation.\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/9RAavisatXA'\n title='//www.youtube.com/embed/9RAavisatXA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In January of last year, \u003ca href=\"https://lataco.com/california-cruising-law\">California’s Assembly Bill 436\u003c/a> took effect, ending a more than 25-year ban on “cruising zones” throughout the state. And while changing laws is a major accomplishment, changing people’s minds is a separate hurdle.\u003c/p>\n\u003cp>“It’s taken a lot of work, from a lot of people, to change the perception of lowriding as criminal and to make it more of an expression of culture,” says Velasquez.\u003c/p>\n\u003cp>Many car clubs serve the community by volunteering at hospitals, speaking to the incarcerated and organizing food drives, Velasquez says. Along with hanging fuzzy dice on the rear-view and installing hydraulics to make their cars hop, lowrider groups for years have filled the gaps created by a lack of city services and other social institutions.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13923205/best-of-roll-with-us-a-sisterhood-of-lowriding\">Dueñas\u003c/a>, an all-women, intergenerational collective from the South Bay led by Angel Romero, exemplifies the changing perception of lowriders.\u003c/p>\n\u003cp>Since their founding more than five years ago, the collective has turned heads at car shows, organized holiday toy drives for kids and performed philanthropic work throughout the South Bay.\u003c/p>\n\u003cfigure id=\"attachment_13981668\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981668\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Duen%CC%81as_2-scaled.jpeg\" alt=\"An intergenerational group of Latina women pose for a photo.\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Dueńas_2-scaled.jpeg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Dueńas_2-2000x1333.jpeg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Dueńas_2-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Dueńas_2-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Dueńas_2-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Dueńas_2-2048x1365.jpeg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Dueńas car club, pictured in 2021, is an intergenerational collective of women from the South Bay. \u003ccite>(Renée Lopez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now, an image of Dueñas will be included in the Smithsonian exhibition.\u003c/p>\n\u003cp>“I never thought that lowriding, in general, would be this widely accepted,” says Romero. “Especially in times like this, where we’re facing a lot of different things going on in our communities.”\u003c/p>\n\u003cp>Those “different things” include a widespread federal crackdown on immigration, which sharply increased after Trump’s spending bill, approved in July, dedicated a staggering $75 billion to ICE enforcement over the next four years.\u003c/p>\n\u003cp>“To see our culture and our history highlighted in the Smithsonian,” Romero says, “it shows that no matter what, we will always be here.”\u003c/p>\n\u003cp>The image of Romero’s car club included in the Smithsonian exhibit was created by Northern California-based photographer \u003ca href=\"https://www.instagram.com/misslopezmedia/?hl=en\">Renée Lopez\u003c/a>.\u003c/p>\n\u003cp>When Lopez got final confirmation of the exhibition, she printed the image and hand-delivered it to the car club members. “I was like, ‘Hey, by the way, y’all are about to be in Smithsonian,’” Lopez says. “We all cried, it was amazing.”\u003c/p>\n\u003cfigure id=\"attachment_13981669\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13981669 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Miss-Lopez-2000x2667.jpg\" alt=\"\" width=\"2000\" height=\"2667\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Miss-Lopez-2000x2667.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Miss-Lopez-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Miss-Lopez-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Miss-Lopez-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Miss-Lopez-1536x2048.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Miss-Lopez-scaled.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Renée Lopez, seen here at work in Oakland, has documented lowrider culture for years, with a specific focus on women. \u003ccite>(Courtesy of Miss Lopez Media)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://unscriptedphotographers.com/misslopezmedia\">A photographer\u003c/a> who’s spent the past six years documenting lowrider culture, specifically the women in the scene, Lopez says the inclusion in the exhibit is a huge honor, and something that she’s still trying to wrap her head around.\u003c/p>\n\u003cp>“I don’t get paid,” she says about her cultural documentation, “I do it out of love.”\u003c/p>\n\u003cp>Lopez’s mission to center women in lowriding underscores a significant shift within the culture. “We were really only allowed to be passengers,” Lopez says, in reference to older ways of thinking. “Now,” she says, “women have money to buy their own cars, they’re building their own cars and painting their own cars.” Two years ago, for the first time, she saw a woman compete in a hop contest.\u003c/p>\n\u003cp>“This is what I’ve been working for, to push the culture forward,” says Lopez. “For it to be at this time, with what’s happening in this country right now, it is so special. I can’t even explain it.”\u003c/p>\n\u003cp>Lopez, who is currently working on a documentary about women in lowriding, plans to make the trip to the nation’s capitol for this weekend’s opening.\u003c/p>\n\u003cp>“Lowriding has been happening for a long time, and it’s always about resistance and resilience, right?” she says.\u003c/p>\n\u003cp>“For it to be shown right now, I feel like the timing couldn’t have been better.”\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>‘Corazón y vida’ opens Friday, Sept. 26, at the Smithsonian National Museum of American History in Washington D.C. \u003ca href=\"https://americanhistory.si.edu/explore/exhibitions/corazon-y-vida-lowriding-culture\">Details and more information here\u003c/a>. The touring exhibition \u003ca href=\"https://www.sites.si.edu/s/tour-schedule?exhibit=Lowrider%20Culture%20in%20the%20United%20States%20%2F%20Cultura%20Lowrider%20en%20los%20Estados%20Unidos\">visits three cities in California\u003c/a>: Anaheim, Port Hueneme and Fresno. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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