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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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"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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"headline": "Lowriders Cruise Onto the National Stage In Smithsonian Exhibition",
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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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"slug": "the-basement-tapes-book-vhs-4-star-theater",
"title": "Rewinding to the Age of VHS, in All Its Grainy, Clunky Glory",
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"headTitle": "Rewinding to the Age of VHS, in All Its Grainy, Clunky Glory | KQED",
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"content": "\u003cp>If you’re at a garage sale, and you see a VHS tape of a McDonald’s training video, drop what you’re doing and call Mitsu Okubo.\u003c/p>\n\u003cp>Okubo is a VHS collector and co-founder of \u003ca href=\"https://www.instagram.com/basementvhs/\">Basement VHS\u003c/a>, a loose-knit collective that’s amassed a stockpile of more than 3,000 VHS tapes in a Mission District basement. And like most collectors, Okubo has a white whale.\u003c/p>\n\u003cp>“There’s a lot of McDonald’s employee training tapes out there, but there’s this one in particular, released to address the tragedy of 9/11 that was exclusively shown to their employees,” Okubo says, covetously. “It’s literally a Ronald McDonald, like, ‘This is how we deal with the tragedy of 9/11 with our employees and customers.’”\u003c/p>\n\u003cfigure id=\"attachment_13980798\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13980798\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/The-Basement_Tapes_Front_2000.jpg\" alt=\"book cover with red, black and lime green design\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/The-Basement_Tapes_Front_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/The-Basement_Tapes_Front_2000-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/The-Basement_Tapes_Front_2000-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/The-Basement_Tapes_Front_2000-1536x1536.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">‘The Basement Tapes,’ published by VS Press, presents a collection of VHS tapes in all their glory. \u003ccite>(Courtesy the Basement)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Why would anyone seek such a bizarre cultural artifact? Helpfully, there’s an explanation: \u003cem>\u003ca href=\"https://www.instagram.com/p/DM0gYTpsjRF/\">The Basement Tapes\u003c/a>\u003c/em>, a full-color, 352-page book chock-full of the most perplexing titles from the Basement VHS collection, edited by Okubo and his Basement VHS co-conspirator Luca Antonucci. The book’s release is celebrated with a day of movie screenings at the 4 Star Theater on Saturday, Aug. 30.\u003c/p>\n\u003cp>This all-analog crew of VHS enthusiasts has been adjusting their tracking together since 2011 and \u003ca href=\"https://www.radiovalencia.fm/podcasts/?show=basement%20radio\">discussing movies each week on Radio Valencia\u003c/a> since 2023. At weekly screenings each Wednesday, they invite others to the Basement, where piles of videotapes tower above fuzzy, grainy — or, ahem, “warm” — screenings of arcane non-blockbusters like \u003ci>Frankenhooker\u003c/i>, \u003ci>C.H.U.D.\u003c/i> and \u003ci>The People Under the Stairs\u003c/i>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postID='arts_13979518']Not only are the movies typically so-bad-they’re-good-and-wait-a-sec-actually-they-might-just-be-great, the medium defies the dominant notion that streaming is something to be embraced. “Entertainment should require a certain level of inconvenience,” Okubo writes in a foreword for the book, noting that not long ago, “entertainment was an event we had to wait for, adding anticipation and value to the experience.”\u003c/p>\n\u003cp>Plus, in a city hypnotized by individualism and the ceaseless charge of technology, gathering with others to watch movies on VHS amounts to a subversive act. Spencer Kerber, a 32-year-old computer systems analyst, started coming to Basement VHS nights after he moved to San Francisco three years ago.\u003c/p>\n\u003cp>“They have searched and scavenged across the world to build this crazy video archive that is unlike anything I’ve ever seen,” Kerber says of Basement VHS. “Their love for film and accidental finds can’t be replaced by some abstracted algorithm-powered streaming service.”\u003c/p>\n\u003cfigure id=\"attachment_13980802\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13980802\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/3covers_2000.jpg\" alt=\"VHS covers in a row\" width=\"2000\" height=\"1022\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/3covers_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/3covers_2000-160x82.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/3covers_2000-768x392.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/3covers_2000-1536x785.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Three titles featured in ‘The Basement Tapes.’ \u003ccite>(Courtesy the Basement)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Those accidental finds are perhaps the most intriguing inclusions in \u003cem>The Basement Tapes\u003c/em>, which presents their front and back covers, price tags and video-rental stickers intact.\u003c/p>\n\u003cp>\u003cem>Tree Stand Safety\u003c/em> shows a hapless man falling upside-down from a tree, clearly having failed to watch the video within. A white-haired elderly woman smiles from the cover of \u003cem>Celebration of Jackets\u003c/em>, which promises “True sewing excitement!” Instantly intriguing titles like \u003cem>Santa Claus Defeats the Aliens\u003c/em>, \u003cem>How to Have Cybersex on the Internet\u003c/em> and \u003ci>Turkish Star Wars\u003c/i> are included throughout.\u003c/p>\n\u003cp>[aside postID='arts_13922351']It’s that sort of cultural short-circuitry which’ll be on full display Saturday at the 4 Star, where Basement VHS has hosted screenings (yes, projected from a VCR) for the past year. Between the films \u003cem>Demons 2\u003c/em> (1986), \u003cem>From Beyond\u003c/em> (1986) and \u003cem>Riki-Oh: The Story of Ricky\u003c/em> (1991), shorter oddities will be screened, Risographed film stills and handmade T-shirts will be sold, and like-minded weirdos will get to commune over their love of trashy American detritus and half-inch magnetic tape.\u003c/p>\n\u003cp>And even though the movies aren’t well known, Okubo says, “It’ll still have this sort of like wow factor, because they are so bizarre and over the top. And still on VHS, with the grain and the glow.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Basement VHS screens the movies ‘Demons 2,’ ‘From Beyond’ and ‘Riki-Oh: The Story of Ricky,’ interspersed with 1980s and 1990s oddities and music by Beau Wanzer, at the 4 Star Theater (2200 Clement St., San Francisco) on Saturday, Aug. 30. \u003ca href=\"https://www.4-star-movies.com/\">Tickets and details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you’re at a garage sale, and you see a VHS tape of a McDonald’s training video, drop what you’re doing and call Mitsu Okubo.\u003c/p>\n\u003cp>Okubo is a VHS collector and co-founder of \u003ca href=\"https://www.instagram.com/basementvhs/\">Basement VHS\u003c/a>, a loose-knit collective that’s amassed a stockpile of more than 3,000 VHS tapes in a Mission District basement. And like most collectors, Okubo has a white whale.\u003c/p>\n\u003cp>“There’s a lot of McDonald’s employee training tapes out there, but there’s this one in particular, released to address the tragedy of 9/11 that was exclusively shown to their employees,” Okubo says, covetously. “It’s literally a Ronald McDonald, like, ‘This is how we deal with the tragedy of 9/11 with our employees and customers.’”\u003c/p>\n\u003cfigure id=\"attachment_13980798\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13980798\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/The-Basement_Tapes_Front_2000.jpg\" alt=\"book cover with red, black and lime green design\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/The-Basement_Tapes_Front_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/The-Basement_Tapes_Front_2000-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/The-Basement_Tapes_Front_2000-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/The-Basement_Tapes_Front_2000-1536x1536.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">‘The Basement Tapes,’ published by VS Press, presents a collection of VHS tapes in all their glory. \u003ccite>(Courtesy the Basement)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Why would anyone seek such a bizarre cultural artifact? Helpfully, there’s an explanation: \u003cem>\u003ca href=\"https://www.instagram.com/p/DM0gYTpsjRF/\">The Basement Tapes\u003c/a>\u003c/em>, a full-color, 352-page book chock-full of the most perplexing titles from the Basement VHS collection, edited by Okubo and his Basement VHS co-conspirator Luca Antonucci. The book’s release is celebrated with a day of movie screenings at the 4 Star Theater on Saturday, Aug. 30.\u003c/p>\n\u003cp>This all-analog crew of VHS enthusiasts has been adjusting their tracking together since 2011 and \u003ca href=\"https://www.radiovalencia.fm/podcasts/?show=basement%20radio\">discussing movies each week on Radio Valencia\u003c/a> since 2023. At weekly screenings each Wednesday, they invite others to the Basement, where piles of videotapes tower above fuzzy, grainy — or, ahem, “warm” — screenings of arcane non-blockbusters like \u003ci>Frankenhooker\u003c/i>, \u003ci>C.H.U.D.\u003c/i> and \u003ci>The People Under the Stairs\u003c/i>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Not only are the movies typically so-bad-they’re-good-and-wait-a-sec-actually-they-might-just-be-great, the medium defies the dominant notion that streaming is something to be embraced. “Entertainment should require a certain level of inconvenience,” Okubo writes in a foreword for the book, noting that not long ago, “entertainment was an event we had to wait for, adding anticipation and value to the experience.”\u003c/p>\n\u003cp>Plus, in a city hypnotized by individualism and the ceaseless charge of technology, gathering with others to watch movies on VHS amounts to a subversive act. Spencer Kerber, a 32-year-old computer systems analyst, started coming to Basement VHS nights after he moved to San Francisco three years ago.\u003c/p>\n\u003cp>“They have searched and scavenged across the world to build this crazy video archive that is unlike anything I’ve ever seen,” Kerber says of Basement VHS. “Their love for film and accidental finds can’t be replaced by some abstracted algorithm-powered streaming service.”\u003c/p>\n\u003cfigure id=\"attachment_13980802\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13980802\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/3covers_2000.jpg\" alt=\"VHS covers in a row\" width=\"2000\" height=\"1022\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/3covers_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/3covers_2000-160x82.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/3covers_2000-768x392.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/3covers_2000-1536x785.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Three titles featured in ‘The Basement Tapes.’ \u003ccite>(Courtesy the Basement)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Those accidental finds are perhaps the most intriguing inclusions in \u003cem>The Basement Tapes\u003c/em>, which presents their front and back covers, price tags and video-rental stickers intact.\u003c/p>\n\u003cp>\u003cem>Tree Stand Safety\u003c/em> shows a hapless man falling upside-down from a tree, clearly having failed to watch the video within. A white-haired elderly woman smiles from the cover of \u003cem>Celebration of Jackets\u003c/em>, which promises “True sewing excitement!” Instantly intriguing titles like \u003cem>Santa Claus Defeats the Aliens\u003c/em>, \u003cem>How to Have Cybersex on the Internet\u003c/em> and \u003ci>Turkish Star Wars\u003c/i> are included throughout.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It’s that sort of cultural short-circuitry which’ll be on full display Saturday at the 4 Star, where Basement VHS has hosted screenings (yes, projected from a VCR) for the past year. Between the films \u003cem>Demons 2\u003c/em> (1986), \u003cem>From Beyond\u003c/em> (1986) and \u003cem>Riki-Oh: The Story of Ricky\u003c/em> (1991), shorter oddities will be screened, Risographed film stills and handmade T-shirts will be sold, and like-minded weirdos will get to commune over their love of trashy American detritus and half-inch magnetic tape.\u003c/p>\n\u003cp>And even though the movies aren’t well known, Okubo says, “It’ll still have this sort of like wow factor, because they are so bizarre and over the top. And still on VHS, with the grain and the glow.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Basement VHS screens the movies ‘Demons 2,’ ‘From Beyond’ and ‘Riki-Oh: The Story of Ricky,’ interspersed with 1980s and 1990s oddities and music by Beau Wanzer, at the 4 Star Theater (2200 Clement St., San Francisco) on Saturday, Aug. 30. \u003ca href=\"https://www.4-star-movies.com/\">Tickets and details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cstrong>\u003cem>Editor’s note:\u003c/em>\u003c/strong>\u003cem> This story is part of ‘\u003ca href=\"https://www.kqed.org/transhistory\">Trans Bay: A History of San Francisco’s Gender-Diverse Community\u003c/a>.’ From June 9–19, we’re publishing stories about transgender artists and activists who shaped culture from the 1890s to today.\u003c/em>\u003c/p>\n\u003cp>When it opened its doors in 1979, \u003ca href=\"https://www.kqed.org/pop/11250/esta-noche-to-close-nothing-is-sacred-san-francisco\">Esta Noche\u003c/a> became a gathering place for queer Latinos in the Mission. As the sun went down in the San Francisco neighborhood, the small dive bar exploded with fabric and sequin. DJs spun Juan Gabriel records alongside house beats, and reinas cackled and cotorreaban on the street outside.\u003c/p>\n\u003cp>“It was a tumultuous and fabulous time. There was lots of loss and chaos,” says Tina Valentín Aguirre, who first came to 16th Street as a Stanford student in 1987 to meet other young, queer Latinos. Since Aguirre hadn’t turned 21 yet, they ended up making friends with folks hanging outside the bar.\u003c/p>\n\u003cp>“I quickly met some people who were doing HIV outreach there, distributing condoms, lube and bleach,” says Aguirre, now an artist and the director of the \u003ca href=\"https://castrolgbtq.org/cultural-districts/\">Castro LGBTQ Cultural District\u003c/a>. By then, HIV had already infected thousands of people in San Francisco, most of them gay men and trans women. [aside postid='arts_13977169']\u003c/p>\n\u003cp>“Even though we’re talking about people with AIDS dying, there were some traditional Latino organizations that did not feel comfortable in talking about queer and trans issues,” says Aguirre. In 1994, they partnered with filmmaker Augie Robles on the documentary \u003ca href=\"https://vimeo.com/342185138\">\u003cem>¡Viva 16!\u003c/em>\u003c/a>, which captures the places and people that made up queer Latino nightlife in the Mission District of the ’80s and ’90s.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Meanwhile, in the Castro, “there were white-serving, mostly gay organizations that really didn’t have any idea how to work with queer and transgender people,” Aguirre adds.\u003c/p>\n\u003cp>So on the corner of 16th and Valencia Streets — the place geographically and culturally between the “straight,” Latino Mission and the gay, predominantly white Castro — is where Aguirre met some of the people that shaped the community’s unique response to the HIV/AIDS crisis. These artists and organizers came together to create programs and spaces that centered the needs of queer and trans Latinos, a new way of thinking that would shape public health efforts for decades to come.\u003c/p>\n\u003cp>https://youtu.be/_rQV2hmCUN8?si=6mKqTklxK2ssNRHb\u003c/p>\n\u003cp>One influential artist in the 16th Street scene was the dynamic and charismatic ranchera singer Teresita La Campesina. “Campesina” in Spanish can translate to “farmworker,” but as Teresita once told Aguirre in a \u003ca href=\"https://vimeo.com/516881521\">videotaped interview\u003c/a> years later: “There’s nothing about me that’s a farmworker. They call me ‘Campesina’ because I sing music from the ranch, from the country.”\u003c/p>\n\u003cp>With a voice powerful enough to command even the rowdiest party, Teresita sang ballads of heartbreak, longing and desire all over the bars of 16th Street. “Once I was able to go into the bars, she would try to take my drink — she would try to take my man,” Aguirre recalls.\u003c/p>\n\u003cp>The two would go on to form a profound connection: In Aguirre’s chosen family, Teresita became their mother. “Us younger queens helped her with makeup and getting dressed,” Aguirre says. In turn, “she helped us understand how to take care of ourselves and how to be safe with some of the men who just wanted to have a good time.”\u003c/p>\n\u003cp>After contracting HIV in the early ’90s, Teresita became more vocal about HIV/AIDS, talking about prevention and available treatment during her performances. “We needed her as one of our elders to show up and tell her story,” Aguirre says. “She was a sex worker on top of being a singer and later an AIDS activist. … Her story was a political story.”\u003c/p>\n\u003ch2>Better understanding safe sex\u003c/h2>\n\u003cp>Throughout the ’90s, the HIV/AIDS crisis intensified among San Francisco’s queer Latino community. The city already had one of the highest rates of people living with AIDS in the country, and among different demographic groups nationwide, Latinos had some of the highest rates of HIV infection.\u003c/p>\n\u003cp>It was during this moment that Rafael Díaz, a developmental psychologist and clinical social worker, began to interview gay and bisexual Latino men living in San Francisco to better understand how this group was thinking about HIV and safe sex. He found that while many of these men knew that safe sex practices — like using a condom — can help prevent an HIV infection, they were still knowingly putting themselves at risk.\u003c/p>\n\u003cp>“Our safer sex intentions are too often weakened by strong factors in our culture such as machismo, homophobia, poverty, racism and sexual silence, to name a few,” Díaz later wrote in his 1998 book, \u003ca href=\"https://www.routledge.com/Latino-Gay-Men-and-HIV-Culture-Sexuality-and-Risk-Behavior/Diaz/p/book/9780415913881/\">\u003cem>Latino Gay Men and HIV: Culture, Sexuality and Risk Behavior\u003c/em>\u003c/a>. In order to better prevent and educate about HIV, care providers would have to take into account these cultural factors, he argued.\u003c/p>\n\u003cfigure id=\"attachment_13977383\" class=\"wp-caption aligncenter\" style=\"max-width: 1614px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13977383\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/IMG_20250512_165049-1.jpg\" alt=\"\" width=\"1614\" height=\"2048\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/IMG_20250512_165049-1.jpg 1614w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/IMG_20250512_165049-1-160x203.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/IMG_20250512_165049-1-768x975.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/IMG_20250512_165049-1-1211x1536.jpg 1211w\" sizes=\"auto, (max-width: 1614px) 100vw, 1614px\">\u003cfigcaption class=\"wp-caption-text\">Héctor León performed as La Condonera in the ’90s as part of the drag troupe Las AtreDivas, and handed out condoms to whoever needed them on the street. \u003ccite>(Courtesy of Héctor León)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of the people that Díaz spoke to as part of his research was artist and community organizer Héctor León, who in 1989 moved from Mexico City to San Francisco. Before coming to the U.S., León was already involved in HIV/AIDS activism as a member of \u003ca href=\"https://www.zocalopublicsquare.org/mexico-city-gay-pride-marches/\">Frente Homosexual de Acción Revolucionaria\u003c/a>, the collective that organized Mexico’s first-ever gay pride march in 1979. Once in San Francisco, León quickly got involved in volunteering efforts to care for those living with AIDS, and prevention work with Community United in Response to AIDS/SIDA (CURAS).\u003c/p>\n\u003cp>“[Díaz’s research] confirmed what some of us already knew. … One of the reasons that people were more vulnerable to contracting HIV is because they were alone and didn’t have a support network,” León says in Spanish. In the Mission District in the ’80s, León saw how transgender people and sex workers faced intense rejection from the rest of the community and had very limited access to healthcare services.\u003c/p>\n\u003cp>In response, León decided to put on a wig and a dress, and pick up a briefcase. They became “La Condonera,” a persona that walked the streets of the Mission District at night passing out condoms to the transgender sex workers and anyone else who might need them. “The girls didn’t like that a gay boy showed up to pass out condoms,” they explain. “But if I dressed up, it would be easier for me to approach them.”\u003c/p>\n\u003cp>La Condonera would also visit bars and clubs holding up their briefcase, a reinterpretation of a 1920s cigar girl. “At the time, you had to be discreet — even when talking about condoms,” they say. “So I would set up the condoms as if they were chocolates and would even ask people, ‘Would you like a chocolate?’”\u003c/p>\n\u003cp>“People would always welcome La Condonera,” León adds.\u003c/p>\n\u003cfigure id=\"attachment_13977385\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13977385\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/glbths_GLBT-EPH_NTFAP_PCSPV_blackandwhiteparty.jpg\" alt=\"\" width=\"2000\" height=\"2545\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/glbths_GLBT-EPH_NTFAP_PCSPV_blackandwhiteparty.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/glbths_GLBT-EPH_NTFAP_PCSPV_blackandwhiteparty-160x204.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/glbths_GLBT-EPH_NTFAP_PCSPV_blackandwhiteparty-768x977.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/glbths_GLBT-EPH_NTFAP_PCSPV_blackandwhiteparty-1207x1536.jpg 1207w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/glbths_GLBT-EPH_NTFAP_PCSPV_blackandwhiteparty-1609x2048.jpg 1609w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A flyer from Proyecto ContraSIDa Por Vida. Ephemera collection, National Task Force on AIDS Prevention. \u003ccite>(Courtesy of Gay, Lesbian, Bisexual, Transgender Historical Society)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Different cuerpos, different deseos, different culturas’\u003c/h2>\n\u003cp>In 1993, León joined forces with legendary lesbian activist and DJ Diane Félix, National Task Force on AIDS Prevention director Reggie Williams, organizer Jesse Johnson and other community leaders to start Proyecto ContraSIDA Por Vida (PCPV) — Project Against AIDS and For Life. From the beginning, PCPV sought to provide HIV services that responded to the cultural and linguistic diversity of the Mission District.\u003c/p>\n\u003cp>First located at the corner of 16th and Mission Streets, PCPV was a space where anyone could come in and pick up condoms, and a hub for extensive artistic, athletic and cultural expression. “Las Diablitas,” a soccer team for young queer women; a hiking and meditation group for HIV-positive gay Latino men called “¡Adelante Caminante!”; “CuidaTe-Ta,” a monthly support group “for hermanas of all ethnic backgrounds and orientations.”\u003c/p>\n\u003cfigure id=\"attachment_13977384\" class=\"wp-caption aligncenter\" style=\"max-width: 2311px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13977384\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/glbths_GLBT-EPH_NTFAP_PCSPV_card2.jpg\" alt=\"\" width=\"2311\" height=\"1696\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/glbths_GLBT-EPH_NTFAP_PCSPV_card2.jpg 2311w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/glbths_GLBT-EPH_NTFAP_PCSPV_card2-2000x1468.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/glbths_GLBT-EPH_NTFAP_PCSPV_card2-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/glbths_GLBT-EPH_NTFAP_PCSPV_card2-768x564.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/glbths_GLBT-EPH_NTFAP_PCSPV_card2-1536x1127.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/glbths_GLBT-EPH_NTFAP_PCSPV_card2-2048x1503.jpg 2048w\" sizes=\"auto, (max-width: 2311px) 100vw, 2311px\">\u003cfigcaption class=\"wp-caption-text\">A flyer from Proyecto ContraSIDA Por Vida. Ephemera collection, National Task Force on AIDS Prevention. \u003ccite>(Courtesy of Gay, Lesbian, Bisexual, Transgender Historical Society)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As he continued his research on HIV/AIDS prevention through the 1990s, Rafael Díaz confirmed that discrimination and sexual silence were putting the Latino community at greater risk of infection. PCPV’s mission statement spoke directly to these factors: “Different nombres, different cuerpos, different deseos, different culturas coming together to form a community dedicated to living, to fighting the spread of HIV disease and the other unnatural disasters of racism, sexism, homophobia, xenophobia and poverty,” declared the group’s mission statement.\u003c/p>\n\u003cp>“Proyecto challenged the assumption that everybody wanted to live,” says Juana María Rodríguez, professor of ethnic studies and performance studies at UC Berkeley. While working on her dissertation in the mid-’90s, Rodríguez started going to PCPV events, which were completely different from any type of HIV work she had seen before. “Creativity and art are life-affirming. … This gave these young queers a reason to want to take care of themselves.”\u003c/p>\n\u003cp>PCPV was also different from other organizations because of who led the programming, Rodríguez points out. “Many of the most vulnerable members of the community were immigrant trans women,” she says. “Proyecto, in some ways, had trans women at the very center of its vision.”\u003c/p>\n\u003cfigure id=\"attachment_13967307\" class=\"wp-caption aligncenter\" style=\"max-width: 604px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967307\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/AtreDivas.jpg\" alt=\"\" width=\"604\" height=\"448\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/AtreDivas.jpg 604w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/AtreDivas-160x119.jpg 160w\" sizes=\"auto, (max-width: 604px) 100vw, 604px\">\u003cfigcaption class=\"wp-caption-text\">Las AtreDivas perform in the early ’90s. \u003ccite>(Wikimedia Commons)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>An old friend of León’s, legendary drag performer Adela Vázquez, soon joined PCPV, where they both ran the group’s AtreDivas collective (a play on words that combines “daring” and “divas”), that offered sewing and classes for trans Latinas. Las AtreDivas performed all over the Bay Area — including at Esta Noche — educating their audiences about HIV and safe sex while lip syncing until the early hours of the morning.\u003c/p>\n\u003cp>“What worked well for Proyecto was that there was a clear vision,” says León. “Through art, we could bring people together to create things, who wanted to design a shirt or write a poem … and that way make sure that no one had to talk about AIDS by themselves.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=kDsPB8IfPzY\u003c/p>\n\u003ch2>‘Hablar del VIH es hablar de la vida’\u003c/h2>\n\u003cp>In 2005, PCPV transformed into \u003ca href=\"https://ellaparatranslatinas.org/\">El/La Para TransLatinas\u003c/a>, a nonprofit that focuses on serving immigrant trans women. After living with HIV for over a decade, Teresita La Campesina died in 2002. And more recently, \u003ca href=\"https://www.kqed.org/arts/13967317/remembering-adela-vazquez-beloved-trans-activist-and-performer\">Adela Vázquez\u003c/a> passed away from a heart attack at 66 years old last October. But the HIV work that came out from 16th Street during the height of the crisis is still felt both in the Mission District and among public health experts.\u003c/p>\n\u003cp>Only a few blocks away from where Esta Noche and PCPV used to be is Mission Neighborhood Health Center (MNHC), which serves thousands of families, most of them Spanish-speaking immigrants. In 1989, MNHC opened Clínica Esperanza, the first bilingual HIV clinic in the city, offering both medical services and support groups. Tina Aguirre helped design the clinic’s original programming, and Rafael Díaz’s research became the foundation for an intervention program for Spanish-speaking gay and bisexual men: Hermanos de Luna y Sol, which continues to operate after 30 years.\u003c/p>\n\u003cfigure id=\"attachment_13936482\" class=\"wp-caption aligncenter\" style=\"max-width: 1456px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936482\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Photo-by-Freddie-Niem.png\" alt=\"Flyer with event info, black text on cream paper, photos of three storytellers at top of page\" width=\"1456\" height=\"1928\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Photo-by-Freddie-Niem.png 1456w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Photo-by-Freddie-Niem-800x1059.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Photo-by-Freddie-Niem-1020x1351.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Photo-by-Freddie-Niem-160x212.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Photo-by-Freddie-Niem-768x1017.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Photo-by-Freddie-Niem-1160x1536.png 1160w\" sizes=\"auto, (max-width: 1456px) 100vw, 1456px\">\u003cfigcaption class=\"wp-caption-text\">A 1997 flyer by Laylani Wong (photo by Freddie Niems) for Adela Vázquez, Tamara Ching and Connie Amarathithada’s live storytelling event promoting safe sex. \u003ccite>(Courtesy Adela Vázquez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Many of the men at Hermanos de Luna y Sol are living in the U.S. by themselves after being rejected by their biological families back in their countries of origin, says César Monroy, HIV and Prevention Wellness Manager at MNHC, who also runs the Hermanos de Luna y Sol meetings.\u003c/p>\n\u003cp>“In our countries, we don’t really have the chance to talk about our personal things … which sometimes makes us believe that no one else has experienced what we’re going through,” he says.\u003c/p>\n\u003cp>“If you’re worried about paying rent or not having a job, we’ll talk about that … as these are factors that may push you to make risky decisions,” he adds. “Hablar del VIH es hablar de la vida.” — “Talking about HIV is talking about life.”\u003c/p>\n\u003cp>At the height of the COVID-19 pandemic, public health experts in San Francisco partnered with community members to create a prevention and treatment strategy for the city’s Latino population that took into account unique cultural factors. Researchers with UCSF’s Unidos en Salud initiative confirmed that their COVID-19 strategy was partly informed by the impact of HIV/AIDS among the Latino community.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“We don’t have to imagine that this is the first time the community has ever faced oppression or exclusion,” says Aguirre, thinking back to what they learned from Teresita La Campesina and the other queens that formed their chosen family during those nights at Esta Noche. “We were not the first, and not only that, we had a lot to learn from people who have already been there.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>\u003cem>Editor’s note:\u003c/em>\u003c/strong>\u003cem> This story is part of ‘\u003ca href=\"https://www.kqed.org/transhistory\">Trans Bay: A History of San Francisco’s Gender-Diverse Community\u003c/a>.’ From June 9–19, we’re publishing stories about transgender artists and activists who shaped culture from the 1890s to today.\u003c/em>\u003c/p>\n\u003cp>When it opened its doors in 1979, \u003ca href=\"https://www.kqed.org/pop/11250/esta-noche-to-close-nothing-is-sacred-san-francisco\">Esta Noche\u003c/a> became a gathering place for queer Latinos in the Mission. As the sun went down in the San Francisco neighborhood, the small dive bar exploded with fabric and sequin. DJs spun Juan Gabriel records alongside house beats, and reinas cackled and cotorreaban on the street outside.\u003c/p>\n\u003cp>“It was a tumultuous and fabulous time. There was lots of loss and chaos,” says Tina Valentín Aguirre, who first came to 16th Street as a Stanford student in 1987 to meet other young, queer Latinos. Since Aguirre hadn’t turned 21 yet, they ended up making friends with folks hanging outside the bar.\u003c/p>\n\u003cp>“I quickly met some people who were doing HIV outreach there, distributing condoms, lube and bleach,” says Aguirre, now an artist and the director of the \u003ca href=\"https://castrolgbtq.org/cultural-districts/\">Castro LGBTQ Cultural District\u003c/a>. By then, HIV had already infected thousands of people in San Francisco, most of them gay men and trans women. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Even though we’re talking about people with AIDS dying, there were some traditional Latino organizations that did not feel comfortable in talking about queer and trans issues,” says Aguirre. In 1994, they partnered with filmmaker Augie Robles on the documentary \u003ca href=\"https://vimeo.com/342185138\">\u003cem>¡Viva 16!\u003c/em>\u003c/a>, which captures the places and people that made up queer Latino nightlife in the Mission District of the ’80s and ’90s.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Meanwhile, in the Castro, “there were white-serving, mostly gay organizations that really didn’t have any idea how to work with queer and transgender people,” Aguirre adds.\u003c/p>\n\u003cp>So on the corner of 16th and Valencia Streets — the place geographically and culturally between the “straight,” Latino Mission and the gay, predominantly white Castro — is where Aguirre met some of the people that shaped the community’s unique response to the HIV/AIDS crisis. These artists and organizers came together to create programs and spaces that centered the needs of queer and trans Latinos, a new way of thinking that would shape public health efforts for decades to come.\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/_rQV2hmCUN8'\n title='//www.youtube.com/embed/_rQV2hmCUN8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>One influential artist in the 16th Street scene was the dynamic and charismatic ranchera singer Teresita La Campesina. “Campesina” in Spanish can translate to “farmworker,” but as Teresita once told Aguirre in a \u003ca href=\"https://vimeo.com/516881521\">videotaped interview\u003c/a> years later: “There’s nothing about me that’s a farmworker. They call me ‘Campesina’ because I sing music from the ranch, from the country.”\u003c/p>\n\u003cp>With a voice powerful enough to command even the rowdiest party, Teresita sang ballads of heartbreak, longing and desire all over the bars of 16th Street. “Once I was able to go into the bars, she would try to take my drink — she would try to take my man,” Aguirre recalls.\u003c/p>\n\u003cp>The two would go on to form a profound connection: In Aguirre’s chosen family, Teresita became their mother. “Us younger queens helped her with makeup and getting dressed,” Aguirre says. In turn, “she helped us understand how to take care of ourselves and how to be safe with some of the men who just wanted to have a good time.”\u003c/p>\n\u003cp>After contracting HIV in the early ’90s, Teresita became more vocal about HIV/AIDS, talking about prevention and available treatment during her performances. “We needed her as one of our elders to show up and tell her story,” Aguirre says. “She was a sex worker on top of being a singer and later an AIDS activist. … Her story was a political story.”\u003c/p>\n\u003ch2>Better understanding safe sex\u003c/h2>\n\u003cp>Throughout the ’90s, the HIV/AIDS crisis intensified among San Francisco’s queer Latino community. The city already had one of the highest rates of people living with AIDS in the country, and among different demographic groups nationwide, Latinos had some of the highest rates of HIV infection.\u003c/p>\n\u003cp>It was during this moment that Rafael Díaz, a developmental psychologist and clinical social worker, began to interview gay and bisexual Latino men living in San Francisco to better understand how this group was thinking about HIV and safe sex. He found that while many of these men knew that safe sex practices — like using a condom — can help prevent an HIV infection, they were still knowingly putting themselves at risk.\u003c/p>\n\u003cp>“Our safer sex intentions are too often weakened by strong factors in our culture such as machismo, homophobia, poverty, racism and sexual silence, to name a few,” Díaz later wrote in his 1998 book, \u003ca href=\"https://www.routledge.com/Latino-Gay-Men-and-HIV-Culture-Sexuality-and-Risk-Behavior/Diaz/p/book/9780415913881/\">\u003cem>Latino Gay Men and HIV: Culture, Sexuality and Risk Behavior\u003c/em>\u003c/a>. In order to better prevent and educate about HIV, care providers would have to take into account these cultural factors, he argued.\u003c/p>\n\u003cfigure id=\"attachment_13977383\" class=\"wp-caption aligncenter\" style=\"max-width: 1614px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13977383\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/IMG_20250512_165049-1.jpg\" alt=\"\" width=\"1614\" height=\"2048\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/IMG_20250512_165049-1.jpg 1614w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/IMG_20250512_165049-1-160x203.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/IMG_20250512_165049-1-768x975.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/IMG_20250512_165049-1-1211x1536.jpg 1211w\" sizes=\"auto, (max-width: 1614px) 100vw, 1614px\">\u003cfigcaption class=\"wp-caption-text\">Héctor León performed as La Condonera in the ’90s as part of the drag troupe Las AtreDivas, and handed out condoms to whoever needed them on the street. \u003ccite>(Courtesy of Héctor León)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of the people that Díaz spoke to as part of his research was artist and community organizer Héctor León, who in 1989 moved from Mexico City to San Francisco. Before coming to the U.S., León was already involved in HIV/AIDS activism as a member of \u003ca href=\"https://www.zocalopublicsquare.org/mexico-city-gay-pride-marches/\">Frente Homosexual de Acción Revolucionaria\u003c/a>, the collective that organized Mexico’s first-ever gay pride march in 1979. Once in San Francisco, León quickly got involved in volunteering efforts to care for those living with AIDS, and prevention work with Community United in Response to AIDS/SIDA (CURAS).\u003c/p>\n\u003cp>“[Díaz’s research] confirmed what some of us already knew. … One of the reasons that people were more vulnerable to contracting HIV is because they were alone and didn’t have a support network,” León says in Spanish. In the Mission District in the ’80s, León saw how transgender people and sex workers faced intense rejection from the rest of the community and had very limited access to healthcare services.\u003c/p>\n\u003cp>In response, León decided to put on a wig and a dress, and pick up a briefcase. They became “La Condonera,” a persona that walked the streets of the Mission District at night passing out condoms to the transgender sex workers and anyone else who might need them. “The girls didn’t like that a gay boy showed up to pass out condoms,” they explain. “But if I dressed up, it would be easier for me to approach them.”\u003c/p>\n\u003cp>La Condonera would also visit bars and clubs holding up their briefcase, a reinterpretation of a 1920s cigar girl. “At the time, you had to be discreet — even when talking about condoms,” they say. “So I would set up the condoms as if they were chocolates and would even ask people, ‘Would you like a chocolate?’”\u003c/p>\n\u003cp>“People would always welcome La Condonera,” León adds.\u003c/p>\n\u003cfigure id=\"attachment_13977385\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13977385\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/glbths_GLBT-EPH_NTFAP_PCSPV_blackandwhiteparty.jpg\" alt=\"\" width=\"2000\" height=\"2545\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/glbths_GLBT-EPH_NTFAP_PCSPV_blackandwhiteparty.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/glbths_GLBT-EPH_NTFAP_PCSPV_blackandwhiteparty-160x204.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/glbths_GLBT-EPH_NTFAP_PCSPV_blackandwhiteparty-768x977.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/glbths_GLBT-EPH_NTFAP_PCSPV_blackandwhiteparty-1207x1536.jpg 1207w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/glbths_GLBT-EPH_NTFAP_PCSPV_blackandwhiteparty-1609x2048.jpg 1609w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A flyer from Proyecto ContraSIDa Por Vida. Ephemera collection, National Task Force on AIDS Prevention. \u003ccite>(Courtesy of Gay, Lesbian, Bisexual, Transgender Historical Society)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Different cuerpos, different deseos, different culturas’\u003c/h2>\n\u003cp>In 1993, León joined forces with legendary lesbian activist and DJ Diane Félix, National Task Force on AIDS Prevention director Reggie Williams, organizer Jesse Johnson and other community leaders to start Proyecto ContraSIDA Por Vida (PCPV) — Project Against AIDS and For Life. From the beginning, PCPV sought to provide HIV services that responded to the cultural and linguistic diversity of the Mission District.\u003c/p>\n\u003cp>First located at the corner of 16th and Mission Streets, PCPV was a space where anyone could come in and pick up condoms, and a hub for extensive artistic, athletic and cultural expression. “Las Diablitas,” a soccer team for young queer women; a hiking and meditation group for HIV-positive gay Latino men called “¡Adelante Caminante!”; “CuidaTe-Ta,” a monthly support group “for hermanas of all ethnic backgrounds and orientations.”\u003c/p>\n\u003cfigure id=\"attachment_13977384\" class=\"wp-caption aligncenter\" style=\"max-width: 2311px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13977384\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/glbths_GLBT-EPH_NTFAP_PCSPV_card2.jpg\" alt=\"\" width=\"2311\" height=\"1696\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/glbths_GLBT-EPH_NTFAP_PCSPV_card2.jpg 2311w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/glbths_GLBT-EPH_NTFAP_PCSPV_card2-2000x1468.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/glbths_GLBT-EPH_NTFAP_PCSPV_card2-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/glbths_GLBT-EPH_NTFAP_PCSPV_card2-768x564.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/glbths_GLBT-EPH_NTFAP_PCSPV_card2-1536x1127.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/glbths_GLBT-EPH_NTFAP_PCSPV_card2-2048x1503.jpg 2048w\" sizes=\"auto, (max-width: 2311px) 100vw, 2311px\">\u003cfigcaption class=\"wp-caption-text\">A flyer from Proyecto ContraSIDA Por Vida. Ephemera collection, National Task Force on AIDS Prevention. \u003ccite>(Courtesy of Gay, Lesbian, Bisexual, Transgender Historical Society)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As he continued his research on HIV/AIDS prevention through the 1990s, Rafael Díaz confirmed that discrimination and sexual silence were putting the Latino community at greater risk of infection. PCPV’s mission statement spoke directly to these factors: “Different nombres, different cuerpos, different deseos, different culturas coming together to form a community dedicated to living, to fighting the spread of HIV disease and the other unnatural disasters of racism, sexism, homophobia, xenophobia and poverty,” declared the group’s mission statement.\u003c/p>\n\u003cp>“Proyecto challenged the assumption that everybody wanted to live,” says Juana María Rodríguez, professor of ethnic studies and performance studies at UC Berkeley. While working on her dissertation in the mid-’90s, Rodríguez started going to PCPV events, which were completely different from any type of HIV work she had seen before. “Creativity and art are life-affirming. … This gave these young queers a reason to want to take care of themselves.”\u003c/p>\n\u003cp>PCPV was also different from other organizations because of who led the programming, Rodríguez points out. “Many of the most vulnerable members of the community were immigrant trans women,” she says. “Proyecto, in some ways, had trans women at the very center of its vision.”\u003c/p>\n\u003cfigure id=\"attachment_13967307\" class=\"wp-caption aligncenter\" style=\"max-width: 604px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967307\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/AtreDivas.jpg\" alt=\"\" width=\"604\" height=\"448\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/AtreDivas.jpg 604w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/AtreDivas-160x119.jpg 160w\" sizes=\"auto, (max-width: 604px) 100vw, 604px\">\u003cfigcaption class=\"wp-caption-text\">Las AtreDivas perform in the early ’90s. \u003ccite>(Wikimedia Commons)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>An old friend of León’s, legendary drag performer Adela Vázquez, soon joined PCPV, where they both ran the group’s AtreDivas collective (a play on words that combines “daring” and “divas”), that offered sewing and classes for trans Latinas. Las AtreDivas performed all over the Bay Area — including at Esta Noche — educating their audiences about HIV and safe sex while lip syncing until the early hours of the morning.\u003c/p>\n\u003cp>“What worked well for Proyecto was that there was a clear vision,” says León. “Through art, we could bring people together to create things, who wanted to design a shirt or write a poem … and that way make sure that no one had to talk about AIDS by themselves.”\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/kDsPB8IfPzY'\n title='//www.youtube.com/embed/kDsPB8IfPzY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>‘Hablar del VIH es hablar de la vida’\u003c/h2>\n\u003cp>In 2005, PCPV transformed into \u003ca href=\"https://ellaparatranslatinas.org/\">El/La Para TransLatinas\u003c/a>, a nonprofit that focuses on serving immigrant trans women. After living with HIV for over a decade, Teresita La Campesina died in 2002. And more recently, \u003ca href=\"https://www.kqed.org/arts/13967317/remembering-adela-vazquez-beloved-trans-activist-and-performer\">Adela Vázquez\u003c/a> passed away from a heart attack at 66 years old last October. But the HIV work that came out from 16th Street during the height of the crisis is still felt both in the Mission District and among public health experts.\u003c/p>\n\u003cp>Only a few blocks away from where Esta Noche and PCPV used to be is Mission Neighborhood Health Center (MNHC), which serves thousands of families, most of them Spanish-speaking immigrants. In 1989, MNHC opened Clínica Esperanza, the first bilingual HIV clinic in the city, offering both medical services and support groups. Tina Aguirre helped design the clinic’s original programming, and Rafael Díaz’s research became the foundation for an intervention program for Spanish-speaking gay and bisexual men: Hermanos de Luna y Sol, which continues to operate after 30 years.\u003c/p>\n\u003cfigure id=\"attachment_13936482\" class=\"wp-caption aligncenter\" style=\"max-width: 1456px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936482\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Photo-by-Freddie-Niem.png\" alt=\"Flyer with event info, black text on cream paper, photos of three storytellers at top of page\" width=\"1456\" height=\"1928\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Photo-by-Freddie-Niem.png 1456w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Photo-by-Freddie-Niem-800x1059.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Photo-by-Freddie-Niem-1020x1351.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Photo-by-Freddie-Niem-160x212.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Photo-by-Freddie-Niem-768x1017.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Photo-by-Freddie-Niem-1160x1536.png 1160w\" sizes=\"auto, (max-width: 1456px) 100vw, 1456px\">\u003cfigcaption class=\"wp-caption-text\">A 1997 flyer by Laylani Wong (photo by Freddie Niems) for Adela Vázquez, Tamara Ching and Connie Amarathithada’s live storytelling event promoting safe sex. \u003ccite>(Courtesy Adela Vázquez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Many of the men at Hermanos de Luna y Sol are living in the U.S. by themselves after being rejected by their biological families back in their countries of origin, says César Monroy, HIV and Prevention Wellness Manager at MNHC, who also runs the Hermanos de Luna y Sol meetings.\u003c/p>\n\u003cp>“In our countries, we don’t really have the chance to talk about our personal things … which sometimes makes us believe that no one else has experienced what we’re going through,” he says.\u003c/p>\n\u003cp>“If you’re worried about paying rent or not having a job, we’ll talk about that … as these are factors that may push you to make risky decisions,” he adds. “Hablar del VIH es hablar de la vida.” — “Talking about HIV is talking about life.”\u003c/p>\n\u003cp>At the height of the COVID-19 pandemic, public health experts in San Francisco partnered with community members to create a prevention and treatment strategy for the city’s Latino population that took into account unique cultural factors. Researchers with UCSF’s Unidos en Salud initiative confirmed that their COVID-19 strategy was partly informed by the impact of HIV/AIDS among the Latino community.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We don’t have to imagine that this is the first time the community has ever faced oppression or exclusion,” says Aguirre, thinking back to what they learned from Teresita La Campesina and the other queens that formed their chosen family during those nights at Esta Noche. “We were not the first, and not only that, we had a lot to learn from people who have already been there.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The clock is ticking for \u003ca href=\"https://www.kqed.org/arts/13975081/art-school-degrees-bay-area-closures\">student artists\u003c/a> in San Francisco to submit their work for a major \u003ca href=\"https://www.kqed.org/arts/tag/mission-district\">Mission District\u003c/a> art show held in May and June.\u003c/p>\n\u003cp>For the past two weeks, the \u003ca href=\"https://drawingroominc.org/\">Drawing Room Annex\u003c/a> at 599 Valencia Street has been accepting submissions for its second-ever \u003cem>High School Art Show\u003c/em> in San Francisco. The deadline for submissions is this Sunday, April 27, at 6 p.m. Those unable to deliver art in person may also do so online via \u003ca href=\"https://drawingroominc.org/pages/the-high-school-art-show-2025?mc_cid=08997340b7&mc_eid=9f3df90253\">the Annex’s website\u003c/a>. The theme of the show is \u003cem>We Are/I Am: Art and Identity\u003c/em>.\u003c/p>\n\u003cp>[aside postid='arts_13972197']“We encourage students to submit a piece of work that best represents them,” the Annex states on its submissions page. “We have a very large space to fill with visual art, as well as space to host live performances in music and poetry/spoken word. We want people to see, hear and experience what you are creating!”\u003c/p>\n\u003cp>Photography, video and digital artworks are being accepted, in addition to more traditional formats like painting and sculpture. Members of the gallery will also be on hand to assist students with matting, framing and other art prep. Artists are asked to submit one piece of art only.\u003c/p>\n\u003cp>The Drawing Room Annex’s previous \u003cem>High School Art Show\u003c/em> took place in 2022, and exhibited the work of over 350 students from over 20 San Francisco schools.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=LJBc3Ic7mmo\u003c/p>\n\u003cp>This year’s opening reception will take place on May 3 from 4-9 p.m., and the exhibition will run through June 15, 2025.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Annex emphasizes to students: “We want to share this space with you and provide an opportunity to for you to show your artwork and creativity. This exhibition will demonstrate the importance of art in our daily lives and its critical role for teenagers — especially now.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The clock is ticking for \u003ca href=\"https://www.kqed.org/arts/13975081/art-school-degrees-bay-area-closures\">student artists\u003c/a> in San Francisco to submit their work for a major \u003ca href=\"https://www.kqed.org/arts/tag/mission-district\">Mission District\u003c/a> art show held in May and June.\u003c/p>\n\u003cp>For the past two weeks, the \u003ca href=\"https://drawingroominc.org/\">Drawing Room Annex\u003c/a> at 599 Valencia Street has been accepting submissions for its second-ever \u003cem>High School Art Show\u003c/em> in San Francisco. The deadline for submissions is this Sunday, April 27, at 6 p.m. Those unable to deliver art in person may also do so online via \u003ca href=\"https://drawingroominc.org/pages/the-high-school-art-show-2025?mc_cid=08997340b7&mc_eid=9f3df90253\">the Annex’s website\u003c/a>. The theme of the show is \u003cem>We Are/I Am: Art and Identity\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“We encourage students to submit a piece of work that best represents them,” the Annex states on its submissions page. “We have a very large space to fill with visual art, as well as space to host live performances in music and poetry/spoken word. We want people to see, hear and experience what you are creating!”\u003c/p>\n\u003cp>Photography, video and digital artworks are being accepted, in addition to more traditional formats like painting and sculpture. Members of the gallery will also be on hand to assist students with matting, framing and other art prep. Artists are asked to submit one piece of art only.\u003c/p>\n\u003cp>The Drawing Room Annex’s previous \u003cem>High School Art Show\u003c/em> took place in 2022, and exhibited the work of over 350 students from over 20 San Francisco schools.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The nonprofit group that operates the \u003ca href=\"https://www.kqed.org/arts/tag/roxie-theater\">Roxie Theater\u003c/a>, the 112-year-old theater which for a half-century has shown arthouse and independent films in San Francisco, is on the verge of buying its \u003ca href=\"https://www.kqed.org/arts/tag/mission-district\">Mission District\u003c/a> building.\u003c/p>\n\u003cp>The Roxie entered into an agreement last year with its landlord of 45 years to purchase the 16th Street property, a sale which is expected to close in 2025. The sale would include the theater’s main auditorium, its smaller Little Roxie theater two doors down, and a space between the two currently home to cocktail bar Dalva.\u003c/p>\n\u003cp>“Nonprofits owning their own space is so critical to their sustainability. And I think we need a story of hope right now, for San Francisco, and for arts and culture,” said the Roxie’s executive director, Lex Sloan.\u003c/p>\n\u003cfigure id=\"attachment_13974550\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13974550\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Big-Roxie-empty-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1708\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Big-Roxie-empty-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Big-Roxie-empty-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Big-Roxie-empty-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Big-Roxie-empty-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Big-Roxie-empty-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Big-Roxie-empty-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Big-Roxie-empty-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Big-Roxie-empty-1920x1281.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">The auditorium at the Roxie Theater. \u003ccite>(Courtesy Roxie Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sloan said discussions between the Roxie and the owners about a potential sale have been ongoing for years. In 2022, the \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco-arts-commission\">San Francisco Arts Commission\u003c/a> awarded the Roxie a $50,000 grant to create and implement a fundraising campaign toward the purchase.\u003c/p>\n\u003cp>That campaign’s “silent phase” has already raised nearly $5.5 million of the Roxie’s $7 million goal, with most coming from large donors, including a leading gift from the \u003ca href=\"https://www.kqed.org/arts/tag/rainin-foundation\">Kenneth Rainin Foundation\u003c/a>. Now, the Roxie is reaching out to the public to close the $1.5 million gap.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Sloan declined to reveal the purchase price for the property, although she conceded that it is lower than $7 million. The higher fundraising goal, she explained, will provide a comfortable pad for the future, and allow the theater to address deferred maintenance and expand its programming options.\u003c/p>\n\u003cfigure id=\"attachment_13974547\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13974547\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Old-Roxie-exterior-scaled.jpeg\" alt=\"\" width=\"2560\" height=\"1845\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Old-Roxie-exterior-scaled.jpeg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Old-Roxie-exterior-800x577.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Old-Roxie-exterior-1020x735.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Old-Roxie-exterior-160x115.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Old-Roxie-exterior-768x554.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Old-Roxie-exterior-1536x1107.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Old-Roxie-exterior-2048x1476.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Old-Roxie-exterior-1920x1384.jpeg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">The Roxie Theater in the mid-19th century. \u003ccite>(Courtesy Roxie Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The theater currently starts most screenings at 6 p.m., Sloan said, and has slowly begun adding earlier shows, as well as thinking about off-site satellite events. Acknowledging that it may be a “dream,” Sloan even suggested: “What if there was a rooftop cinema?”\u003c/p>\n\u003cp>One thing the theater cannot do is expand physically beyond its current footprint. Sloan said there were no plans to knock down any walls, or take over the existing Dalva space. As part of the sale, the Roxie will become Dalva’s landlords.\u003c/p>\n\u003cp>The property is owned by the Abecassis family, whose patriarch Samuel Abecassis bought it in 1989. Samuel died in 2000, and the building has been owned ever since by the family, who understand the Roxie’s importance to the neighborhood, Sloan said.\u003c/p>\n\u003cfigure id=\"attachment_13974548\" class=\"wp-caption aligncenter\" style=\"max-width: 1708px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13974548\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Academy-Award-winner-Ryusuke-Hamaguchi-with-DRIVE-MY-CAR-in-2022-photo-credit-Gene-X-Hwang-scaled.jpg\" alt=\"\" width=\"1708\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Academy-Award-winner-Ryusuke-Hamaguchi-with-DRIVE-MY-CAR-in-2022-photo-credit-Gene-X-Hwang-scaled.jpg 1708w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Academy-Award-winner-Ryusuke-Hamaguchi-with-DRIVE-MY-CAR-in-2022-photo-credit-Gene-X-Hwang-800x1199.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Academy-Award-winner-Ryusuke-Hamaguchi-with-DRIVE-MY-CAR-in-2022-photo-credit-Gene-X-Hwang-1020x1529.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Academy-Award-winner-Ryusuke-Hamaguchi-with-DRIVE-MY-CAR-in-2022-photo-credit-Gene-X-Hwang-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Academy-Award-winner-Ryusuke-Hamaguchi-with-DRIVE-MY-CAR-in-2022-photo-credit-Gene-X-Hwang-768x1151.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Academy-Award-winner-Ryusuke-Hamaguchi-with-DRIVE-MY-CAR-in-2022-photo-credit-Gene-X-Hwang-1025x1536.jpg 1025w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Academy-Award-winner-Ryusuke-Hamaguchi-with-DRIVE-MY-CAR-in-2022-photo-credit-Gene-X-Hwang-1366x2048.jpg 1366w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Academy-Award-winner-Ryusuke-Hamaguchi-with-DRIVE-MY-CAR-in-2022-photo-credit-Gene-X-Hwang-1920x2879.jpg 1920w\" sizes=\"auto, (max-width: 1708px) 100vw, 1708px\">\u003cfigcaption class=\"wp-caption-text\">Academy Award winner Ryusuke Hamaguchi appears at a Roxie Theater screening of ‘Drive My Car’ in 2022. \u003ccite>(Gene X. Hwang)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sloan called the Abecassis family “incredible partners throughout the last 40 years,” noting that their rent was reduced by 50% when the theater was forced to close due to the COVID pandemic. (The Roxie also took that time to \u003ca href=\"https://www.kqed.org/arts/13899598/bay-area-historic-movie-theaters-move-towards-greater-accessibility\">upgrade its disability access\u003c/a>.)\u003c/p>\n\u003cp>Over the years, the Roxie has hosted a who’s who of figures from the film world, including Akira Kurosawa, Barry Jenkins, Errol Morris and film critics Gene Siskel and Roger Ebert. On April 21, body horror director David Cronenberg is a special guest.\u003c/p>\n\u003cp>And while movie theaters continue to close nationwide, support for the Roxie has been strong, Sloan said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We’ve certainly seen, in the last year, audiences returning to the theater in ways that we didn’t even see before COVID. It gives me hope, every day, when I walk out and see the line around the block for a film.”\u003c/p>\n\n",
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"excerpt": "The arthouse theater has launched a fundraising campaign to stay in the Mission District permanently.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The nonprofit group that operates the \u003ca href=\"https://www.kqed.org/arts/tag/roxie-theater\">Roxie Theater\u003c/a>, the 112-year-old theater which for a half-century has shown arthouse and independent films in San Francisco, is on the verge of buying its \u003ca href=\"https://www.kqed.org/arts/tag/mission-district\">Mission District\u003c/a> building.\u003c/p>\n\u003cp>The Roxie entered into an agreement last year with its landlord of 45 years to purchase the 16th Street property, a sale which is expected to close in 2025. The sale would include the theater’s main auditorium, its smaller Little Roxie theater two doors down, and a space between the two currently home to cocktail bar Dalva.\u003c/p>\n\u003cp>“Nonprofits owning their own space is so critical to their sustainability. And I think we need a story of hope right now, for San Francisco, and for arts and culture,” said the Roxie’s executive director, Lex Sloan.\u003c/p>\n\u003cfigure id=\"attachment_13974550\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13974550\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Big-Roxie-empty-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1708\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Big-Roxie-empty-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Big-Roxie-empty-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Big-Roxie-empty-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Big-Roxie-empty-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Big-Roxie-empty-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Big-Roxie-empty-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Big-Roxie-empty-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Big-Roxie-empty-1920x1281.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">The auditorium at the Roxie Theater. \u003ccite>(Courtesy Roxie Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sloan said discussions between the Roxie and the owners about a potential sale have been ongoing for years. In 2022, the \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco-arts-commission\">San Francisco Arts Commission\u003c/a> awarded the Roxie a $50,000 grant to create and implement a fundraising campaign toward the purchase.\u003c/p>\n\u003cp>That campaign’s “silent phase” has already raised nearly $5.5 million of the Roxie’s $7 million goal, with most coming from large donors, including a leading gift from the \u003ca href=\"https://www.kqed.org/arts/tag/rainin-foundation\">Kenneth Rainin Foundation\u003c/a>. Now, the Roxie is reaching out to the public to close the $1.5 million gap.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Sloan declined to reveal the purchase price for the property, although she conceded that it is lower than $7 million. The higher fundraising goal, she explained, will provide a comfortable pad for the future, and allow the theater to address deferred maintenance and expand its programming options.\u003c/p>\n\u003cfigure id=\"attachment_13974547\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13974547\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Old-Roxie-exterior-scaled.jpeg\" alt=\"\" width=\"2560\" height=\"1845\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Old-Roxie-exterior-scaled.jpeg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Old-Roxie-exterior-800x577.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Old-Roxie-exterior-1020x735.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Old-Roxie-exterior-160x115.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Old-Roxie-exterior-768x554.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Old-Roxie-exterior-1536x1107.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Old-Roxie-exterior-2048x1476.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Old-Roxie-exterior-1920x1384.jpeg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">The Roxie Theater in the mid-19th century. \u003ccite>(Courtesy Roxie Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The theater currently starts most screenings at 6 p.m., Sloan said, and has slowly begun adding earlier shows, as well as thinking about off-site satellite events. Acknowledging that it may be a “dream,” Sloan even suggested: “What if there was a rooftop cinema?”\u003c/p>\n\u003cp>One thing the theater cannot do is expand physically beyond its current footprint. Sloan said there were no plans to knock down any walls, or take over the existing Dalva space. As part of the sale, the Roxie will become Dalva’s landlords.\u003c/p>\n\u003cp>The property is owned by the Abecassis family, whose patriarch Samuel Abecassis bought it in 1989. Samuel died in 2000, and the building has been owned ever since by the family, who understand the Roxie’s importance to the neighborhood, Sloan said.\u003c/p>\n\u003cfigure id=\"attachment_13974548\" class=\"wp-caption aligncenter\" style=\"max-width: 1708px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13974548\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Academy-Award-winner-Ryusuke-Hamaguchi-with-DRIVE-MY-CAR-in-2022-photo-credit-Gene-X-Hwang-scaled.jpg\" alt=\"\" width=\"1708\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Academy-Award-winner-Ryusuke-Hamaguchi-with-DRIVE-MY-CAR-in-2022-photo-credit-Gene-X-Hwang-scaled.jpg 1708w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Academy-Award-winner-Ryusuke-Hamaguchi-with-DRIVE-MY-CAR-in-2022-photo-credit-Gene-X-Hwang-800x1199.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Academy-Award-winner-Ryusuke-Hamaguchi-with-DRIVE-MY-CAR-in-2022-photo-credit-Gene-X-Hwang-1020x1529.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Academy-Award-winner-Ryusuke-Hamaguchi-with-DRIVE-MY-CAR-in-2022-photo-credit-Gene-X-Hwang-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Academy-Award-winner-Ryusuke-Hamaguchi-with-DRIVE-MY-CAR-in-2022-photo-credit-Gene-X-Hwang-768x1151.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Academy-Award-winner-Ryusuke-Hamaguchi-with-DRIVE-MY-CAR-in-2022-photo-credit-Gene-X-Hwang-1025x1536.jpg 1025w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Academy-Award-winner-Ryusuke-Hamaguchi-with-DRIVE-MY-CAR-in-2022-photo-credit-Gene-X-Hwang-1366x2048.jpg 1366w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Academy-Award-winner-Ryusuke-Hamaguchi-with-DRIVE-MY-CAR-in-2022-photo-credit-Gene-X-Hwang-1920x2879.jpg 1920w\" sizes=\"auto, (max-width: 1708px) 100vw, 1708px\">\u003cfigcaption class=\"wp-caption-text\">Academy Award winner Ryusuke Hamaguchi appears at a Roxie Theater screening of ‘Drive My Car’ in 2022. \u003ccite>(Gene X. Hwang)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sloan called the Abecassis family “incredible partners throughout the last 40 years,” noting that their rent was reduced by 50% when the theater was forced to close due to the COVID pandemic. (The Roxie also took that time to \u003ca href=\"https://www.kqed.org/arts/13899598/bay-area-historic-movie-theaters-move-towards-greater-accessibility\">upgrade its disability access\u003c/a>.)\u003c/p>\n\u003cp>Over the years, the Roxie has hosted a who’s who of figures from the film world, including Akira Kurosawa, Barry Jenkins, Errol Morris and film critics Gene Siskel and Roger Ebert. On April 21, body horror director David Cronenberg is a special guest.\u003c/p>\n\u003cp>And while movie theaters continue to close nationwide, support for the Roxie has been strong, Sloan said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We’ve certainly seen, in the last year, audiences returning to the theater in ways that we didn’t even see before COVID. It gives me hope, every day, when I walk out and see the line around the block for a film.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_13971556\" class=\"wp-caption aligncenter\" style=\"max-width: 1703px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13971556\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/dsc_8385-scaled.jpg\" alt=\"\" width=\"1703\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/dsc_8385-scaled.jpg 1703w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/dsc_8385-800x1202.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/dsc_8385-1020x1533.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/dsc_8385-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/dsc_8385-768x1154.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/dsc_8385-1022x1536.jpg 1022w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/dsc_8385-1363x2048.jpg 1363w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/dsc_8385-1920x2886.jpg 1920w\" sizes=\"auto, (max-width: 1703px) 100vw, 1703px\">\u003cfigcaption class=\"wp-caption-text\">Lovers Lane block party is a celebration of artists and activists in the Mission. \u003ccite>(Andrew Brobst)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Valentine’s Day is around the corner, and whether or not you have a boo, don’t stress. On Feb. 8, the Mission District’s signature V-Day event, \u003ca href=\"https://loverslanesf.com/\">Lovers Lane\u003c/a>, returns to celebrate love for San Francisco and its creative community.\u003c/p>\n\u003cp>The free block party takes over Balmy Alley, plus 25th Street from Harrison to Treat, for a Saturday of performances, food, artist vendors, family-friendly activities, lowriders, wellness services like massage and other resources.\u003c/p>\n\u003cp>Lovers Lane was founded by artists Lucia Gonzalez Ippolito (whose work is currently featured in SOMArts’ Palestine solidarity show, \u003ca href=\"https://www.kqed.org/arts/13971380/muralist-chris-gazaleh-from-the-river-to-the-bay-somarts\">\u003cem>From the River to the Bay\u003c/em>\u003c/a>) and Alfredo Uribe. Grounded in Chicano culture, the event uplifts the many diverse creatives and community activists of the Mission.\u003c/p>\n\u003cfigure id=\"attachment_13971557\" class=\"wp-caption aligncenter\" style=\"max-width: 1703px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13971557\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/DSC_8258-1-scaled.jpg\" alt='A sign over Balmy Alley in San Francisco reads \"Loves Lane.\" Lowriders are parked at the entrance, and event-goers stroll around.' width=\"1703\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/DSC_8258-1-scaled.jpg 1703w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/DSC_8258-1-800x1202.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/DSC_8258-1-1020x1533.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/DSC_8258-1-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/DSC_8258-1-768x1154.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/DSC_8258-1-1022x1536.jpg 1022w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/DSC_8258-1-1363x2048.jpg 1363w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/DSC_8258-1-1920x2886.jpg 1920w\" sizes=\"auto, (max-width: 1703px) 100vw, 1703px\">\u003cfigcaption class=\"wp-caption-text\">Lowriders at the Lovers Lane block party in 2024. \u003ccite>(Andrew Brobst)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Performances on the main stage include danza azteca from Coyolxauqui SF; an oldies DJ set from Thee Homegirls of Soul; live hip-hop from Sin Fronteras Dreams, Diabbla and Afterthought and the Top Chefs; jazz and soul vocals by Lizzy Paris; live mariachi music from CMC Mariaci; son jarocho and Arabic folk music by Corazón de Cedro; and many more.\u003c/p>\n\u003cp>Artists Pancho Peskador, 357 Peps, Agana, Josue Rojas, B Fitz and Twick will paint live. And the kids zone offers plenty of activities for families, including a hip-hop bounce house, bubbles, live reptiles and face painting. Hungry party-goers, meanwhile, will have over a dozen food vendors to choose from, including Asúkar Palestinian Cuban Fusion, Cocina Nicaborriqua and Hyphy Iceez.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>Lovers Lane takes over Balmy Alley and 25th Street between Harrison and Treat in San Francisco on Saturday, Feb. 8, from 11 a.m.–6 p.m. \u003ca href=\"https://www.instagram.com/loverslanesf/p/DFTKUqIS56X/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13971556\" class=\"wp-caption aligncenter\" style=\"max-width: 1703px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13971556\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/dsc_8385-scaled.jpg\" alt=\"\" width=\"1703\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/dsc_8385-scaled.jpg 1703w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/dsc_8385-800x1202.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/dsc_8385-1020x1533.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/dsc_8385-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/dsc_8385-768x1154.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/dsc_8385-1022x1536.jpg 1022w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/dsc_8385-1363x2048.jpg 1363w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/dsc_8385-1920x2886.jpg 1920w\" sizes=\"auto, (max-width: 1703px) 100vw, 1703px\">\u003cfigcaption class=\"wp-caption-text\">Lovers Lane block party is a celebration of artists and activists in the Mission. \u003ccite>(Andrew Brobst)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Valentine’s Day is around the corner, and whether or not you have a boo, don’t stress. On Feb. 8, the Mission District’s signature V-Day event, \u003ca href=\"https://loverslanesf.com/\">Lovers Lane\u003c/a>, returns to celebrate love for San Francisco and its creative community.\u003c/p>\n\u003cp>The free block party takes over Balmy Alley, plus 25th Street from Harrison to Treat, for a Saturday of performances, food, artist vendors, family-friendly activities, lowriders, wellness services like massage and other resources.\u003c/p>\n\u003cp>Lovers Lane was founded by artists Lucia Gonzalez Ippolito (whose work is currently featured in SOMArts’ Palestine solidarity show, \u003ca href=\"https://www.kqed.org/arts/13971380/muralist-chris-gazaleh-from-the-river-to-the-bay-somarts\">\u003cem>From the River to the Bay\u003c/em>\u003c/a>) and Alfredo Uribe. Grounded in Chicano culture, the event uplifts the many diverse creatives and community activists of the Mission.\u003c/p>\n\u003cfigure id=\"attachment_13971557\" class=\"wp-caption aligncenter\" style=\"max-width: 1703px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13971557\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/DSC_8258-1-scaled.jpg\" alt='A sign over Balmy Alley in San Francisco reads \"Loves Lane.\" Lowriders are parked at the entrance, and event-goers stroll around.' width=\"1703\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/DSC_8258-1-scaled.jpg 1703w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/DSC_8258-1-800x1202.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/DSC_8258-1-1020x1533.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/DSC_8258-1-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/DSC_8258-1-768x1154.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/DSC_8258-1-1022x1536.jpg 1022w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/DSC_8258-1-1363x2048.jpg 1363w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/DSC_8258-1-1920x2886.jpg 1920w\" sizes=\"auto, (max-width: 1703px) 100vw, 1703px\">\u003cfigcaption class=\"wp-caption-text\">Lowriders at the Lovers Lane block party in 2024. \u003ccite>(Andrew Brobst)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Performances on the main stage include danza azteca from Coyolxauqui SF; an oldies DJ set from Thee Homegirls of Soul; live hip-hop from Sin Fronteras Dreams, Diabbla and Afterthought and the Top Chefs; jazz and soul vocals by Lizzy Paris; live mariachi music from CMC Mariaci; son jarocho and Arabic folk music by Corazón de Cedro; and many more.\u003c/p>\n\u003cp>Artists Pancho Peskador, 357 Peps, Agana, Josue Rojas, B Fitz and Twick will paint live. And the kids zone offers plenty of activities for families, including a hip-hop bounce house, bubbles, live reptiles and face painting. Hungry party-goers, meanwhile, will have over a dozen food vendors to choose from, including Asúkar Palestinian Cuban Fusion, Cocina Nicaborriqua and Hyphy Iceez.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>Lovers Lane takes over Balmy Alley and 25th Street between Harrison and Treat in San Francisco on Saturday, Feb. 8, from 11 a.m.–6 p.m. \u003ca href=\"https://www.instagram.com/loverslanesf/p/DFTKUqIS56X/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "chuck-prophet-and-his-cumbia-shoes-wake-the-dead",
"title": "Chuck Prophet’s Music Has Never Felt More Alive",
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"content": "\u003cp>For two weeks in March of 2022, \u003ca href=\"http://www.chuckprophet.com\">Chuck Prophet\u003c/a> didn’t know if he would live to see the end of the year.\u003c/p>\n\u003cp>Days earlier, the musician was gearing up for an international tour — one that had already been rescheduled three times due to COVID. He’d released a full-length in 2020, but hadn’t yet taken it on the road, and the acclaimed San Francisco rocker was excited to get out there.\u003c/p>\n\u003cp>Instead, after a routine checkup, doctors discovered a mass in his upper intestine. “Mr. Prophet, you’re not going anywhere,” he remembers one physician telling him. It was clearly cancer. But determining which kind required a type of scan that Kaiser couldn’t schedule for 12 long days.\u003c/p>\n\u003cp>[aside postID='arts_11428541']“It blindsided me,” says Prophet, 61. While he waited to learn his fate, he turned to music to distract him from fear. He’d been getting into Latin dance music for the last few years, so he listened to a lot of that. And then he wrote a song.\u003c/p>\n\u003cp>Two and a half years later, after surgery, chemotherapy and immunotherapy for stage-four lymphoma, Prophet is in full remission. Sitting at a Mission District coffee shop on a warm October afternoon, he is yet again gearing up for an international tour. “One Lie for Me, One for You,” the song he wrote during that two-week purgatory, is now a tender cowboy lullaby, undercut by both dread and acceptance, with lyrics about plunging into “dangerous waters” ahead.\u003c/p>\n\u003cp>It’s track 8 of 11 on Prophet’s new record \u003cem>Wake the Dead\u003c/em>, an album that drives headlong into the songwriter’s dark night of the soul with an unlikely companion riding shotgun: cumbia.\u003c/p>\n\u003cfigure id=\"attachment_13966904\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/CD4T3830_Credit-Kory-Thibeault-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966904\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/CD4T3830_Credit-Kory-Thibeault-scaled.jpg\" alt=\"a band of six men wearing sunglasses posed for a portrait\" width=\"2560\" height=\"2367\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/CD4T3830_Credit-Kory-Thibeault-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/CD4T3830_Credit-Kory-Thibeault-800x740.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/CD4T3830_Credit-Kory-Thibeault-1020x943.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/CD4T3830_Credit-Kory-Thibeault-160x148.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/CD4T3830_Credit-Kory-Thibeault-768x710.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/CD4T3830_Credit-Kory-Thibeault-1536x1420.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/CD4T3830_Credit-Kory-Thibeault-2048x1894.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/CD4T3830_Credit-Kory-Thibeault-1920x1775.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Chuck Prophet and His Cumbia Shoes includes (left to right) James DePrato, Joaquin Zamudia Garcia, Alejandro Gomez, Chuck Prophet, Vicente Rodriguez and Mario Cortez. \u003ccite>(Kory Thibeault)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The album, out Oct. 25, sees Prophet collaborating with \u003ca href=\"https://qiensavemusic.com/home/\">¿Qiensave?\u003c/a>, a Salinas-based band of brothers whose sound enchanted Prophet when he first heard them back in 2022. As soon as his health allowed, he began driving from his home in the Duboce Triangle to their place near Salinas to jam. Eventually, they all headed into an Oakland studio to record, intermingling with the usual suspects — including Prophet’s wife, keyboardist/vocalist Stephanie Finch — in his longtime band, the Mission Express.\u003c/p>\n\u003cp>The result is an adventurous, soulful project that deftly balances darkness and hope, shot through with the unmistakable energy of a veteran musician having more fun than he has in years. Longtime followers of Prophet’s work (his wide, loyal fanbase includes Bruce Springsteen, Lucinda Williams and Stephen King) will find plenty that’s familiar here. A storyteller at heart, he retains his usual dry wit and wistfulness over warm, jangly guitar, with tinges of rockabilly and surf punk.\u003c/p>\n\u003cp>But from the opening notes of the title track, clave rhythms, accordion and a Farfisa organ announce that this will not be your standard Americana record. “Gonna wake the dead, get ‘em on their feet,” Prophet sings slyly over rhythmic Latin percussion.\u003c/p>\n\u003cp>At the handful of live shows he’s played with this new band (“Chuck Prophet and His Cumbia Shoes”), people do something Prophet hasn’t always seen at his shows. They do get on their feet, immediately, and they dance.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=lmEpztGvPsY\u003c/p>\n\u003ch2>A different musical vocabulary\u003c/h2>\n\u003cp>The first time Prophet really “got” cumbia was around Hardly Strictly Bluegrass weekend, in October 2019. He and a few musicians who were in town for the festival played at the Make Out Room, and afterwards, a DJ started setting up for a staple at the tiny club. It was cumbia night.\u003c/p>\n\u003cp>“Me and the guys and Stephanie were all sitting in one of those Naugahyde booths, we’d stacked our stuff up, and they started playing this music — it was really loud with the subs and bass and everything,” he recalls. His drummer, Vicente Rodriguez, began showing Stephanie some dance moves. “I was watching them, listening to this music, and it was just one of those things, like: \u003cem>This is amazing.\u003c/em>”\u003c/p>\n\u003cp>Stuck at home during the early days of the pandemic, he threw himself into learning about the genre, but it was after his diagnosis that everything converged. He started collecting records, going to shows. He drove to Modesto to see the psych-punk-cumbia outfit \u003ca href=\"https://valleywolf.bandcamp.com/\">Valley Wolf,\u003c/a> and fell in love with the atmosphere.\u003c/p>\n\u003cfigure id=\"attachment_13966944\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241006_203623-1-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966944\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241006_203623-1-scaled.jpg\" alt=\"a band performs onstage in pink and blue lighting\" width=\"2560\" height=\"2258\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241006_203623-1-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241006_203623-1-800x706.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241006_203623-1-1020x900.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241006_203623-1-160x141.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241006_203623-1-768x677.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241006_203623-1-1536x1355.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241006_203623-1-2048x1806.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241006_203623-1-1920x1694.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Chuck Prophet and His Cumbia Shoes perform at the Great American Music Hall on Oct. 6, 2024. \u003ccite>(Daniel Strickland)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The crowd is not just standing there, watching the band,” he says. “They’re not shoegazing. \u003cem>Everyone’s\u003c/em> dancing. They’re partying. It’s Miller time.” Like with punk rock, he says, the hijinks in the crowd are just as lively and important as what’s happening onstage. “It kind of erases the line between the stage and the audience.”\u003c/p>\n\u003cp>Enter ¿Qiensave?, a cumbia urbana group that’s built a following in the West Coast’s Latin music and festival circuit since 2009. Hearing from Prophet was initially a little surprising, says Alejandro “Flaco” Gomez, who plays lead guitar and sings in the band. But Prophet’s curiosity was genuine, and he had an obvious desire to learn. He shared some new songs he’d written, and asked if they wanted to jam.\u003c/p>\n\u003cp>“He’s a man who does his research,” says Gomez, recalling the first few times Prophet drove out to play with the band. “And I appreciated his enthusiasm. He was excited to hear our interpretation of his music, and to bring his songs somewhere they had never been before. I mean, that’s how you innovate.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=edGzfjSBDks\u003c/p>\n\u003cp>A year later, the band was piling into 25th Street Recording in Oakland alongside the Mission Express. Gomez has been a working musician for over a decade; he releases his own music, which blends cumbia and boleros with more modern rock and pop sounds, under the name \u003ca href=\"https://www.flacoeljandro.com/\">Flaco el Jandro\u003c/a>. He’s no stranger to collaboration.\u003c/p>\n\u003cp>But “to have a collaboration where it was two groups of musicians that have never met or interacted, who come from completely different musical worlds and use different musical vocabulary?” says the musician. “That was exciting. I’ve never done anything like that in my life.”\u003c/p>\n\u003ch2>‘Cumbia is for everybody’\u003c/h2>\n\u003cp>It’s a week before his tour kicks off in Seattle, and Prophet is shopping at \u003ca href=\"https://www.kqed.org/arts/13931586/discodelic-brings-latin-vinyl-home-to-the-mission-district\">Discodelic\u003c/a>, the tiny Latin vinyl store on 24th street. He’s brought a list of Latin American psych-rock albums he wants to check out, like \u003cem>Rise of the Melted Eagle\u003c/em>, by Los Tabanos Experience, and \u003cem>Gran Muro de Coma\u003c/em>, by La Iglesia Atomica.\u003c/p>\n\u003cp>“This place is pretty hip,” he murmurs as he thumbs through records, eventually selecting a few to listen to on the store’s turntable. “Not a ton of reissues.”\u003c/p>\n\u003cfigure id=\"attachment_13966693\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241015-CHUCKPROPHET-12-BL-KQED.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966693\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241015-CHUCKPROPHET-12-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241015-CHUCKPROPHET-12-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241015-CHUCKPROPHET-12-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241015-CHUCKPROPHET-12-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241015-CHUCKPROPHET-12-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241015-CHUCKPROPHET-12-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241015-CHUCKPROPHET-12-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241015-CHUCKPROPHET-12-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Musician Chuck Prophet shops for records at Discodelic in the Mission District of San Francisco on Oct. 15, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There is, of course, an elephant in the record shop: the question of when appreciation becomes appropriation.\u003c/p>\n\u003cp>¿Qiensave?’s Gomez says he knows what it’s like to feel tokenized in the music industry. But with Prophet, it’s been an ongoing conversation filled with respect: “To me, cumbia is for everybody,” he says. “Music is for everybody. So if you inject your respect and appreciation into it, and that shows through the art, then I don’t see anything wrong with it … cultural exchange, fusion, that’s how art and music grow and progress.”\u003c/p>\n\u003cp>Prophet reconciled any hesitation through enthusiastic co-signs from his collaborators. “There are always reasons not to do something,” he says, “but I know who I’m playing with.” On \u003cem>Wake the Dead\u003c/em>, that includes Prophet’s old friend \u003ca href=\"https://www.alejandroescovedo.com/\">Alejandro Escovedo\u003c/a>, formerly of groundbreaking San Francisco punk band the Nuns, who co-wrote and rips some beautiful guitar harmonies on “Sally Was a Cop.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And Adrian Quesada of Black Pumas, who grew up steeped in Latin music, helped Prophet get over his sense that he wasn’t playing cumbia the right way.\u003c/p>\n\u003cp>“He said, ‘Pay no attention to the clave police.’ Which was his way of saying, if it feels good, it feels good, don’t worry about being correct,” says Prophet. He also looks to how the Clash incorporated reggae, which of course did not originate in their culture. “When I hear ‘Police and Thieves,’ I’m like, these guys don’t know what they’re doing. And it’s never bothered me!”\u003c/p>\n\u003cp>And then there’s this: When an art form helps comfort and guide you through the darkest time in your life, the suggestion that it’s problematic to practice that art might feel downright cruel.\u003c/p>\n\u003cfigure id=\"attachment_13966695\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241015-CHUCKPROPHET-36-BL-KQED.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966695\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241015-CHUCKPROPHET-36-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241015-CHUCKPROPHET-36-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241015-CHUCKPROPHET-36-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241015-CHUCKPROPHET-36-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241015-CHUCKPROPHET-36-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241015-CHUCKPROPHET-36-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241015-CHUCKPROPHET-36-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241015-CHUCKPROPHET-36-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Musician Chuck Prophet stands on 24th Street in the Mission District of San Francisco on Oct. 15, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sometimes, lately, Prophet forgets he even had cancer. He doesn’t identify as the kind of person who goes around with a cancer story. “I’m not that guy,” he says. He’s always been lucky, he adds with a smile.\u003c/p>\n\u003cp>He still feels that way. But it’s undeniable that there’s something weightier in his voice now.\u003c/p>\n\u003cp>“It’s a good day to walk on water,” he sings in the album’s final moments. “It’s a good day to swallow your pride. It’s a good day to call your mother. It’s a good day to be alive.”\u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘Wake the Dead’ is released on Friday, Oct. 25. Chuck Prophet and His Cumbia Shoes play at 5 p.m. that day at \u003ca href=\"https://www.amoeba.com/live-shows/upcoming/detail-2926/\">Amoeba Music\u003c/a> in Berkeley. After a European tour, the band plays a homecoming show on Saturday, Dec. 28, at \u003ca href=\"https://wl.seetickets.us/event/chuck-prophet-and-his-cumbia-shoes/622284?afflky=TheChapel\">The Chapel\u003c/a> in San Francisco.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For two weeks in March of 2022, \u003ca href=\"http://www.chuckprophet.com\">Chuck Prophet\u003c/a> didn’t know if he would live to see the end of the year.\u003c/p>\n\u003cp>Days earlier, the musician was gearing up for an international tour — one that had already been rescheduled three times due to COVID. He’d released a full-length in 2020, but hadn’t yet taken it on the road, and the acclaimed San Francisco rocker was excited to get out there.\u003c/p>\n\u003cp>Instead, after a routine checkup, doctors discovered a mass in his upper intestine. “Mr. Prophet, you’re not going anywhere,” he remembers one physician telling him. It was clearly cancer. But determining which kind required a type of scan that Kaiser couldn’t schedule for 12 long days.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“It blindsided me,” says Prophet, 61. While he waited to learn his fate, he turned to music to distract him from fear. He’d been getting into Latin dance music for the last few years, so he listened to a lot of that. And then he wrote a song.\u003c/p>\n\u003cp>Two and a half years later, after surgery, chemotherapy and immunotherapy for stage-four lymphoma, Prophet is in full remission. Sitting at a Mission District coffee shop on a warm October afternoon, he is yet again gearing up for an international tour. “One Lie for Me, One for You,” the song he wrote during that two-week purgatory, is now a tender cowboy lullaby, undercut by both dread and acceptance, with lyrics about plunging into “dangerous waters” ahead.\u003c/p>\n\u003cp>It’s track 8 of 11 on Prophet’s new record \u003cem>Wake the Dead\u003c/em>, an album that drives headlong into the songwriter’s dark night of the soul with an unlikely companion riding shotgun: cumbia.\u003c/p>\n\u003cfigure id=\"attachment_13966904\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/CD4T3830_Credit-Kory-Thibeault-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966904\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/CD4T3830_Credit-Kory-Thibeault-scaled.jpg\" alt=\"a band of six men wearing sunglasses posed for a portrait\" width=\"2560\" height=\"2367\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/CD4T3830_Credit-Kory-Thibeault-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/CD4T3830_Credit-Kory-Thibeault-800x740.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/CD4T3830_Credit-Kory-Thibeault-1020x943.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/CD4T3830_Credit-Kory-Thibeault-160x148.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/CD4T3830_Credit-Kory-Thibeault-768x710.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/CD4T3830_Credit-Kory-Thibeault-1536x1420.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/CD4T3830_Credit-Kory-Thibeault-2048x1894.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/CD4T3830_Credit-Kory-Thibeault-1920x1775.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Chuck Prophet and His Cumbia Shoes includes (left to right) James DePrato, Joaquin Zamudia Garcia, Alejandro Gomez, Chuck Prophet, Vicente Rodriguez and Mario Cortez. \u003ccite>(Kory Thibeault)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The album, out Oct. 25, sees Prophet collaborating with \u003ca href=\"https://qiensavemusic.com/home/\">¿Qiensave?\u003c/a>, a Salinas-based band of brothers whose sound enchanted Prophet when he first heard them back in 2022. As soon as his health allowed, he began driving from his home in the Duboce Triangle to their place near Salinas to jam. Eventually, they all headed into an Oakland studio to record, intermingling with the usual suspects — including Prophet’s wife, keyboardist/vocalist Stephanie Finch — in his longtime band, the Mission Express.\u003c/p>\n\u003cp>The result is an adventurous, soulful project that deftly balances darkness and hope, shot through with the unmistakable energy of a veteran musician having more fun than he has in years. Longtime followers of Prophet’s work (his wide, loyal fanbase includes Bruce Springsteen, Lucinda Williams and Stephen King) will find plenty that’s familiar here. A storyteller at heart, he retains his usual dry wit and wistfulness over warm, jangly guitar, with tinges of rockabilly and surf punk.\u003c/p>\n\u003cp>But from the opening notes of the title track, clave rhythms, accordion and a Farfisa organ announce that this will not be your standard Americana record. “Gonna wake the dead, get ‘em on their feet,” Prophet sings slyly over rhythmic Latin percussion.\u003c/p>\n\u003cp>At the handful of live shows he’s played with this new band (“Chuck Prophet and His Cumbia Shoes”), people do something Prophet hasn’t always seen at his shows. They do get on their feet, immediately, and they dance.\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/lmEpztGvPsY'\n title='//www.youtube.com/embed/lmEpztGvPsY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>A different musical vocabulary\u003c/h2>\n\u003cp>The first time Prophet really “got” cumbia was around Hardly Strictly Bluegrass weekend, in October 2019. He and a few musicians who were in town for the festival played at the Make Out Room, and afterwards, a DJ started setting up for a staple at the tiny club. It was cumbia night.\u003c/p>\n\u003cp>“Me and the guys and Stephanie were all sitting in one of those Naugahyde booths, we’d stacked our stuff up, and they started playing this music — it was really loud with the subs and bass and everything,” he recalls. His drummer, Vicente Rodriguez, began showing Stephanie some dance moves. “I was watching them, listening to this music, and it was just one of those things, like: \u003cem>This is amazing.\u003c/em>”\u003c/p>\n\u003cp>Stuck at home during the early days of the pandemic, he threw himself into learning about the genre, but it was after his diagnosis that everything converged. He started collecting records, going to shows. He drove to Modesto to see the psych-punk-cumbia outfit \u003ca href=\"https://valleywolf.bandcamp.com/\">Valley Wolf,\u003c/a> and fell in love with the atmosphere.\u003c/p>\n\u003cfigure id=\"attachment_13966944\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241006_203623-1-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966944\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241006_203623-1-scaled.jpg\" alt=\"a band performs onstage in pink and blue lighting\" width=\"2560\" height=\"2258\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241006_203623-1-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241006_203623-1-800x706.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241006_203623-1-1020x900.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241006_203623-1-160x141.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241006_203623-1-768x677.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241006_203623-1-1536x1355.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241006_203623-1-2048x1806.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241006_203623-1-1920x1694.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Chuck Prophet and His Cumbia Shoes perform at the Great American Music Hall on Oct. 6, 2024. \u003ccite>(Daniel Strickland)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The crowd is not just standing there, watching the band,” he says. “They’re not shoegazing. \u003cem>Everyone’s\u003c/em> dancing. They’re partying. It’s Miller time.” Like with punk rock, he says, the hijinks in the crowd are just as lively and important as what’s happening onstage. “It kind of erases the line between the stage and the audience.”\u003c/p>\n\u003cp>Enter ¿Qiensave?, a cumbia urbana group that’s built a following in the West Coast’s Latin music and festival circuit since 2009. Hearing from Prophet was initially a little surprising, says Alejandro “Flaco” Gomez, who plays lead guitar and sings in the band. But Prophet’s curiosity was genuine, and he had an obvious desire to learn. He shared some new songs he’d written, and asked if they wanted to jam.\u003c/p>\n\u003cp>“He’s a man who does his research,” says Gomez, recalling the first few times Prophet drove out to play with the band. “And I appreciated his enthusiasm. He was excited to hear our interpretation of his music, and to bring his songs somewhere they had never been before. I mean, that’s how you innovate.”\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/edGzfjSBDks'\n title='//www.youtube.com/embed/edGzfjSBDks'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>A year later, the band was piling into 25th Street Recording in Oakland alongside the Mission Express. Gomez has been a working musician for over a decade; he releases his own music, which blends cumbia and boleros with more modern rock and pop sounds, under the name \u003ca href=\"https://www.flacoeljandro.com/\">Flaco el Jandro\u003c/a>. He’s no stranger to collaboration.\u003c/p>\n\u003cp>But “to have a collaboration where it was two groups of musicians that have never met or interacted, who come from completely different musical worlds and use different musical vocabulary?” says the musician. “That was exciting. I’ve never done anything like that in my life.”\u003c/p>\n\u003ch2>‘Cumbia is for everybody’\u003c/h2>\n\u003cp>It’s a week before his tour kicks off in Seattle, and Prophet is shopping at \u003ca href=\"https://www.kqed.org/arts/13931586/discodelic-brings-latin-vinyl-home-to-the-mission-district\">Discodelic\u003c/a>, the tiny Latin vinyl store on 24th street. He’s brought a list of Latin American psych-rock albums he wants to check out, like \u003cem>Rise of the Melted Eagle\u003c/em>, by Los Tabanos Experience, and \u003cem>Gran Muro de Coma\u003c/em>, by La Iglesia Atomica.\u003c/p>\n\u003cp>“This place is pretty hip,” he murmurs as he thumbs through records, eventually selecting a few to listen to on the store’s turntable. “Not a ton of reissues.”\u003c/p>\n\u003cfigure id=\"attachment_13966693\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241015-CHUCKPROPHET-12-BL-KQED.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966693\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241015-CHUCKPROPHET-12-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241015-CHUCKPROPHET-12-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241015-CHUCKPROPHET-12-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241015-CHUCKPROPHET-12-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241015-CHUCKPROPHET-12-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241015-CHUCKPROPHET-12-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241015-CHUCKPROPHET-12-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241015-CHUCKPROPHET-12-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Musician Chuck Prophet shops for records at Discodelic in the Mission District of San Francisco on Oct. 15, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There is, of course, an elephant in the record shop: the question of when appreciation becomes appropriation.\u003c/p>\n\u003cp>¿Qiensave?’s Gomez says he knows what it’s like to feel tokenized in the music industry. But with Prophet, it’s been an ongoing conversation filled with respect: “To me, cumbia is for everybody,” he says. “Music is for everybody. So if you inject your respect and appreciation into it, and that shows through the art, then I don’t see anything wrong with it … cultural exchange, fusion, that’s how art and music grow and progress.”\u003c/p>\n\u003cp>Prophet reconciled any hesitation through enthusiastic co-signs from his collaborators. “There are always reasons not to do something,” he says, “but I know who I’m playing with.” On \u003cem>Wake the Dead\u003c/em>, that includes Prophet’s old friend \u003ca href=\"https://www.alejandroescovedo.com/\">Alejandro Escovedo\u003c/a>, formerly of groundbreaking San Francisco punk band the Nuns, who co-wrote and rips some beautiful guitar harmonies on “Sally Was a Cop.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And Adrian Quesada of Black Pumas, who grew up steeped in Latin music, helped Prophet get over his sense that he wasn’t playing cumbia the right way.\u003c/p>\n\u003cp>“He said, ‘Pay no attention to the clave police.’ Which was his way of saying, if it feels good, it feels good, don’t worry about being correct,” says Prophet. He also looks to how the Clash incorporated reggae, which of course did not originate in their culture. “When I hear ‘Police and Thieves,’ I’m like, these guys don’t know what they’re doing. And it’s never bothered me!”\u003c/p>\n\u003cp>And then there’s this: When an art form helps comfort and guide you through the darkest time in your life, the suggestion that it’s problematic to practice that art might feel downright cruel.\u003c/p>\n\u003cfigure id=\"attachment_13966695\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241015-CHUCKPROPHET-36-BL-KQED.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966695\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241015-CHUCKPROPHET-36-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241015-CHUCKPROPHET-36-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241015-CHUCKPROPHET-36-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241015-CHUCKPROPHET-36-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241015-CHUCKPROPHET-36-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241015-CHUCKPROPHET-36-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241015-CHUCKPROPHET-36-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241015-CHUCKPROPHET-36-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Musician Chuck Prophet stands on 24th Street in the Mission District of San Francisco on Oct. 15, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sometimes, lately, Prophet forgets he even had cancer. He doesn’t identify as the kind of person who goes around with a cancer story. “I’m not that guy,” he says. He’s always been lucky, he adds with a smile.\u003c/p>\n\u003cp>He still feels that way. But it’s undeniable that there’s something weightier in his voice now.\u003c/p>\n\u003cp>“It’s a good day to walk on water,” he sings in the album’s final moments. “It’s a good day to swallow your pride. It’s a good day to call your mother. It’s a good day to be alive.”\u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘Wake the Dead’ is released on Friday, Oct. 25. Chuck Prophet and His Cumbia Shoes play at 5 p.m. that day at \u003ca href=\"https://www.amoeba.com/live-shows/upcoming/detail-2926/\">Amoeba Music\u003c/a> in Berkeley. After a European tour, the band plays a homecoming show on Saturday, Dec. 28, at \u003ca href=\"https://wl.seetickets.us/event/chuck-prophet-and-his-cumbia-shoes/622284?afflky=TheChapel\">The Chapel\u003c/a> in San Francisco.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "In San Francisco, Mitchell’s Ice Cream Is the People’s Choice",
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"content": "\u003cfigure id=\"attachment_13966816\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966816\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mitchells.jpg\" alt=\"Illustration: Two men eating ice cream outside an ice cream shop at night. The sign above reads, "Mitchell's Ice Cream."\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mitchells.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mitchells-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mitchells-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mitchells-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mitchells-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mitchells-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A San Francisco classic since 1953, Mitchell’s Ice Cream’s Mission District shop is known for its tropical fruit flavors and its late-night hours. \u003ccite>(Thien Pham)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/the-midnight-diners\">\u003ci>The Midnight Diners\u003c/i>\u003c/a>\u003ci> is a regular collaboration between KQED food editor Luke Tsai and graphic novelist \u003c/i>\u003ca href=\"https://www.instagram.com/thiendog/?hl=en\">\u003ci>Thien Pham\u003c/i>\u003c/a>\u003ci>. Follow them each week as they explore the hot pot restaurants, taco carts and 24-hour casino buffets that make up the Bay Area’s after-hours dining scene.\u003c/i>\u003c/p>\n\u003cp>If you wondered what everyone in San Francisco was doing at 10:30 on a Friday night during the \u003ca href=\"https://www.kqed.org/science/1994643/yes-these-california-heat-waves-are-connected-to-climate-change-heres-how\">hottest week\u003c/a> of the entire year, I can offer some insight: Almost all of them were standing in line outside \u003ca href=\"https://www.instagram.com/mitchellsicecreamsanfran/?hl=en\">Mitchell’s Ice Cream\u003c/a>.\u003c/p>\n\u003cp>That’s what it felt like, anyway, when we pulled up to the classic Mission District scoop shop, sticky with the sweat of yet \u003ci>another\u003c/i> 90-degree October day. Even half an hour before closing time, there were probably three dozen eager ice cream eaters gathered on the sidewalk and crammed inside the shop — a 20-minute wait at a minimum after you grab your number from the ticket machine inside. Go on a weekend, almost any time of day, and it’s always the same. This is an ice cream shop for people who don’t mind standing in line.\u003c/p>\n\u003cp>Anyway, Mitchell’s enduring popularity — \u003ca href=\"https://mitchellsicecream.com/celebrating-70-years/\">now going on 71 years\u003c/a> — speaks for itself. On the night of our recent visit, the chatty, upbeat crowd consisted of almost every imaginable demographic: flocks of teens, big, multigenerational immigrant families (Arab, South Asian and Filipino American), jocks, nerds, lovey-dovey young couples and at least a handful of solo middle-aged men treating themselves to a late-night sundae (because why not).\u003c/p>\n\u003cp>And that’s because in the Bay Area ice cream scene, Mitchell’s has long been the people’s choice — the big-name San Francisco ice cream brand that most resonates with so many of our region’s multicultural communities.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Some context: When it comes to ice cream, I’ve always been a texture snob, which means I usually gravitate toward newer-school shops that emphasize the extra-creaminess of their product — say, a \u003ca href=\"https://www.instagram.com/biritecreamery/\">Bi-Rite\u003c/a> or a \u003ca href=\"https://www.instagram.com/lushgelato\">Lush\u003c/a> \u003ca href=\"https://eastbayexpress.com/the-mad-science-of-gelato-1/\">Gelato\u003c/a>. Mitchell’s, on the other hand, makes pretty classic, old-fashioned hard scoop ice cream. What sets it apart is its near-encyclopedic selection of tropical fruit flavors you’d be hard-pressed to find anywhere else, at least in the same quality and sheer variety: mango, lychee, ube, avocado (treated properly here as a fruit, as it is throughout most of Asia), lucuma, coconut pineapple, jackfruit and more. Back in the ’60s and ’70s, it was the \u003ca href=\"https://www.sfgate.com/food/article/mitchells-ice-cream-has-Filipino-flavors-sf-16588683.php\">first ice cream shop to bring these tropical flavors to the Bay Area\u003c/a>, using fruit imported directly from Southeast Asia.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cspan style=\"color: #2b2b2b;font-weight: 400\">[aside postID='arts_13966030,arts_13959808,arts_13956683']\u003c/span>\u003c/span>It’s no wonder, then, that in my heavily Latino neighborhood in Richmond, there are only two ice cream shops — and both of them sell Mitchell’s exclusively. And no wonder that the Bay Area’s Filipino American community has largely adopted the brand as its own. After all, what other local ice cream shop sells buko (young coconut), macapuno (“sweet, meaty coconut”) \u003ci>and \u003c/i>vegan roasted coconut flavors — all made with coconuts imported from the Philippines? And that’s before we even get to Mitchell’s two most iconic Filipino flavors, its mango and ube ice creams. The shop even sells a version of halo-halo, as a “sundae,” that’s as well regarded as many of the ones sold at proper Filipino restaurants. (In fact, for many years I labored under the illusion that Mitchell’s was actually owned by Filipinos. It isn’t.)\u003c/p>\n\u003cp>So when I’m in the mood to travel to that particular island of frozen-dessert paradise, Mitchell’s Ice Cream hits the spot like no other shop in the Bay.\u003c/p>\n\u003cfigure id=\"attachment_13966817\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966817\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mitchells-2.jpg\" alt=\"Illustration: Customers inside a busy ice cream shop.\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mitchells-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mitchells-2-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mitchells-2-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mitchells-2-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mitchells-2-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mitchells-2-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Even at 10:30 p.m., you can expect long lines. \u003ccite>(Thien Pham)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What we loved, too, was the controlled chaos of the place on a busy night — the patience with which the staff divvied out sample tastes to the crowd pressed up against the display case; the hulking Australian who marveled, as he watched his sundae getting made, “This guy’s a legend. Look at the size of that, it’s the size of a baby’s bottom!” This is the kind of place where a stranger will, unprompted, give you a glowing review of the lucuma ice cream — a butterscotch-like flavor made with a Peruvian fruit, the man explained. It’s next on my list to try.\u003c/p>\n\u003cp>This time, we stuck to the classics: a double scoop of avocado and ube, both luxurious in both their bright colors and the way the flavors were a true, sweet distillation of the original fruit. And then, because we were caught up in the whole celebratory spirit of the place, we got one of Mitchell’s exorbitantly sized banana split sundaes — something we hadn’t even thought about ordering in years.\u003c/p>\n\u003cp>What a joyous thing to eat! It came topped, old-school McDonald’s style, with strawberry sauce, peanuts and whipped cream, plus Maraschino cherries for good measure. For the ice cream, we’d chosen toasted almond (a more flavorful stand-in for vanilla) and mango (some of the best we’ve had in the States), adding a tropical twist to the all-American treat. And in the heat of the night, as we ate our sundae hunched over on the sidewalk, the strawberry sauce and the whipped cream and the melted parts of the ice cream slowly mixed together into the most delicious slurry.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/mitchellsicecreamsanfran/?hl=en\">\u003ci>Mitchell’s Ice Cream\u003c/i>\u003c/a>\u003ci> is open 11 a.m.–11 p.m. daily at 688 San Jose Ave. in San Francisco. \u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13966816\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966816\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mitchells.jpg\" alt=\"Illustration: Two men eating ice cream outside an ice cream shop at night. The sign above reads, "Mitchell's Ice Cream."\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mitchells.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mitchells-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mitchells-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mitchells-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mitchells-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mitchells-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A San Francisco classic since 1953, Mitchell’s Ice Cream’s Mission District shop is known for its tropical fruit flavors and its late-night hours. \u003ccite>(Thien Pham)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/the-midnight-diners\">\u003ci>The Midnight Diners\u003c/i>\u003c/a>\u003ci> is a regular collaboration between KQED food editor Luke Tsai and graphic novelist \u003c/i>\u003ca href=\"https://www.instagram.com/thiendog/?hl=en\">\u003ci>Thien Pham\u003c/i>\u003c/a>\u003ci>. Follow them each week as they explore the hot pot restaurants, taco carts and 24-hour casino buffets that make up the Bay Area’s after-hours dining scene.\u003c/i>\u003c/p>\n\u003cp>If you wondered what everyone in San Francisco was doing at 10:30 on a Friday night during the \u003ca href=\"https://www.kqed.org/science/1994643/yes-these-california-heat-waves-are-connected-to-climate-change-heres-how\">hottest week\u003c/a> of the entire year, I can offer some insight: Almost all of them were standing in line outside \u003ca href=\"https://www.instagram.com/mitchellsicecreamsanfran/?hl=en\">Mitchell’s Ice Cream\u003c/a>.\u003c/p>\n\u003cp>That’s what it felt like, anyway, when we pulled up to the classic Mission District scoop shop, sticky with the sweat of yet \u003ci>another\u003c/i> 90-degree October day. Even half an hour before closing time, there were probably three dozen eager ice cream eaters gathered on the sidewalk and crammed inside the shop — a 20-minute wait at a minimum after you grab your number from the ticket machine inside. Go on a weekend, almost any time of day, and it’s always the same. This is an ice cream shop for people who don’t mind standing in line.\u003c/p>\n\u003cp>Anyway, Mitchell’s enduring popularity — \u003ca href=\"https://mitchellsicecream.com/celebrating-70-years/\">now going on 71 years\u003c/a> — speaks for itself. On the night of our recent visit, the chatty, upbeat crowd consisted of almost every imaginable demographic: flocks of teens, big, multigenerational immigrant families (Arab, South Asian and Filipino American), jocks, nerds, lovey-dovey young couples and at least a handful of solo middle-aged men treating themselves to a late-night sundae (because why not).\u003c/p>\n\u003cp>And that’s because in the Bay Area ice cream scene, Mitchell’s has long been the people’s choice — the big-name San Francisco ice cream brand that most resonates with so many of our region’s multicultural communities.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Some context: When it comes to ice cream, I’ve always been a texture snob, which means I usually gravitate toward newer-school shops that emphasize the extra-creaminess of their product — say, a \u003ca href=\"https://www.instagram.com/biritecreamery/\">Bi-Rite\u003c/a> or a \u003ca href=\"https://www.instagram.com/lushgelato\">Lush\u003c/a> \u003ca href=\"https://eastbayexpress.com/the-mad-science-of-gelato-1/\">Gelato\u003c/a>. Mitchell’s, on the other hand, makes pretty classic, old-fashioned hard scoop ice cream. What sets it apart is its near-encyclopedic selection of tropical fruit flavors you’d be hard-pressed to find anywhere else, at least in the same quality and sheer variety: mango, lychee, ube, avocado (treated properly here as a fruit, as it is throughout most of Asia), lucuma, coconut pineapple, jackfruit and more. Back in the ’60s and ’70s, it was the \u003ca href=\"https://www.sfgate.com/food/article/mitchells-ice-cream-has-Filipino-flavors-sf-16588683.php\">first ice cream shop to bring these tropical flavors to the Bay Area\u003c/a>, using fruit imported directly from Southeast Asia.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cspan style=\"color: #2b2b2b;font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/span>It’s no wonder, then, that in my heavily Latino neighborhood in Richmond, there are only two ice cream shops — and both of them sell Mitchell’s exclusively. And no wonder that the Bay Area’s Filipino American community has largely adopted the brand as its own. After all, what other local ice cream shop sells buko (young coconut), macapuno (“sweet, meaty coconut”) \u003ci>and \u003c/i>vegan roasted coconut flavors — all made with coconuts imported from the Philippines? And that’s before we even get to Mitchell’s two most iconic Filipino flavors, its mango and ube ice creams. The shop even sells a version of halo-halo, as a “sundae,” that’s as well regarded as many of the ones sold at proper Filipino restaurants. (In fact, for many years I labored under the illusion that Mitchell’s was actually owned by Filipinos. It isn’t.)\u003c/p>\n\u003cp>So when I’m in the mood to travel to that particular island of frozen-dessert paradise, Mitchell’s Ice Cream hits the spot like no other shop in the Bay.\u003c/p>\n\u003cfigure id=\"attachment_13966817\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966817\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mitchells-2.jpg\" alt=\"Illustration: Customers inside a busy ice cream shop.\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mitchells-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mitchells-2-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mitchells-2-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mitchells-2-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mitchells-2-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mitchells-2-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Even at 10:30 p.m., you can expect long lines. \u003ccite>(Thien Pham)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What we loved, too, was the controlled chaos of the place on a busy night — the patience with which the staff divvied out sample tastes to the crowd pressed up against the display case; the hulking Australian who marveled, as he watched his sundae getting made, “This guy’s a legend. Look at the size of that, it’s the size of a baby’s bottom!” This is the kind of place where a stranger will, unprompted, give you a glowing review of the lucuma ice cream — a butterscotch-like flavor made with a Peruvian fruit, the man explained. It’s next on my list to try.\u003c/p>\n\u003cp>This time, we stuck to the classics: a double scoop of avocado and ube, both luxurious in both their bright colors and the way the flavors were a true, sweet distillation of the original fruit. And then, because we were caught up in the whole celebratory spirit of the place, we got one of Mitchell’s exorbitantly sized banana split sundaes — something we hadn’t even thought about ordering in years.\u003c/p>\n\u003cp>What a joyous thing to eat! It came topped, old-school McDonald’s style, with strawberry sauce, peanuts and whipped cream, plus Maraschino cherries for good measure. For the ice cream, we’d chosen toasted almond (a more flavorful stand-in for vanilla) and mango (some of the best we’ve had in the States), adding a tropical twist to the all-American treat. And in the heat of the night, as we ate our sundae hunched over on the sidewalk, the strawberry sauce and the whipped cream and the melted parts of the ice cream slowly mixed together into the most delicious slurry.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/mitchellsicecreamsanfran/?hl=en\">\u003ci>Mitchell’s Ice Cream\u003c/i>\u003c/a>\u003ci> is open 11 a.m.–11 p.m. daily at 688 San Jose Ave. in San Francisco. \u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"soldout": {
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