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"title": "A Beloved SF Grocery Store Brings ‘Tiny Desk’-Style Concerts to the Produce Aisle",
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"content": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1600\" height=\"2000\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/rainbow-grocery-now-crop.jpg\" alt=\"A rock band performs in the produce section of a grocery store. In front, the bass player wears a red velvet suit.\" class=\"wp-image-13993719\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/rainbow-grocery-now-crop.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/rainbow-grocery-now-crop-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/rainbow-grocery-now-crop-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/rainbow-grocery-now-crop-1229x1536.jpg 1229w\" sizes=\"auto, (max-width: 1600px) 100vw, 1600px\" />\u003cfigcaption class=\"wp-element-caption\">The power pop trio Now (from left to right: Oli Lipton, Hannah Forrester and William Smith) performs a song in the produce section at Rainbow Grocery in San Francisco. The band’s set was part of “Under the Rainbow,” a new series in which the collective-owned grocery store highlights local Bay Area musicians. (Courtesy of Rainbow Grocery)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>The venue for tonight’s \u003ca href=\"https://www.kqed.org/arts/tag/concerts\">concert\u003c/a> is the produce aisle at the local supermarket. The power pop trio \u003ca href=\"https://nowww.bandcamp.com/album/now-does-the-trick\">Now’s\u003c/a> drummer, who’s set his kit up just in front of the onions and the artichokes, taps out a four count with his sticks. Then the mop-haired guitar player breaks into the opening chords of The Clash’s “\u003ca href=\"https://www.youtube.com/watch?v=hZw23sWlyG0\">Lost in the Supermarket\u003c/a>” — a winking lead-in to the first song of their set. A single shiny apple sits on top of his guitar amp.\u003c/p>\n\n\n\n\u003cp>Behold the first edition of \u003ca href=\"https://www.instagram.com/p/DcyWTTMSGd9/\">Under the Rainbow\u003c/a>, Rainbow Grocery’s answer to NPR’s popular \u003ca href=\"https://www.npr.org/series/tiny-desk-concerts/\">Tiny Desk\u003c/a> concert series. Aldo de la Cruz-Falcon, a member of the collective-owned Mission District staple’s PR team, says the plan is to post these short concert videos — all filmed on site in the market’s produce section — on social media every other week. The idea is to highlight Bay Area indie bands while also showing a different side to your friendly neighborhood grocery store. \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-embed is-type-rich is-provider-instagram wp-block-embed-instagram\">\u003cdiv class=\"wp-block-embed__wrapper\">\nhttps://www.instagram.com/reel/DcyWTTMSGd9/\n\u003c/div>\u003c/figure>\n\n\n\n\u003cp>“Something about Rainbow that’s different from other grocers is that we’re part of the community,” de la Cruz-Falcon says. “We’re a co-op; we’re not owned by billionaires. We like to do things for the community.”\u003c/p>\n\n\n\n\u003cp>De la Cruz-Falcon, who also works in Rainbow’s bulk foods department, says he was first inspired to put the project together after seeing a similar concert series at \u003ca href=\"https://www.instagram.com/fiestafreshmarket/\">Fiesta Fresh Market\u003c/a>, a Latino grocery in Delaware, \u003ca href=\"https://www.instagram.com/p/DZECt3tuvUD/\">go viral\u003c/a> earlier this year. He teamed up with coworkers Britta Leijonflycht (vitamins) and Nico DeEulio (herbs), both avid musicians themselves, to organize the first edition of Under the Rainbow, reaching out to local bands to come to the store for an unconventional recording session. \u003c/p>\n\n\n\n\u003cp>On a Saturday night in August, four bands showed up ready to rock: the aforementioned \u003ca href=\"https://nowww.bandcamp.com/album/now-does-the-trick\">Now\u003c/a>, the shoegaze-inflected indie pop collective \u003ca href=\"https://aprilmagazine.bandcamp.com/album/double-life-beat\">April Magazine\u003c/a>, gothic cumbia crooner \u003ca href=\"https://www.instagram.com/edgarmusicx/\">Edgar\u003c/a> and folk punk singer \u003ca href=\"https://www.instagram.com/mistermodee/\">Ryan Modee\u003c/a>. Now’s set is the only video that Rainbow Grocery has posted so far. It will release the others every other Wednesday morning.\u003c/p>\n\n\n\n\u003cp>Under the Rainbow does differ from the Tiny Desk series (which in recent months has featured everyone from \u003ca href=\"https://www.npr.org/2026/06/25/g-s1-126162/shaboozey-tiny-desk-concert\">Shaboozey\u003c/a> to \u003ca href=\"https://www.npr.org/2026/08/20/g-s1-136140/weird-al-yankovic-tiny-desk-concert\">“Weird Al” Yankovic\u003c/a>), in a few important ways. Most notably, at least for now, the musicians won’t be playing in front of a live audience, other than a handful of grocery store workers and the other bands in attendance. The logistics of doing a live show inside the supermarket during business hours felt too daunting, de la Cruz-Falcon explains — especially not knowing how unsuspecting customers might respond, and not wanting to make any other workers’ jobs more difficult.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"2000\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/rainbow-grocery-ryan-modee.jpg\" alt=\"A musician, seated in the produce section of a grocery store, plays the guitar.\" class=\"wp-image-13993723\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/rainbow-grocery-ryan-modee.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/rainbow-grocery-ryan-modee-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/rainbow-grocery-ryan-modee-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/rainbow-grocery-ryan-modee-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/rainbow-grocery-ryan-modee-600x600.jpg 600w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Punk folk singer Ryan Modee performs with a pineapple on his guitar amp. (Courtesy of Rainbow Grocery)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>For the time being, the project will mostly consist of videos shared on Rainbow Grocery’s YouTube and Instagram accounts. For the first session, the four bands — plus sound engineer Dylan Edrich — arrived at the supermarket shortly after its 9 p.m. closing time. By the time each band finished playing and recording its three-song set, it was around 2 a.m.\u003c/p>\n\n\n\n\u003cp>William Smith, guitar player and singer for Now, says the idea of performing inside a grocery store was immediately appealing and a natural fit for his band’s DIY aesthetic — they’d done previous shows on highway overpasses and inside vintage clothing stores. (Coincidentally, drummer Oliver Lipton’s father had worked at Rainbow Grocery in the ’80s, so there was a nostalgic personal connection as well.)\u003c/p>\n\n\n\n\n\n\u003cp>“I love pop art, and I thought, what could be more pop art than having our band play in a grocery store?” Smith explains. \u003c/p>\n\n\n\n\u003cp>For Smith, the whole experience felt like a dream. “It was surreal, like it was such an odd place to be wheeling my amp into,” he says. But everyone was so professional and kind — and the snacks, of course, were second to none. \u003c/p>\n\n\n\n\u003cp>“I ate a really good apple,” he recalls.\u003c/p>\n\n\n\n\u003cp>For viewers watching the final product on YouTube, the surprising contrast between the vibe of the performance and its homey, lo-fi, out-of-the-studio setting is exactly what makes it so appealing. And the response, already, has been overwhelmingly enthusiastic.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1332\" height=\"2000\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/rainbow-grocery-edgar.jpg\" alt=\"Two musicians in gray suits performing in the produce section of a grocery store. The man in sunglasses on the left dances energetically. \" class=\"wp-image-13993724\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/rainbow-grocery-edgar.jpg 1332w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/rainbow-grocery-edgar-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/rainbow-grocery-edgar-768x1153.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/rainbow-grocery-edgar-1023x1536.jpg 1023w\" sizes=\"auto, (max-width: 1332px) 100vw, 1332px\" />\u003cfigcaption class=\"wp-element-caption\">Edgar (left) dances during his gothic cumbia set. (Courtesy of Rainbow Grocery)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>Within a couple of days, more than 3,000 people liked the initial \u003ca href=\"https://www.instagram.com/p/DcjJ9lVsYGw/\">trailer for the series\u003c/a> that Rainbow Grocery posted; nearly 75,000 viewed the video. (“It’s probably some of the best exposure we’ve gotten,” Smith says.)\u003c/p>\n\n\n\n\u003cp>De la Cruz-Falcon says one of the other exciting things about the project is that so many of the worker-owners at Rainbow Grocery are talented musicians, many of whom have their own bands. He hopes some of those bands will play at future Under the Rainbow recording sessions. \u003c/p>\n\n\n\n\u003cp>The next one will happen sometime in October, and the store is in the process of putting an application link up on its website. “Everybody’s welcome to submit,” de la Cruz-Falcon says. “We would love to have all kinds of music.”\u003c/p>\n\n\n\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\" />\n\n\n\n\u003cp>\u003cem>Rainbow Grocery will release new Under the Rainbow videos every other Wednesday morning — full sets on \u003c/em>\u003ca href=\"https://www.youtube.com/@rainbow-grocery\">\u003cem>YouTube\u003c/em>\u003c/a>\u003cem> and clips on \u003c/em>\u003ca href=\"https://www.instagram.com/p/DcjJ9lVsYGw/\">\u003cem>Instagram\u003c/em>\u003c/a>\u003cem>. The next edition, featuring \u003ca href=\"https://www.instagram.com/p/DdEiK8uyqJI/\">April Magazine\u003c/a>, will come out on Sept. 16.\u003c/em>\u003c/p>\n",
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/rainbow-grocery-now-crop.jpg\" alt=\"A rock band performs in the produce section of a grocery store. In front, the bass player wears a red velvet suit.\" class=\"wp-image-13993719\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/rainbow-grocery-now-crop.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/rainbow-grocery-now-crop-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/rainbow-grocery-now-crop-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/rainbow-grocery-now-crop-1229x1536.jpg 1229w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\" />\u003cfigcaption class=\"wp-element-caption\">The power pop trio Now (from left to right: Oli Lipton, Hannah Forrester and William Smith) performs a song in the produce section at Rainbow Grocery in San Francisco. The band’s set was part of “Under the Rainbow,” a new series in which the collective-owned grocery store highlights local Bay Area musicians.\u003ccite class=\"wp-inline-image-credit\"> (Courtesy of Rainbow Grocery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n",
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"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/rainbow-grocery-now-crop.jpg\" alt=\"A rock band performs in the produce section of a grocery store. In front, the bass player wears a red velvet suit.\" class=\"wp-image-13993719\" />\u003cfigcaption class=\"wp-element-caption\">The power pop trio Now (from left to right: Oli Lipton, Hannah Forrester and William Smith) performs a song in the produce section at Rainbow Grocery in San Francisco. The band’s set was part of “Under the Rainbow,” a new series in which the collective-owned grocery store highlights local Bay Area musicians.\u003ccite class=\"wp-inline-image-credit\"> (Courtesy of Rainbow Grocery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n"
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"innerHTML": "\n\u003cp>The venue for tonight’s \u003ca href=\"https://www.kqed.org/arts/tag/concerts\">concert\u003c/a> is the produce aisle at the local supermarket. The power pop trio \u003ca href=\"https://nowww.bandcamp.com/album/now-does-the-trick\">Now’s\u003c/a> drummer, who’s set his kit up just in front of the onions and the artichokes, taps out a four count with his sticks. Then the mop-haired guitar player breaks into the opening chords of The Clash’s “\u003ca href=\"https://www.youtube.com/watch?v=hZw23sWlyG0\">Lost in the Supermarket\u003c/a>” — a winking lead-in to the first song of their set. A single shiny apple sits on top of his guitar amp.\u003c/p>\n",
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"\n\u003cp>The venue for tonight’s \u003ca href=\"https://www.kqed.org/arts/tag/concerts\">concert\u003c/a> is the produce aisle at the local supermarket. The power pop trio \u003ca href=\"https://nowww.bandcamp.com/album/now-does-the-trick\">Now’s\u003c/a> drummer, who’s set his kit up just in front of the onions and the artichokes, taps out a four count with his sticks. Then the mop-haired guitar player breaks into the opening chords of The Clash’s “\u003ca href=\"https://www.youtube.com/watch?v=hZw23sWlyG0\">Lost in the Supermarket\u003c/a>” — a winking lead-in to the first song of their set. A single shiny apple sits on top of his guitar amp.\u003c/p>\n"
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"innerHTML": "\n\u003cp>Behold the first edition of \u003ca href=\"https://www.instagram.com/p/DcyWTTMSGd9/\">Under the Rainbow\u003c/a>, Rainbow Grocery’s answer to NPR’s popular \u003ca href=\"https://www.npr.org/series/tiny-desk-concerts/\">Tiny Desk\u003c/a> concert series. Aldo de la Cruz-Falcon, a member of the collective-owned Mission District staple’s PR team, says the plan is to post these short concert videos — all filmed on site in the market’s produce section — on social media every other week. The idea is to highlight Bay Area indie bands while also showing a different side to your friendly neighborhood grocery store. \u003c/p>\n",
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"\n\u003cp>Behold the first edition of \u003ca href=\"https://www.instagram.com/p/DcyWTTMSGd9/\">Under the Rainbow\u003c/a>, Rainbow Grocery’s answer to NPR’s popular \u003ca href=\"https://www.npr.org/series/tiny-desk-concerts/\">Tiny Desk\u003c/a> concert series. Aldo de la Cruz-Falcon, a member of the collective-owned Mission District staple’s PR team, says the plan is to post these short concert videos — all filmed on site in the market’s produce section — on social media every other week. The idea is to highlight Bay Area indie bands while also showing a different side to your friendly neighborhood grocery store. \u003c/p>\n"
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"innerHTML": "\n\u003cp>“Something about Rainbow that’s different from other grocers is that we’re part of the community,” de la Cruz-Falcon says. “We’re a co-op; we’re not owned by billionaires. We like to do things for the community.”\u003c/p>\n",
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"innerHTML": "\n\u003cp>De la Cruz-Falcon, who also works in Rainbow’s bulk foods department, says he was first inspired to put the project together after seeing a similar concert series at \u003ca href=\"https://www.instagram.com/fiestafreshmarket/\">Fiesta Fresh Market\u003c/a>, a Latino grocery in Delaware, \u003ca href=\"https://www.instagram.com/p/DZECt3tuvUD/\">go viral\u003c/a> earlier this year. He teamed up with coworkers Britta Leijonflycht (vitamins) and Nico DeEulio (herbs), both avid musicians themselves, to organize the first edition of Under the Rainbow, reaching out to local bands to come to the store for an unconventional recording session. \u003c/p>\n",
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"\n\u003cp>De la Cruz-Falcon, who also works in Rainbow’s bulk foods department, says he was first inspired to put the project together after seeing a similar concert series at \u003ca href=\"https://www.instagram.com/fiestafreshmarket/\">Fiesta Fresh Market\u003c/a>, a Latino grocery in Delaware, \u003ca href=\"https://www.instagram.com/p/DZECt3tuvUD/\">go viral\u003c/a> earlier this year. He teamed up with coworkers Britta Leijonflycht (vitamins) and Nico DeEulio (herbs), both avid musicians themselves, to organize the first edition of Under the Rainbow, reaching out to local bands to come to the store for an unconventional recording session. \u003c/p>\n"
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"innerHTML": "\n\u003cp>On a Saturday night in August, four bands showed up ready to rock: the aforementioned \u003ca href=\"https://nowww.bandcamp.com/album/now-does-the-trick\">Now\u003c/a>, the shoegaze-inflected indie pop collective \u003ca href=\"https://aprilmagazine.bandcamp.com/album/double-life-beat\">April Magazine\u003c/a>, gothic cumbia crooner \u003ca href=\"https://www.instagram.com/edgarmusicx/\">Edgar\u003c/a> and folk punk singer \u003ca href=\"https://www.instagram.com/mistermodee/\">Ryan Modee\u003c/a>. Now’s set is the only video that Rainbow Grocery has posted so far. It will release the others every other Wednesday morning.\u003c/p>\n",
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"\n\u003cp>On a Saturday night in August, four bands showed up ready to rock: the aforementioned \u003ca href=\"https://nowww.bandcamp.com/album/now-does-the-trick\">Now\u003c/a>, the shoegaze-inflected indie pop collective \u003ca href=\"https://aprilmagazine.bandcamp.com/album/double-life-beat\">April Magazine\u003c/a>, gothic cumbia crooner \u003ca href=\"https://www.instagram.com/edgarmusicx/\">Edgar\u003c/a> and folk punk singer \u003ca href=\"https://www.instagram.com/mistermodee/\">Ryan Modee\u003c/a>. Now’s set is the only video that Rainbow Grocery has posted so far. It will release the others every other Wednesday morning.\u003c/p>\n"
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"innerHTML": "\n\u003cp>Under the Rainbow does differ from the Tiny Desk series (which in recent months has featured everyone from \u003ca href=\"https://www.npr.org/2026/06/25/g-s1-126162/shaboozey-tiny-desk-concert\">Shaboozey\u003c/a> to \u003ca href=\"https://www.npr.org/2026/08/20/g-s1-136140/weird-al-yankovic-tiny-desk-concert\">“Weird Al” Yankovic\u003c/a>), in a few important ways. Most notably, at least for now, the musicians won’t be playing in front of a live audience, other than a handful of grocery store workers and the other bands in attendance. The logistics of doing a live show inside the supermarket during business hours felt too daunting, de la Cruz-Falcon explains — especially not knowing how unsuspecting customers might respond, and not wanting to make any other workers’ jobs more difficult.\u003c/p>\n",
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"\n\u003cp>Under the Rainbow does differ from the Tiny Desk series (which in recent months has featured everyone from \u003ca href=\"https://www.npr.org/2026/06/25/g-s1-126162/shaboozey-tiny-desk-concert\">Shaboozey\u003c/a> to \u003ca href=\"https://www.npr.org/2026/08/20/g-s1-136140/weird-al-yankovic-tiny-desk-concert\">“Weird Al” Yankovic\u003c/a>), in a few important ways. Most notably, at least for now, the musicians won’t be playing in front of a live audience, other than a handful of grocery store workers and the other bands in attendance. The logistics of doing a live show inside the supermarket during business hours felt too daunting, de la Cruz-Falcon explains — especially not knowing how unsuspecting customers might respond, and not wanting to make any other workers’ jobs more difficult.\u003c/p>\n"
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/rainbow-grocery-ryan-modee.jpg\" alt=\"A musician, seated in the produce section of a grocery store, plays the guitar.\" class=\"wp-image-13993723\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/rainbow-grocery-ryan-modee.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/rainbow-grocery-ryan-modee-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/rainbow-grocery-ryan-modee-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/rainbow-grocery-ryan-modee-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/rainbow-grocery-ryan-modee-600x600.jpg 600w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\" />\u003cfigcaption class=\"wp-element-caption\">Punk folk singer Ryan Modee performs with a pineapple on his guitar amp.\u003ccite class=\"wp-inline-image-credit\"> (Courtesy of Rainbow Grocery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n",
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"innerHTML": "\n\u003cp>For the time being, the project will mostly consist of videos shared on Rainbow Grocery’s YouTube and Instagram accounts. For the first session, the four bands — plus sound engineer Dylan Edrich — arrived at the supermarket shortly after its 9 p.m. closing time. By the time each band finished playing and recording its three-song set, it was around 2 a.m.\u003c/p>\n",
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"innerHTML": "\n\u003cp>William Smith, guitar player and singer for Now, says the idea of performing inside a grocery store was immediately appealing and a natural fit for his band’s DIY aesthetic — they’d done previous shows on highway overpasses and inside vintage clothing stores. (Coincidentally, drummer Oliver Lipton’s father had worked at Rainbow Grocery in the ’80s, so there was a nostalgic personal connection as well.)\u003c/p>\n",
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"innerHTML": "\n\u003cp>“I love pop art, and I thought, what could be more pop art than having our band play in a grocery store?” Smith explains. \u003c/p>\n",
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"innerHTML": "\n\u003cp>For Smith, the whole experience felt like a dream. “It was surreal, like it was such an odd place to be wheeling my amp into,” he says. But everyone was so professional and kind — and the snacks, of course, were second to none. \u003c/p>\n",
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"innerHTML": "\n\u003cp>For viewers watching the final product on YouTube, the surprising contrast between the vibe of the performance and its homey, lo-fi, out-of-the-studio setting is exactly what makes it so appealing. And the response, already, has been overwhelmingly enthusiastic.\u003c/p>\n",
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"\n\u003cp>For viewers watching the final product on YouTube, the surprising contrast between the vibe of the performance and its homey, lo-fi, out-of-the-studio setting is exactly what makes it so appealing. And the response, already, has been overwhelmingly enthusiastic.\u003c/p>\n"
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"innerHTML": "\n\u003cp>Within a couple of days, more than 3,000 people liked the initial \u003ca href=\"https://www.instagram.com/p/DcjJ9lVsYGw/\">trailer for the series\u003c/a> that Rainbow Grocery posted; nearly 75,000 viewed the video. (“It’s probably some of the best exposure we’ve gotten,” Smith says.)\u003c/p>\n",
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"innerHTML": "\n\u003cp>De la Cruz-Falcon says one of the other exciting things about the project is that so many of the worker-owners at Rainbow Grocery are talented musicians, many of whom have their own bands. He hopes some of those bands will play at future Under the Rainbow recording sessions. \u003c/p>\n",
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"innerHTML": "\n\u003cp>The next one will happen sometime in October, and the store is in the process of putting an application link up on its website. “Everybody’s welcome to submit,” de la Cruz-Falcon says. “We would love to have all kinds of music.”\u003c/p>\n",
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"\n\u003cp>The next one will happen sometime in October, and the store is in the process of putting an application link up on its website. “Everybody’s welcome to submit,” de la Cruz-Falcon says. “We would love to have all kinds of music.”\u003c/p>\n"
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"innerHTML": "\n\u003cp>\u003cem>Rainbow Grocery will release new Under the Rainbow videos every other Wednesday morning — full sets on \u003c/em>\u003ca href=\"https://www.youtube.com/@rainbow-grocery\">\u003cem>YouTube\u003c/em>\u003c/a>\u003cem> and clips on \u003c/em>\u003ca href=\"https://www.instagram.com/p/DcjJ9lVsYGw/\">\u003cem>Instagram\u003c/em>\u003c/a>\u003cem>. The next edition, featuring \u003ca href=\"https://www.instagram.com/p/DdEiK8uyqJI/\">April Magazine\u003c/a>, will come out on Sept. 16.\u003c/em>\u003c/p>\n",
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"\n\u003cp>\u003cem>Rainbow Grocery will release new Under the Rainbow videos every other Wednesday morning — full sets on \u003c/em>\u003ca href=\"https://www.youtube.com/@rainbow-grocery\">\u003cem>YouTube\u003c/em>\u003c/a>\u003cem> and clips on \u003c/em>\u003ca href=\"https://www.instagram.com/p/DcjJ9lVsYGw/\">\u003cem>Instagram\u003c/em>\u003c/a>\u003cem>. The next edition, featuring \u003ca href=\"https://www.instagram.com/p/DdEiK8uyqJI/\">April Magazine\u003c/a>, will come out on Sept. 16.\u003c/em>\u003c/p>\n"
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1600\" height=\"2000\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/rainbow-grocery-now-crop.jpg\" alt=\"A rock band performs in the produce section of a grocery store. In front, the bass player wears a red velvet suit.\" class=\"wp-image-13993719\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/rainbow-grocery-now-crop.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/rainbow-grocery-now-crop-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/rainbow-grocery-now-crop-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/rainbow-grocery-now-crop-1229x1536.jpg 1229w\" sizes=\"auto, (max-width: 1600px) 100vw, 1600px\" />\u003cfigcaption class=\"wp-element-caption\">The power pop trio Now (from left to right: Oli Lipton, Hannah Forrester and William Smith) performs a song in the produce section at Rainbow Grocery in San Francisco. The band’s set was part of “Under the Rainbow,” a new series in which the collective-owned grocery store highlights local Bay Area musicians. (Courtesy of Rainbow Grocery)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>The venue for tonight’s \u003ca href=\"https://www.kqed.org/arts/tag/concerts\">concert\u003c/a> is the produce aisle at the local supermarket. The power pop trio \u003ca href=\"https://nowww.bandcamp.com/album/now-does-the-trick\">Now’s\u003c/a> drummer, who’s set his kit up just in front of the onions and the artichokes, taps out a four count with his sticks. Then the mop-haired guitar player breaks into the opening chords of The Clash’s “\u003ca href=\"https://www.youtube.com/watch?v=hZw23sWlyG0\">Lost in the Supermarket\u003c/a>” — a winking lead-in to the first song of their set. A single shiny apple sits on top of his guitar amp.\u003c/p>\n\n\n\n\u003cp>Behold the first edition of \u003ca href=\"https://www.instagram.com/p/DcyWTTMSGd9/\">Under the Rainbow\u003c/a>, Rainbow Grocery’s answer to NPR’s popular \u003ca href=\"https://www.npr.org/series/tiny-desk-concerts/\">Tiny Desk\u003c/a> concert series. Aldo de la Cruz-Falcon, a member of the collective-owned Mission District staple’s PR team, says the plan is to post these short concert videos — all filmed on site in the market’s produce section — on social media every other week. The idea is to highlight Bay Area indie bands while also showing a different side to your friendly neighborhood grocery store. \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-embed is-type-rich is-provider-instagram wp-block-embed-instagram\">\u003cdiv class=\"wp-block-embed__wrapper\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/div>\u003c/figure>\n\n\n\n\u003cp>“Something about Rainbow that’s different from other grocers is that we’re part of the community,” de la Cruz-Falcon says. “We’re a co-op; we’re not owned by billionaires. We like to do things for the community.”\u003c/p>\n\n\n\n\u003cp>De la Cruz-Falcon, who also works in Rainbow’s bulk foods department, says he was first inspired to put the project together after seeing a similar concert series at \u003ca href=\"https://www.instagram.com/fiestafreshmarket/\">Fiesta Fresh Market\u003c/a>, a Latino grocery in Delaware, \u003ca href=\"https://www.instagram.com/p/DZECt3tuvUD/\">go viral\u003c/a> earlier this year. He teamed up with coworkers Britta Leijonflycht (vitamins) and Nico DeEulio (herbs), both avid musicians themselves, to organize the first edition of Under the Rainbow, reaching out to local bands to come to the store for an unconventional recording session. \u003c/p>\n\n\n\n\u003cp>On a Saturday night in August, four bands showed up ready to rock: the aforementioned \u003ca href=\"https://nowww.bandcamp.com/album/now-does-the-trick\">Now\u003c/a>, the shoegaze-inflected indie pop collective \u003ca href=\"https://aprilmagazine.bandcamp.com/album/double-life-beat\">April Magazine\u003c/a>, gothic cumbia crooner \u003ca href=\"https://www.instagram.com/edgarmusicx/\">Edgar\u003c/a> and folk punk singer \u003ca href=\"https://www.instagram.com/mistermodee/\">Ryan Modee\u003c/a>. Now’s set is the only video that Rainbow Grocery has posted so far. It will release the others every other Wednesday morning.\u003c/p>\n\n\n\n\u003cp>Under the Rainbow does differ from the Tiny Desk series (which in recent months has featured everyone from \u003ca href=\"https://www.npr.org/2026/06/25/g-s1-126162/shaboozey-tiny-desk-concert\">Shaboozey\u003c/a> to \u003ca href=\"https://www.npr.org/2026/08/20/g-s1-136140/weird-al-yankovic-tiny-desk-concert\">“Weird Al” Yankovic\u003c/a>), in a few important ways. Most notably, at least for now, the musicians won’t be playing in front of a live audience, other than a handful of grocery store workers and the other bands in attendance. The logistics of doing a live show inside the supermarket during business hours felt too daunting, de la Cruz-Falcon explains — especially not knowing how unsuspecting customers might respond, and not wanting to make any other workers’ jobs more difficult.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"2000\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/rainbow-grocery-ryan-modee.jpg\" alt=\"A musician, seated in the produce section of a grocery store, plays the guitar.\" class=\"wp-image-13993723\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/rainbow-grocery-ryan-modee.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/rainbow-grocery-ryan-modee-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/rainbow-grocery-ryan-modee-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/rainbow-grocery-ryan-modee-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/rainbow-grocery-ryan-modee-600x600.jpg 600w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Punk folk singer Ryan Modee performs with a pineapple on his guitar amp. (Courtesy of Rainbow Grocery)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>For the time being, the project will mostly consist of videos shared on Rainbow Grocery’s YouTube and Instagram accounts. For the first session, the four bands — plus sound engineer Dylan Edrich — arrived at the supermarket shortly after its 9 p.m. closing time. By the time each band finished playing and recording its three-song set, it was around 2 a.m.\u003c/p>\n\n\n\n\u003cp>William Smith, guitar player and singer for Now, says the idea of performing inside a grocery store was immediately appealing and a natural fit for his band’s DIY aesthetic — they’d done previous shows on highway overpasses and inside vintage clothing stores. (Coincidentally, drummer Oliver Lipton’s father had worked at Rainbow Grocery in the ’80s, so there was a nostalgic personal connection as well.)\u003c/p>\n\n\n\n\n\n\u003cp>“I love pop art, and I thought, what could be more pop art than having our band play in a grocery store?” Smith explains. \u003c/p>\n\n\n\n\u003cp>For Smith, the whole experience felt like a dream. “It was surreal, like it was such an odd place to be wheeling my amp into,” he says. But everyone was so professional and kind — and the snacks, of course, were second to none. \u003c/p>\n\n\n\n\u003cp>“I ate a really good apple,” he recalls.\u003c/p>\n\n\n\n\u003cp>For viewers watching the final product on YouTube, the surprising contrast between the vibe of the performance and its homey, lo-fi, out-of-the-studio setting is exactly what makes it so appealing. And the response, already, has been overwhelmingly enthusiastic.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1332\" height=\"2000\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/rainbow-grocery-edgar.jpg\" alt=\"Two musicians in gray suits performing in the produce section of a grocery store. The man in sunglasses on the left dances energetically. \" class=\"wp-image-13993724\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/rainbow-grocery-edgar.jpg 1332w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/rainbow-grocery-edgar-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/rainbow-grocery-edgar-768x1153.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/rainbow-grocery-edgar-1023x1536.jpg 1023w\" sizes=\"auto, (max-width: 1332px) 100vw, 1332px\" />\u003cfigcaption class=\"wp-element-caption\">Edgar (left) dances during his gothic cumbia set. (Courtesy of Rainbow Grocery)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>Within a couple of days, more than 3,000 people liked the initial \u003ca href=\"https://www.instagram.com/p/DcjJ9lVsYGw/\">trailer for the series\u003c/a> that Rainbow Grocery posted; nearly 75,000 viewed the video. (“It’s probably some of the best exposure we’ve gotten,” Smith says.)\u003c/p>\n\n\n\n\u003cp>De la Cruz-Falcon says one of the other exciting things about the project is that so many of the worker-owners at Rainbow Grocery are talented musicians, many of whom have their own bands. He hopes some of those bands will play at future Under the Rainbow recording sessions. \u003c/p>\n\n\n\n\u003cp>The next one will happen sometime in October, and the store is in the process of putting an application link up on its website. “Everybody’s welcome to submit,” de la Cruz-Falcon says. “We would love to have all kinds of music.”\u003c/p>\n\n\n\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\" />\n\n\n\n\u003cp>\u003cem>Rainbow Grocery will release new Under the Rainbow videos every other Wednesday morning — full sets on \u003c/em>\u003ca href=\"https://www.youtube.com/@rainbow-grocery\">\u003cem>YouTube\u003c/em>\u003c/a>\u003cem> and clips on \u003c/em>\u003ca href=\"https://www.instagram.com/p/DcjJ9lVsYGw/\">\u003cem>Instagram\u003c/em>\u003c/a>\u003cem>. The next edition, featuring \u003ca href=\"https://www.instagram.com/p/DdEiK8uyqJI/\">April Magazine\u003c/a>, will come out on Sept. 16.\u003c/em>\u003c/p>\n\u003c/div>\u003c/p>",
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"slug": "2026-hispanic-heritage-month-events-bay-area",
"title": "Your 2026 Guide to Hispanic Heritage Month Events in the Bay Area",
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"headTitle": "Your 2026 Guide to Hispanic Heritage Month Events in the Bay Area | KQED",
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"content": "\n\u003cp>\u003cem>This story was reported for \u003ca href=\"https://www.kqed.org/newsletters/k-onda\">K Onda KQED\u003c/a>, a monthly newsletter focused on the Bay Area’s Latinx community. \u003c/em>\u003ca href=\"https://www.kqed.org/newsletters/k-onda\">\u003cem>Click here to subscribe.\u003c/em>\u003c/a>\u003c/p>\n\n\n\n\u003cp>On Sept. 12, four blocks of the \u003ca href=\"https://www.kqed.org/arts/tag/mission-district\">Mission District\u003c/a> in San Francisco will be transformed into a massive street party with two stages of live performances, more than 90 vendors, and activities for kids.\u003c/p>\n\n\n\n\u003cp>\u003ca href=\"https://www.calle24sf.org/\">Fiesta de Las Américas\u003c/a>, put on by the Calle 24 Latino Cultural District, draws thousands of people each year. It’s one of dozens of events taking place during Hispanic Heritage Month (Sept. 15–Oct. 15) throughout the Bay Area.\u003c/p>\n\n\n\n\u003cp>“Cultural heritage months are not about ‘This is the only month we exist, or should be honored,’ but this is a month where we should be taking advantage to highlight and have other people fall in love with who we truly are,” said Susana Rojas, Calle 24’s executive director. \u003c/p>\n\n\n\n\u003cp>Other events celebrating Latino history and culture include various parades, a Nicaraguan festival, banda and pilates, author readings and concerts. \u003c/p>\n\n\n\n\u003cp>See our comprehensive guide below to find an event near you. And if we missed anything, \u003ca href=\"mailto:btorres@kqed.org\">let us know\u003c/a>.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/260903-KOndaSeptember-04-BL_qed.jpg\" alt=\"\" class=\"wp-image-13993702\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/260903-KOndaSeptember-04-BL_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/260903-KOndaSeptember-04-BL_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/260903-KOndaSeptember-04-BL_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/260903-KOndaSeptember-04-BL_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Luis Quiroz, founder of Mission Lotería, at the organization’s new storefront in San Francisco’s Mission District on Sept. 3, 2026. The space will serve as a home for community events, workshops, and local art. (Beth LaBerge/KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003ca href=\"https://www.mission-loteria.com/\">Mission Lotería Store Grand Opening\u003c/a>\u003c/h2>\n\n\n\n\u003cp>\u003cem>Sept. 10, 12–5 p.m.\u003cbr>2884 Mission St., San Francisco\u003c/em>\u003cbr>\u003cbr>The campaign promoting Mission businesses is opening a storefront that will sell locally made and Latino-inspirted stationery, gifts, artisan goods, clothing and accessories. \u003c/p>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003ca href=\"https://downtownsanleandro.com/events/latin-heritage-fest-san-leandro-second-fridays/\">Latin Heritage Month in Downtown San Leandro\u003c/a>\u003c/h2>\n\n\n\n\u003cp>\u003cem>Sept. 11, 4–9 p.m.\u003cbr>1446 Washington Ave., San Leandro\u003c/em>\u003cbr>\u003cbr>This event will include lucha libre wrestling, performances by Mariachi Tapatio, a salsa dance lesson, food trucks and vendors. Admission is free. \u003c/p>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003ca href=\"https://www.facebook.com/CincoDeMayoPeaceAndUnity/\">Paz y Unidad Fiestas Patrias Parade and Festival\u003c/a>\u003c/h2>\n\n\n\n\u003cp>\u003cem>Sept. 12, parade 10 a.m.–1 p.m.; festival 11 a.m.–5 p.m\u003cbr>Richmond and San Pablo\u003c/em>\u003c/p>\n\n\n\n\u003cp>The parade will start at 23rd Street and Barrett Avenue in Richmond. The festival takes place at St. Paul Church (1845 Church Lane, San Pablo), and will feature food vendors, a play area for kids and performances by bands and dance groups. Admission is free.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/240914-Chile-Mole-Pozole-A9ii-1188.jpg\" alt=\"\" class=\"wp-image-13993704\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/240914-Chile-Mole-Pozole-A9ii-1188.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/240914-Chile-Mole-Pozole-A9ii-1188-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/240914-Chile-Mole-Pozole-A9ii-1188-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/240914-Chile-Mole-Pozole-A9ii-1188-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Chile, Mole, Pozole at the Mexican Heritage Plaza in San José. (Courtesy Mexican Heritage Plaza)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003ca href=\"https://mhplaza.org/allevents/chilemolepozole\">Chile, Mole, Pozole\u003c/a>\u003c/h2>\n\n\n\n\u003cp>\u003cem>Sept. 12, 12:30–5 p.m.\u003cbr>Mexican Heritage Plaza, San José\u003c/em>\u003c/p>\n\n\n\n\u003cp>Food, activities and a musical performance by cumbia group Sonora San José. Admission is $10 for adults, $5 for youth (age 7–17) and free for kids ages 6 and under. \u003c/p>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003ca href=\"https://www.calle24sf.org/\">Fiesta de las Américas\u003c/a>\u003c/h2>\n\n\n\n\u003cp>\u003cem>Sept. 12, 11 a.m.–6 p.m.\u003cbr>Harrison Street between 23rd and 25th Streets, San Francisco\u003c/em>\u003c/p>\n\n\n\n\u003cp>Four blocks of traditional Latin American dance and musical performances organized by Calle 24 cultural district. Admission is free.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1530\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_1918-1.jpg\" alt=\"\" class=\"wp-image-13993707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_1918-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_1918-1-160x122.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_1918-1-768x588.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_1918-1-1536x1175.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">San Francisco Premium Outlets Mexican Independence Day Celebration will feature live performances from Mariachi Estelar and traditional dances by Ballet Folklórico Mexicano. (Courtesy of San Francisco Premium Outlets)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003ca href=\"https://www.premiumoutlets.com/outlet/san-francisco/stream/celebrate-mexican-independence-day-6287085\">San Francisco Premium Outlets Mexican Independence Day Celebration\u003c/a>\u003c/h2>\n\n\n\n\u003cp>\u003cem>Sept. 12, 12–3 p.m.\u003cbr>2774 Livermore Outlets Drive, Livermore\u003c/em>\u003c/p>\n\n\n\n\u003cp>Performances from Mariachi Estelar and Ballet Folklórico Mexicano, along with activities for families. Admission is free.\u003c/p>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003ca href=\"https://www.redwoodcity.org/residents/redwood-city-events/cultural/fiestas-patrias\">Redwood City Fiestas Patrias\u003c/a>\u003c/h2>\n\n\n\n\u003cp>\u003cem>Sept. 13, 2–8 p.m.\u003cbr>Courthouse Square, Redwood City\u003c/em>\u003c/p>\n\n\n\n\u003cp>Ballet folklórico, Mariachi performances, live music, kids area, food vendors, arts and crafts vendors and a traditional flag ceremony conducted by the Consul General de Mexico. Admission is free. \u003c/p>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003ca href=\"https://lutherburbankcenter.org/event/fiesta-de-independencia-26/\">17th Annual Fiesta de Independencia\u003c/a>\u003c/h2>\n\n\n\n\u003cp>\u003cem>Sept. 13, 1–7 p.m.\u003cbr>Luther Burbank Center for the Arts, Santa Rosa\u003c/em>\u003c/p>\n\n\n\n\u003cp>This festival will feature food, games, activities for the whole family, ballet folklórico and musical performances by Banda La Congora, Los Canarios de Michoacán and Mariachi Cantares de mi Tierra. Admission is free. \u003c/p>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003ca href=\"https://www.eventbrite.com/e/latinas-forever-market-tickets-1999058291162\">Latinas Forever Market at SPARK Social SF\u003c/a>\u003c/h2>\n\n\n\n\u003cp>\u003cem>Sept. 13, 12–4 p.m.\u003cbr>601 Mission Bay Blvd. N., San Francisco\u003c/em>\u003c/p>\n\n\n\n\u003cp>More than 20 Latina-owned vendors selling art, fashion, jewelry, handmade goods, treats and more. Admission is free. \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/240916_ElGrito_EG_036.jpg\" alt=\"\" class=\"wp-image-13993703\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/240916_ElGrito_EG_036.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/240916_ElGrito_EG_036-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/240916_ElGrito_EG_036-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/240916_ElGrito_EG_036-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">San Francisco El Grito de Independencia 2026 includes a reenactment of the historic call for Mexican independence from Spain in 1810. (Estefany Gonzalez for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003ca href=\"https://www.instagram.com/p/DcB_dNVmjm1/?utm_source=ig_web_copy_link&igsi=MzRlODBiNWFlZA==\">San Francisco El Grito de Independencia 2026\u003c/a>\u003c/h2>\n\n\n\n\u003cp>\u003cem>Sept. 15, 4–9 p.m.\u003cbr>Civic Center Plaza, San Francisco\u003c/em>\u003c/p>\n\n\n\n\u003cp>An evening of music, Mexican delicacies and community, and a reenactment of El Grito de Independencia, the historic call for Mexican independence from Spain in 1810. Admission is free. \u003c/p>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003ca href=\"https://www.comitedefiestaspatrias.org/\">San José El Grito de Independencia\u003c/a>\u003c/h2>\n\n\n\n\u003cp>\u003cem>Sept. 15, 4–9 p.m.\u003cbr>City Hall, San José\u003c/em>\u003c/p>\n\n\n\n\u003cp>This year’s gathering will feature food, crafts, live music and other performances celebrating Mexican culture and traditions. The reenactment of the call for independence is scheduled for 7:30 p.m. Admission is free.\u003c/p>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003ca href=\"https://www.kqed.org/event/6625/the-ritual-of-braiding\">The Ritual of Braiding presented by KQED Live\u003c/a>\u003c/h2>\n\n\n\n\u003cp>\u003cem>Sept. 17, 7 p.m\u003cbr>The Commons at KQED, San Francisco\u003c/em>\u003c/p>\n\n\n\n\u003cp>Explore the deep cultural significance of braiding across Latine, African and Indigenous traditions in which hair carries history, identity and care. Admission is $20 in person or free online. \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260524_Carnaval2026-GC-2_qed.jpg\" alt=\"\" class=\"wp-image-13993700\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260524_Carnaval2026-GC-2_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260524_Carnaval2026-GC-2_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260524_Carnaval2026-GC-2_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260524_Carnaval2026-GC-2_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">The annual King of the Streets Parade is scheduled for Sept. 19, 2026. (Gina Castro/KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003ca href=\"https://sanfranciscolowridercouncil.org/\">King of the Streets Lowrider Parade\u003c/a>\u003c/h2>\n\n\n\n\u003cp>\u003cem>Sept. 19, 12–6 p.m.\u003cbr>Mission Street between Cesar Chavez and 17th streets, San Francisco\u003c/em>\u003c/p>\n\n\n\n\u003cp>The San Francisco Lowrider Council, the City of San Francisco, the Mission Merchants Association and Calle 24 Latino Cultural District host a lowrider parade and hopping competition. Admission is free.\u003c/p>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003ca href=\"https://l.instagram.com/?u=https%3A%2F%2Fpartiful.com%2Fe%2Frv5PwVlAwu2uW8fogiDx%3Fc%3DtUWaI6nG%26utm_source%3Dig%26utm_medium%3Dsocial%26utm_content%3Dlink_in_bio%26fbclid%3DPAcGRvZgJleHRuA2FlbQIxMQBzcnRjBmFwcF9pZA85MzY2MTk3NDMzOTI0NTkAAadLcwVEfBi8z7ziXXYyds-BXTjeVhp0pDf6-riqfFyWiFFh5_OxKw2m9_V3gQ_aem_max822WqVg8lpJOSIE3vxg&e=AUCqIcn50AQffmbQ9a3Ta1kEUd5mZgJch7p4yAd78dPFYps4nF1tdDJkVD3QEOxByOGBVAZKmPNT33jeTSZskkys2TeTlP5ezNNIHfnh_Kb3BHlKC2HPdD2JJsybEpFWjkhGqVk\">BAE Movement Sunset Hike + Serenata\u003c/a>\u003c/h2>\n\n\n\n\u003cp>\u003cem>Sept. 19, 5:15 p.m.\u003cbr>725 Tennessee Valley Road, Mill Valley\u003c/em>\u003c/p>\n\n\n\n\u003cp>After a hike to the beach, a norteño music group will perform a sunset serenata, followed by a hike back to the starting point. Tickets: $40. \u003c/p>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003ca href=\"https://www.delcielobrewing.com/\">Hispanic Heritage Month at Del Cielo Brewing\u003c/a>\u003c/h2>\n\n\n\n\u003cp>\u003ca href=\"https://www.delcielobrewing.com/martinez-events/independence-of-mexico-inkietud-musical\">Inkietud Musical\u003c/a>, Sept. 18, 7:30 p.m. at 701 Escobar St., Martinez.\u003cbr>\u003ca href=\"https://www.delcielobrewing.com/martinez-events/live-music-los-bahianatos\">Los Bahianatos\u003c/a>, Sept. 26, 6:30 p.m. at 701 Escobar St., Martinez.\u003cbr>\u003ca href=\"https://www.delcielobrewing.com/livermore-events/independence-of-mexico-mariachi-san-carlos\">Mariachi San Carlos\u003c/a>, 7 p.m., Sept. 19, at 4771 Arroyo Vista, Livermore.\u003cbr>\u003ca href=\"https://www.delcielobrewing.com/martinez-events/live-music-julio-bravo\">Julio Bravo,\u003c/a> 6:30 p.m., Sept. 25, at 4771 Arroyo Vista, Livermore.\u003c/p>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003ca href=\"https://fb.watch/v/93JGWKCL9/\">Clayton’s Hispanic Heritage Celebration\u003c/a>\u003c/h2>\n\n\n\n\u003cp>\u003cem>Sept. 20, 12–4 p.m.\u003cbr>The Grove, Clayton\u003c/em>\u003c/p>\n\n\n\n\u003cp>This event will feature ballet folklórico, food vendors, a car show, and performances by Mariachi Mexicanisimo and Soucano. Admission is free. \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1125\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/6961e62fe2423ef1b276ff8e_LHM-69-p-2600.jpg\" alt=\"\" class=\"wp-image-13993708\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/6961e62fe2423ef1b276ff8e_LHM-69-p-2600.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/6961e62fe2423ef1b276ff8e_LHM-69-p-2600-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/6961e62fe2423ef1b276ff8e_LHM-69-p-2600-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/6961e62fe2423ef1b276ff8e_LHM-69-p-2600-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/6961e62fe2423ef1b276ff8e_LHM-69-p-2600-1200x675.jpg 1200w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Los Hermanos Mendoza in concert. (Courtesy Los Hermanos Mendoza)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003ca href=\"https://www.prekindle.com/promo/id/-2852527949096893359\">Los Hermanos Mendoza in Concert\u003c/a>\u003c/h2>\n\n\n\n\u003cp>\u003cem>Sept. 25, 9 p.m.\u003cbr>Cornerstone, Berkeley\u003c/em>\u003c/p>\n\n\n\n\u003cp>This trio of Mexican-American brothers from Bakersfield blends classic norteño music with country rhythms. Tickets: $28–34. They’ll be back in our region for \u003ca href=\"https://loshermanosmendoza.com/#Live\">a show in Napa\u003c/a> on Oct. 25. \u003c/p>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003ca href=\"https://www.eventbrite.com/e/viva-fall-fest-tickets-1994684796923\">Viva Fall Fest\u003c/a>\u003c/h2>\n\n\n\n\u003cp>\u003cem>Sept. 26, 1–5 p.m.\u003cbr>Fourth Street Makers Row, Berkeley\u003c/em>\u003c/p>\n\n\n\n\u003cp>Live Latin music, folklórico performances, salsa dancing, food, and local makers. Admission is free. \u003c/p>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003ca href=\"http://hayward.org/mariachi/\">Hayward Mariachi Festival\u003c/a>\u003c/h2>\n\n\n\n\u003cp>\u003cem>Sept. 26, 12–6 p.m.\u003cbr>Southland Mall, Hayward\u003c/em>\u003c/p>\n\n\n\n\u003cp>Live performances by mariachi bands along with food and craft vendors. Admission is free.\u003c/p>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003ca href=\"https://sfpl.org/events/2026/09/26/celebration-viva-kickoff-party\">¡VIVA! Kickoff Party\u003c/a>\u003c/h2>\n\n\n\n\u003cp>\u003cem>Sept. 26, 12–4 p.m.\u003cbr>San Francisco Main Public Library, San Francisco\u003c/em>\u003c/p>\n\n\n\n\u003cp>This event will feature a musical performance by Francisco Herrera, a reading by Jaime Cortez from his book \u003cem>Gordo\u003c/em>, a reading by author Cynthia Gómez from her book \u003cem>Muñeca\u003c/em> and a performance by TANGO INC. Admission is free. \u003c/p>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003ca href=\"https://ticketon.com/en/events/gran-festival-viva-nicaragua-newark-ca-2026-09-27-ynevlubykmzg\">Gran Festival Viva Nicaragua\u003c/a>\u003c/h2>\n\n\n\n\u003cp>\u003cem>Sept. 27, 10:30 a.m.\u003cbr>Swiss Park, Newark\u003c/em>\u003c/p>\n\n\n\n\u003cp>A day celebrating Nicaraguan food, culture and music. Admission is $35 or free for youths age 10 and younger. \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/La-Mar-Beverage-Director-Uriel-S.jpg\" alt=\"\" class=\"wp-image-13993699\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/La-Mar-Beverage-Director-Uriel-S.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/La-Mar-Beverage-Director-Uriel-S-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/La-Mar-Beverage-Director-Uriel-S-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/La-Mar-Beverage-Director-Uriel-S-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">La Mar’s beverage director Uriel Serrano. (Courtesy of La Mar)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003ca href=\"https://lamarcebicheria.com/san-francisco/\">Hispanic Heritage Month at La Mar\u003c/a>\u003c/h2>\n\n\n\n\u003cp>\u003cem>Pier 1 ½, The Embarcadero, San Francisco\u003c/em>\u003c/p>\n\n\n\n\u003cp>\u003ca href=\"https://url.us.m.mimecastprotect.com/s/2fzICERPDmIOBW4LSQuGNh73I51?domain=eventbrite.com\">Dance class\u003c/a> with Oakland’s Cunamacué, an Oakland-based Peruvian dance studio. Sept. 19, 12–1 p.m. $19 per person. \u003c/p>\n\n\n\n\u003cp>\u003ca href=\"https://url.us.m.mimecastprotect.com/s/XmJYCG69GouEwJ3kH1CmXhBJpuT?domain=eventbrite.com\">Latino spirits and cocktails workshop\u003c/a> led by La Mar’s beverage director, Uriel Serrano. Oct. 3, 3–4 p.m. $49 per person. \u003c/p>\n\n\n\n\u003cp>\u003ca href=\"https://url.us.m.mimecastprotect.com/s/dzc2CL9PNwTVLPBKi5IDWhyWKGi?domain=opentable.com\">Entre Amigos\u003c/a> waterfront fiesta in partnership with Teleferic, Pacifico and Xica featuring signature dishes, live music, dancing and cocktails. Oct. 11, 12–3 p.m. $106.80–$130.80 per person. \u003c/p>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003ca href=\"https://www.eventbrite.com/e/pilates-banda-tickets-1998928747694\">Banda & Pilates\u003c/a>\u003c/h2>\n\n\n\n\u003cp>\u003cem>Oct. 4, 11 a.m.–3 p.m.\u003cbr>San Leandro Marina, San Leandro\u003c/em>\u003c/p>\n\n\n\n\u003cp>This event will feature a live banda, a 60-minute guided Pilates class, wellness information, vendors, complimentary tacos, community building and a goodie bag. Pink attire requested. Tickets: $39.19–$65.87. \u003c/p>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003ca href=\"https://www.instagram.com/portalartesanal1?utm_source=ig_web_button_share_sheet&igsi=ZDNlZDc0MzIxNw==\">Portal Artesanal Ribbon Cutting Ceremony\u003c/a>\u003c/h2>\n\n\n\n\u003cp>\u003cem>Oct. 11, 12 p.m.\u003cbr>3091 N Main St., Walnut Creek\u003c/em>\u003c/p>\n\n\n\n\u003cp>Boutique with live performances, Mexican traditions, food and party favors. Admission is free. \u003c/p>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003ca href=\"https://accionlatina.org/fuentesgallery/\">Otra Onda/Otra Vez Photography Exhibit\u003c/a>\u003c/h2>\n\n\n\n\u003cp>\u003cem>1–5 p.m., Thursdays and Fridays until Oct. 17\u003cbr>Acción Latina, Juan R. Fuentes Gallery, San Francisco\u003c/em>\u003c/p>\n\n\n\n\u003cp>The show includes 50 photos of lowriders by Joe Ramos, Lou Dematteis, Gato Rivera, Yolanda Lopez, Gustavo Vasquez, and Wilfredo Castaño. Admission is free.\u003c/p>\n",
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"innerHTML": "\n\u003cp>\u003cem>This story was reported for \u003ca href=\"https://www.kqed.org/newsletters/k-onda\">K Onda KQED\u003c/a>, a monthly newsletter focused on the Bay Area’s Latinx community. \u003c/em>\u003ca href=\"https://www.kqed.org/newsletters/k-onda\">\u003cem>Click here to subscribe.\u003c/em>\u003c/a>\u003c/p>\n",
"innerContent": [
"\n\u003cp>\u003cem>This story was reported for \u003ca href=\"https://www.kqed.org/newsletters/k-onda\">K Onda KQED\u003c/a>, a monthly newsletter focused on the Bay Area’s Latinx community. \u003c/em>\u003ca href=\"https://www.kqed.org/newsletters/k-onda\">\u003cem>Click here to subscribe.\u003c/em>\u003c/a>\u003c/p>\n"
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"innerHTML": "\n\u003cp>On Sept. 12, four blocks of the \u003ca href=\"https://www.kqed.org/arts/tag/mission-district\">Mission District\u003c/a> in San Francisco will be transformed into a massive street party with two stages of live performances, more than 90 vendors, and activities for kids.\u003c/p>\n",
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"\n\u003cp>On Sept. 12, four blocks of the \u003ca href=\"https://www.kqed.org/arts/tag/mission-district\">Mission District\u003c/a> in San Francisco will be transformed into a massive street party with two stages of live performances, more than 90 vendors, and activities for kids.\u003c/p>\n"
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"innerHTML": "\n\u003cp>\u003ca href=\"https://www.calle24sf.org/\">Fiesta de Las Américas\u003c/a>, put on by the Calle 24 Latino Cultural District, draws thousands of people each year. It’s one of dozens of events taking place during Hispanic Heritage Month (Sept. 15–Oct. 15) throughout the Bay Area.\u003c/p>\n",
"innerContent": [
"\n\u003cp>\u003ca href=\"https://www.calle24sf.org/\">Fiesta de Las Américas\u003c/a>, put on by the Calle 24 Latino Cultural District, draws thousands of people each year. It’s one of dozens of events taking place during Hispanic Heritage Month (Sept. 15–Oct. 15) throughout the Bay Area.\u003c/p>\n"
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"innerHTML": "\n\u003cp>“Cultural heritage months are not about ‘This is the only month we exist, or should be honored,’ but this is a month where we should be taking advantage to highlight and have other people fall in love with who we truly are,” said Susana Rojas, Calle 24’s executive director. \u003c/p>\n",
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"\n\u003cp>“Cultural heritage months are not about ‘This is the only month we exist, or should be honored,’ but this is a month where we should be taking advantage to highlight and have other people fall in love with who we truly are,” said Susana Rojas, Calle 24’s executive director. \u003c/p>\n"
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"innerHTML": "\n\u003cp>Other events celebrating Latino history and culture include various parades, a Nicaraguan festival, banda and pilates, author readings and concerts. \u003c/p>\n",
"innerContent": [
"\n\u003cp>Other events celebrating Latino history and culture include various parades, a Nicaraguan festival, banda and pilates, author readings and concerts. \u003c/p>\n"
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"innerHTML": "\n\u003cp>See our comprehensive guide below to find an event near you. And if we missed anything, \u003ca href=\"mailto:btorres@kqed.org\">let us know\u003c/a>.\u003c/p>\n",
"innerContent": [
"\n\u003cp>See our comprehensive guide below to find an event near you. And if we missed anything, \u003ca href=\"mailto:btorres@kqed.org\">let us know\u003c/a>.\u003c/p>\n"
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"sizes": "(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)"
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/260903-KOndaSeptember-04-BL_qed.jpg\" alt=\"\" class=\"wp-image-13993702\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/260903-KOndaSeptember-04-BL_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/260903-KOndaSeptember-04-BL_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/260903-KOndaSeptember-04-BL_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/260903-KOndaSeptember-04-BL_qed-1536x1024.jpg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">Luis Quiroz, founder of Mission Lotería, at the organization’s new storefront in San Francisco’s Mission District on Sept. 3, 2026. The space will serve as a home for community events, workshops, and local art.\u003ccite class=\"wp-inline-image-credit\"> (Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n",
"innerContent": [
"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/260903-KOndaSeptember-04-BL_qed.jpg\" alt=\"\" class=\"wp-image-13993702\"/>\u003cfigcaption class=\"wp-element-caption\">Luis Quiroz, founder of Mission Lotería, at the organization’s new storefront in San Francisco’s Mission District on Sept. 3, 2026. The space will serve as a home for community events, workshops, and local art.\u003ccite class=\"wp-inline-image-credit\"> (Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n"
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"text": "Mission Lotería Store Grand Opening",
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"innerHTML": "\n\u003ch2 class=\"wp-block-heading\">\u003ca href=\"https://www.mission-loteria.com/\">Mission Lotería Store Grand Opening\u003c/a>\u003c/h2>\n",
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"\n\u003ch2 class=\"wp-block-heading\">\u003ca href=\"https://www.mission-loteria.com/\">Mission Lotería Store Grand Opening\u003c/a>\u003c/h2>\n"
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"innerHTML": "\n\u003cp>\u003cem>Sept. 10, 12–5 p.m.\u003cbr>2884 Mission St., San Francisco\u003c/em>\u003cbr>\u003cbr>The campaign promoting Mission businesses is opening a storefront that will sell locally made and Latino-inspirted stationery, gifts, artisan goods, clothing and accessories. \u003c/p>\n",
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"\n\u003cp>\u003cem>Sept. 10, 12–5 p.m.\u003cbr>2884 Mission St., San Francisco\u003c/em>\u003cbr>\u003cbr>The campaign promoting Mission businesses is opening a storefront that will sell locally made and Latino-inspirted stationery, gifts, artisan goods, clothing and accessories. \u003c/p>\n"
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"attrs": {
"text": "Latin Heritage Month in Downtown San Leandro",
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"innerHTML": "\n\u003ch2 class=\"wp-block-heading\">\u003ca href=\"https://downtownsanleandro.com/events/latin-heritage-fest-san-leandro-second-fridays/\">Latin Heritage Month in Downtown San Leandro\u003c/a>\u003c/h2>\n",
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"\n\u003ch2 class=\"wp-block-heading\">\u003ca href=\"https://downtownsanleandro.com/events/latin-heritage-fest-san-leandro-second-fridays/\">Latin Heritage Month in Downtown San Leandro\u003c/a>\u003c/h2>\n"
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"innerHTML": "\n\u003cp>\u003cem>Sept. 11, 4–9 p.m.\u003cbr>1446 Washington Ave., San Leandro\u003c/em>\u003cbr>\u003cbr>This event will include lucha libre wrestling, performances by Mariachi Tapatio, a salsa dance lesson, food trucks and vendors. Admission is free. \u003c/p>\n",
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"\n\u003cp>\u003cem>Sept. 11, 4–9 p.m.\u003cbr>1446 Washington Ave., San Leandro\u003c/em>\u003cbr>\u003cbr>This event will include lucha libre wrestling, performances by Mariachi Tapatio, a salsa dance lesson, food trucks and vendors. Admission is free. \u003c/p>\n"
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"blockName": "core/heading",
"attrs": {
"text": "Paz y Unidad Fiestas Patrias Parade and Festival",
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"innerHTML": "\n\u003ch2 class=\"wp-block-heading\">\u003ca href=\"https://www.facebook.com/CincoDeMayoPeaceAndUnity/\">Paz y Unidad Fiestas Patrias Parade and Festival\u003c/a>\u003c/h2>\n",
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"\n\u003ch2 class=\"wp-block-heading\">\u003ca href=\"https://www.facebook.com/CincoDeMayoPeaceAndUnity/\">Paz y Unidad Fiestas Patrias Parade and Festival\u003c/a>\u003c/h2>\n"
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"innerHTML": "\n\u003cp>\u003cem>Sept. 12, parade 10 a.m.–1 p.m.; festival 11 a.m.–5 p.m\u003cbr>Richmond and San Pablo\u003c/em>\u003c/p>\n",
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"\n\u003cp>\u003cem>Sept. 12, parade 10 a.m.–1 p.m.; festival 11 a.m.–5 p.m\u003cbr>Richmond and San Pablo\u003c/em>\u003c/p>\n"
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"innerHTML": "\n\u003cp>The parade will start at 23rd Street and Barrett Avenue in Richmond. The festival takes place at St. Paul Church (1845 Church Lane, San Pablo), and will feature food vendors, a play area for kids and performances by bands and dance groups. Admission is free.\u003c/p>\n",
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"\n\u003cp>The parade will start at 23rd Street and Barrett Avenue in Richmond. The festival takes place at St. Paul Church (1845 Church Lane, San Pablo), and will feature food vendors, a play area for kids and performances by bands and dance groups. Admission is free.\u003c/p>\n"
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"srcset": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/240914-Chile-Mole-Pozole-A9ii-1188.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/240914-Chile-Mole-Pozole-A9ii-1188-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/240914-Chile-Mole-Pozole-A9ii-1188-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/240914-Chile-Mole-Pozole-A9ii-1188-1536x1024.jpg 1536w",
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/240914-Chile-Mole-Pozole-A9ii-1188.jpg\" alt=\"\" class=\"wp-image-13993704\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/240914-Chile-Mole-Pozole-A9ii-1188.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/240914-Chile-Mole-Pozole-A9ii-1188-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/240914-Chile-Mole-Pozole-A9ii-1188-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/240914-Chile-Mole-Pozole-A9ii-1188-1536x1024.jpg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">Chile, Mole, Pozole at the Mexican Heritage Plaza in San José.\u003ccite class=\"wp-inline-image-credit\"> (Courtesy Mexican Heritage Plaza)\u003c/cite>\u003c/figcaption>\u003c/figure>\n",
"innerContent": [
"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/240914-Chile-Mole-Pozole-A9ii-1188.jpg\" alt=\"\" class=\"wp-image-13993704\"/>\u003cfigcaption class=\"wp-element-caption\">Chile, Mole, Pozole at the Mexican Heritage Plaza in San José.\u003ccite class=\"wp-inline-image-credit\"> (Courtesy Mexican Heritage Plaza)\u003c/cite>\u003c/figcaption>\u003c/figure>\n"
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"text": "Chile, Mole, Pozole",
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"innerHTML": "\n\u003ch2 class=\"wp-block-heading\">\u003ca href=\"https://mhplaza.org/allevents/chilemolepozole\">Chile, Mole, Pozole\u003c/a>\u003c/h2>\n",
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"\n\u003ch2 class=\"wp-block-heading\">\u003ca href=\"https://mhplaza.org/allevents/chilemolepozole\">Chile, Mole, Pozole\u003c/a>\u003c/h2>\n"
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"innerHTML": "\n\u003cp>\u003cem>Sept. 12, 12:30–5 p.m.\u003cbr>Mexican Heritage Plaza, San José\u003c/em>\u003c/p>\n",
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"\n\u003cp>\u003cem>Sept. 12, 12:30–5 p.m.\u003cbr>Mexican Heritage Plaza, San José\u003c/em>\u003c/p>\n"
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"innerHTML": "\n\u003cp>Food, activities and a musical performance by cumbia group Sonora San José. Admission is $10 for adults, $5 for youth (age 7–17) and free for kids ages 6 and under. \u003c/p>\n",
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"\n\u003cp>Food, activities and a musical performance by cumbia group Sonora San José. Admission is $10 for adults, $5 for youth (age 7–17) and free for kids ages 6 and under. \u003c/p>\n"
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"attrs": {
"text": "Fiesta de las Américas",
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"innerHTML": "\n\u003ch2 class=\"wp-block-heading\">\u003ca href=\"https://www.calle24sf.org/\">Fiesta de las Américas\u003c/a>\u003c/h2>\n",
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"\n\u003ch2 class=\"wp-block-heading\">\u003ca href=\"https://www.calle24sf.org/\">Fiesta de las Américas\u003c/a>\u003c/h2>\n"
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"innerHTML": "\n\u003cp>\u003cem>Sept. 12, 11 a.m.–6 p.m.\u003cbr>Harrison Street between 23rd and 25th Streets, San Francisco\u003c/em>\u003c/p>\n",
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"innerHTML": "\n\u003cp>Four blocks of traditional Latin American dance and musical performances organized by Calle 24 cultural district. Admission is free.\u003c/p>\n",
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"\n\u003cp>Four blocks of traditional Latin American dance and musical performances organized by Calle 24 cultural district. Admission is free.\u003c/p>\n"
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"sizes": "(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)"
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_1918-1.jpg\" alt=\"\" class=\"wp-image-13993707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_1918-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_1918-1-160x122.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_1918-1-768x588.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_1918-1-1536x1175.jpg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">San Francisco Premium Outlets Mexican Independence Day Celebration will feature live performances from Mariachi Estelar and traditional dances by Ballet Folklórico Mexicano. \u003ccite class=\"wp-inline-image-credit\"> (Courtesy of San Francisco Premium Outlets)\u003c/cite>\u003c/figcaption>\u003c/figure>\n",
"innerContent": [
"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_1918-1.jpg\" alt=\"\" class=\"wp-image-13993707\"/>\u003cfigcaption class=\"wp-element-caption\">San Francisco Premium Outlets Mexican Independence Day Celebration will feature live performances from Mariachi Estelar and traditional dances by Ballet Folklórico Mexicano. \u003ccite class=\"wp-inline-image-credit\"> (Courtesy of San Francisco Premium Outlets)\u003c/cite>\u003c/figcaption>\u003c/figure>\n"
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{
"blockName": "core/heading",
"attrs": {
"text": "San Francisco Premium Outlets Mexican Independence Day Celebration",
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"innerHTML": "\n\u003ch2 class=\"wp-block-heading\">\u003ca href=\"https://www.premiumoutlets.com/outlet/san-francisco/stream/celebrate-mexican-independence-day-6287085\">San Francisco Premium Outlets Mexican Independence Day Celebration\u003c/a>\u003c/h2>\n",
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"\n\u003ch2 class=\"wp-block-heading\">\u003ca href=\"https://www.premiumoutlets.com/outlet/san-francisco/stream/celebrate-mexican-independence-day-6287085\">San Francisco Premium Outlets Mexican Independence Day Celebration\u003c/a>\u003c/h2>\n"
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"innerHTML": "\n\u003cp>\u003cem>Sept. 12, 12–3 p.m.\u003cbr>2774 Livermore Outlets Drive, Livermore\u003c/em>\u003c/p>\n",
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"\n\u003cp>\u003cem>Sept. 12, 12–3 p.m.\u003cbr>2774 Livermore Outlets Drive, Livermore\u003c/em>\u003c/p>\n"
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"innerHTML": "\n\u003cp>Performances from Mariachi Estelar and Ballet Folklórico Mexicano, along with activities for families. Admission is free.\u003c/p>\n",
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"\n\u003cp>Performances from Mariachi Estelar and Ballet Folklórico Mexicano, along with activities for families. Admission is free.\u003c/p>\n"
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},
{
"blockName": "core/heading",
"attrs": {
"text": "Redwood City Fiestas Patrias",
"level": 2
},
"innerHTML": "\n\u003ch2 class=\"wp-block-heading\">\u003ca href=\"https://www.redwoodcity.org/residents/redwood-city-events/cultural/fiestas-patrias\">Redwood City Fiestas Patrias\u003c/a>\u003c/h2>\n",
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"\n\u003ch2 class=\"wp-block-heading\">\u003ca href=\"https://www.redwoodcity.org/residents/redwood-city-events/cultural/fiestas-patrias\">Redwood City Fiestas Patrias\u003c/a>\u003c/h2>\n"
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"innerHTML": "\n\u003cp>\u003cem>Sept. 13, 2–8 p.m.\u003cbr>Courthouse Square, Redwood City\u003c/em>\u003c/p>\n",
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"\n\u003cp>\u003cem>Sept. 13, 2–8 p.m.\u003cbr>Courthouse Square, Redwood City\u003c/em>\u003c/p>\n"
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},
{
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"innerHTML": "\n\u003cp>Ballet folklórico, Mariachi performances, live music, kids area, food vendors, arts and crafts vendors and a traditional flag ceremony conducted by the Consul General de Mexico. Admission is free. \u003c/p>\n",
"innerContent": [
"\n\u003cp>Ballet folklórico, Mariachi performances, live music, kids area, food vendors, arts and crafts vendors and a traditional flag ceremony conducted by the Consul General de Mexico. Admission is free. \u003c/p>\n"
],
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},
{
"blockName": "core/heading",
"attrs": {
"text": "17th Annual Fiesta de Independencia",
"level": 2
},
"innerHTML": "\n\u003ch2 class=\"wp-block-heading\">\u003ca href=\"https://lutherburbankcenter.org/event/fiesta-de-independencia-26/\">17th Annual Fiesta de Independencia\u003c/a>\u003c/h2>\n",
"innerContent": [
"\n\u003ch2 class=\"wp-block-heading\">\u003ca href=\"https://lutherburbankcenter.org/event/fiesta-de-independencia-26/\">17th Annual Fiesta de Independencia\u003c/a>\u003c/h2>\n"
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"innerHTML": "\n\u003cp>\u003cem>Sept. 13, 1–7 p.m.\u003cbr>Luther Burbank Center for the Arts, Santa Rosa\u003c/em>\u003c/p>\n",
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"\n\u003cp>\u003cem>Sept. 13, 1–7 p.m.\u003cbr>Luther Burbank Center for the Arts, Santa Rosa\u003c/em>\u003c/p>\n"
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{
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"innerHTML": "\n\u003cp>This festival will feature food, games, activities for the whole family, ballet folklórico and musical performances by Banda La Congora, Los Canarios de Michoacán and Mariachi Cantares de mi Tierra. Admission is free. \u003c/p>\n",
"innerContent": [
"\n\u003cp>This festival will feature food, games, activities for the whole family, ballet folklórico and musical performances by Banda La Congora, Los Canarios de Michoacán and Mariachi Cantares de mi Tierra. Admission is free. \u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/heading",
"attrs": {
"text": "Latinas Forever Market at SPARK Social SF",
"level": 2
},
"innerHTML": "\n\u003ch2 class=\"wp-block-heading\">\u003ca href=\"https://www.eventbrite.com/e/latinas-forever-market-tickets-1999058291162\">Latinas Forever Market at SPARK Social SF\u003c/a>\u003c/h2>\n",
"innerContent": [
"\n\u003ch2 class=\"wp-block-heading\">\u003ca href=\"https://www.eventbrite.com/e/latinas-forever-market-tickets-1999058291162\">Latinas Forever Market at SPARK Social SF\u003c/a>\u003c/h2>\n"
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{
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"innerHTML": "\n\u003cp>\u003cem>Sept. 13, 12–4 p.m.\u003cbr>601 Mission Bay Blvd. N., San Francisco\u003c/em>\u003c/p>\n",
"innerContent": [
"\n\u003cp>\u003cem>Sept. 13, 12–4 p.m.\u003cbr>601 Mission Bay Blvd. N., San Francisco\u003c/em>\u003c/p>\n"
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"innerHTML": "\n\u003cp>More than 20 Latina-owned vendors selling art, fashion, jewelry, handmade goods, treats and more. Admission is free. \u003c/p>\n",
"innerContent": [
"\n\u003cp>More than 20 Latina-owned vendors selling art, fashion, jewelry, handmade goods, treats and more. Admission is free. \u003c/p>\n"
],
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},
{
"blockName": "core/image",
"attrs": {
"id": 13993703,
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"srcset": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/240916_ElGrito_EG_036.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/240916_ElGrito_EG_036-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/240916_ElGrito_EG_036-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/240916_ElGrito_EG_036-1536x1024.jpg 1536w",
"sizes": "(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)"
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/240916_ElGrito_EG_036.jpg\" alt=\"\" class=\"wp-image-13993703\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/240916_ElGrito_EG_036.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/240916_ElGrito_EG_036-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/240916_ElGrito_EG_036-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/240916_ElGrito_EG_036-1536x1024.jpg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">San Francisco El Grito de Independencia 2026 includes a reenactment of the historic call for Mexican independence from Spain in 1810.\u003ccite class=\"wp-inline-image-credit\"> (Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n",
"innerContent": [
"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/240916_ElGrito_EG_036.jpg\" alt=\"\" class=\"wp-image-13993703\"/>\u003cfigcaption class=\"wp-element-caption\">San Francisco El Grito de Independencia 2026 includes a reenactment of the historic call for Mexican independence from Spain in 1810.\u003ccite class=\"wp-inline-image-credit\"> (Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n"
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"attrs": {
"text": "San Francisco El Grito de Independencia 2026",
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"innerHTML": "\n\u003ch2 class=\"wp-block-heading\">\u003ca href=\"https://www.instagram.com/p/DcB_dNVmjm1/?utm_source=ig_web_copy_link&igsi=MzRlODBiNWFlZA==\">San Francisco El Grito de Independencia 2026\u003c/a>\u003c/h2>\n",
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"\n\u003ch2 class=\"wp-block-heading\">\u003ca href=\"https://www.instagram.com/p/DcB_dNVmjm1/?utm_source=ig_web_copy_link&igsi=MzRlODBiNWFlZA==\">San Francisco El Grito de Independencia 2026\u003c/a>\u003c/h2>\n"
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"innerHTML": "\n\u003cp>\u003cem>Sept. 15, 4–9 p.m.\u003cbr>Civic Center Plaza, San Francisco\u003c/em>\u003c/p>\n",
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"\n\u003cp>\u003cem>Sept. 15, 4–9 p.m.\u003cbr>Civic Center Plaza, San Francisco\u003c/em>\u003c/p>\n"
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{
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"innerHTML": "\n\u003cp>An evening of music, Mexican delicacies and community, and a reenactment of El Grito de Independencia, the historic call for Mexican independence from Spain in 1810. Admission is free. \u003c/p>\n",
"innerContent": [
"\n\u003cp>An evening of music, Mexican delicacies and community, and a reenactment of El Grito de Independencia, the historic call for Mexican independence from Spain in 1810. Admission is free. \u003c/p>\n"
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"innerBlocks": []
},
{
"blockName": "core/heading",
"attrs": {
"text": "San José El Grito de Independencia",
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"innerHTML": "\n\u003ch2 class=\"wp-block-heading\">\u003ca href=\"https://www.comitedefiestaspatrias.org/\">San José El Grito de Independencia\u003c/a>\u003c/h2>\n",
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"\n\u003ch2 class=\"wp-block-heading\">\u003ca href=\"https://www.comitedefiestaspatrias.org/\">San José El Grito de Independencia\u003c/a>\u003c/h2>\n"
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"innerHTML": "\n\u003cp>\u003cem>Sept. 15, 4–9 p.m.\u003cbr>City Hall, San José\u003c/em>\u003c/p>\n",
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"\n\u003cp>\u003cem>Sept. 15, 4–9 p.m.\u003cbr>City Hall, San José\u003c/em>\u003c/p>\n"
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{
"blockName": "core/paragraph",
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"innerHTML": "\n\u003cp>This year’s gathering will feature food, crafts, live music and other performances celebrating Mexican culture and traditions. The reenactment of the call for independence is scheduled for 7:30 p.m. Admission is free.\u003c/p>\n",
"innerContent": [
"\n\u003cp>This year’s gathering will feature food, crafts, live music and other performances celebrating Mexican culture and traditions. The reenactment of the call for independence is scheduled for 7:30 p.m. Admission is free.\u003c/p>\n"
],
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},
{
"blockName": "core/heading",
"attrs": {
"text": "The Ritual of Braiding presented by KQED Live",
"level": 2
},
"innerHTML": "\n\u003ch2 class=\"wp-block-heading\">\u003ca href=\"https://www.kqed.org/event/6625/the-ritual-of-braiding\">The Ritual of Braiding presented by KQED Live\u003c/a>\u003c/h2>\n",
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"\n\u003ch2 class=\"wp-block-heading\">\u003ca href=\"https://www.kqed.org/event/6625/the-ritual-of-braiding\">The Ritual of Braiding presented by KQED Live\u003c/a>\u003c/h2>\n"
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"innerHTML": "\n\u003cp>\u003cem>Sept. 17, 7 p.m\u003cbr>The Commons at KQED, San Francisco\u003c/em>\u003c/p>\n",
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"\n\u003cp>\u003cem>Sept. 17, 7 p.m\u003cbr>The Commons at KQED, San Francisco\u003c/em>\u003c/p>\n"
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{
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"innerHTML": "\n\u003cp>Explore the deep cultural significance of braiding across Latine, African and Indigenous traditions in which hair carries history, identity and care. Admission is $20 in person or free online. \u003c/p>\n",
"innerContent": [
"\n\u003cp>Explore the deep cultural significance of braiding across Latine, African and Indigenous traditions in which hair carries history, identity and care. Admission is $20 in person or free online. \u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/image",
"attrs": {
"id": 13993700,
"sizeSlug": "full",
"linkDestination": "none",
"alt": "",
"srcset": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260524_Carnaval2026-GC-2_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260524_Carnaval2026-GC-2_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260524_Carnaval2026-GC-2_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260524_Carnaval2026-GC-2_qed-1536x1024.jpg 1536w",
"sizes": "(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)"
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260524_Carnaval2026-GC-2_qed.jpg\" alt=\"\" class=\"wp-image-13993700\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260524_Carnaval2026-GC-2_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260524_Carnaval2026-GC-2_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260524_Carnaval2026-GC-2_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260524_Carnaval2026-GC-2_qed-1536x1024.jpg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">The annual King of the Streets Parade is scheduled for Sept. 19, 2026. \u003ccite class=\"wp-inline-image-credit\"> (Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n",
"innerContent": [
"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260524_Carnaval2026-GC-2_qed.jpg\" alt=\"\" class=\"wp-image-13993700\"/>\u003cfigcaption class=\"wp-element-caption\">The annual King of the Streets Parade is scheduled for Sept. 19, 2026. \u003ccite class=\"wp-inline-image-credit\"> (Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n"
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"blockName": "core/heading",
"attrs": {
"text": "King of the Streets Lowrider Parade",
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"innerHTML": "\n\u003ch2 class=\"wp-block-heading\">\u003ca href=\"https://sanfranciscolowridercouncil.org/\">King of the Streets Lowrider Parade\u003c/a>\u003c/h2>\n",
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"\n\u003ch2 class=\"wp-block-heading\">\u003ca href=\"https://sanfranciscolowridercouncil.org/\">King of the Streets Lowrider Parade\u003c/a>\u003c/h2>\n"
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{
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"innerHTML": "\n\u003cp>\u003cem>Sept. 19, 12–6 p.m.\u003cbr>Mission Street between Cesar Chavez and 17th streets, San Francisco\u003c/em>\u003c/p>\n",
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"\n\u003cp>\u003cem>Sept. 19, 12–6 p.m.\u003cbr>Mission Street between Cesar Chavez and 17th streets, San Francisco\u003c/em>\u003c/p>\n"
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{
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"innerHTML": "\n\u003cp>The San Francisco Lowrider Council, the City of San Francisco, the Mission Merchants Association and Calle 24 Latino Cultural District host a lowrider parade and hopping competition. Admission is free.\u003c/p>\n",
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"\n\u003cp>The San Francisco Lowrider Council, the City of San Francisco, the Mission Merchants Association and Calle 24 Latino Cultural District host a lowrider parade and hopping competition. Admission is free.\u003c/p>\n"
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},
{
"blockName": "core/heading",
"attrs": {
"text": "BAE Movement Sunset Hike + Serenata",
"level": 2
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"innerHTML": "\n\u003ch2 class=\"wp-block-heading\">\u003ca href=\"https://l.instagram.com/?u=https%3A%2F%2Fpartiful.com%2Fe%2Frv5PwVlAwu2uW8fogiDx%3Fc%3DtUWaI6nG%26utm_source%3Dig%26utm_medium%3Dsocial%26utm_content%3Dlink_in_bio%26fbclid%3DPAcGRvZgJleHRuA2FlbQIxMQBzcnRjBmFwcF9pZA85MzY2MTk3NDMzOTI0NTkAAadLcwVEfBi8z7ziXXYyds-BXTjeVhp0pDf6-riqfFyWiFFh5_OxKw2m9_V3gQ_aem_max822WqVg8lpJOSIE3vxg&e=AUCqIcn50AQffmbQ9a3Ta1kEUd5mZgJch7p4yAd78dPFYps4nF1tdDJkVD3QEOxByOGBVAZKmPNT33jeTSZskkys2TeTlP5ezNNIHfnh_Kb3BHlKC2HPdD2JJsybEpFWjkhGqVk\">BAE Movement Sunset Hike + Serenata\u003c/a>\u003c/h2>\n",
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"\n\u003ch2 class=\"wp-block-heading\">\u003ca href=\"https://l.instagram.com/?u=https%3A%2F%2Fpartiful.com%2Fe%2Frv5PwVlAwu2uW8fogiDx%3Fc%3DtUWaI6nG%26utm_source%3Dig%26utm_medium%3Dsocial%26utm_content%3Dlink_in_bio%26fbclid%3DPAcGRvZgJleHRuA2FlbQIxMQBzcnRjBmFwcF9pZA85MzY2MTk3NDMzOTI0NTkAAadLcwVEfBi8z7ziXXYyds-BXTjeVhp0pDf6-riqfFyWiFFh5_OxKw2m9_V3gQ_aem_max822WqVg8lpJOSIE3vxg&e=AUCqIcn50AQffmbQ9a3Ta1kEUd5mZgJch7p4yAd78dPFYps4nF1tdDJkVD3QEOxByOGBVAZKmPNT33jeTSZskkys2TeTlP5ezNNIHfnh_Kb3BHlKC2HPdD2JJsybEpFWjkhGqVk\">BAE Movement Sunset Hike + Serenata\u003c/a>\u003c/h2>\n"
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"innerHTML": "\n\u003cp>\u003cem>Sept. 19, 5:15 p.m.\u003cbr>725 Tennessee Valley Road, Mill Valley\u003c/em>\u003c/p>\n",
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"innerHTML": "\n\u003cp>After a hike to the beach, a norteño music group will perform a sunset serenata, followed by a hike back to the starting point. Tickets: $40. \u003c/p>\n",
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{
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"attrs": {
"text": "Hispanic Heritage Month at Del Cielo Brewing",
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"innerHTML": "\n\u003ch2 class=\"wp-block-heading\">\u003ca href=\"https://www.delcielobrewing.com/\">Hispanic Heritage Month at Del Cielo Brewing\u003c/a>\u003c/h2>\n",
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"\n\u003ch2 class=\"wp-block-heading\">\u003ca href=\"https://www.delcielobrewing.com/\">Hispanic Heritage Month at Del Cielo Brewing\u003c/a>\u003c/h2>\n"
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"innerHTML": "\n\u003cp>\u003ca href=\"https://www.delcielobrewing.com/martinez-events/independence-of-mexico-inkietud-musical\">Inkietud Musical\u003c/a>, Sept. 18, 7:30 p.m. at 701 Escobar St., Martinez.\u003cbr>\u003ca href=\"https://www.delcielobrewing.com/martinez-events/live-music-los-bahianatos\">Los Bahianatos\u003c/a>, Sept. 26, 6:30 p.m. at 701 Escobar St., Martinez.\u003cbr>\u003ca href=\"https://www.delcielobrewing.com/livermore-events/independence-of-mexico-mariachi-san-carlos\">Mariachi San Carlos\u003c/a>, 7 p.m., Sept. 19, at 4771 Arroyo Vista, Livermore.\u003cbr>\u003ca href=\"https://www.delcielobrewing.com/martinez-events/live-music-julio-bravo\">Julio Bravo,\u003c/a> 6:30 p.m., Sept. 25, at 4771 Arroyo Vista, Livermore.\u003c/p>\n",
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"\n\u003cp>\u003ca href=\"https://www.delcielobrewing.com/martinez-events/independence-of-mexico-inkietud-musical\">Inkietud Musical\u003c/a>, Sept. 18, 7:30 p.m. at 701 Escobar St., Martinez.\u003cbr>\u003ca href=\"https://www.delcielobrewing.com/martinez-events/live-music-los-bahianatos\">Los Bahianatos\u003c/a>, Sept. 26, 6:30 p.m. at 701 Escobar St., Martinez.\u003cbr>\u003ca href=\"https://www.delcielobrewing.com/livermore-events/independence-of-mexico-mariachi-san-carlos\">Mariachi San Carlos\u003c/a>, 7 p.m., Sept. 19, at 4771 Arroyo Vista, Livermore.\u003cbr>\u003ca href=\"https://www.delcielobrewing.com/martinez-events/live-music-julio-bravo\">Julio Bravo,\u003c/a> 6:30 p.m., Sept. 25, at 4771 Arroyo Vista, Livermore.\u003c/p>\n"
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"attrs": {
"text": "Clayton’s Hispanic Heritage Celebration",
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"innerHTML": "\n\u003ch2 class=\"wp-block-heading\">\u003ca href=\"https://fb.watch/v/93JGWKCL9/\">Clayton’s Hispanic Heritage Celebration\u003c/a>\u003c/h2>\n",
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"\n\u003ch2 class=\"wp-block-heading\">\u003ca href=\"https://fb.watch/v/93JGWKCL9/\">Clayton’s Hispanic Heritage Celebration\u003c/a>\u003c/h2>\n"
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"innerHTML": "\n\u003cp>\u003cem>Sept. 20, 12–4 p.m.\u003cbr>The Grove, Clayton\u003c/em>\u003c/p>\n",
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"innerHTML": "\n\u003cp>This event will feature ballet folklórico, food vendors, a car show, and performances by Mariachi Mexicanisimo and Soucano. Admission is free. \u003c/p>\n",
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"\n\u003cp>This event will feature ballet folklórico, food vendors, a car show, and performances by Mariachi Mexicanisimo and Soucano. Admission is free. \u003c/p>\n"
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"srcset": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/6961e62fe2423ef1b276ff8e_LHM-69-p-2600.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/6961e62fe2423ef1b276ff8e_LHM-69-p-2600-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/6961e62fe2423ef1b276ff8e_LHM-69-p-2600-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/6961e62fe2423ef1b276ff8e_LHM-69-p-2600-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/6961e62fe2423ef1b276ff8e_LHM-69-p-2600-1200x675.jpg 1200w",
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/6961e62fe2423ef1b276ff8e_LHM-69-p-2600.jpg\" alt=\"\" class=\"wp-image-13993708\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/6961e62fe2423ef1b276ff8e_LHM-69-p-2600.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/6961e62fe2423ef1b276ff8e_LHM-69-p-2600-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/6961e62fe2423ef1b276ff8e_LHM-69-p-2600-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/6961e62fe2423ef1b276ff8e_LHM-69-p-2600-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/6961e62fe2423ef1b276ff8e_LHM-69-p-2600-1200x675.jpg 1200w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">Los Hermanos Mendoza in concert. \u003ccite class=\"wp-inline-image-credit\"> (Courtesy Los Hermanos Mendoza)\u003c/cite>\u003c/figcaption>\u003c/figure>\n",
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"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/6961e62fe2423ef1b276ff8e_LHM-69-p-2600.jpg\" alt=\"\" class=\"wp-image-13993708\"/>\u003cfigcaption class=\"wp-element-caption\">Los Hermanos Mendoza in concert. \u003ccite class=\"wp-inline-image-credit\"> (Courtesy Los Hermanos Mendoza)\u003c/cite>\u003c/figcaption>\u003c/figure>\n"
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"text": "Los Hermanos Mendoza in Concert",
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"innerHTML": "\n\u003ch2 class=\"wp-block-heading\">\u003ca href=\"https://www.prekindle.com/promo/id/-2852527949096893359\">Los Hermanos Mendoza in Concert\u003c/a>\u003c/h2>\n",
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"\n\u003ch2 class=\"wp-block-heading\">\u003ca href=\"https://www.prekindle.com/promo/id/-2852527949096893359\">Los Hermanos Mendoza in Concert\u003c/a>\u003c/h2>\n"
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"innerHTML": "\n\u003cp>\u003cem>Sept. 25, 9 p.m.\u003cbr>Cornerstone, Berkeley\u003c/em>\u003c/p>\n",
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"\n\u003cp>\u003cem>Sept. 25, 9 p.m.\u003cbr>Cornerstone, Berkeley\u003c/em>\u003c/p>\n"
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"innerHTML": "\n\u003cp>This trio of Mexican-American brothers from Bakersfield blends classic norteño music with country rhythms. Tickets: $28–34. They’ll be back in our region for \u003ca href=\"https://loshermanosmendoza.com/#Live\">a show in Napa\u003c/a> on Oct. 25. \u003c/p>\n",
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"\n\u003cp>This trio of Mexican-American brothers from Bakersfield blends classic norteño music with country rhythms. Tickets: $28–34. They’ll be back in our region for \u003ca href=\"https://loshermanosmendoza.com/#Live\">a show in Napa\u003c/a> on Oct. 25. \u003c/p>\n"
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{
"blockName": "core/heading",
"attrs": {
"text": "Viva Fall Fest",
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},
"innerHTML": "\n\u003ch2 class=\"wp-block-heading\">\u003ca href=\"https://www.eventbrite.com/e/viva-fall-fest-tickets-1994684796923\">Viva Fall Fest\u003c/a>\u003c/h2>\n",
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"\n\u003ch2 class=\"wp-block-heading\">\u003ca href=\"https://www.eventbrite.com/e/viva-fall-fest-tickets-1994684796923\">Viva Fall Fest\u003c/a>\u003c/h2>\n"
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"innerHTML": "\n\u003cp>\u003cem>Sept. 26, 1–5 p.m.\u003cbr>Fourth Street Makers Row, Berkeley\u003c/em>\u003c/p>\n",
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"\n\u003cp>\u003cem>Sept. 26, 1–5 p.m.\u003cbr>Fourth Street Makers Row, Berkeley\u003c/em>\u003c/p>\n"
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{
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"innerHTML": "\n\u003cp>Live Latin music, folklórico performances, salsa dancing, food, and local makers. Admission is free. \u003c/p>\n",
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"\n\u003cp>Live Latin music, folklórico performances, salsa dancing, food, and local makers. Admission is free. \u003c/p>\n"
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{
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"attrs": {
"text": "Hayward Mariachi Festival",
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"innerHTML": "\n\u003ch2 class=\"wp-block-heading\">\u003ca href=\"http://hayward.org/mariachi/\">Hayward Mariachi Festival\u003c/a>\u003c/h2>\n",
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"\n\u003ch2 class=\"wp-block-heading\">\u003ca href=\"http://hayward.org/mariachi/\">Hayward Mariachi Festival\u003c/a>\u003c/h2>\n"
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"innerHTML": "\n\u003cp>\u003cem>Sept. 26, 12–6 p.m.\u003cbr>Southland Mall, Hayward\u003c/em>\u003c/p>\n",
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"\n\u003cp>\u003cem>Sept. 26, 12–6 p.m.\u003cbr>Southland Mall, Hayward\u003c/em>\u003c/p>\n"
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"innerHTML": "\n\u003cp>Live performances by mariachi bands along with food and craft vendors. Admission is free.\u003c/p>\n",
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"\n\u003cp>Live performances by mariachi bands along with food and craft vendors. Admission is free.\u003c/p>\n"
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{
"blockName": "core/heading",
"attrs": {
"text": "¡VIVA! Kickoff Party",
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"innerHTML": "\n\u003ch2 class=\"wp-block-heading\">\u003ca href=\"https://sfpl.org/events/2026/09/26/celebration-viva-kickoff-party\">¡VIVA! Kickoff Party\u003c/a>\u003c/h2>\n",
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"\n\u003ch2 class=\"wp-block-heading\">\u003ca href=\"https://sfpl.org/events/2026/09/26/celebration-viva-kickoff-party\">¡VIVA! Kickoff Party\u003c/a>\u003c/h2>\n"
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"innerHTML": "\n\u003cp>\u003cem>Sept. 26, 12–4 p.m.\u003cbr>San Francisco Main Public Library, San Francisco\u003c/em>\u003c/p>\n",
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"\n\u003cp>\u003cem>Sept. 26, 12–4 p.m.\u003cbr>San Francisco Main Public Library, San Francisco\u003c/em>\u003c/p>\n"
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"innerHTML": "\n\u003cp>This event will feature a musical performance by Francisco Herrera, a reading by Jaime Cortez from his book \u003cem>Gordo\u003c/em>, a reading by author Cynthia Gómez from her book \u003cem>Muñeca\u003c/em> and a performance by TANGO INC. Admission is free. \u003c/p>\n",
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"\n\u003cp>This event will feature a musical performance by Francisco Herrera, a reading by Jaime Cortez from his book \u003cem>Gordo\u003c/em>, a reading by author Cynthia Gómez from her book \u003cem>Muñeca\u003c/em> and a performance by TANGO INC. Admission is free. \u003c/p>\n"
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"attrs": {
"text": "Gran Festival Viva Nicaragua",
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"innerHTML": "\n\u003ch2 class=\"wp-block-heading\">\u003ca href=\"https://ticketon.com/en/events/gran-festival-viva-nicaragua-newark-ca-2026-09-27-ynevlubykmzg\">Gran Festival Viva Nicaragua\u003c/a>\u003c/h2>\n",
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"\n\u003ch2 class=\"wp-block-heading\">\u003ca href=\"https://ticketon.com/en/events/gran-festival-viva-nicaragua-newark-ca-2026-09-27-ynevlubykmzg\">Gran Festival Viva Nicaragua\u003c/a>\u003c/h2>\n"
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"innerHTML": "\n\u003cp>\u003cem>Sept. 27, 10:30 a.m.\u003cbr>Swiss Park, Newark\u003c/em>\u003c/p>\n",
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"\n\u003cp>\u003cem>Sept. 27, 10:30 a.m.\u003cbr>Swiss Park, Newark\u003c/em>\u003c/p>\n"
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"innerHTML": "\n\u003cp>A day celebrating Nicaraguan food, culture and music. Admission is $35 or free for youths age 10 and younger. \u003c/p>\n",
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"\n\u003cp>A day celebrating Nicaraguan food, culture and music. Admission is $35 or free for youths age 10 and younger. \u003c/p>\n"
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"srcset": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/La-Mar-Beverage-Director-Uriel-S.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/La-Mar-Beverage-Director-Uriel-S-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/La-Mar-Beverage-Director-Uriel-S-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/La-Mar-Beverage-Director-Uriel-S-1536x1024.jpg 1536w",
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/La-Mar-Beverage-Director-Uriel-S.jpg\" alt=\"\" class=\"wp-image-13993699\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/La-Mar-Beverage-Director-Uriel-S.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/La-Mar-Beverage-Director-Uriel-S-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/La-Mar-Beverage-Director-Uriel-S-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/La-Mar-Beverage-Director-Uriel-S-1536x1024.jpg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">La Mar’s beverage director Uriel Serrano. \u003ccite class=\"wp-inline-image-credit\"> (Courtesy of La Mar)\u003c/cite>\u003c/figcaption>\u003c/figure>\n",
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"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/La-Mar-Beverage-Director-Uriel-S.jpg\" alt=\"\" class=\"wp-image-13993699\"/>\u003cfigcaption class=\"wp-element-caption\">La Mar’s beverage director Uriel Serrano. \u003ccite class=\"wp-inline-image-credit\"> (Courtesy of La Mar)\u003c/cite>\u003c/figcaption>\u003c/figure>\n"
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"text": "Hispanic Heritage Month at La Mar",
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"\n\u003ch2 class=\"wp-block-heading\">\u003ca href=\"https://lamarcebicheria.com/san-francisco/\">Hispanic Heritage Month at La Mar\u003c/a>\u003c/h2>\n"
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"innerHTML": "\n\u003cp>\u003cem>Pier 1 ½, The Embarcadero, San Francisco\u003c/em>\u003c/p>\n",
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"\n\u003cp>\u003cem>Pier 1 ½, The Embarcadero, San Francisco\u003c/em>\u003c/p>\n"
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"innerHTML": "\n\u003cp>\u003ca href=\"https://url.us.m.mimecastprotect.com/s/2fzICERPDmIOBW4LSQuGNh73I51?domain=eventbrite.com\">Dance class\u003c/a> with Oakland’s Cunamacué, an Oakland-based Peruvian dance studio. Sept. 19, 12–1 p.m. $19 per person. \u003c/p>\n",
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"\n\u003cp>\u003ca href=\"https://url.us.m.mimecastprotect.com/s/2fzICERPDmIOBW4LSQuGNh73I51?domain=eventbrite.com\">Dance class\u003c/a> with Oakland’s Cunamacué, an Oakland-based Peruvian dance studio. Sept. 19, 12–1 p.m. $19 per person. \u003c/p>\n"
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"innerHTML": "\n\u003cp>\u003ca href=\"https://url.us.m.mimecastprotect.com/s/XmJYCG69GouEwJ3kH1CmXhBJpuT?domain=eventbrite.com\">Latino spirits and cocktails workshop\u003c/a> led by La Mar’s beverage director, Uriel Serrano. Oct. 3, 3–4 p.m. $49 per person. \u003c/p>\n",
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"\n\u003cp>\u003ca href=\"https://url.us.m.mimecastprotect.com/s/XmJYCG69GouEwJ3kH1CmXhBJpuT?domain=eventbrite.com\">Latino spirits and cocktails workshop\u003c/a> led by La Mar’s beverage director, Uriel Serrano. Oct. 3, 3–4 p.m. $49 per person. \u003c/p>\n"
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"innerHTML": "\n\u003cp>\u003ca href=\"https://url.us.m.mimecastprotect.com/s/dzc2CL9PNwTVLPBKi5IDWhyWKGi?domain=opentable.com\">Entre Amigos\u003c/a> waterfront fiesta in partnership with Teleferic, Pacifico and Xica featuring signature dishes, live music, dancing and cocktails. Oct. 11, 12–3 p.m. $106.80–$130.80 per person. \u003c/p>\n",
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"text": "Banda & Pilates",
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"innerHTML": "\n\u003ch2 class=\"wp-block-heading\">\u003ca href=\"https://www.eventbrite.com/e/pilates-banda-tickets-1998928747694\">Banda & Pilates\u003c/a>\u003c/h2>\n",
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"\n\u003ch2 class=\"wp-block-heading\">\u003ca href=\"https://www.eventbrite.com/e/pilates-banda-tickets-1998928747694\">Banda & Pilates\u003c/a>\u003c/h2>\n"
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"innerHTML": "\n\u003cp>\u003cem>Oct. 4, 11 a.m.–3 p.m.\u003cbr>San Leandro Marina, San Leandro\u003c/em>\u003c/p>\n",
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"\n\u003cp>\u003cem>Oct. 4, 11 a.m.–3 p.m.\u003cbr>San Leandro Marina, San Leandro\u003c/em>\u003c/p>\n"
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"innerHTML": "\n\u003cp>This event will feature a live banda, a 60-minute guided Pilates class, wellness information, vendors, complimentary tacos, community building and a goodie bag. Pink attire requested. Tickets: $39.19–$65.87. \u003c/p>\n",
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"\n\u003cp>This event will feature a live banda, a 60-minute guided Pilates class, wellness information, vendors, complimentary tacos, community building and a goodie bag. Pink attire requested. Tickets: $39.19–$65.87. \u003c/p>\n"
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"attrs": {
"text": "Portal Artesanal Ribbon Cutting Ceremony",
"level": 2
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"innerHTML": "\n\u003ch2 class=\"wp-block-heading\">\u003ca href=\"https://www.instagram.com/portalartesanal1?utm_source=ig_web_button_share_sheet&igsi=ZDNlZDc0MzIxNw==\">Portal Artesanal Ribbon Cutting Ceremony\u003c/a>\u003c/h2>\n",
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"\n\u003ch2 class=\"wp-block-heading\">\u003ca href=\"https://www.instagram.com/portalartesanal1?utm_source=ig_web_button_share_sheet&igsi=ZDNlZDc0MzIxNw==\">Portal Artesanal Ribbon Cutting Ceremony\u003c/a>\u003c/h2>\n"
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"innerHTML": "\n\u003cp>\u003cem>Oct. 11, 12 p.m.\u003cbr>3091 N Main St., Walnut Creek\u003c/em>\u003c/p>\n",
"innerContent": [
"\n\u003cp>\u003cem>Oct. 11, 12 p.m.\u003cbr>3091 N Main St., Walnut Creek\u003c/em>\u003c/p>\n"
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"innerHTML": "\n\u003cp>Boutique with live performances, Mexican traditions, food and party favors. Admission is free. \u003c/p>\n",
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"\n\u003cp>Boutique with live performances, Mexican traditions, food and party favors. Admission is free. \u003c/p>\n"
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"attrs": {
"text": "Otra Onda/Otra Vez Photography Exhibit",
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"innerHTML": "\n\u003ch2 class=\"wp-block-heading\">\u003ca href=\"https://accionlatina.org/fuentesgallery/\">Otra Onda/Otra Vez Photography Exhibit\u003c/a>\u003c/h2>\n",
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"\n\u003ch2 class=\"wp-block-heading\">\u003ca href=\"https://accionlatina.org/fuentesgallery/\">Otra Onda/Otra Vez Photography Exhibit\u003c/a>\u003c/h2>\n"
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"innerHTML": "\n\u003cp>\u003cem>1–5 p.m., Thursdays and Fridays until Oct. 17\u003cbr>Acción Latina, Juan R. Fuentes Gallery, San Francisco\u003c/em>\u003c/p>\n",
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"\n\u003cp>\u003cem>1–5 p.m., Thursdays and Fridays until Oct. 17\u003cbr>Acción Latina, Juan R. Fuentes Gallery, San Francisco\u003c/em>\u003c/p>\n"
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"innerHTML": "\n\u003cp>The show includes 50 photos of lowriders by Joe Ramos, Lou Dematteis, Gato Rivera, Yolanda Lopez, Gustavo Vasquez, and Wilfredo Castaño. Admission is free.\u003c/p>\n",
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"\n\u003cp>The show includes 50 photos of lowriders by Joe Ramos, Lou Dematteis, Gato Rivera, Yolanda Lopez, Gustavo Vasquez, and Wilfredo Castaño. Admission is free.\u003c/p>\n"
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"excerpt": "Celebrations include block parties, live concerts and parades and festivals for the whole family.",
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"title": "Your 2026 Guide to Hispanic Heritage Month Events in the Bay Area | KQED",
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"headline": "Your 2026 Guide to Hispanic Heritage Month Events in the Bay Area",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>\u003cem>This story was reported for \u003ca href=\"https://www.kqed.org/newsletters/k-onda\">K Onda KQED\u003c/a>, a monthly newsletter focused on the Bay Area’s Latinx community. \u003c/em>\u003ca href=\"https://www.kqed.org/newsletters/k-onda\">\u003cem>Click here to subscribe.\u003c/em>\u003c/a>\u003c/p>\n\n\n\n\u003cp>On Sept. 12, four blocks of the \u003ca href=\"https://www.kqed.org/arts/tag/mission-district\">Mission District\u003c/a> in San Francisco will be transformed into a massive street party with two stages of live performances, more than 90 vendors, and activities for kids.\u003c/p>\n\n\n\n\u003cp>\u003ca href=\"https://www.calle24sf.org/\">Fiesta de Las Américas\u003c/a>, put on by the Calle 24 Latino Cultural District, draws thousands of people each year. It’s one of dozens of events taking place during Hispanic Heritage Month (Sept. 15–Oct. 15) throughout the Bay Area.\u003c/p>\n\n\n\n\u003cp>“Cultural heritage months are not about ‘This is the only month we exist, or should be honored,’ but this is a month where we should be taking advantage to highlight and have other people fall in love with who we truly are,” said Susana Rojas, Calle 24’s executive director. \u003c/p>\n\n\n\n\u003cp>Other events celebrating Latino history and culture include various parades, a Nicaraguan festival, banda and pilates, author readings and concerts. \u003c/p>\n\n\n\n\u003cp>See our comprehensive guide below to find an event near you. And if we missed anything, \u003ca href=\"mailto:btorres@kqed.org\">let us know\u003c/a>.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/260903-KOndaSeptember-04-BL_qed.jpg\" alt=\"\" class=\"wp-image-13993702\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/260903-KOndaSeptember-04-BL_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/260903-KOndaSeptember-04-BL_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/260903-KOndaSeptember-04-BL_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/260903-KOndaSeptember-04-BL_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Luis Quiroz, founder of Mission Lotería, at the organization’s new storefront in San Francisco’s Mission District on Sept. 3, 2026. The space will serve as a home for community events, workshops, and local art. (Beth LaBerge/KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003ca href=\"https://www.mission-loteria.com/\">Mission Lotería Store Grand Opening\u003c/a>\u003c/h2>\n\n\n\n\u003cp>\u003cem>Sept. 10, 12–5 p.m.\u003cbr>2884 Mission St., San Francisco\u003c/em>\u003cbr>\u003cbr>The campaign promoting Mission businesses is opening a storefront that will sell locally made and Latino-inspirted stationery, gifts, artisan goods, clothing and accessories. \u003c/p>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003ca href=\"https://downtownsanleandro.com/events/latin-heritage-fest-san-leandro-second-fridays/\">Latin Heritage Month in Downtown San Leandro\u003c/a>\u003c/h2>\n\n\n\n\u003cp>\u003cem>Sept. 11, 4–9 p.m.\u003cbr>1446 Washington Ave., San Leandro\u003c/em>\u003cbr>\u003cbr>This event will include lucha libre wrestling, performances by Mariachi Tapatio, a salsa dance lesson, food trucks and vendors. Admission is free. \u003c/p>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003ca href=\"https://www.facebook.com/CincoDeMayoPeaceAndUnity/\">Paz y Unidad Fiestas Patrias Parade and Festival\u003c/a>\u003c/h2>\n\n\n\n\u003cp>\u003cem>Sept. 12, parade 10 a.m.–1 p.m.; festival 11 a.m.–5 p.m\u003cbr>Richmond and San Pablo\u003c/em>\u003c/p>\n\n\n\n\u003cp>The parade will start at 23rd Street and Barrett Avenue in Richmond. The festival takes place at St. Paul Church (1845 Church Lane, San Pablo), and will feature food vendors, a play area for kids and performances by bands and dance groups. Admission is free.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/240914-Chile-Mole-Pozole-A9ii-1188.jpg\" alt=\"\" class=\"wp-image-13993704\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/240914-Chile-Mole-Pozole-A9ii-1188.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/240914-Chile-Mole-Pozole-A9ii-1188-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/240914-Chile-Mole-Pozole-A9ii-1188-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/240914-Chile-Mole-Pozole-A9ii-1188-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Chile, Mole, Pozole at the Mexican Heritage Plaza in San José. (Courtesy Mexican Heritage Plaza)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003ca href=\"https://mhplaza.org/allevents/chilemolepozole\">Chile, Mole, Pozole\u003c/a>\u003c/h2>\n\n\n\n\u003cp>\u003cem>Sept. 12, 12:30–5 p.m.\u003cbr>Mexican Heritage Plaza, San José\u003c/em>\u003c/p>\n\n\n\n\u003cp>Food, activities and a musical performance by cumbia group Sonora San José. Admission is $10 for adults, $5 for youth (age 7–17) and free for kids ages 6 and under. \u003c/p>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003ca href=\"https://www.calle24sf.org/\">Fiesta de las Américas\u003c/a>\u003c/h2>\n\n\n\n\u003cp>\u003cem>Sept. 12, 11 a.m.–6 p.m.\u003cbr>Harrison Street between 23rd and 25th Streets, San Francisco\u003c/em>\u003c/p>\n\n\n\n\u003cp>Four blocks of traditional Latin American dance and musical performances organized by Calle 24 cultural district. Admission is free.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1530\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_1918-1.jpg\" alt=\"\" class=\"wp-image-13993707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_1918-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_1918-1-160x122.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_1918-1-768x588.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_1918-1-1536x1175.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">San Francisco Premium Outlets Mexican Independence Day Celebration will feature live performances from Mariachi Estelar and traditional dances by Ballet Folklórico Mexicano. (Courtesy of San Francisco Premium Outlets)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003ca href=\"https://www.premiumoutlets.com/outlet/san-francisco/stream/celebrate-mexican-independence-day-6287085\">San Francisco Premium Outlets Mexican Independence Day Celebration\u003c/a>\u003c/h2>\n\n\n\n\u003cp>\u003cem>Sept. 12, 12–3 p.m.\u003cbr>2774 Livermore Outlets Drive, Livermore\u003c/em>\u003c/p>\n\n\n\n\u003cp>Performances from Mariachi Estelar and Ballet Folklórico Mexicano, along with activities for families. Admission is free.\u003c/p>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003ca href=\"https://www.redwoodcity.org/residents/redwood-city-events/cultural/fiestas-patrias\">Redwood City Fiestas Patrias\u003c/a>\u003c/h2>\n\n\n\n\u003cp>\u003cem>Sept. 13, 2–8 p.m.\u003cbr>Courthouse Square, Redwood City\u003c/em>\u003c/p>\n\n\n\n\u003cp>Ballet folklórico, Mariachi performances, live music, kids area, food vendors, arts and crafts vendors and a traditional flag ceremony conducted by the Consul General de Mexico. Admission is free. \u003c/p>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003ca href=\"https://lutherburbankcenter.org/event/fiesta-de-independencia-26/\">17th Annual Fiesta de Independencia\u003c/a>\u003c/h2>\n\n\n\n\u003cp>\u003cem>Sept. 13, 1–7 p.m.\u003cbr>Luther Burbank Center for the Arts, Santa Rosa\u003c/em>\u003c/p>\n\n\n\n\u003cp>This festival will feature food, games, activities for the whole family, ballet folklórico and musical performances by Banda La Congora, Los Canarios de Michoacán and Mariachi Cantares de mi Tierra. Admission is free. \u003c/p>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003ca href=\"https://www.eventbrite.com/e/latinas-forever-market-tickets-1999058291162\">Latinas Forever Market at SPARK Social SF\u003c/a>\u003c/h2>\n\n\n\n\u003cp>\u003cem>Sept. 13, 12–4 p.m.\u003cbr>601 Mission Bay Blvd. N., San Francisco\u003c/em>\u003c/p>\n\n\n\n\u003cp>More than 20 Latina-owned vendors selling art, fashion, jewelry, handmade goods, treats and more. Admission is free. \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/240916_ElGrito_EG_036.jpg\" alt=\"\" class=\"wp-image-13993703\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/240916_ElGrito_EG_036.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/240916_ElGrito_EG_036-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/240916_ElGrito_EG_036-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/240916_ElGrito_EG_036-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">San Francisco El Grito de Independencia 2026 includes a reenactment of the historic call for Mexican independence from Spain in 1810. (Estefany Gonzalez for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003ca href=\"https://www.instagram.com/p/DcB_dNVmjm1/?utm_source=ig_web_copy_link&igsi=MzRlODBiNWFlZA==\">San Francisco El Grito de Independencia 2026\u003c/a>\u003c/h2>\n\n\n\n\u003cp>\u003cem>Sept. 15, 4–9 p.m.\u003cbr>Civic Center Plaza, San Francisco\u003c/em>\u003c/p>\n\n\n\n\u003cp>An evening of music, Mexican delicacies and community, and a reenactment of El Grito de Independencia, the historic call for Mexican independence from Spain in 1810. Admission is free. \u003c/p>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003ca href=\"https://www.comitedefiestaspatrias.org/\">San José El Grito de Independencia\u003c/a>\u003c/h2>\n\n\n\n\u003cp>\u003cem>Sept. 15, 4–9 p.m.\u003cbr>City Hall, San José\u003c/em>\u003c/p>\n\n\n\n\u003cp>This year’s gathering will feature food, crafts, live music and other performances celebrating Mexican culture and traditions. The reenactment of the call for independence is scheduled for 7:30 p.m. Admission is free.\u003c/p>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003ca href=\"https://www.kqed.org/event/6625/the-ritual-of-braiding\">The Ritual of Braiding presented by KQED Live\u003c/a>\u003c/h2>\n\n\n\n\u003cp>\u003cem>Sept. 17, 7 p.m\u003cbr>The Commons at KQED, San Francisco\u003c/em>\u003c/p>\n\n\n\n\u003cp>Explore the deep cultural significance of braiding across Latine, African and Indigenous traditions in which hair carries history, identity and care. Admission is $20 in person or free online. \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260524_Carnaval2026-GC-2_qed.jpg\" alt=\"\" class=\"wp-image-13993700\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260524_Carnaval2026-GC-2_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260524_Carnaval2026-GC-2_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260524_Carnaval2026-GC-2_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/20260524_Carnaval2026-GC-2_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">The annual King of the Streets Parade is scheduled for Sept. 19, 2026. (Gina Castro/KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003ca href=\"https://sanfranciscolowridercouncil.org/\">King of the Streets Lowrider Parade\u003c/a>\u003c/h2>\n\n\n\n\u003cp>\u003cem>Sept. 19, 12–6 p.m.\u003cbr>Mission Street between Cesar Chavez and 17th streets, San Francisco\u003c/em>\u003c/p>\n\n\n\n\u003cp>The San Francisco Lowrider Council, the City of San Francisco, the Mission Merchants Association and Calle 24 Latino Cultural District host a lowrider parade and hopping competition. Admission is free.\u003c/p>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003ca href=\"https://l.instagram.com/?u=https%3A%2F%2Fpartiful.com%2Fe%2Frv5PwVlAwu2uW8fogiDx%3Fc%3DtUWaI6nG%26utm_source%3Dig%26utm_medium%3Dsocial%26utm_content%3Dlink_in_bio%26fbclid%3DPAcGRvZgJleHRuA2FlbQIxMQBzcnRjBmFwcF9pZA85MzY2MTk3NDMzOTI0NTkAAadLcwVEfBi8z7ziXXYyds-BXTjeVhp0pDf6-riqfFyWiFFh5_OxKw2m9_V3gQ_aem_max822WqVg8lpJOSIE3vxg&e=AUCqIcn50AQffmbQ9a3Ta1kEUd5mZgJch7p4yAd78dPFYps4nF1tdDJkVD3QEOxByOGBVAZKmPNT33jeTSZskkys2TeTlP5ezNNIHfnh_Kb3BHlKC2HPdD2JJsybEpFWjkhGqVk\">BAE Movement Sunset Hike + Serenata\u003c/a>\u003c/h2>\n\n\n\n\u003cp>\u003cem>Sept. 19, 5:15 p.m.\u003cbr>725 Tennessee Valley Road, Mill Valley\u003c/em>\u003c/p>\n\n\n\n\u003cp>After a hike to the beach, a norteño music group will perform a sunset serenata, followed by a hike back to the starting point. Tickets: $40. \u003c/p>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003ca href=\"https://www.delcielobrewing.com/\">Hispanic Heritage Month at Del Cielo Brewing\u003c/a>\u003c/h2>\n\n\n\n\u003cp>\u003ca href=\"https://www.delcielobrewing.com/martinez-events/independence-of-mexico-inkietud-musical\">Inkietud Musical\u003c/a>, Sept. 18, 7:30 p.m. at 701 Escobar St., Martinez.\u003cbr>\u003ca href=\"https://www.delcielobrewing.com/martinez-events/live-music-los-bahianatos\">Los Bahianatos\u003c/a>, Sept. 26, 6:30 p.m. at 701 Escobar St., Martinez.\u003cbr>\u003ca href=\"https://www.delcielobrewing.com/livermore-events/independence-of-mexico-mariachi-san-carlos\">Mariachi San Carlos\u003c/a>, 7 p.m., Sept. 19, at 4771 Arroyo Vista, Livermore.\u003cbr>\u003ca href=\"https://www.delcielobrewing.com/martinez-events/live-music-julio-bravo\">Julio Bravo,\u003c/a> 6:30 p.m., Sept. 25, at 4771 Arroyo Vista, Livermore.\u003c/p>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003ca href=\"https://fb.watch/v/93JGWKCL9/\">Clayton’s Hispanic Heritage Celebration\u003c/a>\u003c/h2>\n\n\n\n\u003cp>\u003cem>Sept. 20, 12–4 p.m.\u003cbr>The Grove, Clayton\u003c/em>\u003c/p>\n\n\n\n\u003cp>This event will feature ballet folklórico, food vendors, a car show, and performances by Mariachi Mexicanisimo and Soucano. Admission is free. \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1125\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/6961e62fe2423ef1b276ff8e_LHM-69-p-2600.jpg\" alt=\"\" class=\"wp-image-13993708\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/6961e62fe2423ef1b276ff8e_LHM-69-p-2600.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/6961e62fe2423ef1b276ff8e_LHM-69-p-2600-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/6961e62fe2423ef1b276ff8e_LHM-69-p-2600-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/6961e62fe2423ef1b276ff8e_LHM-69-p-2600-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/6961e62fe2423ef1b276ff8e_LHM-69-p-2600-1200x675.jpg 1200w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Los Hermanos Mendoza in concert. (Courtesy Los Hermanos Mendoza)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003ca href=\"https://www.prekindle.com/promo/id/-2852527949096893359\">Los Hermanos Mendoza in Concert\u003c/a>\u003c/h2>\n\n\n\n\u003cp>\u003cem>Sept. 25, 9 p.m.\u003cbr>Cornerstone, Berkeley\u003c/em>\u003c/p>\n\n\n\n\u003cp>This trio of Mexican-American brothers from Bakersfield blends classic norteño music with country rhythms. Tickets: $28–34. They’ll be back in our region for \u003ca href=\"https://loshermanosmendoza.com/#Live\">a show in Napa\u003c/a> on Oct. 25. \u003c/p>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003ca href=\"https://www.eventbrite.com/e/viva-fall-fest-tickets-1994684796923\">Viva Fall Fest\u003c/a>\u003c/h2>\n\n\n\n\u003cp>\u003cem>Sept. 26, 1–5 p.m.\u003cbr>Fourth Street Makers Row, Berkeley\u003c/em>\u003c/p>\n\n\n\n\u003cp>Live Latin music, folklórico performances, salsa dancing, food, and local makers. Admission is free. \u003c/p>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003ca href=\"http://hayward.org/mariachi/\">Hayward Mariachi Festival\u003c/a>\u003c/h2>\n\n\n\n\u003cp>\u003cem>Sept. 26, 12–6 p.m.\u003cbr>Southland Mall, Hayward\u003c/em>\u003c/p>\n\n\n\n\u003cp>Live performances by mariachi bands along with food and craft vendors. Admission is free.\u003c/p>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003ca href=\"https://sfpl.org/events/2026/09/26/celebration-viva-kickoff-party\">¡VIVA! Kickoff Party\u003c/a>\u003c/h2>\n\n\n\n\u003cp>\u003cem>Sept. 26, 12–4 p.m.\u003cbr>San Francisco Main Public Library, San Francisco\u003c/em>\u003c/p>\n\n\n\n\u003cp>This event will feature a musical performance by Francisco Herrera, a reading by Jaime Cortez from his book \u003cem>Gordo\u003c/em>, a reading by author Cynthia Gómez from her book \u003cem>Muñeca\u003c/em> and a performance by TANGO INC. Admission is free. \u003c/p>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003ca href=\"https://ticketon.com/en/events/gran-festival-viva-nicaragua-newark-ca-2026-09-27-ynevlubykmzg\">Gran Festival Viva Nicaragua\u003c/a>\u003c/h2>\n\n\n\n\u003cp>\u003cem>Sept. 27, 10:30 a.m.\u003cbr>Swiss Park, Newark\u003c/em>\u003c/p>\n\n\n\n\u003cp>A day celebrating Nicaraguan food, culture and music. Admission is $35 or free for youths age 10 and younger. \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/La-Mar-Beverage-Director-Uriel-S.jpg\" alt=\"\" class=\"wp-image-13993699\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/La-Mar-Beverage-Director-Uriel-S.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/La-Mar-Beverage-Director-Uriel-S-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/La-Mar-Beverage-Director-Uriel-S-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/La-Mar-Beverage-Director-Uriel-S-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">La Mar’s beverage director Uriel Serrano. (Courtesy of La Mar)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003ca href=\"https://lamarcebicheria.com/san-francisco/\">Hispanic Heritage Month at La Mar\u003c/a>\u003c/h2>\n\n\n\n\u003cp>\u003cem>Pier 1 ½, The Embarcadero, San Francisco\u003c/em>\u003c/p>\n\n\n\n\u003cp>\u003ca href=\"https://url.us.m.mimecastprotect.com/s/2fzICERPDmIOBW4LSQuGNh73I51?domain=eventbrite.com\">Dance class\u003c/a> with Oakland’s Cunamacué, an Oakland-based Peruvian dance studio. Sept. 19, 12–1 p.m. $19 per person. \u003c/p>\n\n\n\n\u003cp>\u003ca href=\"https://url.us.m.mimecastprotect.com/s/XmJYCG69GouEwJ3kH1CmXhBJpuT?domain=eventbrite.com\">Latino spirits and cocktails workshop\u003c/a> led by La Mar’s beverage director, Uriel Serrano. Oct. 3, 3–4 p.m. $49 per person. \u003c/p>\n\n\n\n\u003cp>\u003ca href=\"https://url.us.m.mimecastprotect.com/s/dzc2CL9PNwTVLPBKi5IDWhyWKGi?domain=opentable.com\">Entre Amigos\u003c/a> waterfront fiesta in partnership with Teleferic, Pacifico and Xica featuring signature dishes, live music, dancing and cocktails. Oct. 11, 12–3 p.m. $106.80–$130.80 per person. \u003c/p>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003ca href=\"https://www.eventbrite.com/e/pilates-banda-tickets-1998928747694\">Banda & Pilates\u003c/a>\u003c/h2>\n\n\n\n\u003cp>\u003cem>Oct. 4, 11 a.m.–3 p.m.\u003cbr>San Leandro Marina, San Leandro\u003c/em>\u003c/p>\n\n\n\n\u003cp>This event will feature a live banda, a 60-minute guided Pilates class, wellness information, vendors, complimentary tacos, community building and a goodie bag. Pink attire requested. Tickets: $39.19–$65.87. \u003c/p>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003ca href=\"https://www.instagram.com/portalartesanal1?utm_source=ig_web_button_share_sheet&igsi=ZDNlZDc0MzIxNw==\">Portal Artesanal Ribbon Cutting Ceremony\u003c/a>\u003c/h2>\n\n\n\n\u003cp>\u003cem>Oct. 11, 12 p.m.\u003cbr>3091 N Main St., Walnut Creek\u003c/em>\u003c/p>\n\n\n\n\u003cp>Boutique with live performances, Mexican traditions, food and party favors. Admission is free. \u003c/p>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003ca href=\"https://accionlatina.org/fuentesgallery/\">Otra Onda/Otra Vez Photography Exhibit\u003c/a>\u003c/h2>\n\n\n\n\u003cp>\u003cem>1–5 p.m., Thursdays and Fridays until Oct. 17\u003cbr>Acción Latina, Juan R. Fuentes Gallery, San Francisco\u003c/em>\u003c/p>\n\n\n\n\u003cp>The show includes 50 photos of lowriders by Joe Ramos, Lou Dematteis, Gato Rivera, Yolanda Lopez, Gustavo Vasquez, and Wilfredo Castaño. Admission is free.\u003c/p>\n\u003c/div>\u003c/p>",
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"slug": "paramount-theatre-movie-classics-oakland-roxie-fraenkel-film-festival",
"title": "A Golden Age of Moviegoing Returns at Oakland’s Paramount Theatre",
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"headTitle": "A Golden Age of Moviegoing Returns at Oakland’s Paramount Theatre | KQED",
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"content": "\u003cp>Two different film series on opposite sides of the Bay are partway through their runs, and both are can’t-miss affairs for different reasons.\u003c/p>\n\n\n\n\u003cp>At the Paramount Theatre in Oakland, it’s all about the atmosphere. For the first time since 2018, \u003ca href=\"https://www.paramountoakland.org/events/movie-classics\">Paramount Movie Classics\u003c/a> are back at the beautifully restored 1930s movie palace.\u003c/p>\n\n\n\n\n\n\u003cp>The series, dedicated to 35 millimeter film, leans into the auditorium’s time-travel ambiance with movies from the past 100 years of film. Before a recent screening of \u003cem>Purple Rain\u003c/em>, starring Prince, a pipe organist played standards like “Something’s Gotta Give,” and the screen showed trailers for films like \u003cem>Casablanca\u003c/em> and \u003cem>Rear Window\u003c/em>.\u003c/p>\n\n\n\n\u003cp>In a further throwback to the golden age of Hollywood, the theater also hosted a round of “Dec-O-Win,” a spin-the-wheel game that awarded prizes from Oakland businesses to the audience, replete with a carnival-barker host and his assistants.\u003c/p>\n\n\n\n\u003cp>Prince \u003ca href=\"https://www.kqed.org/arts/11368285/live-review-prince-alone-with-a-piano-at-the-paramount-theatre-in-oakland\">performed at the Paramount\u003c/a> just months before his death in 2016, and the sizable crowd, many dressed in purple, appeared eager resurrected his spirit. During the live performances in the film, they sang along and cheered just as if he were on the Paramount stage.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1124\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/13b669_b315bda779a54943a214a15c6ae99a89mv2.jpg\" alt=\"\" class=\"wp-image-13991529\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/13b669_b315bda779a54943a214a15c6ae99a89mv2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/13b669_b315bda779a54943a214a15c6ae99a89mv2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/13b669_b315bda779a54943a214a15c6ae99a89mv2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/13b669_b315bda779a54943a214a15c6ae99a89mv2-1536x863.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/13b669_b315bda779a54943a214a15c6ae99a89mv2-1200x675.jpg 1200w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">A scene from ‘The Maltese Falcon’ (1941), with Peter Lorre, Humphrey Bogart and Sydney Greenstreet (clockwise from top left). (Warner Bros. Pictures)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>Jason Blackwell, general manager of the Paramount, \u003ca href=\"https://oaklandside.org/2026/05/08/oakland-paramount-movie-classics-relaunch/\">told Oaklandside in May\u003c/a> that this year’s relaunch will serve as a test to “gauge audience interest.” Paramount Movie Classics continue through the end of the month, with \u003cem>Mrs. Doubtfire\u003c/em> (July 10), \u003cem>The Mark of Zorro\u003c/em> (July 17) and \u003cem>The Maltese Falcon\u003c/em> (July 24).\u003c/p>\n\n\n\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Meanwhile, at the Roxie Theater in San Francisco, it’s all about cross-pollination. The \u003ca href=\"https://fraenkelgallery.com/exhibitions/fraenkel-film-festival-2026\">Fraenkel Film Festival\u003c/a>, running through July 18, screens movies picked by visual artists associated with Fraenkel Gallery.\u003c/p>\n\n\n\n\u003cp>Now in its third year, the festival so far has featured films like the neo-horror \u003cem>Get Out\u003c/em>, chosen by interdisciplinary artist Carrie Mae Weems, and the 1950s film noir \u003cem>Pickup on South Street\u003c/em>, chosen by photographer and activist Nan Goldin.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"843\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/solaris-1972-featured-1400x590-1.jpg\" alt=\"\" class=\"wp-image-13991530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/solaris-1972-featured-1400x590-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/solaris-1972-featured-1400x590-1-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/solaris-1972-featured-1400x590-1-768x324.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/solaris-1972-featured-1400x590-1-1536x647.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">A scene from ‘Solaris’ (1972), with (L–R) Natalya Bondarchuk and Donatas Banionis. (Mosfilm)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>For those familiar with each artists’ work, the program invites deeper viewing through their eyes. What does photographer Lee Friedlander see in Hitchcock’s \u003cem>North By Northwest \u003c/em>(July 11)? Why does \u003cem>Grey Gardens\u003c/em> (July 18) resonate with artist Sophie Calle?\u003c/p>\n\n\n\n\u003cp>The upcoming lineup includes films like \u003cem>Solaris\u003c/em>, \u003cem>Klute\u003c/em> and \u003cem>Mystery Train\u003c/em>, worthy of seeing in any context. But for a film like \u003cem>Princess Mononoke \u003c/em>(July 10), one can’t help but think of the artist and actress Martine Gutierrez’s remarks that “the ethereal realm is what matters, and every day we are convinced otherwise.”\u003c/p>\n\n\n\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\">\n\n\n\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.paramountoakland.org/events/movie-classics\">\u003cem>Paramount Movie Classics\u003c/em>\u003c/a>\u003cem> run Fridays through July 24 at the Paramount Theatre (2025 Broadway, Oakland); \u003c/em>\u003ca href=\"https://www.paramountoakland.org/events/movie-classics\">\u003cem>program and details here\u003c/em>\u003c/a>\u003cem>. The \u003c/em>\u003ca href=\"https://roxie.com/series/fraenkel-film-festival-2026/\">\u003cem>Fraenkel Film Festival\u003c/em>\u003c/a>\u003cem> runs through Saturday, July 18 at the Roxie Theater (3125 16th Street, San Francisco); \u003c/em>\u003ca href=\"https://roxie.com/series/fraenkel-film-festival-2026/\">\u003cem>program and details here\u003c/em>\u003c/a>\u003cem>. \u003c/em>\u003c/p>\n\n",
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"innerHTML": "\n\u003cp>At the Paramount Theatre in Oakland, it’s all about the atmosphere. For the first time since 2018, \u003ca href=\"https://www.paramountoakland.org/events/movie-classics\">Paramount Movie Classics\u003c/a> are back at the beautifully restored 1930s movie palace.\u003c/p>\n",
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"innerHTML": "\n\u003cp>In a further throwback to the golden age of Hollywood, the theater also hosted a round of “Dec-O-Win,” a spin-the-wheel game that awarded prizes from Oakland businesses to the audience, replete with a carnival-barker host and his assistants.\u003c/p>\n",
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"innerHTML": "\n\u003cp>Prince \u003ca href=\"https://www.kqed.org/arts/11368285/live-review-prince-alone-with-a-piano-at-the-paramount-theatre-in-oakland\">performed at the Paramount\u003c/a> just months before his death in 2016, and the sizable crowd, many dressed in purple, appeared eager resurrected his spirit. During the live performances in the film, they sang along and cheered just as if he were on the Paramount stage.\u003c/p>\n",
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"innerHTML": "\n\u003cp>Jason Blackwell, general manager of the Paramount, \u003ca href=\"https://oaklandside.org/2026/05/08/oakland-paramount-movie-classics-relaunch/\">told Oaklandside in May\u003c/a> that this year’s relaunch will serve as a test to “gauge audience interest.” Paramount Movie Classics continue through the end of the month, with \u003cem>Mrs. Doubtfire\u003c/em> (July 10), \u003cem>The Mark of Zorro\u003c/em> (July 17) and \u003cem>The Maltese Falcon\u003c/em> (July 24).\u003c/p>\n",
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"innerHTML": "\n\u003cp>Meanwhile, at the Roxie Theater in San Francisco, it’s all about cross-pollination. The \u003ca href=\"https://fraenkelgallery.com/exhibitions/fraenkel-film-festival-2026\">Fraenkel Film Festival\u003c/a>, running through July 18, screens movies picked by visual artists associated with Fraenkel Gallery.\u003c/p>\n",
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"innerHTML": "\n\u003cp>Now in its third year, the festival so far has featured films like the neo-horror \u003cem>Get Out\u003c/em>, chosen by interdisciplinary artist Carrie Mae Weems, and the 1950s film noir \u003cem>Pickup on South Street\u003c/em>, chosen by photographer and activist Nan Goldin.\u003c/p>\n",
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"innerHTML": "\n\u003cp>For those familiar with each artists’ work, the program invites deeper viewing through their eyes. What does photographer Lee Friedlander see in Hitchcock’s \u003cem>North By Northwest \u003c/em>(July 11)? Why does \u003cem>Grey Gardens\u003c/em> (July 18) resonate with artist Sophie Calle?\u003c/p>\n",
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"innerHTML": "\n\u003cp>The upcoming lineup includes films like \u003cem>Solaris\u003c/em>, \u003cem>Klute\u003c/em> and \u003cem>Mystery Train\u003c/em>, worthy of seeing in any context. But for a film like \u003cem>Princess Mononoke \u003c/em>(July 10), one can’t help but think of the artist and actress Martine Gutierrez’s remarks that “the ethereal realm is what matters, and every day we are convinced otherwise.”\u003c/p>\n",
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"innerHTML": "\n\u003cp>\u003ca href=\"https://www.paramountoakland.org/events/movie-classics\">\u003cem>Paramount Movie Classics\u003c/em>\u003c/a>\u003cem> run Fridays through July 24 at the Paramount Theatre (2025 Broadway, Oakland); \u003c/em>\u003ca href=\"https://www.paramountoakland.org/events/movie-classics\">\u003cem>program and details here\u003c/em>\u003c/a>\u003cem>. The \u003c/em>\u003ca href=\"https://roxie.com/series/fraenkel-film-festival-2026/\">\u003cem>Fraenkel Film Festival\u003c/em>\u003c/a>\u003cem> runs through Saturday, July 18 at the Roxie Theater (3125 16th Street, San Francisco); \u003c/em>\u003ca href=\"https://roxie.com/series/fraenkel-film-festival-2026/\">\u003cem>program and details here\u003c/em>\u003c/a>\u003cem>. \u003c/em>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Two different film series on opposite sides of the Bay are partway through their runs, and both are can’t-miss affairs for different reasons.\u003c/p>\n\n\n\n\u003cp>At the Paramount Theatre in Oakland, it’s all about the atmosphere. For the first time since 2018, \u003ca href=\"https://www.paramountoakland.org/events/movie-classics\">Paramount Movie Classics\u003c/a> are back at the beautifully restored 1930s movie palace.\u003c/p>\n\n\n\n\n\n\u003cp>The series, dedicated to 35 millimeter film, leans into the auditorium’s time-travel ambiance with movies from the past 100 years of film. Before a recent screening of \u003cem>Purple Rain\u003c/em>, starring Prince, a pipe organist played standards like “Something’s Gotta Give,” and the screen showed trailers for films like \u003cem>Casablanca\u003c/em> and \u003cem>Rear Window\u003c/em>.\u003c/p>\n\n\n\n\u003cp>In a further throwback to the golden age of Hollywood, the theater also hosted a round of “Dec-O-Win,” a spin-the-wheel game that awarded prizes from Oakland businesses to the audience, replete with a carnival-barker host and his assistants.\u003c/p>\n\n\n\n\u003cp>Prince \u003ca href=\"https://www.kqed.org/arts/11368285/live-review-prince-alone-with-a-piano-at-the-paramount-theatre-in-oakland\">performed at the Paramount\u003c/a> just months before his death in 2016, and the sizable crowd, many dressed in purple, appeared eager resurrected his spirit. During the live performances in the film, they sang along and cheered just as if he were on the Paramount stage.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1124\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/13b669_b315bda779a54943a214a15c6ae99a89mv2.jpg\" alt=\"\" class=\"wp-image-13991529\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/13b669_b315bda779a54943a214a15c6ae99a89mv2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/13b669_b315bda779a54943a214a15c6ae99a89mv2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/13b669_b315bda779a54943a214a15c6ae99a89mv2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/13b669_b315bda779a54943a214a15c6ae99a89mv2-1536x863.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/13b669_b315bda779a54943a214a15c6ae99a89mv2-1200x675.jpg 1200w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">A scene from ‘The Maltese Falcon’ (1941), with Peter Lorre, Humphrey Bogart and Sydney Greenstreet (clockwise from top left). (Warner Bros. Pictures)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>Jason Blackwell, general manager of the Paramount, \u003ca href=\"https://oaklandside.org/2026/05/08/oakland-paramount-movie-classics-relaunch/\">told Oaklandside in May\u003c/a> that this year’s relaunch will serve as a test to “gauge audience interest.” Paramount Movie Classics continue through the end of the month, with \u003cem>Mrs. Doubtfire\u003c/em> (July 10), \u003cem>The Mark of Zorro\u003c/em> (July 17) and \u003cem>The Maltese Falcon\u003c/em> (July 24).\u003c/p>\n\n\n\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Meanwhile, at the Roxie Theater in San Francisco, it’s all about cross-pollination. The \u003ca href=\"https://fraenkelgallery.com/exhibitions/fraenkel-film-festival-2026\">Fraenkel Film Festival\u003c/a>, running through July 18, screens movies picked by visual artists associated with Fraenkel Gallery.\u003c/p>\n\n\n\n\u003cp>Now in its third year, the festival so far has featured films like the neo-horror \u003cem>Get Out\u003c/em>, chosen by interdisciplinary artist Carrie Mae Weems, and the 1950s film noir \u003cem>Pickup on South Street\u003c/em>, chosen by photographer and activist Nan Goldin.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"843\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/solaris-1972-featured-1400x590-1.jpg\" alt=\"\" class=\"wp-image-13991530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/solaris-1972-featured-1400x590-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/solaris-1972-featured-1400x590-1-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/solaris-1972-featured-1400x590-1-768x324.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/solaris-1972-featured-1400x590-1-1536x647.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">A scene from ‘Solaris’ (1972), with (L–R) Natalya Bondarchuk and Donatas Banionis. (Mosfilm)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>For those familiar with each artists’ work, the program invites deeper viewing through their eyes. What does photographer Lee Friedlander see in Hitchcock’s \u003cem>North By Northwest \u003c/em>(July 11)? Why does \u003cem>Grey Gardens\u003c/em> (July 18) resonate with artist Sophie Calle?\u003c/p>\n\n\n\n\u003cp>The upcoming lineup includes films like \u003cem>Solaris\u003c/em>, \u003cem>Klute\u003c/em> and \u003cem>Mystery Train\u003c/em>, worthy of seeing in any context. But for a film like \u003cem>Princess Mononoke \u003c/em>(July 10), one can’t help but think of the artist and actress Martine Gutierrez’s remarks that “the ethereal realm is what matters, and every day we are convinced otherwise.”\u003c/p>\n\n\n\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\">\n\n\n\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.paramountoakland.org/events/movie-classics\">\u003cem>Paramount Movie Classics\u003c/em>\u003c/a>\u003cem> run Fridays through July 24 at the Paramount Theatre (2025 Broadway, Oakland); \u003c/em>\u003ca href=\"https://www.paramountoakland.org/events/movie-classics\">\u003cem>program and details here\u003c/em>\u003c/a>\u003cem>. The \u003c/em>\u003ca href=\"https://roxie.com/series/fraenkel-film-festival-2026/\">\u003cem>Fraenkel Film Festival\u003c/em>\u003c/a>\u003cem> runs through Saturday, July 18 at the Roxie Theater (3125 16th Street, San Francisco); \u003c/em>\u003ca href=\"https://roxie.com/series/fraenkel-film-festival-2026/\">\u003cem>program and details here\u003c/em>\u003c/a>\u003cem>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "mission-district-punk-generator-shows-san-francisco",
"title": "When Generator Punk Shows Ruled the Mission District",
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"content": "\n\u003cp>The scene: 16th and Mission BART in \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco\">San Francisco\u003c/a>, 1998. Trains careen underground, while above, another kind of noise is happening.\u003c/p>\n\n\n\n\u003cp>Ivy Jeanne’s raspy, blues-inflected voice screams out of PAs borrowed from friends, powered by a generator borrowed from other friends. Erica Lyle’s guitar wails into the ether, making its way to Capp Street. Young punks dance, free of harassment. The show is over before anyone really knows it.\u003c/p>\n\n\n\n\u003cp>Miami and Shotwell have just played an illegal show at BART.\u003c/p>\n\n\n\n\u003cp>“You’d roll up. Sometimes I was with whoever had the PA. You would just see punks on the periphery. Nobody was assembled in the plaza exactly. You could just see people around, and as soon as the gear started coming out, everyone would just descend,” said Karoline Collins, a local photographer and roadie for the band \u003ca href=\"https://mattyluv.com/\">Hickey\u003c/a>.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1326\" height=\"2000\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Miami-9-Ivy-Pointing_BART-Show_Karoline-Hanson-Collins.jpg\" alt=\"\" class=\"wp-image-13991192\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Miami-9-Ivy-Pointing_BART-Show_Karoline-Hanson-Collins.jpg 1326w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Miami-9-Ivy-Pointing_BART-Show_Karoline-Hanson-Collins-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Miami-9-Ivy-Pointing_BART-Show_Karoline-Hanson-Collins-768x1158.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Miami-9-Ivy-Pointing_BART-Show_Karoline-Hanson-Collins-1018x1536.jpg 1018w\" sizes=\"auto, (max-width: 1326px) 100vw, 1326px\" />\u003cfigcaption class=\"wp-element-caption\">Ivy McClelland sings with the Mission District punk band Miami at 16th and Mission BART plaza, circa 2000. (Karoline Collins)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>This would be one of many illegal generator-powered \u003ca href=\"https://www.kqed.org/arts/tag/punk\">punk\u003c/a> shows happening on Mission Street, a tradition that would carry into San Francisco’s present day. While San Francisco’s punk shows of the ’70s and ’80s had taken place in unlikely settings — a \u003ca href=\"https://www.kqed.org/arts/13980619/mabuhay-gardens-reopening-sf-punk-club-north-beach\">Filipino restaurant\u003c/a>, a \u003ca href=\"https://www.kqed.org/arts/13938024/old-san-francisco-punk-venues-deaf-club-farm-sound-music-tool-die\">social club for the deaf\u003c/a>, literal \u003ca href=\"https://www.kqed.org/arts/13902953/alternative-voices-1980s-san-francisco-punk-jeanne-hansen-photography-jonah-raskin\">beer vats\u003c/a> — the tradition of guerilla generator shows that flourished in Mission District’s ragged and dedicated punk scene of the ’90s \u003ca href=\"https://www.kqed.org/arts/13923420/punk-show-on-bart\">continues today with bands like False Flag, Surprise Privilege and WIFE\u003c/a>. \u003c/p>\n\n\n\n\u003cp>The \u003ca href=\"https://www.kqed.org/arts/tag/mission-district\">Mission District\u003c/a>’s punk history runs deep, boasting bands like MDC and Jawbreaker, and venues like Tool & Die, Kommotion and Epicenter. But in the late ’90s, something shifted. A new wave of punks dedicated to cheap living, harm reduction and the DIY ethos took over the streets. From 1994 through 2002, bands like Hickey, Shotwell, 50 Million and the aforementioned Miami would creatively resist San Francisco’s then-Mayor \u003ca href=\"https://www.kqed.org/news/tag/willie-brown\">Willie Brown\u003c/a> and the powers that be with both music and action.\u003cbr>\u003cbr>Their headquarters would become Mission Records, and later 16th and Mission BART Plaza, for amplifying their frustrations with gentrification, war and the police.\u003c/p>\n\n\n\n\u003ch2 class=\"wp-block-heading\">The City That Never Sleeps\u003c/h2>\n\n\n\n\u003cp>Ivy Jeanne McClelland moved to San Francisco in 1997 after years of moving back and forth, sometimes by hopping trains, between her hometown of Miami and the East Bay as a teenage runaway. Though she’d crossed paths with Bay Area bands like Rancid, Green Day and Blatz, she decided to make San Francisco home thanks to Hickey. That year, McClelland hopped in the band’s van on their final tour, and moved into the band’s squalid apartment, the Hickey Hotel, on 24th Street.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1326\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Aesop-Kitchen-Patches_1996_Karoline-Hanson-Collins.jpg\" alt=\"\" class=\"wp-image-13991186\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Aesop-Kitchen-Patches_1996_Karoline-Hanson-Collins.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Aesop-Kitchen-Patches_1996_Karoline-Hanson-Collins-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Aesop-Kitchen-Patches_1996_Karoline-Hanson-Collins-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Aesop-Kitchen-Patches_1996_Karoline-Hanson-Collins-1536x1018.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Aesop Dekker screenprints Hickey patches in the kitchen at the Hickey Hotel, circa mid-1990s. (Karoline Collins)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>McClelland had played in bands like the Tri-Rails and Los Canadians, but when she made it to San Francisco, she teamed up with best friend and fellow Floridian Erica Dawn Lyle to start a new band called Miami, bolstered by Dekker and Luv from Hickey.\u003c/p>\n\n\n\n\u003cp>With more and more local venues like Klub Kommotion, Starcleaners Warehouse and Epicenter Records winding down operations, Miami and their longtime friends in the band Shotwell colluded to create a new commotion down Mission Street. Lyle and Shotwell’s Jimmy Broustis decided to host an illegal pop-up show, powered by generators, in front of the defunct Leed’s Shoes building at 22nd and Mission. Borrowing the idea from a band of buskers known as Rube Waddell, the two fueled their iteration with political angst.\u003c/p>\n\n\n\n\u003cp>“The generator shows were a product of when gentrification really ramped up in the Mission,” said McClelland. “There was already this feeling of frustration and upset about all of these DIY show spaces that were targeted and shut down, and in our grumblings, we decided to have generator shows in response to them.”\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1326\" height=\"2000\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Miami-7-Matty_BART-Show_Karoline-Hanson-Collins.jpg\" alt=\"\" class=\"wp-image-13991194\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Miami-7-Matty_BART-Show_Karoline-Hanson-Collins.jpg 1326w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Miami-7-Matty_BART-Show_Karoline-Hanson-Collins-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Miami-7-Matty_BART-Show_Karoline-Hanson-Collins-768x1158.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Miami-7-Matty_BART-Show_Karoline-Hanson-Collins-1018x1536.jpg 1018w\" sizes=\"auto, (max-width: 1326px) 100vw, 1326px\" />\u003cfigcaption class=\"wp-element-caption\">Matty Luv plays with Mission District punk band Miami at 16th and Mission BART Plaza, circa 2000. (Karoline Collins)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>Miami didn’t last long, breaking up around 2001. Luv’s addiction to heroin had gotten more serious. He’d moved back to Florida for a time before being convinced to come back to San Francisco. Luv helped operate Mission Records in its near-final days, and played music with friends, but the scene was on its last legs.\u003c/p>\n\n\n\n\u003cp>Miami and its generator shows, to be clear, came from a lineage of Mission punks before them. Half of Miami, after all, had roots in a band that had started four years prior. \u003c/p>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003cstrong>The Naked Cult of Hickey\u003c/strong>\u003c/h2>\n\n\n\n\u003cp>Led by \u003ca href=\"https://www.mattyluv.com/\">Matty Luv\u003c/a>, a charismatic, manic frontman dedicated to a DIY anticapitalist interpretation of punk rock, Hickey was the band often called The Naked Cult of Hickey. With best friend Aesop Dekker behind the drum kit, the two produced a controlled chaos that would come to define the band. Originally accompanied by friend Chubby on bass, Hickey became known for confrontational antics and a prolific catalog of music, fueled by members’ use of both methamphetamine and heroin. \u003c/p>\n\n\n\n\n\n\u003cp>Hickey burned bright and fast, touring constantly. Their song titles included “Hickey Is About Long Hair and Getting High” and “Everything I Know About Sex I Learned From KISS.” Live shows would often devolve into standoffs with the crowd, where the band might play one or two songs and then rant at the audience.\u003c/p>\n\n\n\n\u003cp>“We would show up with the intention of being a band and playing our fucking songs as good as we could for an adoring crowd,” said Dekker. “A lot of times that would go fucky because the promoter was a dick, or, before we even played, would express how they weren’t going to pay us. Or the bands we were playing with were dicks.”\u003c/p>\n\n\n\n\u003cp>The band’s live sets amplified their view on how punk rock should operate, with the members dedicated to an ethic that rebelled against the intrusion of money and power into their scene.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1600\" height=\"766\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/HickeyLPs.jpg\" alt=\"\" class=\"wp-image-13991199\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/HickeyLPs.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/HickeyLPs-160x77.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/HickeyLPs-768x368.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/HickeyLPs-1536x735.jpg 1536w\" sizes=\"auto, (max-width: 1600px) 100vw, 1600px\" />\u003cfigcaption class=\"wp-element-caption\">(L–R) Hickey’s full-length self-titled LP, and ‘Various States of Disrepair,’ a compilation of songs released posthumously. (Probe Records / Poverty Records)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>“We hated the fucking corporatization of punk, and we hated people making money off of this. And we were at war with people that didn’t care about this shit,” said Dekker.\u003c/p>\n\n\n\n\u003cp>The chaos that famously propelled the band eventually led to their downfall. During a 1997 U.S. tour, the band decided to break up. The three members had a fight in Tuscon, Arizona, and realized that none of them wanted to continue with the project. After that decision, they felt a shift amongst themselves.\u003c/p>\n\n\n\n\u003cp>“A weird curse had been lifted, because we went back to our friend’s house and sat under the fire, drank and talked,” said Dekker. “We were friends again, like, this fucking weight had been lifted.”\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1326\" height=\"2000\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Ivy-in-Crowd-cool-hands_BART-Show_Karoline-Hanson-Collins.jpg\" alt=\"\" class=\"wp-image-13991187\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Ivy-in-Crowd-cool-hands_BART-Show_Karoline-Hanson-Collins.jpg 1326w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Ivy-in-Crowd-cool-hands_BART-Show_Karoline-Hanson-Collins-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Ivy-in-Crowd-cool-hands_BART-Show_Karoline-Hanson-Collins-768x1158.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Ivy-in-Crowd-cool-hands_BART-Show_Karoline-Hanson-Collins-1018x1536.jpg 1018w\" sizes=\"auto, (max-width: 1326px) 100vw, 1326px\" />\u003cfigcaption class=\"wp-element-caption\">Ivy McClelland (center) during a show at 16th and Mission BART plaza, circa 2000. (Karoline Collins)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003cstrong>Mission Records\u003c/strong>\u003c/h2>\n\n\n\n\u003cp>After opening its doors in 1997, Mission Records, run by Adam White and Chris Myers, quickly became a place of refuge. Located at 2548 Mission Street, the shop soon had to move to its more permanent location across the street, on the corner of Mission and 19th, and gradually shifted to exist less as a record store and more as a living space and venue for shows.\u003c/p>\n\n\n\n\u003cp>“It started off as a straight-up business proposition,” said White. “I got a bunch of credit cards. We both borrowed as much money as we could from whoever, and fucking went for it. And then, right away, we started getting decimated as a record store. It was the worst time. CDs were at their peak, and the internet was just starting to take the whole thing and destroy it. And we also didn’t know what the fuck we were doing.”\u003c/p>\n\n\n\n\u003cp>As time went on, members of several bands lived at Mission Records, helping volunteer and put on shows. \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1535\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/liveatleedsflier.jpg\" alt=\"\" class=\"wp-image-13991188\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/liveatleedsflier.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/liveatleedsflier-160x123.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/liveatleedsflier-768x589.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/liveatleedsflier-1536x1179.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">‘The cops can shut down Mission punk clubs, but not Mission Street’: A flyer for a ‘short, illegal show’ on 22nd and Mission. (Erica Dawn Lyle)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>Across the Bay, another wave of bands was gaining traction. Green Day had already signed to a major label and released their massive record \u003cem>Dookie\u003c/em>, and Rancid was taking off. The East Bay and San Francisco punk scenes weren’t completely isolated, and Mission District bands still made their way across the bridge. But in San Francisco, there was a different energy emanating. \u003c/p>\n\n\n\n\u003cp>Maybe they played faster, maybe they were more confrontational. And maybe it was the drugs.\u003c/p>\n\n\n\n\u003cp>“It was all benzos,” said Broustis. “You go to Mission Records, and there’d be a band rehearsing there at two in the morning while people are trying to sleep.”\u003c/p>\n\n\n\n\u003cp>Band members got drugs from local corner stores, and used that to fuel their productivity.\u003c/p>\n\n\n\n\u003cp>“We did so much crystal meth in the fucking ’90s, and then it was heroin, and we were also eating lots of pills and drinking a lot — all the things that go with doing tons of crystal meth,” said Dekker. “That’s why we did so much in three years. Because we didn’t fucking sleep.”\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1319\" height=\"2000\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/LOW-RES-Matty_Broken-Tub_Hickey-Hotel_KHC.jpg\" alt=\"\" class=\"wp-image-13991189\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/LOW-RES-Matty_Broken-Tub_Hickey-Hotel_KHC.jpg 1319w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/LOW-RES-Matty_Broken-Tub_Hickey-Hotel_KHC-160x243.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/LOW-RES-Matty_Broken-Tub_Hickey-Hotel_KHC-768x1165.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/LOW-RES-Matty_Broken-Tub_Hickey-Hotel_KHC-1013x1536.jpg 1013w\" sizes=\"auto, (max-width: 1319px) 100vw, 1319px\" />\u003cfigcaption class=\"wp-element-caption\">Matty Luv, and a broken bathtub, at the Hickey Hotel, circa mid-1990s. (Karoline Collins)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003cstrong>A sudden shock\u003c/strong>\u003c/h2>\n\n\n\n\u003cp>As the drugs took their toll, elements of the scene wound down. Miami broke up, White left Mission Records, and increasingly, cops harassed local punks. \u003c/p>\n\n\n\n\u003cp>On Oct. 5, 2002, Matty Luv, 34, was found dead of a heroin overdose at the Hickey Hotel. He had spent the day helping out at Mission Records, while McClelland and other friends went to a protest against the Iraq war. The group of friends had crossed paths on the way to the protest, and Luv waved hi. It would be the last time many of them would see him. \u003c/p>\n\n\n\n\u003cp>The next day, a show at Mission Records was turned into a wake. Later, a number of his friends gathered at Dolores Park for his funeral, where \u003ca href=\"https://web.archive.org/web/20180107014931/https://archives.sfweekly.com/sanfrancisco/make-sure-there-arent-any-squares-at-my-funeral/Content?oid=2146143\">zines and Hickey records were handed out\u003c/a>, and where Luv was remembered by his friends as funny, prolific and intense.\u003c/p>\n\n\n\n\n\n\u003cp>“Learning how to take better care of each other. I think that’s the lesson. And the wisdom of losing him was about really changing. It changed my relationship to what it meant to show up for people in need or in crisis,” said McClelland.\u003c/p>\n\n\n\n\u003cp>“He was the funniest person I’ve ever met, and I think I was the funniest person he ever met. And when we met, that was our bond, is that we felt the same way ideologically about everything, and we were both funny,” said Dekker.\u003c/p>\n\n\n\n\u003cp>Shortly after Luv’s death, Mission Records closed. White attempted to pass the business on to Buzz Lee, but the finances weren’t there. Dekker had recently found sobriety and become a father. McClelland continued to play in bands, and remains active in activism and harm reduction to this day.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1326\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Erica-Aesop_BART-Show_Karoline-Hanson-Collins.jpg\" alt=\"\" class=\"wp-image-13991191\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Erica-Aesop_BART-Show_Karoline-Hanson-Collins.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Erica-Aesop_BART-Show_Karoline-Hanson-Collins-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Erica-Aesop_BART-Show_Karoline-Hanson-Collins-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Erica-Aesop_BART-Show_Karoline-Hanson-Collins-1536x1018.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">(L–R) Erica Dawn Lyle and Aesop Dekker of the punk band Miami play a generator show at 16th and Mission BART plaza, circa 2000. (Karoline Collins)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>Today, a new generation is picking up the torch. San Francisco bands False Flag and Surprise Privilege have played generator shows on the sidewalks in front of \u003ca href=\"https://www.facebook.com/groups/228217405293069/posts/1372002734247858/\">the Warfield \u003c/a>\u003ca href=\"https://www.kqed.org/arts/13984468/best-concerts-2025-bay-area-live-music\">and the Castro Theatre\u003c/a>, and \u003ca href=\"https://www.kqed.org/arts/13923420/punk-show-on-bart\">on a moving BART train\u003c/a>. (Their store \u003ca href=\"https://ihaterecords.com/pages/about-us\">I Hate Records\u003c/a>, in the Lower Haight, carries echoes of Mission Records.) A group known as the \u003ca href=\"https://www.instagram.com/outhouse_sf/?hl=en\">Outhouse Collective\u003c/a> puts on their own generator shows, and have been taken under the wing by McClelland.\u003c/p>\n\n\n\n\u003cp>Last year saw the return of the \u003ca href=\"https://clarionalleymuralproject.org/clarion-alley-block-party/\">Clarion Alley Block Party\u003c/a>, which has largely been organized by McClelland since 1998. In its most recent installment, McClelland brought on members of Outhouse Collective to help organize the day’s live music. The combining of these two forces hints at an intergenerational cross-pollination which McClelland sees as essential for the continuation of the punk community into the future.\u003c/p>\n\n\n\n\u003cp>“We have shared visions, we have shared values. We have shared connection through these rad creative and rad political movements,” said McClelland. “When we are able to embrace people across community lines, build solidarity across race, gender, ability, mental health — finding those connections is really, really sacred.”\u003c/p>\n",
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"innerHTML": "\n\u003cp>“You’d roll up. Sometimes I was with whoever had the PA. You would just see punks on the periphery. Nobody was assembled in the plaza exactly. You could just see people around, and as soon as the gear started coming out, everyone would just descend,” said Karoline Collins, a local photographer and roadie for the band \u003ca href=\"https://mattyluv.com/\">Hickey\u003c/a>.\u003c/p>\n",
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"srcset": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Miami-9-Ivy-Pointing_BART-Show_Karoline-Hanson-Collins.jpg 1326w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Miami-9-Ivy-Pointing_BART-Show_Karoline-Hanson-Collins-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Miami-9-Ivy-Pointing_BART-Show_Karoline-Hanson-Collins-768x1158.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Miami-9-Ivy-Pointing_BART-Show_Karoline-Hanson-Collins-1018x1536.jpg 1018w",
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Miami-9-Ivy-Pointing_BART-Show_Karoline-Hanson-Collins.jpg\" alt=\"\" class=\"wp-image-13991192\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Miami-9-Ivy-Pointing_BART-Show_Karoline-Hanson-Collins.jpg 1326w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Miami-9-Ivy-Pointing_BART-Show_Karoline-Hanson-Collins-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Miami-9-Ivy-Pointing_BART-Show_Karoline-Hanson-Collins-768x1158.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Miami-9-Ivy-Pointing_BART-Show_Karoline-Hanson-Collins-1018x1536.jpg 1018w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">Ivy McClelland sings with the Mission District punk band Miami at 16th and Mission BART plaza, circa 2000.\u003ccite class=\"wp-inline-image-credit\"> (Karoline Collins)\u003c/cite>\u003c/figcaption>\u003c/figure>\n",
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"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Miami-9-Ivy-Pointing_BART-Show_Karoline-Hanson-Collins.jpg\" alt=\"\" class=\"wp-image-13991192\"/>\u003cfigcaption class=\"wp-element-caption\">Ivy McClelland sings with the Mission District punk band Miami at 16th and Mission BART plaza, circa 2000.\u003ccite class=\"wp-inline-image-credit\"> (Karoline Collins)\u003c/cite>\u003c/figcaption>\u003c/figure>\n"
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"innerHTML": "\n\u003cp>This would be one of many illegal generator-powered \u003ca href=\"https://www.kqed.org/arts/tag/punk\">punk\u003c/a> shows happening on Mission Street, a tradition that would carry into San Francisco’s present day. While San Francisco’s punk shows of the ’70s and ’80s had taken place in unlikely settings — a \u003ca href=\"https://www.kqed.org/arts/13980619/mabuhay-gardens-reopening-sf-punk-club-north-beach\">Filipino restaurant\u003c/a>, a \u003ca href=\"https://www.kqed.org/arts/13938024/old-san-francisco-punk-venues-deaf-club-farm-sound-music-tool-die\">social club for the deaf\u003c/a>, literal \u003ca href=\"https://www.kqed.org/arts/13902953/alternative-voices-1980s-san-francisco-punk-jeanne-hansen-photography-jonah-raskin\">beer vats\u003c/a> — the tradition of guerilla generator shows that flourished in Mission District’s ragged and dedicated punk scene of the ’90s \u003ca href=\"https://www.kqed.org/arts/13923420/punk-show-on-bart\">continues today with bands like False Flag, Surprise Privilege and WIFE\u003c/a>. \u003c/p>\n",
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"\n\u003cp>This would be one of many illegal generator-powered \u003ca href=\"https://www.kqed.org/arts/tag/punk\">punk\u003c/a> shows happening on Mission Street, a tradition that would carry into San Francisco’s present day. While San Francisco’s punk shows of the ’70s and ’80s had taken place in unlikely settings — a \u003ca href=\"https://www.kqed.org/arts/13980619/mabuhay-gardens-reopening-sf-punk-club-north-beach\">Filipino restaurant\u003c/a>, a \u003ca href=\"https://www.kqed.org/arts/13938024/old-san-francisco-punk-venues-deaf-club-farm-sound-music-tool-die\">social club for the deaf\u003c/a>, literal \u003ca href=\"https://www.kqed.org/arts/13902953/alternative-voices-1980s-san-francisco-punk-jeanne-hansen-photography-jonah-raskin\">beer vats\u003c/a> — the tradition of guerilla generator shows that flourished in Mission District’s ragged and dedicated punk scene of the ’90s \u003ca href=\"https://www.kqed.org/arts/13923420/punk-show-on-bart\">continues today with bands like False Flag, Surprise Privilege and WIFE\u003c/a>. \u003c/p>\n"
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"innerHTML": "\n\u003cp>The \u003ca href=\"https://www.kqed.org/arts/tag/mission-district\">Mission District\u003c/a>’s punk history runs deep, boasting bands like MDC and Jawbreaker, and venues like Tool & Die, Kommotion and Epicenter. But in the late ’90s, something shifted. A new wave of punks dedicated to cheap living, harm reduction and the DIY ethos took over the streets. From 1994 through 2002, bands like Hickey, Shotwell, 50 Million and the aforementioned Miami would creatively resist San Francisco’s then-Mayor \u003ca href=\"https://www.kqed.org/news/tag/willie-brown\">Willie Brown\u003c/a> and the powers that be with both music and action.\u003cbr>\u003cbr>Their headquarters would become Mission Records, and later 16th and Mission BART Plaza, for amplifying their frustrations with gentrification, war and the police.\u003c/p>\n",
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"\n\u003cp>The \u003ca href=\"https://www.kqed.org/arts/tag/mission-district\">Mission District\u003c/a>’s punk history runs deep, boasting bands like MDC and Jawbreaker, and venues like Tool & Die, Kommotion and Epicenter. But in the late ’90s, something shifted. A new wave of punks dedicated to cheap living, harm reduction and the DIY ethos took over the streets. From 1994 through 2002, bands like Hickey, Shotwell, 50 Million and the aforementioned Miami would creatively resist San Francisco’s then-Mayor \u003ca href=\"https://www.kqed.org/news/tag/willie-brown\">Willie Brown\u003c/a> and the powers that be with both music and action.\u003cbr>\u003cbr>Their headquarters would become Mission Records, and later 16th and Mission BART Plaza, for amplifying their frustrations with gentrification, war and the police.\u003c/p>\n"
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"innerHTML": "\n\u003cp>Ivy Jeanne McClelland moved to San Francisco in 1997 after years of moving back and forth, sometimes by hopping trains, between her hometown of Miami and the East Bay as a teenage runaway. Though she’d crossed paths with Bay Area bands like Rancid, Green Day and Blatz, she decided to make San Francisco home thanks to Hickey. That year, McClelland hopped in the band’s van on their final tour, and moved into the band’s squalid apartment, the Hickey Hotel, on 24th Street.\u003c/p>\n",
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"\n\u003cp>Ivy Jeanne McClelland moved to San Francisco in 1997 after years of moving back and forth, sometimes by hopping trains, between her hometown of Miami and the East Bay as a teenage runaway. Though she’d crossed paths with Bay Area bands like Rancid, Green Day and Blatz, she decided to make San Francisco home thanks to Hickey. That year, McClelland hopped in the band’s van on their final tour, and moved into the band’s squalid apartment, the Hickey Hotel, on 24th Street.\u003c/p>\n"
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Aesop-Kitchen-Patches_1996_Karoline-Hanson-Collins.jpg\" alt=\"\" class=\"wp-image-13991186\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Aesop-Kitchen-Patches_1996_Karoline-Hanson-Collins.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Aesop-Kitchen-Patches_1996_Karoline-Hanson-Collins-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Aesop-Kitchen-Patches_1996_Karoline-Hanson-Collins-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Aesop-Kitchen-Patches_1996_Karoline-Hanson-Collins-1536x1018.jpg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">Aesop Dekker screenprints Hickey patches in the kitchen at the Hickey Hotel, circa mid-1990s. \u003ccite class=\"wp-inline-image-credit\"> (Karoline Collins)\u003c/cite>\u003c/figcaption>\u003c/figure>\n",
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"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Aesop-Kitchen-Patches_1996_Karoline-Hanson-Collins.jpg\" alt=\"\" class=\"wp-image-13991186\"/>\u003cfigcaption class=\"wp-element-caption\">Aesop Dekker screenprints Hickey patches in the kitchen at the Hickey Hotel, circa mid-1990s. \u003ccite class=\"wp-inline-image-credit\"> (Karoline Collins)\u003c/cite>\u003c/figcaption>\u003c/figure>\n"
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"innerHTML": "\n\u003cp>McClelland had played in bands like the Tri-Rails and Los Canadians, but when she made it to San Francisco, she teamed up with best friend and fellow Floridian Erica Dawn Lyle to start a new band called Miami, bolstered by Dekker and Luv from Hickey.\u003c/p>\n",
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"\n\u003cp>McClelland had played in bands like the Tri-Rails and Los Canadians, but when she made it to San Francisco, she teamed up with best friend and fellow Floridian Erica Dawn Lyle to start a new band called Miami, bolstered by Dekker and Luv from Hickey.\u003c/p>\n"
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"innerHTML": "\n\u003cp>With more and more local venues like Klub Kommotion, Starcleaners Warehouse and Epicenter Records winding down operations, Miami and their longtime friends in the band Shotwell colluded to create a new commotion down Mission Street. Lyle and Shotwell’s Jimmy Broustis decided to host an illegal pop-up show, powered by generators, in front of the defunct Leed’s Shoes building at 22nd and Mission. Borrowing the idea from a band of buskers known as Rube Waddell, the two fueled their iteration with political angst.\u003c/p>\n",
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"\n\u003cp>With more and more local venues like Klub Kommotion, Starcleaners Warehouse and Epicenter Records winding down operations, Miami and their longtime friends in the band Shotwell colluded to create a new commotion down Mission Street. Lyle and Shotwell’s Jimmy Broustis decided to host an illegal pop-up show, powered by generators, in front of the defunct Leed’s Shoes building at 22nd and Mission. Borrowing the idea from a band of buskers known as Rube Waddell, the two fueled their iteration with political angst.\u003c/p>\n"
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"innerHTML": "\n\u003cp>“The generator shows were a product of when gentrification really ramped up in the Mission,” said McClelland. “There was already this feeling of frustration and upset about all of these DIY show spaces that were targeted and shut down, and in our grumblings, we decided to have generator shows in response to them.”\u003c/p>\n",
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"\n\u003cp>“The generator shows were a product of when gentrification really ramped up in the Mission,” said McClelland. “There was already this feeling of frustration and upset about all of these DIY show spaces that were targeted and shut down, and in our grumblings, we decided to have generator shows in response to them.”\u003c/p>\n"
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Miami-7-Matty_BART-Show_Karoline-Hanson-Collins.jpg\" alt=\"\" class=\"wp-image-13991194\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Miami-7-Matty_BART-Show_Karoline-Hanson-Collins.jpg 1326w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Miami-7-Matty_BART-Show_Karoline-Hanson-Collins-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Miami-7-Matty_BART-Show_Karoline-Hanson-Collins-768x1158.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Miami-7-Matty_BART-Show_Karoline-Hanson-Collins-1018x1536.jpg 1018w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">Matty Luv plays with Mission District punk band Miami at 16th and Mission BART Plaza, circa 2000.\u003ccite class=\"wp-inline-image-credit\"> (Karoline Collins)\u003c/cite>\u003c/figcaption>\u003c/figure>\n",
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"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Miami-7-Matty_BART-Show_Karoline-Hanson-Collins.jpg\" alt=\"\" class=\"wp-image-13991194\"/>\u003cfigcaption class=\"wp-element-caption\">Matty Luv plays with Mission District punk band Miami at 16th and Mission BART Plaza, circa 2000.\u003ccite class=\"wp-inline-image-credit\"> (Karoline Collins)\u003c/cite>\u003c/figcaption>\u003c/figure>\n"
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"innerHTML": "\n\u003cp>Miami didn’t last long, breaking up around 2001. Luv’s addiction to heroin had gotten more serious. He’d moved back to Florida for a time before being convinced to come back to San Francisco. Luv helped operate Mission Records in its near-final days, and played music with friends, but the scene was on its last legs.\u003c/p>\n",
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"\n\u003cp>Miami didn’t last long, breaking up around 2001. Luv’s addiction to heroin had gotten more serious. He’d moved back to Florida for a time before being convinced to come back to San Francisco. Luv helped operate Mission Records in its near-final days, and played music with friends, but the scene was on its last legs.\u003c/p>\n"
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"innerHTML": "\n\u003cp>Miami and its generator shows, to be clear, came from a lineage of Mission punks before them. Half of Miami, after all, had roots in a band that had started four years prior. \u003c/p>\n",
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"\n\u003cp>Miami and its generator shows, to be clear, came from a lineage of Mission punks before them. Half of Miami, after all, had roots in a band that had started four years prior. \u003c/p>\n"
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"text": "The Naked Cult of Hickey",
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"innerHTML": "\n\u003ch2 class=\"wp-block-heading\">\u003cstrong>The Naked Cult of Hickey\u003c/strong>\u003c/h2>\n",
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"innerHTML": "\n\u003cp>Led by \u003ca href=\"https://www.mattyluv.com/\">Matty Luv\u003c/a>, a charismatic, manic frontman dedicated to a DIY anticapitalist interpretation of punk rock, Hickey was the band often called The Naked Cult of Hickey. With best friend Aesop Dekker behind the drum kit, the two produced a controlled chaos that would come to define the band. Originally accompanied by friend Chubby on bass, Hickey became known for confrontational antics and a prolific catalog of music, fueled by members’ use of both methamphetamine and heroin. \u003c/p>\n",
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"\n\u003cp>Led by \u003ca href=\"https://www.mattyluv.com/\">Matty Luv\u003c/a>, a charismatic, manic frontman dedicated to a DIY anticapitalist interpretation of punk rock, Hickey was the band often called The Naked Cult of Hickey. With best friend Aesop Dekker behind the drum kit, the two produced a controlled chaos that would come to define the band. Originally accompanied by friend Chubby on bass, Hickey became known for confrontational antics and a prolific catalog of music, fueled by members’ use of both methamphetamine and heroin. \u003c/p>\n"
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"innerHTML": "\n\u003cp>Hickey burned bright and fast, touring constantly. Their song titles included “Hickey Is About Long Hair and Getting High” and “Everything I Know About Sex I Learned From KISS.” Live shows would often devolve into standoffs with the crowd, where the band might play one or two songs and then rant at the audience.\u003c/p>\n",
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"\n\u003cp>Hickey burned bright and fast, touring constantly. Their song titles included “Hickey Is About Long Hair and Getting High” and “Everything I Know About Sex I Learned From KISS.” Live shows would often devolve into standoffs with the crowd, where the band might play one or two songs and then rant at the audience.\u003c/p>\n"
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"innerHTML": "\n\u003cp>“We would show up with the intention of being a band and playing our fucking songs as good as we could for an adoring crowd,” said Dekker. “A lot of times that would go fucky because the promoter was a dick, or, before we even played, would express how they weren’t going to pay us. Or the bands we were playing with were dicks.”\u003c/p>\n",
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"\n\u003cp>“We would show up with the intention of being a band and playing our fucking songs as good as we could for an adoring crowd,” said Dekker. “A lot of times that would go fucky because the promoter was a dick, or, before we even played, would express how they weren’t going to pay us. Or the bands we were playing with were dicks.”\u003c/p>\n"
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"innerHTML": "\n\u003cp>The band’s live sets amplified their view on how punk rock should operate, with the members dedicated to an ethic that rebelled against the intrusion of money and power into their scene.\u003c/p>\n",
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"\n\u003cp>The band’s live sets amplified their view on how punk rock should operate, with the members dedicated to an ethic that rebelled against the intrusion of money and power into their scene.\u003c/p>\n"
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"srcset": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/HickeyLPs.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/HickeyLPs-160x77.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/HickeyLPs-768x368.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/HickeyLPs-1536x735.jpg 1536w",
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/HickeyLPs.jpg\" alt=\"\" class=\"wp-image-13991199\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/HickeyLPs.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/HickeyLPs-160x77.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/HickeyLPs-768x368.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/HickeyLPs-1536x735.jpg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">(L–R) Hickey’s full-length self-titled LP, and ‘Various States of Disrepair,’ a compilation of songs released posthumously. \u003ccite class=\"wp-inline-image-credit\"> (Probe Records / Poverty Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n",
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"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/HickeyLPs.jpg\" alt=\"\" class=\"wp-image-13991199\"/>\u003cfigcaption class=\"wp-element-caption\">(L–R) Hickey’s full-length self-titled LP, and ‘Various States of Disrepair,’ a compilation of songs released posthumously. \u003ccite class=\"wp-inline-image-credit\"> (Probe Records / Poverty Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n"
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"innerHTML": "\n\u003cp>“We hated the fucking corporatization of punk, and we hated people making money off of this. And we were at war with people that didn’t care about this shit,” said Dekker.\u003c/p>\n",
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"innerHTML": "\n\u003cp>The chaos that famously propelled the band eventually led to their downfall. During a 1997 U.S. tour, the band decided to break up. The three members had a fight in Tuscon, Arizona, and realized that none of them wanted to continue with the project. After that decision, they felt a shift amongst themselves.\u003c/p>\n",
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"innerHTML": "\n\u003cp>“A weird curse had been lifted, because we went back to our friend’s house and sat under the fire, drank and talked,” said Dekker. “We were friends again, like, this fucking weight had been lifted.”\u003c/p>\n",
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Ivy-in-Crowd-cool-hands_BART-Show_Karoline-Hanson-Collins.jpg\" alt=\"\" class=\"wp-image-13991187\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Ivy-in-Crowd-cool-hands_BART-Show_Karoline-Hanson-Collins.jpg 1326w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Ivy-in-Crowd-cool-hands_BART-Show_Karoline-Hanson-Collins-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Ivy-in-Crowd-cool-hands_BART-Show_Karoline-Hanson-Collins-768x1158.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Ivy-in-Crowd-cool-hands_BART-Show_Karoline-Hanson-Collins-1018x1536.jpg 1018w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">Ivy McClelland (center) during a show at 16th and Mission BART plaza, circa 2000.\u003ccite class=\"wp-inline-image-credit\"> (Karoline Collins)\u003c/cite>\u003c/figcaption>\u003c/figure>\n",
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"innerHTML": "\n\u003cp>After opening its doors in 1997, Mission Records, run by Adam White and Chris Myers, quickly became a place of refuge. Located at 2548 Mission Street, the shop soon had to move to its more permanent location across the street, on the corner of Mission and 19th, and gradually shifted to exist less as a record store and more as a living space and venue for shows.\u003c/p>\n",
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"innerHTML": "\n\u003cp>“It started off as a straight-up business proposition,” said White. “I got a bunch of credit cards. We both borrowed as much money as we could from whoever, and fucking went for it. And then, right away, we started getting decimated as a record store. It was the worst time. CDs were at their peak, and the internet was just starting to take the whole thing and destroy it. And we also didn’t know what the fuck we were doing.”\u003c/p>\n",
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"\n\u003cp>“It started off as a straight-up business proposition,” said White. “I got a bunch of credit cards. We both borrowed as much money as we could from whoever, and fucking went for it. And then, right away, we started getting decimated as a record store. It was the worst time. CDs were at their peak, and the internet was just starting to take the whole thing and destroy it. And we also didn’t know what the fuck we were doing.”\u003c/p>\n"
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"innerHTML": "\n\u003cp>As time went on, members of several bands lived at Mission Records, helping volunteer and put on shows. \u003c/p>\n",
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/liveatleedsflier.jpg\" alt=\"\" class=\"wp-image-13991188\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/liveatleedsflier.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/liveatleedsflier-160x123.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/liveatleedsflier-768x589.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/liveatleedsflier-1536x1179.jpg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">‘The cops can shut down Mission punk clubs, but not Mission Street’: A flyer for a ‘short, illegal show’ on 22nd and Mission. \u003ccite class=\"wp-inline-image-credit\"> (Erica Dawn Lyle)\u003c/cite>\u003c/figcaption>\u003c/figure>\n",
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"innerHTML": "\n\u003cp>Across the Bay, another wave of bands was gaining traction. Green Day had already signed to a major label and released their massive record \u003cem>Dookie\u003c/em>, and Rancid was taking off. The East Bay and San Francisco punk scenes weren’t completely isolated, and Mission District bands still made their way across the bridge. But in San Francisco, there was a different energy emanating. \u003c/p>\n",
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"\n\u003cp>Across the Bay, another wave of bands was gaining traction. Green Day had already signed to a major label and released their massive record \u003cem>Dookie\u003c/em>, and Rancid was taking off. The East Bay and San Francisco punk scenes weren’t completely isolated, and Mission District bands still made their way across the bridge. But in San Francisco, there was a different energy emanating. \u003c/p>\n"
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"innerHTML": "\n\u003cp>Maybe they played faster, maybe they were more confrontational. And maybe it was the drugs.\u003c/p>\n",
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"innerHTML": "\n\u003cp>“It was all benzos,” said Broustis. “You go to Mission Records, and there’d be a band rehearsing there at two in the morning while people are trying to sleep.”\u003c/p>\n",
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"innerHTML": "\n\u003cp>Band members got drugs from local corner stores, and used that to fuel their productivity.\u003c/p>\n",
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"innerHTML": "\n\u003cp>“We did so much crystal meth in the fucking ’90s, and then it was heroin, and we were also eating lots of pills and drinking a lot — all the things that go with doing tons of crystal meth,” said Dekker. “That’s why we did so much in three years. Because we didn’t fucking sleep.”\u003c/p>\n",
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"\n\u003cp>“We did so much crystal meth in the fucking ’90s, and then it was heroin, and we were also eating lots of pills and drinking a lot — all the things that go with doing tons of crystal meth,” said Dekker. “That’s why we did so much in three years. Because we didn’t fucking sleep.”\u003c/p>\n"
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/LOW-RES-Matty_Broken-Tub_Hickey-Hotel_KHC.jpg\" alt=\"\" class=\"wp-image-13991189\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/LOW-RES-Matty_Broken-Tub_Hickey-Hotel_KHC.jpg 1319w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/LOW-RES-Matty_Broken-Tub_Hickey-Hotel_KHC-160x243.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/LOW-RES-Matty_Broken-Tub_Hickey-Hotel_KHC-768x1165.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/LOW-RES-Matty_Broken-Tub_Hickey-Hotel_KHC-1013x1536.jpg 1013w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">Matty Luv, and a broken bathtub, at the Hickey Hotel, circa mid-1990s. \u003ccite class=\"wp-inline-image-credit\"> (Karoline Collins)\u003c/cite>\u003c/figcaption>\u003c/figure>\n",
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"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/LOW-RES-Matty_Broken-Tub_Hickey-Hotel_KHC.jpg\" alt=\"\" class=\"wp-image-13991189\"/>\u003cfigcaption class=\"wp-element-caption\">Matty Luv, and a broken bathtub, at the Hickey Hotel, circa mid-1990s. \u003ccite class=\"wp-inline-image-credit\"> (Karoline Collins)\u003c/cite>\u003c/figcaption>\u003c/figure>\n"
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"innerHTML": "\n\u003cp>As the drugs took their toll, elements of the scene wound down. Miami broke up, White left Mission Records, and increasingly, cops harassed local punks. \u003c/p>\n",
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"innerHTML": "\n\u003cp>On Oct. 5, 2002, Matty Luv, 34, was found dead of a heroin overdose at the Hickey Hotel. He had spent the day helping out at Mission Records, while McClelland and other friends went to a protest against the Iraq war. The group of friends had crossed paths on the way to the protest, and Luv waved hi. It would be the last time many of them would see him. \u003c/p>\n",
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"\n\u003cp>On Oct. 5, 2002, Matty Luv, 34, was found dead of a heroin overdose at the Hickey Hotel. He had spent the day helping out at Mission Records, while McClelland and other friends went to a protest against the Iraq war. The group of friends had crossed paths on the way to the protest, and Luv waved hi. It would be the last time many of them would see him. \u003c/p>\n"
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"innerHTML": "\n\u003cp>The next day, a show at Mission Records was turned into a wake. Later, a number of his friends gathered at Dolores Park for his funeral, where \u003ca href=\"https://web.archive.org/web/20180107014931/https://archives.sfweekly.com/sanfrancisco/make-sure-there-arent-any-squares-at-my-funeral/Content?oid=2146143\">zines and Hickey records were handed out\u003c/a>, and where Luv was remembered by his friends as funny, prolific and intense.\u003c/p>\n",
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"\n\u003cp>The next day, a show at Mission Records was turned into a wake. Later, a number of his friends gathered at Dolores Park for his funeral, where \u003ca href=\"https://web.archive.org/web/20180107014931/https://archives.sfweekly.com/sanfrancisco/make-sure-there-arent-any-squares-at-my-funeral/Content?oid=2146143\">zines and Hickey records were handed out\u003c/a>, and where Luv was remembered by his friends as funny, prolific and intense.\u003c/p>\n"
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"innerHTML": "\n\u003cp>“Learning how to take better care of each other. I think that’s the lesson. And the wisdom of losing him was about really changing. It changed my relationship to what it meant to show up for people in need or in crisis,” said McClelland.\u003c/p>\n",
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"\n\u003cp>“Learning how to take better care of each other. I think that’s the lesson. And the wisdom of losing him was about really changing. It changed my relationship to what it meant to show up for people in need or in crisis,” said McClelland.\u003c/p>\n"
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"innerHTML": "\n\u003cp>“He was the funniest person I’ve ever met, and I think I was the funniest person he ever met. And when we met, that was our bond, is that we felt the same way ideologically about everything, and we were both funny,” said Dekker.\u003c/p>\n",
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"\n\u003cp>“He was the funniest person I’ve ever met, and I think I was the funniest person he ever met. And when we met, that was our bond, is that we felt the same way ideologically about everything, and we were both funny,” said Dekker.\u003c/p>\n"
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"innerHTML": "\n\u003cp>Shortly after Luv’s death, Mission Records closed. White attempted to pass the business on to Buzz Lee, but the finances weren’t there. Dekker had recently found sobriety and become a father. McClelland continued to play in bands, and remains active in activism and harm reduction to this day.\u003c/p>\n",
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"\n\u003cp>Shortly after Luv’s death, Mission Records closed. White attempted to pass the business on to Buzz Lee, but the finances weren’t there. Dekker had recently found sobriety and become a father. McClelland continued to play in bands, and remains active in activism and harm reduction to this day.\u003c/p>\n"
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Erica-Aesop_BART-Show_Karoline-Hanson-Collins.jpg\" alt=\"\" class=\"wp-image-13991191\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Erica-Aesop_BART-Show_Karoline-Hanson-Collins.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Erica-Aesop_BART-Show_Karoline-Hanson-Collins-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Erica-Aesop_BART-Show_Karoline-Hanson-Collins-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Erica-Aesop_BART-Show_Karoline-Hanson-Collins-1536x1018.jpg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">(L–R) Erica Dawn Lyle and Aesop Dekker of the punk band Miami play a generator show at 16th and Mission BART plaza, circa 2000.\u003ccite class=\"wp-inline-image-credit\"> (Karoline Collins)\u003c/cite>\u003c/figcaption>\u003c/figure>\n",
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"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Erica-Aesop_BART-Show_Karoline-Hanson-Collins.jpg\" alt=\"\" class=\"wp-image-13991191\"/>\u003cfigcaption class=\"wp-element-caption\">(L–R) Erica Dawn Lyle and Aesop Dekker of the punk band Miami play a generator show at 16th and Mission BART plaza, circa 2000.\u003ccite class=\"wp-inline-image-credit\"> (Karoline Collins)\u003c/cite>\u003c/figcaption>\u003c/figure>\n"
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"innerHTML": "\n\u003cp>Today, a new generation is picking up the torch. San Francisco bands False Flag and Surprise Privilege have played generator shows on the sidewalks in front of \u003ca href=\"https://www.facebook.com/groups/228217405293069/posts/1372002734247858/\">the Warfield \u003c/a>\u003ca href=\"https://www.kqed.org/arts/13984468/best-concerts-2025-bay-area-live-music\">and the Castro Theatre\u003c/a>, and \u003ca href=\"https://www.kqed.org/arts/13923420/punk-show-on-bart\">on a moving BART train\u003c/a>. (Their store \u003ca href=\"https://ihaterecords.com/pages/about-us\">I Hate Records\u003c/a>, in the Lower Haight, carries echoes of Mission Records.) A group known as the \u003ca href=\"https://www.instagram.com/outhouse_sf/?hl=en\">Outhouse Collective\u003c/a> puts on their own generator shows, and have been taken under the wing by McClelland.\u003c/p>\n",
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"\n\u003cp>Today, a new generation is picking up the torch. San Francisco bands False Flag and Surprise Privilege have played generator shows on the sidewalks in front of \u003ca href=\"https://www.facebook.com/groups/228217405293069/posts/1372002734247858/\">the Warfield \u003c/a>\u003ca href=\"https://www.kqed.org/arts/13984468/best-concerts-2025-bay-area-live-music\">and the Castro Theatre\u003c/a>, and \u003ca href=\"https://www.kqed.org/arts/13923420/punk-show-on-bart\">on a moving BART train\u003c/a>. (Their store \u003ca href=\"https://ihaterecords.com/pages/about-us\">I Hate Records\u003c/a>, in the Lower Haight, carries echoes of Mission Records.) A group known as the \u003ca href=\"https://www.instagram.com/outhouse_sf/?hl=en\">Outhouse Collective\u003c/a> puts on their own generator shows, and have been taken under the wing by McClelland.\u003c/p>\n"
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"innerHTML": "\n\u003cp>Last year saw the return of the \u003ca href=\"https://clarionalleymuralproject.org/clarion-alley-block-party/\">Clarion Alley Block Party\u003c/a>, which has largely been organized by McClelland since 1998. In its most recent installment, McClelland brought on members of Outhouse Collective to help organize the day’s live music. The combining of these two forces hints at an intergenerational cross-pollination which McClelland sees as essential for the continuation of the punk community into the future.\u003c/p>\n",
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"\n\u003cp>Last year saw the return of the \u003ca href=\"https://clarionalleymuralproject.org/clarion-alley-block-party/\">Clarion Alley Block Party\u003c/a>, which has largely been organized by McClelland since 1998. In its most recent installment, McClelland brought on members of Outhouse Collective to help organize the day’s live music. The combining of these two forces hints at an intergenerational cross-pollination which McClelland sees as essential for the continuation of the punk community into the future.\u003c/p>\n"
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"innerHTML": "\n\u003cp>“We have shared visions, we have shared values. We have shared connection through these rad creative and rad political movements,” said McClelland. “When we are able to embrace people across community lines, build solidarity across race, gender, ability, mental health — finding those connections is really, really sacred.”\u003c/p>\n",
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"\n\u003cp>“We have shared visions, we have shared values. We have shared connection through these rad creative and rad political movements,” said McClelland. “When we are able to embrace people across community lines, build solidarity across race, gender, ability, mental health — finding those connections is really, really sacred.”\u003c/p>\n"
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"excerpt": "From 1994–2002, a group of scrappy punks forged a template for today's guerrilla shows in San Francisco.",
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"title": "When Generator Punk Shows Ruled the Mission District | KQED",
"description": "From 1994–2002, a group of scrappy punks forged a template for today's guerrilla shows in San Francisco.",
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"headline": "When Generator Punk Shows Ruled the Mission District",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>The scene: 16th and Mission BART in \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco\">San Francisco\u003c/a>, 1998. Trains careen underground, while above, another kind of noise is happening.\u003c/p>\n\n\n\n\u003cp>Ivy Jeanne’s raspy, blues-inflected voice screams out of PAs borrowed from friends, powered by a generator borrowed from other friends. Erica Lyle’s guitar wails into the ether, making its way to Capp Street. Young punks dance, free of harassment. The show is over before anyone really knows it.\u003c/p>\n\n\n\n\u003cp>Miami and Shotwell have just played an illegal show at BART.\u003c/p>\n\n\n\n\u003cp>“You’d roll up. Sometimes I was with whoever had the PA. You would just see punks on the periphery. Nobody was assembled in the plaza exactly. You could just see people around, and as soon as the gear started coming out, everyone would just descend,” said Karoline Collins, a local photographer and roadie for the band \u003ca href=\"https://mattyluv.com/\">Hickey\u003c/a>.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1326\" height=\"2000\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Miami-9-Ivy-Pointing_BART-Show_Karoline-Hanson-Collins.jpg\" alt=\"\" class=\"wp-image-13991192\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Miami-9-Ivy-Pointing_BART-Show_Karoline-Hanson-Collins.jpg 1326w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Miami-9-Ivy-Pointing_BART-Show_Karoline-Hanson-Collins-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Miami-9-Ivy-Pointing_BART-Show_Karoline-Hanson-Collins-768x1158.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Miami-9-Ivy-Pointing_BART-Show_Karoline-Hanson-Collins-1018x1536.jpg 1018w\" sizes=\"auto, (max-width: 1326px) 100vw, 1326px\" />\u003cfigcaption class=\"wp-element-caption\">Ivy McClelland sings with the Mission District punk band Miami at 16th and Mission BART plaza, circa 2000. (Karoline Collins)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>This would be one of many illegal generator-powered \u003ca href=\"https://www.kqed.org/arts/tag/punk\">punk\u003c/a> shows happening on Mission Street, a tradition that would carry into San Francisco’s present day. While San Francisco’s punk shows of the ’70s and ’80s had taken place in unlikely settings — a \u003ca href=\"https://www.kqed.org/arts/13980619/mabuhay-gardens-reopening-sf-punk-club-north-beach\">Filipino restaurant\u003c/a>, a \u003ca href=\"https://www.kqed.org/arts/13938024/old-san-francisco-punk-venues-deaf-club-farm-sound-music-tool-die\">social club for the deaf\u003c/a>, literal \u003ca href=\"https://www.kqed.org/arts/13902953/alternative-voices-1980s-san-francisco-punk-jeanne-hansen-photography-jonah-raskin\">beer vats\u003c/a> — the tradition of guerilla generator shows that flourished in Mission District’s ragged and dedicated punk scene of the ’90s \u003ca href=\"https://www.kqed.org/arts/13923420/punk-show-on-bart\">continues today with bands like False Flag, Surprise Privilege and WIFE\u003c/a>. \u003c/p>\n\n\n\n\u003cp>The \u003ca href=\"https://www.kqed.org/arts/tag/mission-district\">Mission District\u003c/a>’s punk history runs deep, boasting bands like MDC and Jawbreaker, and venues like Tool & Die, Kommotion and Epicenter. But in the late ’90s, something shifted. A new wave of punks dedicated to cheap living, harm reduction and the DIY ethos took over the streets. From 1994 through 2002, bands like Hickey, Shotwell, 50 Million and the aforementioned Miami would creatively resist San Francisco’s then-Mayor \u003ca href=\"https://www.kqed.org/news/tag/willie-brown\">Willie Brown\u003c/a> and the powers that be with both music and action.\u003cbr>\u003cbr>Their headquarters would become Mission Records, and later 16th and Mission BART Plaza, for amplifying their frustrations with gentrification, war and the police.\u003c/p>\n\n\n\n\u003ch2 class=\"wp-block-heading\">The City That Never Sleeps\u003c/h2>\n\n\n\n\u003cp>Ivy Jeanne McClelland moved to San Francisco in 1997 after years of moving back and forth, sometimes by hopping trains, between her hometown of Miami and the East Bay as a teenage runaway. Though she’d crossed paths with Bay Area bands like Rancid, Green Day and Blatz, she decided to make San Francisco home thanks to Hickey. That year, McClelland hopped in the band’s van on their final tour, and moved into the band’s squalid apartment, the Hickey Hotel, on 24th Street.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1326\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Aesop-Kitchen-Patches_1996_Karoline-Hanson-Collins.jpg\" alt=\"\" class=\"wp-image-13991186\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Aesop-Kitchen-Patches_1996_Karoline-Hanson-Collins.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Aesop-Kitchen-Patches_1996_Karoline-Hanson-Collins-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Aesop-Kitchen-Patches_1996_Karoline-Hanson-Collins-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Aesop-Kitchen-Patches_1996_Karoline-Hanson-Collins-1536x1018.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Aesop Dekker screenprints Hickey patches in the kitchen at the Hickey Hotel, circa mid-1990s. (Karoline Collins)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>McClelland had played in bands like the Tri-Rails and Los Canadians, but when she made it to San Francisco, she teamed up with best friend and fellow Floridian Erica Dawn Lyle to start a new band called Miami, bolstered by Dekker and Luv from Hickey.\u003c/p>\n\n\n\n\u003cp>With more and more local venues like Klub Kommotion, Starcleaners Warehouse and Epicenter Records winding down operations, Miami and their longtime friends in the band Shotwell colluded to create a new commotion down Mission Street. Lyle and Shotwell’s Jimmy Broustis decided to host an illegal pop-up show, powered by generators, in front of the defunct Leed’s Shoes building at 22nd and Mission. Borrowing the idea from a band of buskers known as Rube Waddell, the two fueled their iteration with political angst.\u003c/p>\n\n\n\n\u003cp>“The generator shows were a product of when gentrification really ramped up in the Mission,” said McClelland. “There was already this feeling of frustration and upset about all of these DIY show spaces that were targeted and shut down, and in our grumblings, we decided to have generator shows in response to them.”\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1326\" height=\"2000\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Miami-7-Matty_BART-Show_Karoline-Hanson-Collins.jpg\" alt=\"\" class=\"wp-image-13991194\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Miami-7-Matty_BART-Show_Karoline-Hanson-Collins.jpg 1326w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Miami-7-Matty_BART-Show_Karoline-Hanson-Collins-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Miami-7-Matty_BART-Show_Karoline-Hanson-Collins-768x1158.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Miami-7-Matty_BART-Show_Karoline-Hanson-Collins-1018x1536.jpg 1018w\" sizes=\"auto, (max-width: 1326px) 100vw, 1326px\" />\u003cfigcaption class=\"wp-element-caption\">Matty Luv plays with Mission District punk band Miami at 16th and Mission BART Plaza, circa 2000. (Karoline Collins)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>Miami didn’t last long, breaking up around 2001. Luv’s addiction to heroin had gotten more serious. He’d moved back to Florida for a time before being convinced to come back to San Francisco. Luv helped operate Mission Records in its near-final days, and played music with friends, but the scene was on its last legs.\u003c/p>\n\n\n\n\u003cp>Miami and its generator shows, to be clear, came from a lineage of Mission punks before them. Half of Miami, after all, had roots in a band that had started four years prior. \u003c/p>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003cstrong>The Naked Cult of Hickey\u003c/strong>\u003c/h2>\n\n\n\n\u003cp>Led by \u003ca href=\"https://www.mattyluv.com/\">Matty Luv\u003c/a>, a charismatic, manic frontman dedicated to a DIY anticapitalist interpretation of punk rock, Hickey was the band often called The Naked Cult of Hickey. With best friend Aesop Dekker behind the drum kit, the two produced a controlled chaos that would come to define the band. Originally accompanied by friend Chubby on bass, Hickey became known for confrontational antics and a prolific catalog of music, fueled by members’ use of both methamphetamine and heroin. \u003c/p>\n\n\n\n\n\n\u003cp>Hickey burned bright and fast, touring constantly. Their song titles included “Hickey Is About Long Hair and Getting High” and “Everything I Know About Sex I Learned From KISS.” Live shows would often devolve into standoffs with the crowd, where the band might play one or two songs and then rant at the audience.\u003c/p>\n\n\n\n\u003cp>“We would show up with the intention of being a band and playing our fucking songs as good as we could for an adoring crowd,” said Dekker. “A lot of times that would go fucky because the promoter was a dick, or, before we even played, would express how they weren’t going to pay us. Or the bands we were playing with were dicks.”\u003c/p>\n\n\n\n\u003cp>The band’s live sets amplified their view on how punk rock should operate, with the members dedicated to an ethic that rebelled against the intrusion of money and power into their scene.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1600\" height=\"766\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/HickeyLPs.jpg\" alt=\"\" class=\"wp-image-13991199\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/HickeyLPs.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/HickeyLPs-160x77.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/HickeyLPs-768x368.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/HickeyLPs-1536x735.jpg 1536w\" sizes=\"auto, (max-width: 1600px) 100vw, 1600px\" />\u003cfigcaption class=\"wp-element-caption\">(L–R) Hickey’s full-length self-titled LP, and ‘Various States of Disrepair,’ a compilation of songs released posthumously. (Probe Records / Poverty Records)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>“We hated the fucking corporatization of punk, and we hated people making money off of this. And we were at war with people that didn’t care about this shit,” said Dekker.\u003c/p>\n\n\n\n\u003cp>The chaos that famously propelled the band eventually led to their downfall. During a 1997 U.S. tour, the band decided to break up. The three members had a fight in Tuscon, Arizona, and realized that none of them wanted to continue with the project. After that decision, they felt a shift amongst themselves.\u003c/p>\n\n\n\n\u003cp>“A weird curse had been lifted, because we went back to our friend’s house and sat under the fire, drank and talked,” said Dekker. “We were friends again, like, this fucking weight had been lifted.”\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1326\" height=\"2000\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Ivy-in-Crowd-cool-hands_BART-Show_Karoline-Hanson-Collins.jpg\" alt=\"\" class=\"wp-image-13991187\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Ivy-in-Crowd-cool-hands_BART-Show_Karoline-Hanson-Collins.jpg 1326w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Ivy-in-Crowd-cool-hands_BART-Show_Karoline-Hanson-Collins-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Ivy-in-Crowd-cool-hands_BART-Show_Karoline-Hanson-Collins-768x1158.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Ivy-in-Crowd-cool-hands_BART-Show_Karoline-Hanson-Collins-1018x1536.jpg 1018w\" sizes=\"auto, (max-width: 1326px) 100vw, 1326px\" />\u003cfigcaption class=\"wp-element-caption\">Ivy McClelland (center) during a show at 16th and Mission BART plaza, circa 2000. (Karoline Collins)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003cstrong>Mission Records\u003c/strong>\u003c/h2>\n\n\n\n\u003cp>After opening its doors in 1997, Mission Records, run by Adam White and Chris Myers, quickly became a place of refuge. Located at 2548 Mission Street, the shop soon had to move to its more permanent location across the street, on the corner of Mission and 19th, and gradually shifted to exist less as a record store and more as a living space and venue for shows.\u003c/p>\n\n\n\n\u003cp>“It started off as a straight-up business proposition,” said White. “I got a bunch of credit cards. We both borrowed as much money as we could from whoever, and fucking went for it. And then, right away, we started getting decimated as a record store. It was the worst time. CDs were at their peak, and the internet was just starting to take the whole thing and destroy it. And we also didn’t know what the fuck we were doing.”\u003c/p>\n\n\n\n\u003cp>As time went on, members of several bands lived at Mission Records, helping volunteer and put on shows. \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1535\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/liveatleedsflier.jpg\" alt=\"\" class=\"wp-image-13991188\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/liveatleedsflier.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/liveatleedsflier-160x123.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/liveatleedsflier-768x589.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/liveatleedsflier-1536x1179.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">‘The cops can shut down Mission punk clubs, but not Mission Street’: A flyer for a ‘short, illegal show’ on 22nd and Mission. (Erica Dawn Lyle)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>Across the Bay, another wave of bands was gaining traction. Green Day had already signed to a major label and released their massive record \u003cem>Dookie\u003c/em>, and Rancid was taking off. The East Bay and San Francisco punk scenes weren’t completely isolated, and Mission District bands still made their way across the bridge. But in San Francisco, there was a different energy emanating. \u003c/p>\n\n\n\n\u003cp>Maybe they played faster, maybe they were more confrontational. And maybe it was the drugs.\u003c/p>\n\n\n\n\u003cp>“It was all benzos,” said Broustis. “You go to Mission Records, and there’d be a band rehearsing there at two in the morning while people are trying to sleep.”\u003c/p>\n\n\n\n\u003cp>Band members got drugs from local corner stores, and used that to fuel their productivity.\u003c/p>\n\n\n\n\u003cp>“We did so much crystal meth in the fucking ’90s, and then it was heroin, and we were also eating lots of pills and drinking a lot — all the things that go with doing tons of crystal meth,” said Dekker. “That’s why we did so much in three years. Because we didn’t fucking sleep.”\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1319\" height=\"2000\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/LOW-RES-Matty_Broken-Tub_Hickey-Hotel_KHC.jpg\" alt=\"\" class=\"wp-image-13991189\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/LOW-RES-Matty_Broken-Tub_Hickey-Hotel_KHC.jpg 1319w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/LOW-RES-Matty_Broken-Tub_Hickey-Hotel_KHC-160x243.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/LOW-RES-Matty_Broken-Tub_Hickey-Hotel_KHC-768x1165.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/LOW-RES-Matty_Broken-Tub_Hickey-Hotel_KHC-1013x1536.jpg 1013w\" sizes=\"auto, (max-width: 1319px) 100vw, 1319px\" />\u003cfigcaption class=\"wp-element-caption\">Matty Luv, and a broken bathtub, at the Hickey Hotel, circa mid-1990s. (Karoline Collins)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003cstrong>A sudden shock\u003c/strong>\u003c/h2>\n\n\n\n\u003cp>As the drugs took their toll, elements of the scene wound down. Miami broke up, White left Mission Records, and increasingly, cops harassed local punks. \u003c/p>\n\n\n\n\u003cp>On Oct. 5, 2002, Matty Luv, 34, was found dead of a heroin overdose at the Hickey Hotel. He had spent the day helping out at Mission Records, while McClelland and other friends went to a protest against the Iraq war. The group of friends had crossed paths on the way to the protest, and Luv waved hi. It would be the last time many of them would see him. \u003c/p>\n\n\n\n\u003cp>The next day, a show at Mission Records was turned into a wake. Later, a number of his friends gathered at Dolores Park for his funeral, where \u003ca href=\"https://web.archive.org/web/20180107014931/https://archives.sfweekly.com/sanfrancisco/make-sure-there-arent-any-squares-at-my-funeral/Content?oid=2146143\">zines and Hickey records were handed out\u003c/a>, and where Luv was remembered by his friends as funny, prolific and intense.\u003c/p>\n\n\n\n\n\n\u003cp>“Learning how to take better care of each other. I think that’s the lesson. And the wisdom of losing him was about really changing. It changed my relationship to what it meant to show up for people in need or in crisis,” said McClelland.\u003c/p>\n\n\n\n\u003cp>“He was the funniest person I’ve ever met, and I think I was the funniest person he ever met. And when we met, that was our bond, is that we felt the same way ideologically about everything, and we were both funny,” said Dekker.\u003c/p>\n\n\n\n\u003cp>Shortly after Luv’s death, Mission Records closed. White attempted to pass the business on to Buzz Lee, but the finances weren’t there. Dekker had recently found sobriety and become a father. McClelland continued to play in bands, and remains active in activism and harm reduction to this day.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1326\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Erica-Aesop_BART-Show_Karoline-Hanson-Collins.jpg\" alt=\"\" class=\"wp-image-13991191\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Erica-Aesop_BART-Show_Karoline-Hanson-Collins.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Erica-Aesop_BART-Show_Karoline-Hanson-Collins-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Erica-Aesop_BART-Show_Karoline-Hanson-Collins-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Erica-Aesop_BART-Show_Karoline-Hanson-Collins-1536x1018.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">(L–R) Erica Dawn Lyle and Aesop Dekker of the punk band Miami play a generator show at 16th and Mission BART plaza, circa 2000. (Karoline Collins)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>Today, a new generation is picking up the torch. San Francisco bands False Flag and Surprise Privilege have played generator shows on the sidewalks in front of \u003ca href=\"https://www.facebook.com/groups/228217405293069/posts/1372002734247858/\">the Warfield \u003c/a>\u003ca href=\"https://www.kqed.org/arts/13984468/best-concerts-2025-bay-area-live-music\">and the Castro Theatre\u003c/a>, and \u003ca href=\"https://www.kqed.org/arts/13923420/punk-show-on-bart\">on a moving BART train\u003c/a>. (Their store \u003ca href=\"https://ihaterecords.com/pages/about-us\">I Hate Records\u003c/a>, in the Lower Haight, carries echoes of Mission Records.) A group known as the \u003ca href=\"https://www.instagram.com/outhouse_sf/?hl=en\">Outhouse Collective\u003c/a> puts on their own generator shows, and have been taken under the wing by McClelland.\u003c/p>\n\n\n\n\u003cp>Last year saw the return of the \u003ca href=\"https://clarionalleymuralproject.org/clarion-alley-block-party/\">Clarion Alley Block Party\u003c/a>, which has largely been organized by McClelland since 1998. In its most recent installment, McClelland brought on members of Outhouse Collective to help organize the day’s live music. The combining of these two forces hints at an intergenerational cross-pollination which McClelland sees as essential for the continuation of the punk community into the future.\u003c/p>\n\n\n\n\u003cp>“We have shared visions, we have shared values. We have shared connection through these rad creative and rad political movements,” said McClelland. “When we are able to embrace people across community lines, build solidarity across race, gender, ability, mental health — finding those connections is really, really sacred.”\u003c/p>\n\u003c/div>\u003c/p>",
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"title": "A New York Graffiti Legend Is in Clarion Alley This Week",
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"content": "\u003cp>It’s Wednesday afternoon in \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco\">San Francisco\u003c/a>’s Clarion Alley, and eight girls are hovering over a folding table scattered with paint pens. Discussing a mural design for an adjacent wall, they hatch a plan to paint “San Francisco,” surrounded by symbols that represent the city.\u003c/p>\n\n\n\n\u003cp>Nearby stands Lady Pink, a legend in the New York \u003ca href=\"https://www.kqed.org/arts/tag/graffiti\">graffiti\u003c/a> and street art scene, who’s here to mentor the young girls on the mural. In the 1970s and 1980s, Lady Pink was the first woman in graffiti to make a national name for herself, and in the process carved out space for other women in the male-dominated field.\u003c/p>\n\n\n\n\u003cp>Today, she’s lending her skills and expertise to the students of \u003ca href=\"https://www.instagram.com/graffiticampforgirls/?hl=en\">Graffiti Camp for Girls\u003c/a> as they take on their first mural-sized project.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/260617-LADYPINKCLARIONALLEY00582_TV-KQED.jpg\" alt=\"\" class=\"wp-image-13990889\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/260617-LADYPINKCLARIONALLEY00582_TV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/260617-LADYPINKCLARIONALLEY00582_TV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/260617-LADYPINKCLARIONALLEY00582_TV-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/260617-LADYPINKCLARIONALLEY00582_TV-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Graffiti artist Lady Pink poses for a portrait on Clarion Alley in San Francisco on June 17, 2026. (Tâm Vũ/KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>“It’s important to hand down our craft to the youth,” Lady Pink tells KQED in the alley, during a break “They don’t teach mural painting in schools so much. They teach painting, but they don’t teach mural painting. So, we’ll get a big wall and we’ll let the kids express themselves in a giant size.”\u003c/p>\n\n\n\n\u003cp>Once the mural is completed, it will be unveiled at an event on Friday, June 19, from 4–5 p.m. in Clarion Alley. Lady Pink, who starred in the groundbreaking 1982 hip-hop film \u003cem>Wild Style\u003c/em>, will be present for a meet and greet.\u003c/p>\n\n\n\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Now in its 10th year, Graffiti Camp for Girls is led and founded by Nina Wright, known as local artist \u003ca href=\"https://www.instagram.com/girlmobb/?hl=en\">Girl Mobb\u003c/a>. Her goal is to equip young girls with street art skills and the basics of spray painting safely, with respirator masks, while giving them the space to create public art.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/260617-LADYPINKCLARIONALLEY00545_TV-KQED.jpg\" alt=\"\" class=\"wp-image-13990888\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/260617-LADYPINKCLARIONALLEY00545_TV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/260617-LADYPINKCLARIONALLEY00545_TV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/260617-LADYPINKCLARIONALLEY00545_TV-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/260617-LADYPINKCLARIONALLEY00545_TV-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Nina Wright (center) laughs with the students from the Graffiti Camp for Girls on Clarion Alley in San Francisco on June 17, 2026. (Tâm Vũ/KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>For 16-year-old participant Aaliyah Garcia, the camp offers her a crucial outlet as she continues to “expand her creativity.” Though she has been drawing and painting for as long as she can remember, she had no experience with spray painting prior to this week’s session.\u003c/p>\n\n\n\n\u003cp>“I’m excited to have my art up in the world for everyone to see,” Garcia says. (The mural is scheduled to stay up in Clarion Alley for at least five years.)\u003c/p>\n\n\n\n\n\n\u003cp>After a few days of participants getting the hang of graffiti basics and learning new skills with lettering, Lady Pink arrived Wednesday to offer insight on large-scale painting. Her role, she emphasizes, is to push young people in the right direction rather than influencing their art. \u003c/p>\n\n\n\n\u003cp>“Kids love to paint big, they love to paint in the street,” Lady Pink says. “They don’t like to run from the police nearly as much as we did.”\u003cbr>\u003cbr>While Lady Pink came up in an outlaw era of unsanctioned graffiti, the opportunity for today’s youth to utilize “permission walls” and learn to express themselves is “absolutely priceless,” she says.\u003c/p>\n\n\n\n\u003cp>“I love to see the confidence and the growth in the kids when they do something,” she adds.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/260617-LADYPINKCLARIONALLEY00487_TV-KQED.jpg\" alt=\"\" class=\"wp-image-13990887\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/260617-LADYPINKCLARIONALLEY00487_TV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/260617-LADYPINKCLARIONALLEY00487_TV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/260617-LADYPINKCLARIONALLEY00487_TV-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/260617-LADYPINKCLARIONALLEY00487_TV-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Lady Pink, a graffiti artist, helps young girls develop their mural design at the Graffiti Camp for Girls on Clarion Alley in San Francisco on June 17, 2026. (Tâm Vũ/KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>After just a few hours under Lady Pink’s guidance, 13-year-old Carey Deeter felt that confidence developing.\u003c/p>\n\n\n\n\u003cp>Deeter had joined the camp because of her admiration for street art across the city, and while at first she’d been slower and more controlled with the spray paint, she learned to follow Lady Pink’s advice to “just get it done, don’t overthink it.”\u003c/p>\n\n\n\n\u003cp>“Once you get the hang of it, you can basically do whatever you want,” Deeter says. “It’s very easy to control and stuff. It’s very freeing.”\u003c/p>\n\n\n\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\">\n\n\n\n\u003cp>\u003c/p>\n\u003cp>\u003cem>A mural unveiling and meet-and-greet with Lady Pink takes place on Friday, June 19, from 4-5 p.m. in Clarion Alley in San Francisco. \u003c/em>\u003ca href=\"https://www.instagram.com/p/DZGj4OLTPB6/?hl=en\">\u003cem>Details and more information here\u003c/em>\u003c/a>\u003cem>. \u003c/em>\u003c/p>\n\n",
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"innerHTML": "\n\u003cp>Nearby stands Lady Pink, a legend in the New York \u003ca href=\"https://www.kqed.org/arts/tag/graffiti\">graffiti\u003c/a> and street art scene, who’s here to mentor the young girls on the mural. In the 1970s and 1980s, Lady Pink was the first woman in graffiti to make a national name for herself, and in the process carved out space for other women in the male-dominated field.\u003c/p>\n",
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"innerHTML": "\n\u003cp>Today, she’s lending her skills and expertise to the students of \u003ca href=\"https://www.instagram.com/graffiticampforgirls/?hl=en\">Graffiti Camp for Girls\u003c/a> as they take on their first mural-sized project.\u003c/p>\n",
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/260617-LADYPINKCLARIONALLEY00582_TV-KQED.jpg\" alt=\"\" class=\"wp-image-13990889\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/260617-LADYPINKCLARIONALLEY00582_TV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/260617-LADYPINKCLARIONALLEY00582_TV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/260617-LADYPINKCLARIONALLEY00582_TV-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/260617-LADYPINKCLARIONALLEY00582_TV-KQED-1536x1024.jpg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">Graffiti artist Lady Pink poses for a portrait on Clarion Alley in San Francisco on June 17, 2026.\u003c/figcaption>\u003c/figure>\n",
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"innerHTML": "\n\u003cp>Now in its 10th year, Graffiti Camp for Girls is led and founded by Nina Wright, known as local artist \u003ca href=\"https://www.instagram.com/girlmobb/?hl=en\">Girl Mobb\u003c/a>. Her goal is to equip young girls with street art skills and the basics of spray painting safely, with respirator masks, while giving them the space to create public art.\u003c/p>\n",
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"innerHTML": "\n\u003cp>After a few days of participants getting the hang of graffiti basics and learning new skills with lettering, Lady Pink arrived Wednesday to offer insight on large-scale painting. Her role, she emphasizes, is to push young people in the right direction rather than influencing their art. \u003c/p>\n",
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"innerHTML": "\n\u003cp>“Kids love to paint big, they love to paint in the street,” Lady Pink says. “They don’t like to run from the police nearly as much as we did.”\u003cbr>\u003cbr>While Lady Pink came up in an outlaw era of unsanctioned graffiti, the opportunity for today’s youth to utilize “permission walls” and learn to express themselves is “absolutely priceless,” she says.\u003c/p>\n",
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"\n\u003cp>“Kids love to paint big, they love to paint in the street,” Lady Pink says. “They don’t like to run from the police nearly as much as we did.”\u003cbr>\u003cbr>While Lady Pink came up in an outlaw era of unsanctioned graffiti, the opportunity for today’s youth to utilize “permission walls” and learn to express themselves is “absolutely priceless,” she says.\u003c/p>\n"
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"innerHTML": "\n\u003cp>“I love to see the confidence and the growth in the kids when they do something,” she adds.\u003c/p>\n",
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"innerHTML": "\n\u003cp>After just a few hours under Lady Pink’s guidance, 13-year-old Carey Deeter felt that confidence developing.\u003c/p>\n",
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"innerHTML": "\n\u003cp>Deeter had joined the camp because of her admiration for street art across the city, and while at first she’d been slower and more controlled with the spray paint, she learned to follow Lady Pink’s advice to “just get it done, don’t overthink it.”\u003c/p>\n",
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"innerHTML": "\n\u003cp>“Once you get the hang of it, you can basically do whatever you want,” Deeter says. “It’s very easy to control and stuff. It’s very freeing.”\u003c/p>\n",
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"innerHTML": "\n\u003cp>\u003cem>A mural unveiling and meet-and-greet with Lady Pink takes place on Friday, June 19, from 4-5 p.m. in Clarion Alley in San Francisco. \u003c/em>\u003ca href=\"https://www.instagram.com/p/DZGj4OLTPB6/?hl=en\">\u003cem>Details and more information here\u003c/em>\u003c/a>\u003cem>. \u003c/em>\u003c/p>\n",
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"\n\u003cp>\u003cem>A mural unveiling and meet-and-greet with Lady Pink takes place on Friday, June 19, from 4-5 p.m. in Clarion Alley in San Francisco. \u003c/em>\u003ca href=\"https://www.instagram.com/p/DZGj4OLTPB6/?hl=en\">\u003cem>Details and more information here\u003c/em>\u003c/a>\u003cem>. \u003c/em>\u003c/p>\n"
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"excerpt": "Lady Pink arrived in San Francisco to mentor today’s young girls on a new mural.",
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"title": "Lady Pink, Legend of NYC Graffiti, Visits San Francisco | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s Wednesday afternoon in \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco\">San Francisco\u003c/a>’s Clarion Alley, and eight girls are hovering over a folding table scattered with paint pens. Discussing a mural design for an adjacent wall, they hatch a plan to paint “San Francisco,” surrounded by symbols that represent the city.\u003c/p>\n\n\n\n\u003cp>Nearby stands Lady Pink, a legend in the New York \u003ca href=\"https://www.kqed.org/arts/tag/graffiti\">graffiti\u003c/a> and street art scene, who’s here to mentor the young girls on the mural. In the 1970s and 1980s, Lady Pink was the first woman in graffiti to make a national name for herself, and in the process carved out space for other women in the male-dominated field.\u003c/p>\n\n\n\n\u003cp>Today, she’s lending her skills and expertise to the students of \u003ca href=\"https://www.instagram.com/graffiticampforgirls/?hl=en\">Graffiti Camp for Girls\u003c/a> as they take on their first mural-sized project.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/260617-LADYPINKCLARIONALLEY00582_TV-KQED.jpg\" alt=\"\" class=\"wp-image-13990889\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/260617-LADYPINKCLARIONALLEY00582_TV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/260617-LADYPINKCLARIONALLEY00582_TV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/260617-LADYPINKCLARIONALLEY00582_TV-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/260617-LADYPINKCLARIONALLEY00582_TV-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Graffiti artist Lady Pink poses for a portrait on Clarion Alley in San Francisco on June 17, 2026. (Tâm Vũ/KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>“It’s important to hand down our craft to the youth,” Lady Pink tells KQED in the alley, during a break “They don’t teach mural painting in schools so much. They teach painting, but they don’t teach mural painting. So, we’ll get a big wall and we’ll let the kids express themselves in a giant size.”\u003c/p>\n\n\n\n\u003cp>Once the mural is completed, it will be unveiled at an event on Friday, June 19, from 4–5 p.m. in Clarion Alley. Lady Pink, who starred in the groundbreaking 1982 hip-hop film \u003cem>Wild Style\u003c/em>, will be present for a meet and greet.\u003c/p>\n\n\n\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Now in its 10th year, Graffiti Camp for Girls is led and founded by Nina Wright, known as local artist \u003ca href=\"https://www.instagram.com/girlmobb/?hl=en\">Girl Mobb\u003c/a>. Her goal is to equip young girls with street art skills and the basics of spray painting safely, with respirator masks, while giving them the space to create public art.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/260617-LADYPINKCLARIONALLEY00545_TV-KQED.jpg\" alt=\"\" class=\"wp-image-13990888\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/260617-LADYPINKCLARIONALLEY00545_TV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/260617-LADYPINKCLARIONALLEY00545_TV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/260617-LADYPINKCLARIONALLEY00545_TV-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/260617-LADYPINKCLARIONALLEY00545_TV-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Nina Wright (center) laughs with the students from the Graffiti Camp for Girls on Clarion Alley in San Francisco on June 17, 2026. (Tâm Vũ/KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>For 16-year-old participant Aaliyah Garcia, the camp offers her a crucial outlet as she continues to “expand her creativity.” Though she has been drawing and painting for as long as she can remember, she had no experience with spray painting prior to this week’s session.\u003c/p>\n\n\n\n\u003cp>“I’m excited to have my art up in the world for everyone to see,” Garcia says. (The mural is scheduled to stay up in Clarion Alley for at least five years.)\u003c/p>\n\n\n\n\n\n\u003cp>After a few days of participants getting the hang of graffiti basics and learning new skills with lettering, Lady Pink arrived Wednesday to offer insight on large-scale painting. Her role, she emphasizes, is to push young people in the right direction rather than influencing their art. \u003c/p>\n\n\n\n\u003cp>“Kids love to paint big, they love to paint in the street,” Lady Pink says. “They don’t like to run from the police nearly as much as we did.”\u003cbr>\u003cbr>While Lady Pink came up in an outlaw era of unsanctioned graffiti, the opportunity for today’s youth to utilize “permission walls” and learn to express themselves is “absolutely priceless,” she says.\u003c/p>\n\n\n\n\u003cp>“I love to see the confidence and the growth in the kids when they do something,” she adds.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/260617-LADYPINKCLARIONALLEY00487_TV-KQED.jpg\" alt=\"\" class=\"wp-image-13990887\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/260617-LADYPINKCLARIONALLEY00487_TV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/260617-LADYPINKCLARIONALLEY00487_TV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/260617-LADYPINKCLARIONALLEY00487_TV-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/260617-LADYPINKCLARIONALLEY00487_TV-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Lady Pink, a graffiti artist, helps young girls develop their mural design at the Graffiti Camp for Girls on Clarion Alley in San Francisco on June 17, 2026. (Tâm Vũ/KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>After just a few hours under Lady Pink’s guidance, 13-year-old Carey Deeter felt that confidence developing.\u003c/p>\n\n\n\n\u003cp>Deeter had joined the camp because of her admiration for street art across the city, and while at first she’d been slower and more controlled with the spray paint, she learned to follow Lady Pink’s advice to “just get it done, don’t overthink it.”\u003c/p>\n\n\n\n\u003cp>“Once you get the hang of it, you can basically do whatever you want,” Deeter says. “It’s very easy to control and stuff. It’s very freeing.”\u003c/p>\n\n\n\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\">\n\n\n\n\u003cp>\u003c/p>\n\u003cp>\u003cem>A mural unveiling and meet-and-greet with Lady Pink takes place on Friday, June 19, from 4-5 p.m. in Clarion Alley in San Francisco. \u003c/em>\u003ca href=\"https://www.instagram.com/p/DZGj4OLTPB6/?hl=en\">\u003cem>Details and more information here\u003c/em>\u003c/a>\u003cem>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "indian-mango-party-san-francisco-mission",
"title": "Indian Mangoes Are the ‘Fruit of the Gods.’ Now, in San Francisco, They Have Their Own Party",
"publishDate": 1779994161,
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"headTitle": "Indian Mangoes Are the ‘Fruit of the Gods.’ Now, in San Francisco, They Have Their Own Party | KQED",
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"content": "\u003cp>King of fruits. Fruit of the gods. These are only two of the grand titles given to the mango, which people began cultivating over 4,000 years ago. In the millennia since, the fruit has been spiritually worshipped, \u003ca href=\"https://www.bbc.com/news/magazine-35461265\">politically propagandized\u003c/a> and, most simply, enjoyed — perhaps nowhere more than on the \u003ca href=\"https://www.kqed.org/arts/tag/india\">Indian subcontinent\u003c/a>. \u003c/p>\n\n\n\n\u003cp>Here in the Bay Area, however, the Indian diaspora has mostly had to settle for a sad, fibrous version of the fruit. But a group of San Franciscans of Indian descent are hoping to change that, introducing Americans to the glories of the Indian mango. On Sunday, May 31, from 1–4 p.m., San Francisco resident Darshil Patel will host his third annual grassroots mango party in the Mission alongside co-organizers Deep Mehta, Fareeha Salahuddin, Parth Patel and Dylan Patel.\u003c/p>\n\n\n\n\u003cp>For mango lovers, the day has come. Hundreds of Indian \u003ca href=\"https://www.scmp.com/week-asia/economics/article/3082471/indians-know-alphonso-king-mangoes-if-only-they-could-buy-some\">Alphonso\u003c/a> and \u003ca href=\"https://timesofindia.indiatimes.com/life-style/food-news/how-gujarats-kesar-mangoes-became-a-seasonal-favourite-in-london-heathrow/articleshow/131307607.cms\">Kesar\u003c/a> mangoes will be distributed for free, as volunteers peel and slice the fruit on the spot. (Pre-cutting degrades quality.) \u003c/p>\n\n\n\n\u003cp>At last year’s edition, some attendees brought mango desserts, like mango sticky rice and \u003ca href=\"https://www.instagram.com/reel/DJ5GkB7BSXO/?utm_source=ig_web_button_share_sheet\">mango sablée tartlets\u003c/a>, to share with the group. Partygoers picked up free \u003ca href=\"https://x.com/AndrewYatzkan/status/1923855295144657073?s=20\">“Mango Tango”\u003c/a> T-shirts and joined spikeball games while a DJ performed. \u003c/p>\n\n\n\n\u003cp>Sunday’s party should be another wholesome event. Last year, a toddler tried her very first mango.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/mango-toddler.jpg\" alt=\"A father holding a young toddler feeds the child a piece of mango.\" class=\"wp-image-13990230\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/mango-toddler.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/mango-toddler-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/mango-toddler-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/mango-toddler-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Some attendees of the 2025 party had been enjoying mangoes their whole lives. For others, it was their very first. (Courtesy of Deep Mehta)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>What began as a casual meeting of eight friends sharing a box of mangoes in 2023 has ballooned into an hours-long extravaganza backed by silent sponsors, who help cover the cost of the mangoes. Roughly 250 people are expected to attend this year. \u003c/p>\n\n\n\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It started in 2024, when Patel \u003ca href=\"https://x.com/darshil/status/1802748248949670386?s=20\">tweeted\u003c/a> about throwing a mango party to gauge public interest. The response was overwhelming, as dozens of mango lovers replied, expressing their curiosity about Indian varieties or, in many cases, their longing for a taste of home.\u003c/p>\n\n\n\n\u003cp>Like Patel, many of the people who were most excited about the party have roots in India, where the mango is the national fruit. There, the fruit is so beloved it’s woven into cultural traditions, from hanging mango leaves during weddings and housewarmings for good luck to stories in Hindu mythology: Ganesha wins a divine mango of knowledge, while mango blossoms tip the arrows of the love god Kama.\u003c/p>\n\n\n\n\u003cp>For Indians today, particularly those living abroad, the Indian mango is a nostalgic reminder of childhood and family. \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1326\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/sliced-mangoes.jpg\" alt=\"A spread of sliced mangoes on a picnic table.\" class=\"wp-image-13990243\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/sliced-mangoes.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/sliced-mangoes-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/sliced-mangoes-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/sliced-mangoes-1536x1018.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Alphonso and Kesar mangoes, sliced fresh so the fruit doesn’t deteriorate. (Courtesy of Deep Mehta)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>Co-organizer Deep Mehta has visceral memories of his grandmother hand-feeding him pulped mango at home in Mumbai, in the state Maharashtra, where \u003ca href=\"https://www.scmp.com/week-asia/economics/article/3082471/indians-know-alphonso-king-mangoes-if-only-they-could-buy-some\">Alphonso\u003c/a> mangoes — “objectively the best,” Mehta says — are native.\u003c/p>\n\n\n\n\u003cp>“When I see a mango [in the U.S.], my brain is thinking, ‘This is going to be super sweet and juicy,’ and then it just doesn’t meet those expectations,” he says.\u003c/p>\n\n\n\n\u003cp>Sarv Kulpati, who left India at 9, vividly remembers his grandmother cutting mangoes “hedgehog style” (crisscrossing the fruit and turning it inside out) while the family gathered around the table, hands sticky with juice. “A mango means a bunch of people sitting together,” says Kulpati, who attended last year’s event. “Honestly, I do not have any memories of eating mango by myself.”\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1326\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/mango-abundance.jpg\" alt=\"A man slices mangoes outdoors while a smiling woman looks on.\" class=\"wp-image-13990245\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/mango-abundance.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/mango-abundance-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/mango-abundance-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/mango-abundance-1536x1018.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">New to San Francisco at the time, Sarv Kulpati (right) spent most of the 2025 event cutting the mangoes. (Courtesy of Deep Mehta)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>Patel recalls eating mango ras (blended ripe mangoes) with his cousin every day after school in India, where he lived until he was 8. “It would just put us to sleep because there’s so much sugar,” he says. \u003c/p>\n\n\n\n\u003cp>Ultimately, Patel and Mehta argue, most Americans \u003ca href=\"https://www.theguardian.com/lifeandstyle/wordofmouth/2012/apr/27/do-you-know-alphonso-mango\">don’t know what they’re missing\u003c/a>. “It’s like a different fruit,” they both say, citing the sweetness, flavor and sheer aroma. Mehta can’t bring himself to eat an American mango. “It just doesn’t hit the same.”\u003c/p>\n\n\n\n\u003cp>Mehta’s a purist, but he might have a point. \u003c/p>\n\n\n\n\n\n\u003cp>The mangoes most commonly found in U.S. grocery stores are the \u003ca href=\"https://www.mango.org/wp-content/uploads/PDF/Mango_Crop_Forecast.pdf\">Tommy Atkins variety\u003c/a>, sourced almost exclusively from Latin America, which \u003ca href=\"https://www.mango.org/wp-content/uploads/2026/03/3-Year-trend-2025_mango_imports_eng-1.pdf\">accounts for roughly 98% of mango imports\u003c/a>. Originally cultivated by a farmer named Thomas Atkins from Broward County, Florida, Tommy Atkins mangoes are known for their unremarkable flavor, dense fibrousness and extreme durability — the last of which ultimately led to commercial success. But from the outset, the mango had critics: In the 1950s, the \u003ca href=\"https://drive.google.com/file/d/1dLDxi1V1ry58n6JYPKmK9f8mw3GBPefu/view?usp=sharing\">Florida Mango Forum\u003c/a> rejected the Atkins mango multiple times because of its disappointing flavor profile.\u003c/p>\n\n\n\n\u003cp>That’s the mango most Americans grew up eating. For many South Asians, then, President George W. Bush is remembered not only for 9/11 and the War on Terror, but for the 2006 “\u003ca href=\"https://www.thejuggernaut.com/indian-mangos\">nuclear mango deal\u003c/a>,” which ended a 17-year U.S. ban on Indian mango imports.\u003c/p>\n\n\n\n\u003cp>Which isn’t to say that it’s easy to find Indian mangoes here in the Bay Area. \u003c/p>\n\n\n\n\u003cp>Dealing mangoes can be something of an extreme sport. The \u003ca href=\"https://www.wsj.com/us-news/americans-will-do-anything-to-get-indian-mangoes-3a711ce8\">\u003cem>Wall Street Journal\u003c/em>\u003c/a> recently covered hustlers powering the Indian mango supply in the U.S., including a senior tech manager in the D.C. area who moonlights as a mango dealer during the fruit’s short season, picking up hundreds of boxes of mangoes at Virginia’s Dulles International Airport multiple times a week. \u003c/p>\n\n\n\n\u003cp>These days, you can buy Indian mangoes by joining WhatsApp groups and monitoring the chat for shipment details and \u003ca href=\"https://x.com/liminalsnake/status/2053209580440793184?s=20\">updates from a particular dealer\u003c/a>. A few websites offering hyperlocal mango delivery, often powered by small teams of fruit vendors, have also sprung up. Today, a six-pound box of Indian mangoes — roughly nine to 12 fruits — costs $50 to $60, inflated this year by tariff uncertainty and increased fuel prices from the Iran war. \u003c/p>\n\n\n\n\u003cp>For previous mango parties, Patel would \u003ca href=\"https://x.com/darshil/status/1916991896544817335?s=20\">call a local Indian grocery store\u003c/a> every day. When the mango shipment finally arrived, it’d be a race to the store to buy the boxes he needed before they ran out. This year, he’s providing mangoes through \u003ca href=\"https://aumpi.com/pages/copy-of-contact\">AumPi\u003c/a>, a Bay Area–based grassroots mango distributor that donates its profits toward tackling malnutrition in India.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1326\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/mango-drink.jpg\" alt='Man and woman pose in front of a mango drink dispenser labeled \"hot.\"' class=\"wp-image-13990248\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/mango-drink.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/mango-drink-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/mango-drink-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/mango-drink-1536x1018.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Deep Mehta (left) poses in front of a mango drink with Raina Doshi, who co-organized the 2025 mango party. (Courtesy of Deep Mehta)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>If getting the fruit takes persistence, enjoying it on Sunday will not. For Mehta, the party at the park is a way of “spreading the love” of a tasty fruit. Indian mangoes are a “largely undiscovered” treasure “that should be shared,” he says.\u003c/p>\n\n\n\n\u003cp>This year’s mango party will be held at a park in the Mission — the organizers aren’t publicizing the exact location for fear that \u003cem>too \u003c/em>many people will show up, and they want to make sure there are enough mangoes for everyone. Those interested in attending can send a brief love letter to mangoes via \u003ca href=\"mailto:darshil4133@gmail.com\">email\u003c/a> to Patel, who’s working with his co-organizers to curate the guest list. Space is limited.\u003c/p>\n\n\n\n\u003cp>So far, Patel says, three different people have sent him photos of their cats named Mango. They’re in. \u003c/p>\n\n\n\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\">\n\n\n\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>The mango party will take place on Sunday, May 31, 1–4 p.m., in San Francisco’s Mission District. \u003ca href=\"mailto:darshil4133@gmail.com\">Email the organizers\u003c/a> to get on the guest list and to receive the exact location.\u003c/em> \u003cem>\u003cstrong>Editor’s note:\u003c/strong> As of May 30, the organizers say the event has reached capacity.\u003c/em>\u003c/p>\n\n",
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"innerHTML": "\n\u003cp>King of fruits. Fruit of the gods. These are only two of the grand titles given to the mango, which people began cultivating over 4,000 years ago. In the millennia since, the fruit has been spiritually worshipped, \u003ca href=\"https://www.bbc.com/news/magazine-35461265\">politically propagandized\u003c/a> and, most simply, enjoyed — perhaps nowhere more than on the \u003ca href=\"https://www.kqed.org/arts/tag/india\">Indian subcontinent\u003c/a>. \u003c/p>\n",
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"\n\u003cp>King of fruits. Fruit of the gods. These are only two of the grand titles given to the mango, which people began cultivating over 4,000 years ago. In the millennia since, the fruit has been spiritually worshipped, \u003ca href=\"https://www.bbc.com/news/magazine-35461265\">politically propagandized\u003c/a> and, most simply, enjoyed — perhaps nowhere more than on the \u003ca href=\"https://www.kqed.org/arts/tag/india\">Indian subcontinent\u003c/a>. \u003c/p>\n"
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"innerHTML": "\n\u003cp>Here in the Bay Area, however, the Indian diaspora has mostly had to settle for a sad, fibrous version of the fruit. But a group of San Franciscans of Indian descent are hoping to change that, introducing Americans to the glories of the Indian mango. On Sunday, May 31, from 1–4 p.m., San Francisco resident Darshil Patel will host his third annual grassroots mango party in the Mission alongside co-organizers Deep Mehta, Fareeha Salahuddin, Parth Patel and Dylan Patel.\u003c/p>\n",
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"\n\u003cp>Here in the Bay Area, however, the Indian diaspora has mostly had to settle for a sad, fibrous version of the fruit. But a group of San Franciscans of Indian descent are hoping to change that, introducing Americans to the glories of the Indian mango. On Sunday, May 31, from 1–4 p.m., San Francisco resident Darshil Patel will host his third annual grassroots mango party in the Mission alongside co-organizers Deep Mehta, Fareeha Salahuddin, Parth Patel and Dylan Patel.\u003c/p>\n"
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"innerHTML": "\n\u003cp>For mango lovers, the day has come. Hundreds of Indian \u003ca href=\"https://www.scmp.com/week-asia/economics/article/3082471/indians-know-alphonso-king-mangoes-if-only-they-could-buy-some\">Alphonso\u003c/a> and \u003ca href=\"https://timesofindia.indiatimes.com/life-style/food-news/how-gujarats-kesar-mangoes-became-a-seasonal-favourite-in-london-heathrow/articleshow/131307607.cms\">Kesar\u003c/a> mangoes will be distributed for free, as volunteers peel and slice the fruit on the spot. (Pre-cutting degrades quality.) \u003c/p>\n",
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"\n\u003cp>For mango lovers, the day has come. Hundreds of Indian \u003ca href=\"https://www.scmp.com/week-asia/economics/article/3082471/indians-know-alphonso-king-mangoes-if-only-they-could-buy-some\">Alphonso\u003c/a> and \u003ca href=\"https://timesofindia.indiatimes.com/life-style/food-news/how-gujarats-kesar-mangoes-became-a-seasonal-favourite-in-london-heathrow/articleshow/131307607.cms\">Kesar\u003c/a> mangoes will be distributed for free, as volunteers peel and slice the fruit on the spot. (Pre-cutting degrades quality.) \u003c/p>\n"
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"innerHTML": "\n\u003cp>At last year’s edition, some attendees brought mango desserts, like mango sticky rice and \u003ca href=\"https://www.instagram.com/reel/DJ5GkB7BSXO/?utm_source=ig_web_button_share_sheet\">mango sablée tartlets\u003c/a>, to share with the group. Partygoers picked up free \u003ca href=\"https://x.com/AndrewYatzkan/status/1923855295144657073?s=20\">“Mango Tango”\u003c/a> T-shirts and joined spikeball games while a DJ performed. \u003c/p>\n",
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"\n\u003cp>At last year’s edition, some attendees brought mango desserts, like mango sticky rice and \u003ca href=\"https://www.instagram.com/reel/DJ5GkB7BSXO/?utm_source=ig_web_button_share_sheet\">mango sablée tartlets\u003c/a>, to share with the group. Partygoers picked up free \u003ca href=\"https://x.com/AndrewYatzkan/status/1923855295144657073?s=20\">“Mango Tango”\u003c/a> T-shirts and joined spikeball games while a DJ performed. \u003c/p>\n"
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"innerHTML": "\n\u003cp>Sunday’s party should be another wholesome event. Last year, a toddler tried her very first mango.\u003c/p>\n",
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"\n\u003cp>Sunday’s party should be another wholesome event. Last year, a toddler tried her very first mango.\u003c/p>\n"
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/mango-toddler.jpg\" alt=\"A father holding a young toddler feeds the child a piece of mango.\" class=\"wp-image-13990230\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/mango-toddler.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/mango-toddler-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/mango-toddler-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/mango-toddler-1536x1024.jpg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\" />\u003cfigcaption class=\"wp-element-caption\">Some attendees of the 2025 party had been enjoying mangoes their whole lives. For others, it was their very first.\u003c/figcaption>\u003c/figure>\n",
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"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/mango-toddler.jpg\" alt=\"A father holding a young toddler feeds the child a piece of mango.\" class=\"wp-image-13990230\" />\u003cfigcaption class=\"wp-element-caption\">Some attendees of the 2025 party had been enjoying mangoes their whole lives. For others, it was their very first.\u003c/figcaption>\u003c/figure>\n"
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"innerHTML": "\n\u003cp>What began as a casual meeting of eight friends sharing a box of mangoes in 2023 has ballooned into an hours-long extravaganza backed by silent sponsors, who help cover the cost of the mangoes. Roughly 250 people are expected to attend this year. \u003c/p>\n",
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"\n\u003cp>What began as a casual meeting of eight friends sharing a box of mangoes in 2023 has ballooned into an hours-long extravaganza backed by silent sponsors, who help cover the cost of the mangoes. Roughly 250 people are expected to attend this year. \u003c/p>\n"
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"innerHTML": "\n\u003cp>It started in 2024, when Patel \u003ca href=\"https://x.com/darshil/status/1802748248949670386?s=20\">tweeted\u003c/a> about throwing a mango party to gauge public interest. The response was overwhelming, as dozens of mango lovers replied, expressing their curiosity about Indian varieties or, in many cases, their longing for a taste of home.\u003c/p>\n",
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"\n\u003cp>It started in 2024, when Patel \u003ca href=\"https://x.com/darshil/status/1802748248949670386?s=20\">tweeted\u003c/a> about throwing a mango party to gauge public interest. The response was overwhelming, as dozens of mango lovers replied, expressing their curiosity about Indian varieties or, in many cases, their longing for a taste of home.\u003c/p>\n"
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"innerHTML": "\n\u003cp>Like Patel, many of the people who were most excited about the party have roots in India, where the mango is the national fruit. There, the fruit is so beloved it’s woven into cultural traditions, from hanging mango leaves during weddings and housewarmings for good luck to stories in Hindu mythology: Ganesha wins a divine mango of knowledge, while mango blossoms tip the arrows of the love god Kama.\u003c/p>\n",
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"\n\u003cp>Like Patel, many of the people who were most excited about the party have roots in India, where the mango is the national fruit. There, the fruit is so beloved it’s woven into cultural traditions, from hanging mango leaves during weddings and housewarmings for good luck to stories in Hindu mythology: Ganesha wins a divine mango of knowledge, while mango blossoms tip the arrows of the love god Kama.\u003c/p>\n"
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"innerHTML": "\n\u003cp>For Indians today, particularly those living abroad, the Indian mango is a nostalgic reminder of childhood and family. \u003c/p>\n",
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"\n\u003cp>For Indians today, particularly those living abroad, the Indian mango is a nostalgic reminder of childhood and family. \u003c/p>\n"
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"srcset": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/sliced-mangoes.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/sliced-mangoes-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/sliced-mangoes-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/sliced-mangoes-1536x1018.jpg 1536w",
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/sliced-mangoes.jpg\" alt=\"A spread of sliced mangoes on a picnic table.\" class=\"wp-image-13990243\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/sliced-mangoes.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/sliced-mangoes-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/sliced-mangoes-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/sliced-mangoes-1536x1018.jpg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\" />\u003cfigcaption class=\"wp-element-caption\">Alphonso and Kesar mangoes, sliced fresh so the fruit doesn’t deteriorate. \u003c/figcaption>\u003c/figure>\n",
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"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/sliced-mangoes.jpg\" alt=\"A spread of sliced mangoes on a picnic table.\" class=\"wp-image-13990243\" />\u003cfigcaption class=\"wp-element-caption\">Alphonso and Kesar mangoes, sliced fresh so the fruit doesn’t deteriorate. \u003c/figcaption>\u003c/figure>\n"
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"innerHTML": "\n\u003cp>Co-organizer Deep Mehta has visceral memories of his grandmother hand-feeding him pulped mango at home in Mumbai, in the state Maharashtra, where \u003ca href=\"https://www.scmp.com/week-asia/economics/article/3082471/indians-know-alphonso-king-mangoes-if-only-they-could-buy-some\">Alphonso\u003c/a> mangoes — “objectively the best,” Mehta says — are native.\u003c/p>\n",
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"\n\u003cp>Co-organizer Deep Mehta has visceral memories of his grandmother hand-feeding him pulped mango at home in Mumbai, in the state Maharashtra, where \u003ca href=\"https://www.scmp.com/week-asia/economics/article/3082471/indians-know-alphonso-king-mangoes-if-only-they-could-buy-some\">Alphonso\u003c/a> mangoes — “objectively the best,” Mehta says — are native.\u003c/p>\n"
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"innerHTML": "\n\u003cp>“When I see a mango [in the U.S.], my brain is thinking, ‘This is going to be super sweet and juicy,’ and then it just doesn’t meet those expectations,” he says.\u003c/p>\n",
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"\n\u003cp>“When I see a mango [in the U.S.], my brain is thinking, ‘This is going to be super sweet and juicy,’ and then it just doesn’t meet those expectations,” he says.\u003c/p>\n"
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"innerHTML": "\n\u003cp>Sarv Kulpati, who left India at 9, vividly remembers his grandmother cutting mangoes “hedgehog style” (crisscrossing the fruit and turning it inside out) while the family gathered around the table, hands sticky with juice. “A mango means a bunch of people sitting together,” says Kulpati, who attended last year’s event. “Honestly, I do not have any memories of eating mango by myself.”\u003c/p>\n",
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"\n\u003cp>Sarv Kulpati, who left India at 9, vividly remembers his grandmother cutting mangoes “hedgehog style” (crisscrossing the fruit and turning it inside out) while the family gathered around the table, hands sticky with juice. “A mango means a bunch of people sitting together,” says Kulpati, who attended last year’s event. “Honestly, I do not have any memories of eating mango by myself.”\u003c/p>\n"
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"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/mango-abundance.jpg\" alt=\"A man slices mangoes outdoors while a smiling woman looks on.\" class=\"wp-image-13990245\" />\u003cfigcaption class=\"wp-element-caption\">New to San Francisco at the time, Sarv Kulpati (right) spent most of the 2025 event cutting the mangoes.\u003c/figcaption>\u003c/figure>\n"
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"innerHTML": "\n\u003cp>Patel recalls eating mango ras (blended ripe mangoes) with his cousin every day after school in India, where he lived until he was 8. “It would just put us to sleep because there’s so much sugar,” he says. \u003c/p>\n",
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"\n\u003cp>Patel recalls eating mango ras (blended ripe mangoes) with his cousin every day after school in India, where he lived until he was 8. “It would just put us to sleep because there’s so much sugar,” he says. \u003c/p>\n"
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"innerHTML": "\n\u003cp>Ultimately, Patel and Mehta argue, most Americans \u003ca href=\"https://www.theguardian.com/lifeandstyle/wordofmouth/2012/apr/27/do-you-know-alphonso-mango\">don’t know what they’re missing\u003c/a>. “It’s like a different fruit,” they both say, citing the sweetness, flavor and sheer aroma. Mehta can’t bring himself to eat an American mango. “It just doesn’t hit the same.”\u003c/p>\n",
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"\n\u003cp>Ultimately, Patel and Mehta argue, most Americans \u003ca href=\"https://www.theguardian.com/lifeandstyle/wordofmouth/2012/apr/27/do-you-know-alphonso-mango\">don’t know what they’re missing\u003c/a>. “It’s like a different fruit,” they both say, citing the sweetness, flavor and sheer aroma. Mehta can’t bring himself to eat an American mango. “It just doesn’t hit the same.”\u003c/p>\n"
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"innerHTML": "\n\u003cp>Mehta’s a purist, but he might have a point. \u003c/p>\n",
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"innerHTML": "\n\u003cp>The mangoes most commonly found in U.S. grocery stores are the \u003ca href=\"https://www.mango.org/wp-content/uploads/PDF/Mango_Crop_Forecast.pdf\">Tommy Atkins variety\u003c/a>, sourced almost exclusively from Latin America, which \u003ca href=\"https://www.mango.org/wp-content/uploads/2026/03/3-Year-trend-2025_mango_imports_eng-1.pdf\">accounts for roughly 98% of mango imports\u003c/a>. Originally cultivated by a farmer named Thomas Atkins from Broward County, Florida, Tommy Atkins mangoes are known for their unremarkable flavor, dense fibrousness and extreme durability — the last of which ultimately led to commercial success. But from the outset, the mango had critics: In the 1950s, the \u003ca href=\"https://drive.google.com/file/d/1dLDxi1V1ry58n6JYPKmK9f8mw3GBPefu/view?usp=sharing\">Florida Mango Forum\u003c/a> rejected the Atkins mango multiple times because of its disappointing flavor profile.\u003c/p>\n",
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"\n\u003cp>The mangoes most commonly found in U.S. grocery stores are the \u003ca href=\"https://www.mango.org/wp-content/uploads/PDF/Mango_Crop_Forecast.pdf\">Tommy Atkins variety\u003c/a>, sourced almost exclusively from Latin America, which \u003ca href=\"https://www.mango.org/wp-content/uploads/2026/03/3-Year-trend-2025_mango_imports_eng-1.pdf\">accounts for roughly 98% of mango imports\u003c/a>. Originally cultivated by a farmer named Thomas Atkins from Broward County, Florida, Tommy Atkins mangoes are known for their unremarkable flavor, dense fibrousness and extreme durability — the last of which ultimately led to commercial success. But from the outset, the mango had critics: In the 1950s, the \u003ca href=\"https://drive.google.com/file/d/1dLDxi1V1ry58n6JYPKmK9f8mw3GBPefu/view?usp=sharing\">Florida Mango Forum\u003c/a> rejected the Atkins mango multiple times because of its disappointing flavor profile.\u003c/p>\n"
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"innerHTML": "\n\u003cp>That’s the mango most Americans grew up eating. For many South Asians, then, President George W. Bush is remembered not only for 9/11 and the War on Terror, but for the 2006 “\u003ca href=\"https://www.thejuggernaut.com/indian-mangos\">nuclear mango deal\u003c/a>,” which ended a 17-year U.S. ban on Indian mango imports.\u003c/p>\n",
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"\n\u003cp>That’s the mango most Americans grew up eating. For many South Asians, then, President George W. Bush is remembered not only for 9/11 and the War on Terror, but for the 2006 “\u003ca href=\"https://www.thejuggernaut.com/indian-mangos\">nuclear mango deal\u003c/a>,” which ended a 17-year U.S. ban on Indian mango imports.\u003c/p>\n"
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"innerHTML": "\n\u003cp>Which isn’t to say that it’s easy to find Indian mangoes here in the Bay Area. \u003c/p>\n",
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"\n\u003cp>Which isn’t to say that it’s easy to find Indian mangoes here in the Bay Area. \u003c/p>\n"
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"innerHTML": "\n\u003cp>Dealing mangoes can be something of an extreme sport. The \u003ca href=\"https://www.wsj.com/us-news/americans-will-do-anything-to-get-indian-mangoes-3a711ce8\">\u003cem>Wall Street Journal\u003c/em>\u003c/a> recently covered hustlers powering the Indian mango supply in the U.S., including a senior tech manager in the D.C. area who moonlights as a mango dealer during the fruit’s short season, picking up hundreds of boxes of mangoes at Virginia’s Dulles International Airport multiple times a week. \u003c/p>\n",
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"\n\u003cp>Dealing mangoes can be something of an extreme sport. The \u003ca href=\"https://www.wsj.com/us-news/americans-will-do-anything-to-get-indian-mangoes-3a711ce8\">\u003cem>Wall Street Journal\u003c/em>\u003c/a> recently covered hustlers powering the Indian mango supply in the U.S., including a senior tech manager in the D.C. area who moonlights as a mango dealer during the fruit’s short season, picking up hundreds of boxes of mangoes at Virginia’s Dulles International Airport multiple times a week. \u003c/p>\n"
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"innerHTML": "\n\u003cp>These days, you can buy Indian mangoes by joining WhatsApp groups and monitoring the chat for shipment details and \u003ca href=\"https://x.com/liminalsnake/status/2053209580440793184?s=20\">updates from a particular dealer\u003c/a>. A few websites offering hyperlocal mango delivery, often powered by small teams of fruit vendors, have also sprung up. Today, a six-pound box of Indian mangoes — roughly nine to 12 fruits — costs $50 to $60, inflated this year by tariff uncertainty and increased fuel prices from the Iran war. \u003c/p>\n",
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"\n\u003cp>These days, you can buy Indian mangoes by joining WhatsApp groups and monitoring the chat for shipment details and \u003ca href=\"https://x.com/liminalsnake/status/2053209580440793184?s=20\">updates from a particular dealer\u003c/a>. A few websites offering hyperlocal mango delivery, often powered by small teams of fruit vendors, have also sprung up. Today, a six-pound box of Indian mangoes — roughly nine to 12 fruits — costs $50 to $60, inflated this year by tariff uncertainty and increased fuel prices from the Iran war. \u003c/p>\n"
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"innerHTML": "\n\u003cp>For previous mango parties, Patel would \u003ca href=\"https://x.com/darshil/status/1916991896544817335?s=20\">call a local Indian grocery store\u003c/a> every day. When the mango shipment finally arrived, it’d be a race to the store to buy the boxes he needed before they ran out. This year, he’s providing mangoes through \u003ca href=\"https://aumpi.com/pages/copy-of-contact\">AumPi\u003c/a>, a Bay Area–based grassroots mango distributor that donates its profits toward tackling malnutrition in India.\u003c/p>\n",
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"\n\u003cp>For previous mango parties, Patel would \u003ca href=\"https://x.com/darshil/status/1916991896544817335?s=20\">call a local Indian grocery store\u003c/a> every day. When the mango shipment finally arrived, it’d be a race to the store to buy the boxes he needed before they ran out. This year, he’s providing mangoes through \u003ca href=\"https://aumpi.com/pages/copy-of-contact\">AumPi\u003c/a>, a Bay Area–based grassroots mango distributor that donates its profits toward tackling malnutrition in India.\u003c/p>\n"
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/mango-drink.jpg\" alt=\"Man and woman pose in front of a mango drink dispenser labeled "hot."\" class=\"wp-image-13990248\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/mango-drink.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/mango-drink-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/mango-drink-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/mango-drink-1536x1018.jpg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\" />\u003cfigcaption class=\"wp-element-caption\">Deep Mehta (left) poses in front of a mango drink with Raina Doshi, who co-organized the 2025 mango party.\u003c/figcaption>\u003c/figure>\n",
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"innerHTML": "\n\u003cp>If getting the fruit takes persistence, enjoying it on Sunday will not. For Mehta, the party at the park is a way of “spreading the love” of a tasty fruit. Indian mangoes are a “largely undiscovered” treasure “that should be shared,” he says.\u003c/p>\n",
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"\n\u003cp>If getting the fruit takes persistence, enjoying it on Sunday will not. For Mehta, the party at the park is a way of “spreading the love” of a tasty fruit. Indian mangoes are a “largely undiscovered” treasure “that should be shared,” he says.\u003c/p>\n"
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"innerHTML": "\n\u003cp>This year’s mango party will be held at a park in the Mission — the organizers aren’t publicizing the exact location for fear that \u003cem>too \u003c/em>many people will show up, and they want to make sure there are enough mangoes for everyone. Those interested in attending can send a brief love letter to mangoes via \u003ca href=\"mailto:darshil4133@gmail.com\">email\u003c/a> to Patel, who’s working with his co-organizers to curate the guest list. Space is limited.\u003c/p>\n",
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"\n\u003cp>This year’s mango party will be held at a park in the Mission — the organizers aren’t publicizing the exact location for fear that \u003cem>too \u003c/em>many people will show up, and they want to make sure there are enough mangoes for everyone. Those interested in attending can send a brief love letter to mangoes via \u003ca href=\"mailto:darshil4133@gmail.com\">email\u003c/a> to Patel, who’s working with his co-organizers to curate the guest list. Space is limited.\u003c/p>\n"
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"innerHTML": "\n\u003cp>So far, Patel says, three different people have sent him photos of their cats named Mango. They’re in. \u003c/p>\n",
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"\n\u003cp>So far, Patel says, three different people have sent him photos of their cats named Mango. They’re in. \u003c/p>\n"
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"innerHTML": "\n\u003cp>\u003cem>The mango party will take place on Sunday, May 31, 1–4 p.m., in San Francisco’s Mission District. \u003ca href=\"mailto:darshil4133@gmail.com\">Email the organizers\u003c/a> to get on the guest list and to receive the exact location.\u003c/em> \u003cem>\u003cstrong>Editor’s note:\u003c/strong> As of May 30, the organizers say the event has reached capacity.\u003c/em>\u003c/p>\n",
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"\n\u003cp>\u003cem>The mango party will take place on Sunday, May 31, 1–4 p.m., in San Francisco’s Mission District. \u003ca href=\"mailto:darshil4133@gmail.com\">Email the organizers\u003c/a> to get on the guest list and to receive the exact location.\u003c/em> \u003cem>\u003cstrong>Editor’s note:\u003c/strong> As of May 30, the organizers say the event has reached capacity.\u003c/em>\u003c/p>\n"
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"title": "An Indian Mango Party in SF Celebrates the World's Greatest Mangoes | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>King of fruits. Fruit of the gods. These are only two of the grand titles given to the mango, which people began cultivating over 4,000 years ago. In the millennia since, the fruit has been spiritually worshipped, \u003ca href=\"https://www.bbc.com/news/magazine-35461265\">politically propagandized\u003c/a> and, most simply, enjoyed — perhaps nowhere more than on the \u003ca href=\"https://www.kqed.org/arts/tag/india\">Indian subcontinent\u003c/a>. \u003c/p>\n\n\n\n\u003cp>Here in the Bay Area, however, the Indian diaspora has mostly had to settle for a sad, fibrous version of the fruit. But a group of San Franciscans of Indian descent are hoping to change that, introducing Americans to the glories of the Indian mango. On Sunday, May 31, from 1–4 p.m., San Francisco resident Darshil Patel will host his third annual grassroots mango party in the Mission alongside co-organizers Deep Mehta, Fareeha Salahuddin, Parth Patel and Dylan Patel.\u003c/p>\n\n\n\n\u003cp>For mango lovers, the day has come. Hundreds of Indian \u003ca href=\"https://www.scmp.com/week-asia/economics/article/3082471/indians-know-alphonso-king-mangoes-if-only-they-could-buy-some\">Alphonso\u003c/a> and \u003ca href=\"https://timesofindia.indiatimes.com/life-style/food-news/how-gujarats-kesar-mangoes-became-a-seasonal-favourite-in-london-heathrow/articleshow/131307607.cms\">Kesar\u003c/a> mangoes will be distributed for free, as volunteers peel and slice the fruit on the spot. (Pre-cutting degrades quality.) \u003c/p>\n\n\n\n\u003cp>At last year’s edition, some attendees brought mango desserts, like mango sticky rice and \u003ca href=\"https://www.instagram.com/reel/DJ5GkB7BSXO/?utm_source=ig_web_button_share_sheet\">mango sablée tartlets\u003c/a>, to share with the group. Partygoers picked up free \u003ca href=\"https://x.com/AndrewYatzkan/status/1923855295144657073?s=20\">“Mango Tango”\u003c/a> T-shirts and joined spikeball games while a DJ performed. \u003c/p>\n\n\n\n\u003cp>Sunday’s party should be another wholesome event. Last year, a toddler tried her very first mango.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/mango-toddler.jpg\" alt=\"A father holding a young toddler feeds the child a piece of mango.\" class=\"wp-image-13990230\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/mango-toddler.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/mango-toddler-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/mango-toddler-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/mango-toddler-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Some attendees of the 2025 party had been enjoying mangoes their whole lives. For others, it was their very first. (Courtesy of Deep Mehta)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>What began as a casual meeting of eight friends sharing a box of mangoes in 2023 has ballooned into an hours-long extravaganza backed by silent sponsors, who help cover the cost of the mangoes. Roughly 250 people are expected to attend this year. \u003c/p>\n\n\n\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It started in 2024, when Patel \u003ca href=\"https://x.com/darshil/status/1802748248949670386?s=20\">tweeted\u003c/a> about throwing a mango party to gauge public interest. The response was overwhelming, as dozens of mango lovers replied, expressing their curiosity about Indian varieties or, in many cases, their longing for a taste of home.\u003c/p>\n\n\n\n\u003cp>Like Patel, many of the people who were most excited about the party have roots in India, where the mango is the national fruit. There, the fruit is so beloved it’s woven into cultural traditions, from hanging mango leaves during weddings and housewarmings for good luck to stories in Hindu mythology: Ganesha wins a divine mango of knowledge, while mango blossoms tip the arrows of the love god Kama.\u003c/p>\n\n\n\n\u003cp>For Indians today, particularly those living abroad, the Indian mango is a nostalgic reminder of childhood and family. \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1326\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/sliced-mangoes.jpg\" alt=\"A spread of sliced mangoes on a picnic table.\" class=\"wp-image-13990243\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/sliced-mangoes.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/sliced-mangoes-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/sliced-mangoes-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/sliced-mangoes-1536x1018.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Alphonso and Kesar mangoes, sliced fresh so the fruit doesn’t deteriorate. (Courtesy of Deep Mehta)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>Co-organizer Deep Mehta has visceral memories of his grandmother hand-feeding him pulped mango at home in Mumbai, in the state Maharashtra, where \u003ca href=\"https://www.scmp.com/week-asia/economics/article/3082471/indians-know-alphonso-king-mangoes-if-only-they-could-buy-some\">Alphonso\u003c/a> mangoes — “objectively the best,” Mehta says — are native.\u003c/p>\n\n\n\n\u003cp>“When I see a mango [in the U.S.], my brain is thinking, ‘This is going to be super sweet and juicy,’ and then it just doesn’t meet those expectations,” he says.\u003c/p>\n\n\n\n\u003cp>Sarv Kulpati, who left India at 9, vividly remembers his grandmother cutting mangoes “hedgehog style” (crisscrossing the fruit and turning it inside out) while the family gathered around the table, hands sticky with juice. “A mango means a bunch of people sitting together,” says Kulpati, who attended last year’s event. “Honestly, I do not have any memories of eating mango by myself.”\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1326\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/mango-abundance.jpg\" alt=\"A man slices mangoes outdoors while a smiling woman looks on.\" class=\"wp-image-13990245\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/mango-abundance.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/mango-abundance-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/mango-abundance-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/mango-abundance-1536x1018.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">New to San Francisco at the time, Sarv Kulpati (right) spent most of the 2025 event cutting the mangoes. (Courtesy of Deep Mehta)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>Patel recalls eating mango ras (blended ripe mangoes) with his cousin every day after school in India, where he lived until he was 8. “It would just put us to sleep because there’s so much sugar,” he says. \u003c/p>\n\n\n\n\u003cp>Ultimately, Patel and Mehta argue, most Americans \u003ca href=\"https://www.theguardian.com/lifeandstyle/wordofmouth/2012/apr/27/do-you-know-alphonso-mango\">don’t know what they’re missing\u003c/a>. “It’s like a different fruit,” they both say, citing the sweetness, flavor and sheer aroma. Mehta can’t bring himself to eat an American mango. “It just doesn’t hit the same.”\u003c/p>\n\n\n\n\u003cp>Mehta’s a purist, but he might have a point. \u003c/p>\n\n\n\n\n\n\u003cp>The mangoes most commonly found in U.S. grocery stores are the \u003ca href=\"https://www.mango.org/wp-content/uploads/PDF/Mango_Crop_Forecast.pdf\">Tommy Atkins variety\u003c/a>, sourced almost exclusively from Latin America, which \u003ca href=\"https://www.mango.org/wp-content/uploads/2026/03/3-Year-trend-2025_mango_imports_eng-1.pdf\">accounts for roughly 98% of mango imports\u003c/a>. Originally cultivated by a farmer named Thomas Atkins from Broward County, Florida, Tommy Atkins mangoes are known for their unremarkable flavor, dense fibrousness and extreme durability — the last of which ultimately led to commercial success. But from the outset, the mango had critics: In the 1950s, the \u003ca href=\"https://drive.google.com/file/d/1dLDxi1V1ry58n6JYPKmK9f8mw3GBPefu/view?usp=sharing\">Florida Mango Forum\u003c/a> rejected the Atkins mango multiple times because of its disappointing flavor profile.\u003c/p>\n\n\n\n\u003cp>That’s the mango most Americans grew up eating. For many South Asians, then, President George W. Bush is remembered not only for 9/11 and the War on Terror, but for the 2006 “\u003ca href=\"https://www.thejuggernaut.com/indian-mangos\">nuclear mango deal\u003c/a>,” which ended a 17-year U.S. ban on Indian mango imports.\u003c/p>\n\n\n\n\u003cp>Which isn’t to say that it’s easy to find Indian mangoes here in the Bay Area. \u003c/p>\n\n\n\n\u003cp>Dealing mangoes can be something of an extreme sport. The \u003ca href=\"https://www.wsj.com/us-news/americans-will-do-anything-to-get-indian-mangoes-3a711ce8\">\u003cem>Wall Street Journal\u003c/em>\u003c/a> recently covered hustlers powering the Indian mango supply in the U.S., including a senior tech manager in the D.C. area who moonlights as a mango dealer during the fruit’s short season, picking up hundreds of boxes of mangoes at Virginia’s Dulles International Airport multiple times a week. \u003c/p>\n\n\n\n\u003cp>These days, you can buy Indian mangoes by joining WhatsApp groups and monitoring the chat for shipment details and \u003ca href=\"https://x.com/liminalsnake/status/2053209580440793184?s=20\">updates from a particular dealer\u003c/a>. A few websites offering hyperlocal mango delivery, often powered by small teams of fruit vendors, have also sprung up. Today, a six-pound box of Indian mangoes — roughly nine to 12 fruits — costs $50 to $60, inflated this year by tariff uncertainty and increased fuel prices from the Iran war. \u003c/p>\n\n\n\n\u003cp>For previous mango parties, Patel would \u003ca href=\"https://x.com/darshil/status/1916991896544817335?s=20\">call a local Indian grocery store\u003c/a> every day. When the mango shipment finally arrived, it’d be a race to the store to buy the boxes he needed before they ran out. This year, he’s providing mangoes through \u003ca href=\"https://aumpi.com/pages/copy-of-contact\">AumPi\u003c/a>, a Bay Area–based grassroots mango distributor that donates its profits toward tackling malnutrition in India.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1326\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/mango-drink.jpg\" alt='Man and woman pose in front of a mango drink dispenser labeled \"hot.\"' class=\"wp-image-13990248\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/mango-drink.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/mango-drink-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/mango-drink-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/mango-drink-1536x1018.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Deep Mehta (left) poses in front of a mango drink with Raina Doshi, who co-organized the 2025 mango party. (Courtesy of Deep Mehta)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>If getting the fruit takes persistence, enjoying it on Sunday will not. For Mehta, the party at the park is a way of “spreading the love” of a tasty fruit. Indian mangoes are a “largely undiscovered” treasure “that should be shared,” he says.\u003c/p>\n\n\n\n\u003cp>This year’s mango party will be held at a park in the Mission — the organizers aren’t publicizing the exact location for fear that \u003cem>too \u003c/em>many people will show up, and they want to make sure there are enough mangoes for everyone. Those interested in attending can send a brief love letter to mangoes via \u003ca href=\"mailto:darshil4133@gmail.com\">email\u003c/a> to Patel, who’s working with his co-organizers to curate the guest list. Space is limited.\u003c/p>\n\n\n\n\u003cp>So far, Patel says, three different people have sent him photos of their cats named Mango. They’re in. \u003c/p>\n\n\n\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\">\n\n\n\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The mango party will take place on Sunday, May 31, 1–4 p.m., in San Francisco’s Mission District. \u003ca href=\"mailto:darshil4133@gmail.com\">Email the organizers\u003c/a> to get on the guest list and to receive the exact location.\u003c/em> \u003cem>\u003cstrong>Editor’s note:\u003c/strong> As of May 30, the organizers say the event has reached capacity.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "catchlight-photo-walk-san-francisco-mission-district",
"title": "Looking At The Ground: A Photo Walk Through Frisco",
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"content": "\u003cp>It’s just after 9 a.m. Saturday morning, and I’m late for my adult field trip. No bag lunch, forgot my name tag and I’m rolling solo — clearly not adhering to the buddy system. But I got my camera.\u003c/p>\n\u003cp>Photographer \u003ca href=\"https://www.instagram.com/pablocirca/\">pablo circa\u003c/a> stands in front of about 40 to 50 other camera-toting people, explaining that we’re set to embark on a journey through the Mission: down Clarion Alley, around Dolores Park and back to KQED headquarters.\u003c/p>\n\u003cp>The meet up & photo walk is a part of a \u003ca href=\"https://www.catchlight.io/\">CatchLight\u003c/a> Visual Storytelling Summit. Pablo, co-founder of the \u003ca href=\"https://www.instagram.com/camerasandcoffeeclub/\">Cameras and Coffee Club\u003c/a>, leads us on a two-hour exercise in artistic exploration and community building; a reminder that photography doesn’t have to be a solo sport.\u003c/p>\n\u003cp>I’m in the back of the crowd, chit-chatting and cracking jokes with some familiar faces as we head out. A few blocks into our journey, Pablo tells us to be aware of a turd on the corner of 17th and Harrison streets. From that point on, I take note of the ground.\u003c/p>\n\u003cfigure id=\"attachment_13989138\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989138\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1152-scaled.jpg\" alt=\"A woman walks past and looks down at a hypodermic needle on the ground in San Francisco. \" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1152-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1152-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1152-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1152-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1152-1536x2048.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Photographer Fatosh Arabacıoğlu walks past a hypodermic needle in San Francisco’s Clarion Alley. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>San Francisco’s pavement is evidence of a unique civilization. Urban decay alongside glimpses of innovation. Expensive cars and unhoused people. Fallen leaves entangled with discarded trash. Everywhere, political messages on stickers and tags; artwork rules the avenues.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As I kneel down to photograph the words “CURB CREEPS” painted on the street, renowned photographer and dancer \u003ca href=\"https://www.instagram.com/tracibartlow/\">Traci Bartlow\u003c/a> makes my day by telling me she enjoys watching my process, and seeing what catches my eye.\u003c/p>\n\u003cfigure id=\"attachment_13989145\" class=\"wp-caption aligncenter\" style=\"max-width: 1900px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989145\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1204-scaled-e1777922504569.jpg\" alt='The words \"CURB CREEPS\" etched in aerosol spray on the corner of 17th and Capp Street in San Francisco.' width=\"1900\" height=\"2360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1204-scaled-e1777922504569.jpg 1900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1204-scaled-e1777922504569-160x199.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1204-scaled-e1777922504569-768x954.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1204-scaled-e1777922504569-1237x1536.jpg 1237w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1204-scaled-e1777922504569-1649x2048.jpg 1649w\" sizes=\"auto, (max-width: 1900px) 100vw, 1900px\">\u003cfigcaption class=\"wp-caption-text\">The words ‘CURB CREEPS’ spraypainted on the corner of 17th and Capp Street in San Francisco. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And in that, she names my internal reaction on the photo walk: by seeing other photographers on this excursion work in real time, my eye became a bit more keen. What are other folks \u003cem>not\u003c/em> seeing?\u003c/p>\n\u003cp>We’re all on the same street, and we have essentially the same tools. But what sticks out to you? What story do you tell? What gives you a unique perspective? That’s what I kept asking myself.\u003c/p>\n\u003cfigure id=\"attachment_13989140\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989140\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1205-scaled.jpg\" alt=\"Fallen pink flower pedals line the curb of a street in San Francisco. \" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1205-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1205-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1205-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1205-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1205-1536x2048.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Fallen pink flower pedals line the curb along 17th Street in San Francisco. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Murals made for dope backgrounds as people posed for portraits. Photographers took candid images of moped-riding delivery men. Others clicked away making landscape portraits of the MUNI bus along Mission Street.\u003c/p>\n\u003cp>I kept my eyes affixed to the sidewalk. Gum stains, dried paint, a dead rat and a small bush growing through the pavement. A soiled pair of pants and the six-pack plastic ring that we used to cut up back in the ’90s. “How in the hell are companies still making those?” I asked to anyone within earshot.\u003c/p>\n\u003cfigure id=\"attachment_13989146\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989146\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1166-scaled.jpg\" alt=\"Translucent 6-pack plastic rings sit in front of a mural in an alleyway. \" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1166-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1166-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1166-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1166-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1166-1536x2048.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">How is it still legal to produce six-pack plastic rings? \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As we walked, the conversations flowed. Photographers \u003ca href=\"https://www.instagram.com/p/BAqncd_lfBf/\">Rudi Tcruz\u003c/a> and \u003ca href=\"https://www.instagram.com/galexsir/\">Galex Tcruz\u003c/a> joked about the need to focus less on our 9-5s and more on our 5-10s.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/shamikaszn/\">Shamika\u003c/a>, a part-time multi-hyphenate creative and full-time cyber threat intelligence analyst at Twilio, told me about the theory of recycled faces. Now I can’t stop seeing the similarities in people.\u003c/p>\n\u003cp>Lost in a conversation with educator and portrait photographer \u003ca href=\"https://www.instagram.com/madannud21\">Adam Dunn\u003c/a> about his move from Cleveland to Sebastopol, I hesitated and missed out on a photo of an older woman in front of her business, cleaning the stoop. The perspective of the water hitting the sidewalk would’ve been refreshing, but the conversation’s currents were too strong.\u003c/p>\n\u003cfigure id=\"attachment_13989143\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989143\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1211-scaled-e1777919408926.jpg\" alt=\"A condom wrapper rests on the street in San Francisco. \" width=\"1920\" height=\"2402\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1211-scaled-e1777919408926.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1211-scaled-e1777919408926-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1211-scaled-e1777919408926-768x961.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1211-scaled-e1777919408926-1228x1536.jpg 1228w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1211-scaled-e1777919408926-1637x2048.jpg 1637w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A condom wrapper straddles the lines in the concrete on the street in San Francisco. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One photographer told me about his unique telephoto lens, another told me about the evolution of microchips inside the camera.\u003c/p>\n\u003cp>At one point, our posse crossed paths with a bunch of adorable dogs and their owners. I thought we were going to heal the world right then and there.\u003c/p>\n\u003cfigure id=\"attachment_13989151\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989151\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1194-scaled.jpg\" alt=\"A close image of a dog in a park. \" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1194-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1194-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1194-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1194-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1194-1536x2048.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">One of the many dogs enjoying a Saturday at Dolores Park in San Francisco. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At another moment, I stopped on a corner to watch photographer \u003ca href=\"https://www.instagram.com/hourvoyses/\">Darius Riley\u003c/a> capture the smiles of a family walking down Valencia Street. An \u003ca href=\"https://www.kqed.org/arts/13964439/east-palo-alto-hidden-beauty-photography-darius-riley\">extremely talented photographer\u003c/a>, Riley goes on group photo walks regularly, he says, “because they offer spaces to be connected with other photographers, and also be inspired.”\u003c/p>\n\u003cp>“We need more photography community events, things that bring us together,” he says. An entrepreneur and artist from East Palo Alto who often works in isolation, Riley finds solace and affirmation in the creative circles of Oakland and Frisco.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13989141\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1178-scaled.jpg\" alt=\"\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1178-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1178-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1178-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1178-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1178-1536x2048.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>“To be in company with other people who are in the same field, and recognize me for my craft,” he says, “is very validating and makes me want to keep going.”\u003c/p>\n\u003cp>He’s right. Photography is an isolating sport. At times, I’ll bring my camera to an event as my plus-one, hiding behind the lens instead of socializing. But at a photo walk, the device becomes a way to introduce yourself to others.\u003c/p>\n\u003cp>Before even telling me their names, people would ask questions like “What are you shooting with?” or “Who do you shoot for?” One person asked me, “What are you taking photos of?” I answered, “The ground.”\u003c/p>\n\u003cfigure id=\"attachment_13989148\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989148\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1209-scaled.jpg\" alt=\"A dead rat near a curb in San Francisco. \" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1209-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1209-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1209-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1209-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1209-1536x2048.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A local rat laid to rest in a curbside grave. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It was musician and photographer \u003ca href=\"https://www.instagram.com/fatoshphotography/\">Fatosh Arabacıoğlu\u003c/a>’s first time out with the group, and she didn’t know what to expect. “But it ended up being one of those days where you just \u003cem>click\u003c/em> with people instantly,” she says.\u003c/p>\n\u003cp>Photography is so much richer as a shared experience — creating art while learning about others and seeing what inspires them lit something inside her during the event. She’s already scheduled get-togethers with new friends made from the photo walk.\u003c/p>\n\u003cfigure id=\"attachment_13989137\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989137\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1160-scaled.jpg\" alt=\"A fallen piece of fruit sits in font of a colorfully painted portrait image of an African American man.\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1160-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1160-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1160-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1160-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1160-1536x2048.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">In San Francisco’s Clarion Alley, a fallen piece of fruit rests in front of an image of the late Oakland-raised lyricist, Stephen ‘Baba Zumbi’ Gaines. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This particular photo walk only happens once or twice a year. But the Cameras and Coffee Club offers monthly meet ups, mostly in the East Bay. Those gatherings, pablo circa says, are “intended to slow things down,” giving space and opportunity for visual storytellers “to connect around the craft and shift out of their usual rhythm.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>That’s what the two-hour walk did for me. After all the conversations and photos, I left with a handful of new photographer friends and a new perspective on the streets of San Francisco.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s just after 9 a.m. Saturday morning, and I’m late for my adult field trip. No bag lunch, forgot my name tag and I’m rolling solo — clearly not adhering to the buddy system. But I got my camera.\u003c/p>\n\u003cp>Photographer \u003ca href=\"https://www.instagram.com/pablocirca/\">pablo circa\u003c/a> stands in front of about 40 to 50 other camera-toting people, explaining that we’re set to embark on a journey through the Mission: down Clarion Alley, around Dolores Park and back to KQED headquarters.\u003c/p>\n\u003cp>The meet up & photo walk is a part of a \u003ca href=\"https://www.catchlight.io/\">CatchLight\u003c/a> Visual Storytelling Summit. Pablo, co-founder of the \u003ca href=\"https://www.instagram.com/camerasandcoffeeclub/\">Cameras and Coffee Club\u003c/a>, leads us on a two-hour exercise in artistic exploration and community building; a reminder that photography doesn’t have to be a solo sport.\u003c/p>\n\u003cp>I’m in the back of the crowd, chit-chatting and cracking jokes with some familiar faces as we head out. A few blocks into our journey, Pablo tells us to be aware of a turd on the corner of 17th and Harrison streets. From that point on, I take note of the ground.\u003c/p>\n\u003cfigure id=\"attachment_13989138\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989138\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1152-scaled.jpg\" alt=\"A woman walks past and looks down at a hypodermic needle on the ground in San Francisco. \" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1152-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1152-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1152-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1152-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1152-1536x2048.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Photographer Fatosh Arabacıoğlu walks past a hypodermic needle in San Francisco’s Clarion Alley. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>San Francisco’s pavement is evidence of a unique civilization. Urban decay alongside glimpses of innovation. Expensive cars and unhoused people. Fallen leaves entangled with discarded trash. Everywhere, political messages on stickers and tags; artwork rules the avenues.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As I kneel down to photograph the words “CURB CREEPS” painted on the street, renowned photographer and dancer \u003ca href=\"https://www.instagram.com/tracibartlow/\">Traci Bartlow\u003c/a> makes my day by telling me she enjoys watching my process, and seeing what catches my eye.\u003c/p>\n\u003cfigure id=\"attachment_13989145\" class=\"wp-caption aligncenter\" style=\"max-width: 1900px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989145\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1204-scaled-e1777922504569.jpg\" alt='The words \"CURB CREEPS\" etched in aerosol spray on the corner of 17th and Capp Street in San Francisco.' width=\"1900\" height=\"2360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1204-scaled-e1777922504569.jpg 1900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1204-scaled-e1777922504569-160x199.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1204-scaled-e1777922504569-768x954.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1204-scaled-e1777922504569-1237x1536.jpg 1237w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1204-scaled-e1777922504569-1649x2048.jpg 1649w\" sizes=\"auto, (max-width: 1900px) 100vw, 1900px\">\u003cfigcaption class=\"wp-caption-text\">The words ‘CURB CREEPS’ spraypainted on the corner of 17th and Capp Street in San Francisco. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And in that, she names my internal reaction on the photo walk: by seeing other photographers on this excursion work in real time, my eye became a bit more keen. What are other folks \u003cem>not\u003c/em> seeing?\u003c/p>\n\u003cp>We’re all on the same street, and we have essentially the same tools. But what sticks out to you? What story do you tell? What gives you a unique perspective? That’s what I kept asking myself.\u003c/p>\n\u003cfigure id=\"attachment_13989140\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989140\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1205-scaled.jpg\" alt=\"Fallen pink flower pedals line the curb of a street in San Francisco. \" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1205-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1205-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1205-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1205-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1205-1536x2048.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Fallen pink flower pedals line the curb along 17th Street in San Francisco. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Murals made for dope backgrounds as people posed for portraits. Photographers took candid images of moped-riding delivery men. Others clicked away making landscape portraits of the MUNI bus along Mission Street.\u003c/p>\n\u003cp>I kept my eyes affixed to the sidewalk. Gum stains, dried paint, a dead rat and a small bush growing through the pavement. A soiled pair of pants and the six-pack plastic ring that we used to cut up back in the ’90s. “How in the hell are companies still making those?” I asked to anyone within earshot.\u003c/p>\n\u003cfigure id=\"attachment_13989146\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989146\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1166-scaled.jpg\" alt=\"Translucent 6-pack plastic rings sit in front of a mural in an alleyway. \" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1166-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1166-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1166-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1166-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1166-1536x2048.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">How is it still legal to produce six-pack plastic rings? \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As we walked, the conversations flowed. Photographers \u003ca href=\"https://www.instagram.com/p/BAqncd_lfBf/\">Rudi Tcruz\u003c/a> and \u003ca href=\"https://www.instagram.com/galexsir/\">Galex Tcruz\u003c/a> joked about the need to focus less on our 9-5s and more on our 5-10s.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/shamikaszn/\">Shamika\u003c/a>, a part-time multi-hyphenate creative and full-time cyber threat intelligence analyst at Twilio, told me about the theory of recycled faces. Now I can’t stop seeing the similarities in people.\u003c/p>\n\u003cp>Lost in a conversation with educator and portrait photographer \u003ca href=\"https://www.instagram.com/madannud21\">Adam Dunn\u003c/a> about his move from Cleveland to Sebastopol, I hesitated and missed out on a photo of an older woman in front of her business, cleaning the stoop. The perspective of the water hitting the sidewalk would’ve been refreshing, but the conversation’s currents were too strong.\u003c/p>\n\u003cfigure id=\"attachment_13989143\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989143\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1211-scaled-e1777919408926.jpg\" alt=\"A condom wrapper rests on the street in San Francisco. \" width=\"1920\" height=\"2402\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1211-scaled-e1777919408926.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1211-scaled-e1777919408926-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1211-scaled-e1777919408926-768x961.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1211-scaled-e1777919408926-1228x1536.jpg 1228w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1211-scaled-e1777919408926-1637x2048.jpg 1637w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A condom wrapper straddles the lines in the concrete on the street in San Francisco. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One photographer told me about his unique telephoto lens, another told me about the evolution of microchips inside the camera.\u003c/p>\n\u003cp>At one point, our posse crossed paths with a bunch of adorable dogs and their owners. I thought we were going to heal the world right then and there.\u003c/p>\n\u003cfigure id=\"attachment_13989151\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989151\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1194-scaled.jpg\" alt=\"A close image of a dog in a park. \" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1194-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1194-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1194-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1194-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1194-1536x2048.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">One of the many dogs enjoying a Saturday at Dolores Park in San Francisco. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At another moment, I stopped on a corner to watch photographer \u003ca href=\"https://www.instagram.com/hourvoyses/\">Darius Riley\u003c/a> capture the smiles of a family walking down Valencia Street. An \u003ca href=\"https://www.kqed.org/arts/13964439/east-palo-alto-hidden-beauty-photography-darius-riley\">extremely talented photographer\u003c/a>, Riley goes on group photo walks regularly, he says, “because they offer spaces to be connected with other photographers, and also be inspired.”\u003c/p>\n\u003cp>“We need more photography community events, things that bring us together,” he says. An entrepreneur and artist from East Palo Alto who often works in isolation, Riley finds solace and affirmation in the creative circles of Oakland and Frisco.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13989141\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1178-scaled.jpg\" alt=\"\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1178-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1178-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1178-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1178-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1178-1536x2048.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>“To be in company with other people who are in the same field, and recognize me for my craft,” he says, “is very validating and makes me want to keep going.”\u003c/p>\n\u003cp>He’s right. Photography is an isolating sport. At times, I’ll bring my camera to an event as my plus-one, hiding behind the lens instead of socializing. But at a photo walk, the device becomes a way to introduce yourself to others.\u003c/p>\n\u003cp>Before even telling me their names, people would ask questions like “What are you shooting with?” or “Who do you shoot for?” One person asked me, “What are you taking photos of?” I answered, “The ground.”\u003c/p>\n\u003cfigure id=\"attachment_13989148\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989148\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1209-scaled.jpg\" alt=\"A dead rat near a curb in San Francisco. \" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1209-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1209-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1209-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1209-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1209-1536x2048.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A local rat laid to rest in a curbside grave. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It was musician and photographer \u003ca href=\"https://www.instagram.com/fatoshphotography/\">Fatosh Arabacıoğlu\u003c/a>’s first time out with the group, and she didn’t know what to expect. “But it ended up being one of those days where you just \u003cem>click\u003c/em> with people instantly,” she says.\u003c/p>\n\u003cp>Photography is so much richer as a shared experience — creating art while learning about others and seeing what inspires them lit something inside her during the event. She’s already scheduled get-togethers with new friends made from the photo walk.\u003c/p>\n\u003cfigure id=\"attachment_13989137\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989137\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1160-scaled.jpg\" alt=\"A fallen piece of fruit sits in font of a colorfully painted portrait image of an African American man.\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1160-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1160-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1160-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1160-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1160-1536x2048.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">In San Francisco’s Clarion Alley, a fallen piece of fruit rests in front of an image of the late Oakland-raised lyricist, Stephen ‘Baba Zumbi’ Gaines. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This particular photo walk only happens once or twice a year. But the Cameras and Coffee Club offers monthly meet ups, mostly in the East Bay. Those gatherings, pablo circa says, are “intended to slow things down,” giving space and opportunity for visual storytellers “to connect around the craft and shift out of their usual rhythm.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That’s what the two-hour walk did for me. After all the conversations and photos, I left with a handful of new photographer friends and a new perspective on the streets of San Francisco.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "For Lowriders in San Francisco, It’s Not Just a Stamp — It’s Respect at the Federal Level",
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"content": "\u003cp>On Saturday morning, \u003ca href=\"https://www.kqed.org/arts/tag/lowriders\">lowrider\u003c/a> cars in a spectrum of colors cruised into the parking lot of the USPS processing center in Hunters Point, their glistening chrome finish and intricate airbrushings drawing attention from attendees. \u003c/p>\n\u003cp>This was no ordinary lowrider show, however. The gathering marked the United States Postal Service’s unveiling of a \u003ca href=\"https://store.usps.com/store/product/lowriders-stamps-S_488204\">new set of five lowrider stamps\u003c/a>. Organized in part by the San Francisco Lowrider Council, the event honored the history of lowriding and the recognition, at the federal level, of a culture long stereotyped and stigmatized. \u003c/p>\n\u003cp>“It represents showing us respect,” council founder Roberto Hernández told KQED. “It’s atoning for what’s been done to us, it’s recognizing that this is an art form, and it’s part of the Chicano Latino culture.”\u003c/p>\n\u003cfigure id=\"attachment_13987602\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/FullSizeRender.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13987602\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/FullSizeRender.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/FullSizeRender-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/FullSizeRender-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/FullSizeRender-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">USPS employees sell sets of the new lowrider stamps to a long line of customers in San Francisco on March 14, 2026. \u003ccite>(Courtesy USPS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lines to purchase the stamps wrapped around the stage as USPS officials, community leaders and members of the Lowrider Council delivered speeches. Woven into the festivities were performances from Danza Azteca Xitlalli-Xolotl and Mariachi San Francisco. \u003c/p>\n\u003cp>Joe Moreno, the president of the San José Lowrider Council, shared similar sentiments as Hernández. “It’s a sense of pride,” Moreno said. “Everybody felt a sense of pride that this is happening.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Hernández, a \u003ca href=\"https://www.kqed.org/arts/tag/mission-district\">Mission District\u003c/a> native, founded the San Francisco Lowrider Council in 1981. For the next four decades, he advocated for the community and challenged restrictions against lowriding and cruising, which were heavily regulated across California. In 2023, those statewide regulations were finally eased, allowing cruising without fear of being pulled over, ticketed or arrested. \u003c/p>\n\u003cp>[aside postID='news_12001199']During the late 1970s and early ’80s, Hernández said, he endured over 100 arrests or violent encounters with San Francisco law enforcement. He eventually filed a federal civil rights lawsuit against the city and police department — and won. \u003c/p>\n\u003cp>The Bay Area community that formed around lowriding is what made the fight worthwhile, Hernández said.\u003c/p>\n\u003cp>“From the very beginning, there were African Americans cruising with us, Filipinos, Samoans, every kind of Latino,” he said. “So that melting pot has been very special here in the Bay. Just growing up here in the Mission District, I got fed by every culture … in my tummy, but also, my heart, soul, and spirit got fed. I was exposed to all these cultures.”\u003c/p>\n\u003cfigure id=\"attachment_13987603\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/IMG_0505.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13987603\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/IMG_0505.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/IMG_0505-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/IMG_0505-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/IMG_0505-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Some of the many cars on display to commemorate the USPS release of new lowrider stamps in San Francisco on March 14, 2026. \u003ccite>(Courtesy USPS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While Saturday’s event celebrated a tradition of customized automobiles, Hernández says that recognition represents something larger than cars. Especially now, when immigration policies and ICE continue to target Mexican and Chicano communities.\u003c/p>\n\u003cp>“The federal government is at war with our people, criminalizing our people, deporting our people, illegally detaining people,” Hernández said, adding that it’s important for his community to keep mobilizing and organizing.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“But today,” he said, “we’ll take the celebration.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Saturday morning, \u003ca href=\"https://www.kqed.org/arts/tag/lowriders\">lowrider\u003c/a> cars in a spectrum of colors cruised into the parking lot of the USPS processing center in Hunters Point, their glistening chrome finish and intricate airbrushings drawing attention from attendees. \u003c/p>\n\u003cp>This was no ordinary lowrider show, however. The gathering marked the United States Postal Service’s unveiling of a \u003ca href=\"https://store.usps.com/store/product/lowriders-stamps-S_488204\">new set of five lowrider stamps\u003c/a>. Organized in part by the San Francisco Lowrider Council, the event honored the history of lowriding and the recognition, at the federal level, of a culture long stereotyped and stigmatized. \u003c/p>\n\u003cp>“It represents showing us respect,” council founder Roberto Hernández told KQED. “It’s atoning for what’s been done to us, it’s recognizing that this is an art form, and it’s part of the Chicano Latino culture.”\u003c/p>\n\u003cfigure id=\"attachment_13987602\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/FullSizeRender.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13987602\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/FullSizeRender.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/FullSizeRender-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/FullSizeRender-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/FullSizeRender-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">USPS employees sell sets of the new lowrider stamps to a long line of customers in San Francisco on March 14, 2026. \u003ccite>(Courtesy USPS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lines to purchase the stamps wrapped around the stage as USPS officials, community leaders and members of the Lowrider Council delivered speeches. Woven into the festivities were performances from Danza Azteca Xitlalli-Xolotl and Mariachi San Francisco. \u003c/p>\n\u003cp>Joe Moreno, the president of the San José Lowrider Council, shared similar sentiments as Hernández. “It’s a sense of pride,” Moreno said. “Everybody felt a sense of pride that this is happening.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Hernández, a \u003ca href=\"https://www.kqed.org/arts/tag/mission-district\">Mission District\u003c/a> native, founded the San Francisco Lowrider Council in 1981. For the next four decades, he advocated for the community and challenged restrictions against lowriding and cruising, which were heavily regulated across California. In 2023, those statewide regulations were finally eased, allowing cruising without fear of being pulled over, ticketed or arrested. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>During the late 1970s and early ’80s, Hernández said, he endured over 100 arrests or violent encounters with San Francisco law enforcement. He eventually filed a federal civil rights lawsuit against the city and police department — and won. \u003c/p>\n\u003cp>The Bay Area community that formed around lowriding is what made the fight worthwhile, Hernández said.\u003c/p>\n\u003cp>“From the very beginning, there were African Americans cruising with us, Filipinos, Samoans, every kind of Latino,” he said. “So that melting pot has been very special here in the Bay. Just growing up here in the Mission District, I got fed by every culture … in my tummy, but also, my heart, soul, and spirit got fed. I was exposed to all these cultures.”\u003c/p>\n\u003cfigure id=\"attachment_13987603\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/IMG_0505.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13987603\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/IMG_0505.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/IMG_0505-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/IMG_0505-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/IMG_0505-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Some of the many cars on display to commemorate the USPS release of new lowrider stamps in San Francisco on March 14, 2026. \u003ccite>(Courtesy USPS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While Saturday’s event celebrated a tradition of customized automobiles, Hernández says that recognition represents something larger than cars. Especially now, when immigration policies and ICE continue to target Mexican and Chicano communities.\u003c/p>\n\u003cp>“The federal government is at war with our people, criminalizing our people, deporting our people, illegally detaining people,” Hernández said, adding that it’s important for his community to keep mobilizing and organizing.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“But today,” he said, “we’ll take the celebration.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "van-morrison-the-chapel-review-san-francisco",
"title": "Van Morrison Finds His Happy Place in the Mission District",
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"content": "\u003cp>If you’d been traveling down \u003ca href=\"https://www.kqed.org/news/tag/valencia-street\">Valencia Street\u003c/a> on Monday afternoon, you might have seen a 100-boomer-long procession snaking down the sidewalk in the light drizzle, its umbrella-toting occupants looking halfway like mourners. As one among the age 50-, 60- and 70-and-up gathered, I can verify: Our line was not for a funeral.\u003c/p>\n\u003cp>Rather, it was a celebration of a living legend. Van Morrison, with a touch of the deadpan, had chosen The Chapel — a former mortuary — as the site of an invite-only run-through of his new, blues-heavy album, \u003cem>Somebody Tried to Sell Me a Bridge\u003c/em>. He’s \u003ca href=\"https://www.palaceoffinearts.org/\">in town the rest of the week over at the Palace of Fine Arts\u003c/a>, and presumably, those five shows will yield more standard-issue sets.\u003c/p>\n\u003cp>[aside postID='arts_13847949']On Monday, though, between the setlist, the 400-capacity room and the 3 p.m. start time, well, this was a one-of-a-kind Van Morrison show. That much was evident after he took the stage and — just two minutes into set opener “Kidney Stew Blues” — Morrison turned to his seven-piece band, and … \u003cem>cracked a smile and laughed\u003c/em>?!?\u003c/p>\n\u003cp>If Polymarket or Kalshi, or \u003ca href=\"https://www.nytimes.com/2026/01/22/business/prediction-markets-polymarket-kalshi.html\">whatever the world’s crypto weirdos are into\u003c/a>, took bets on events to happen at a Van Morrison show, “smiling and laughing” would pay out 500 to 1. On record, he’s \u003ca href=\"https://en.wikipedia.org/wiki/What%27s_It_Gonna_Take%3F\">complained bitterly about COVID guidelines\u003c/a>; onstage, he sometimes gets compared to Oscar the Grouch. He has lodged himself in the showbiz grump hall of fame along with \u003ca href=\"https://www.youtube.com/watch?v=O3cBp_Bf43M\">Billy Joel when he is in Russia and it is the 1980s\u003c/a>.\u003c/p>\n\u003cp>But man, give the Irish guy a small club and a bunch of blues songs from Black American artists like Willie Dixon, Sonny Terry & Brownie McGhee and Eddie “Cleanhead” Vinson, and he loosens up like a rusty bolt blasted with WD-40.\u003c/p>\n\u003cfigure id=\"attachment_13986761\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986761\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/IMG_7021-1.jpg\" alt=\"Van Morrison performs at The Chapel in San Francisco on Feb. 16, 2026. The singer performed songs from his 48th album, ‘Somebody Tried to Sell Me a Bridge,’ for an invite-only crowd.\" width=\"1500\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/IMG_7021-1.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/IMG_7021-1-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/IMG_7021-1-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/IMG_7021-1-1152x1536.jpg 1152w\" sizes=\"auto, (max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Van Morrison performs at The Chapel in San Francisco on Feb. 16, 2026. \u003ccite>(Kathy Henson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During “Madame Butterfly Blues,” he jokingly “fined” keyboardist Mitch Woods with five full-finger hand signals, \u003ca href=\"https://www.reddit.com/r/todayilearned/comments/k42u89/til_that_james_brown_would_impose_fines_on_his/\">James Brown-style\u003c/a>. After the rollicking “I’m Gonna Play the Honky Tonks,” an obscurity by blues singer Marie Adams, he \u003cem>arooooo-ed\u003c/em> and \u003cem>yip yip yip yip yip yip\u003c/em>ped into the mic like an excited hound or \u003ca href=\"https://www.instagram.com/p/DSAiDHqkeAH/\">an East Bay punk singer on drugs\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In the set’s most transcendent moment, Morrison reinvented Fats Domino’s “Ain’t That a Shame,” introducing new phrasing, rhythm and melody to create something hallowed and tender. That’s Van the singer; there was also Van the music director, conducting his band piece by piece — a piano chord here, a cymbal crash there. Morrison ad-libbed the phrase “stop breaking down” 17 times in a row while the band crested its long crescendo, turning the air into gold.\u003c/p>\n\u003cp>When the music writer \u003ca href=\"https://www.joelselvin.com/\">Joel Selvin\u003c/a>, a proud part-time grump himself, included droplets in his \u003cem>San Francisco Chronicle\u003c/em> columns like “\u003ca href=\"https://www.sfgate.com/entertainment/article/grammy-nominations-a-snooze-3181907.php\">Truth be told, many people in the industry don’t like the music they are making. They go home and listen to old Van Morrison records like everyone else\u003c/a>” — this is the Van Morrison he meant.\u003c/p>\n\u003cfigure id=\"attachment_13986760\" class=\"wp-caption aligncenter\" style=\"max-width: 1046px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986760\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/IMG_1037.jpg\" alt=\"\" width=\"1046\" height=\"697\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/IMG_1037.jpg 1046w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/IMG_1037-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/IMG_1037-768x512.jpg 768w\" sizes=\"auto, (max-width: 1046px) 100vw, 1046px\">\u003cfigcaption class=\"wp-caption-text\">A marquee outside the Chapel announces Van Morrison’s afternoon set. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Naturally, over the 80-minute set, some sections lagged, with the top-notch band applying formulaic arrangements to “I’m Ready,” “Can’t Help Myself” and “Social Climbing Scene,” the latter a Morrison original about the vapid quest for clout. During his other original composition, the complainy “Somebody Tried to Sell Me a Bridge,” Morrison hunched over his printed lyrics and sang them with only a few ounces of conviction.\u003c/p>\n\u003cp>Then there was Van the perfectionist, kicking off “Rock Me Baby” after two false starts: “Too fast,” he said. During the first verse, in an agreeable tempo, he looked toward Woods: “Play!” Woods ran up and down the keys. “Not that much!” Morrison said. “Cut it in half!”\u003c/p>\n\u003cp>But the man knows what he wants, and when he gets it, everything falls into place. After an encore of Sonny Boy Williamson’s “Help Me,” the familiar three chords of “Gloria” charged in, somehow both a surprise and a foregone conclusion. For a few minutes, the crowd forgot about the troubles outside, chanting with a collective uplift of \u003cem>G-L-O-R-I-A\u003c/em>, and Morrison was in his happy place of being in a bar band again.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Van Morrison performs Feb. 17, 18, 19, 23 and 24 at the Palace of Fine Arts (3301 Lyon St., San Francisco). \u003ca href=\"https://www.palaceoffinearts.org/\">Tickets and more information here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you’d been traveling down \u003ca href=\"https://www.kqed.org/news/tag/valencia-street\">Valencia Street\u003c/a> on Monday afternoon, you might have seen a 100-boomer-long procession snaking down the sidewalk in the light drizzle, its umbrella-toting occupants looking halfway like mourners. As one among the age 50-, 60- and 70-and-up gathered, I can verify: Our line was not for a funeral.\u003c/p>\n\u003cp>Rather, it was a celebration of a living legend. Van Morrison, with a touch of the deadpan, had chosen The Chapel — a former mortuary — as the site of an invite-only run-through of his new, blues-heavy album, \u003cem>Somebody Tried to Sell Me a Bridge\u003c/em>. He’s \u003ca href=\"https://www.palaceoffinearts.org/\">in town the rest of the week over at the Palace of Fine Arts\u003c/a>, and presumably, those five shows will yield more standard-issue sets.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>On Monday, though, between the setlist, the 400-capacity room and the 3 p.m. start time, well, this was a one-of-a-kind Van Morrison show. That much was evident after he took the stage and — just two minutes into set opener “Kidney Stew Blues” — Morrison turned to his seven-piece band, and … \u003cem>cracked a smile and laughed\u003c/em>?!?\u003c/p>\n\u003cp>If Polymarket or Kalshi, or \u003ca href=\"https://www.nytimes.com/2026/01/22/business/prediction-markets-polymarket-kalshi.html\">whatever the world’s crypto weirdos are into\u003c/a>, took bets on events to happen at a Van Morrison show, “smiling and laughing” would pay out 500 to 1. On record, he’s \u003ca href=\"https://en.wikipedia.org/wiki/What%27s_It_Gonna_Take%3F\">complained bitterly about COVID guidelines\u003c/a>; onstage, he sometimes gets compared to Oscar the Grouch. He has lodged himself in the showbiz grump hall of fame along with \u003ca href=\"https://www.youtube.com/watch?v=O3cBp_Bf43M\">Billy Joel when he is in Russia and it is the 1980s\u003c/a>.\u003c/p>\n\u003cp>But man, give the Irish guy a small club and a bunch of blues songs from Black American artists like Willie Dixon, Sonny Terry & Brownie McGhee and Eddie “Cleanhead” Vinson, and he loosens up like a rusty bolt blasted with WD-40.\u003c/p>\n\u003cfigure id=\"attachment_13986761\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986761\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/IMG_7021-1.jpg\" alt=\"Van Morrison performs at The Chapel in San Francisco on Feb. 16, 2026. The singer performed songs from his 48th album, ‘Somebody Tried to Sell Me a Bridge,’ for an invite-only crowd.\" width=\"1500\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/IMG_7021-1.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/IMG_7021-1-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/IMG_7021-1-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/IMG_7021-1-1152x1536.jpg 1152w\" sizes=\"auto, (max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Van Morrison performs at The Chapel in San Francisco on Feb. 16, 2026. \u003ccite>(Kathy Henson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During “Madame Butterfly Blues,” he jokingly “fined” keyboardist Mitch Woods with five full-finger hand signals, \u003ca href=\"https://www.reddit.com/r/todayilearned/comments/k42u89/til_that_james_brown_would_impose_fines_on_his/\">James Brown-style\u003c/a>. After the rollicking “I’m Gonna Play the Honky Tonks,” an obscurity by blues singer Marie Adams, he \u003cem>arooooo-ed\u003c/em> and \u003cem>yip yip yip yip yip yip\u003c/em>ped into the mic like an excited hound or \u003ca href=\"https://www.instagram.com/p/DSAiDHqkeAH/\">an East Bay punk singer on drugs\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the set’s most transcendent moment, Morrison reinvented Fats Domino’s “Ain’t That a Shame,” introducing new phrasing, rhythm and melody to create something hallowed and tender. That’s Van the singer; there was also Van the music director, conducting his band piece by piece — a piano chord here, a cymbal crash there. Morrison ad-libbed the phrase “stop breaking down” 17 times in a row while the band crested its long crescendo, turning the air into gold.\u003c/p>\n\u003cp>When the music writer \u003ca href=\"https://www.joelselvin.com/\">Joel Selvin\u003c/a>, a proud part-time grump himself, included droplets in his \u003cem>San Francisco Chronicle\u003c/em> columns like “\u003ca href=\"https://www.sfgate.com/entertainment/article/grammy-nominations-a-snooze-3181907.php\">Truth be told, many people in the industry don’t like the music they are making. They go home and listen to old Van Morrison records like everyone else\u003c/a>” — this is the Van Morrison he meant.\u003c/p>\n\u003cfigure id=\"attachment_13986760\" class=\"wp-caption aligncenter\" style=\"max-width: 1046px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986760\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/IMG_1037.jpg\" alt=\"\" width=\"1046\" height=\"697\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/IMG_1037.jpg 1046w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/IMG_1037-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/IMG_1037-768x512.jpg 768w\" sizes=\"auto, (max-width: 1046px) 100vw, 1046px\">\u003cfigcaption class=\"wp-caption-text\">A marquee outside the Chapel announces Van Morrison’s afternoon set. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Naturally, over the 80-minute set, some sections lagged, with the top-notch band applying formulaic arrangements to “I’m Ready,” “Can’t Help Myself” and “Social Climbing Scene,” the latter a Morrison original about the vapid quest for clout. During his other original composition, the complainy “Somebody Tried to Sell Me a Bridge,” Morrison hunched over his printed lyrics and sang them with only a few ounces of conviction.\u003c/p>\n\u003cp>Then there was Van the perfectionist, kicking off “Rock Me Baby” after two false starts: “Too fast,” he said. During the first verse, in an agreeable tempo, he looked toward Woods: “Play!” Woods ran up and down the keys. “Not that much!” Morrison said. “Cut it in half!”\u003c/p>\n\u003cp>But the man knows what he wants, and when he gets it, everything falls into place. After an encore of Sonny Boy Williamson’s “Help Me,” the familiar three chords of “Gloria” charged in, somehow both a surprise and a foregone conclusion. For a few minutes, the crowd forgot about the troubles outside, chanting with a collective uplift of \u003cem>G-L-O-R-I-A\u003c/em>, and Morrison was in his happy place of being in a bar band again.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Van Morrison performs Feb. 17, 18, 19, 23 and 24 at the Palace of Fine Arts (3301 Lyon St., San Francisco). \u003ca href=\"https://www.palaceoffinearts.org/\">Tickets and more information here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Lovers Lane Unites San Francisco’s Mission District with Art and Cultura",
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"content": "\u003cfigure id=\"attachment_13986600\" class=\"wp-caption aligncenter\" style=\"max-width: 1703px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986600\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/DSC_8258-scaled.jpg\" alt=\"\" width=\"1703\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/DSC_8258-scaled.jpg 1703w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/DSC_8258-2000x3006.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/DSC_8258-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/DSC_8258-768x1154.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/DSC_8258-1022x1536.jpg 1022w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/DSC_8258-1363x2048.jpg 1363w\" sizes=\"auto, (max-width: 1703px) 100vw, 1703px\">\u003cfigcaption class=\"wp-caption-text\">Lovers Lane is a grassroots festival put on by the artists and activists of San Francisco’s Mission District. \u003ccite>(Andrew Brobst)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When Kookie Gonzalez was a teenager in San Francisco during the 1970s, the \u003ca href=\"https://www.kqed.org/arts/tag/mission-district\">Mission District\u003c/a> was bustling with block parties where local musicians would jam, lowriders would cruise and neighborhood activists would organize.\u003c/p>\n\u003cp>Decades later, Latinos in the Mission are fighting to keep their homes and cultural institutions intact in the face of rising rents and gentrification. But for Gonzalez and many others, events like \u003ca href=\"https://www.eventbrite.com/e/lovers-lane-2026-tickets-1979837225437?gclsrc=aw.ds&&utm_source=google&utm_medium=ebps&utm_campaign=PSNB_CUAL_PMK_PDO_0_US_SFC_BAU_0_GA05&utm_term=&aff=ebmkmxperformance&gad_source=1&gad_campaignid=21473931321&gbraid=0AAAAAo0IdU0eNfw5moP30SBXpe-2PyIhe&gclid=Cj0KCQiAy6vMBhDCARIsAK8rOgmJWohvHBvFIH83hD6XsgdJvSJmsnVi0l5fn8FIGAM8XeHruK_6UP8aAvkSEALw_wcB\">Lovers Lane\u003c/a> are a much-needed source of joy and resilience.\u003c/p>\n\u003cp>“Lovers Lane continues the tradition of community unity,” he says.\u003c/p>\n\u003cp>The free Valentine’s Day block party gets underway on Feb. 14 in the area surrounding Balmy Alley. It offers a love letter to the Mission in the form of live music, kids’ activities, local vendors, an art gallery, live painting, custom cars and wellness services. [aside postid='arts_13986534']\u003c/p>\n\u003cp>For Gonzalez, who’s performing at Lovers Lane with his band Los OG Luv Daddys, gathering around art and culture feels essential this year. The Trump administration’s ICE operations are spreading fear through Latino neighborhoods across the country. Locally, the \u003ca href=\"https://missionlocal.org/2026/02/how-to-save-the-mission-cultural-center/\">abrupt closure of the 49-year-old Mission Cultural Center for Latino Arts\u003c/a> last month brought more grief and frustration.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Everything that was gained is now being taken away from us again,” Gonzalez says. “And especially with what’s going on with ICE … people are going to unite again.”\u003c/p>\n\u003cp>Now in its fifth year, Lovers Lane will feature performances from rapper Raquel, whose anti-gentrification banger “\u003ca href=\"https://www.instagram.com/_.raaqel._/reel/DRu2hrqEkfP/?hl=en\">2MNYTESLAS\u003c/a>” has been gaining traction; soul band Andre Cruz & the Black Diamond Rhythm Band; música Mexicana singer Mxka; and Palestinian rapper MC Abdul. Richard Bean of “Suavecito” hitmakers Malo will join Los OG Luv Daddys on stage.\u003c/p>\n\u003cp>https://youtu.be/B4uF9pfu_UM?si=IHhzPPZOvNoRvxAs\u003c/p>\n\u003cp>The live painting lineup highlights some of the Bay’s most prolific muralists, including Vogue, Timothy B, Agana and Twin Walls Mural Company. Health offerings begin at 10 a.m. with a stretching class and continue with free massages, cupping, a blood-pressure check station and information tables from local health organizations. And families will have no shortage of options to keep kids occupied, including bounce houses, live reptiles, an arts-and-crafts station and even a skate ramp.\u003c/p>\n\u003cp>Singer Andre Cruz first attended Lovers Lane last year and knew it was his dream gig when he heard soul music blasting from every corner. “I’m Chicano and I’m Black. The second I walked in, I was like, ‘Oh, I’m home, this is it,’” he says. “I got involved basically by banging on the door, being like, ‘Yo, please, please let me bring my soul music. … Give me a little corner. We’ll do our thing.’”\u003c/p>\n\u003cp>https://youtu.be/1vqzFdoo-Tk?si=yWl9ZxkdlSLLdzI9\u003c/p>\n\u003cp>Singer Nataly Ortiz, who organizes the festival with founder and muralist Lucia Ippolito, says she often sees that type of enthusiasm from attendees, many of whom have signed up to help with the event. Sixty volunteers run the festival the day-of, and 30 more support planning throughout the year. Among those are local residents as well as born-and-raised San Franciscans who have since been priced out.\u003c/p>\n\u003cp>When Lovers Lane ran into permitting issues with the San Francisco Municipal Transportation Agency last year, dozens of neighbors showed up to a hearing to support the festival. “It was like one after the other in public comment,” Ortiz says. “Like, ‘We are here for it, we’re here for, we’re here for it.’ And a lot of love from different organizations, neighbors.”\u003c/p>\n\u003cp>By day Ortiz works at a family shelter and says many of the Lovers Lane volunteers also work in local nonprofits serving the community. She says her work often leaves her frustrated at the ways local governments and institutions leave behind society’s most vulnerable. For her and many others, Lovers Lane is the fuel that keeps them going.\u003c/p>\n\u003cp>“This is like art therapy in a festival,” she says.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.eventbrite.com/e/lovers-lane-2026-tickets-1979837225437?gclsrc=aw.ds&&utm_source=google&utm_medium=ebps&utm_campaign=PSNB_CUAL_PMK_PDO_0_US_SFC_BAU_0_GA05&utm_term=&aff=ebmkmxperformance&gad_source=1&gad_campaignid=21473931321&gbraid=0AAAAAo0IdU0eNfw5moP30SBXpe-2PyIhe&gclid=Cj0KCQiAy6vMBhDCARIsAK8rOgmJWohvHBvFIH83hD6XsgdJvSJmsnVi0l5fn8FIGAM8XeHruK_6UP8aAvkSEALw_wcB\">Lovers Lane\u003c/a> takes place on Harrison Street between 24th and 26th Streets, Balmy Alley and 25th Street from Harrison to Treat on Feb. 14, 2026, 10 a.m.–6 p.m.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13986600\" class=\"wp-caption aligncenter\" style=\"max-width: 1703px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986600\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/DSC_8258-scaled.jpg\" alt=\"\" width=\"1703\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/DSC_8258-scaled.jpg 1703w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/DSC_8258-2000x3006.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/DSC_8258-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/DSC_8258-768x1154.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/DSC_8258-1022x1536.jpg 1022w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/DSC_8258-1363x2048.jpg 1363w\" sizes=\"auto, (max-width: 1703px) 100vw, 1703px\">\u003cfigcaption class=\"wp-caption-text\">Lovers Lane is a grassroots festival put on by the artists and activists of San Francisco’s Mission District. \u003ccite>(Andrew Brobst)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When Kookie Gonzalez was a teenager in San Francisco during the 1970s, the \u003ca href=\"https://www.kqed.org/arts/tag/mission-district\">Mission District\u003c/a> was bustling with block parties where local musicians would jam, lowriders would cruise and neighborhood activists would organize.\u003c/p>\n\u003cp>Decades later, Latinos in the Mission are fighting to keep their homes and cultural institutions intact in the face of rising rents and gentrification. But for Gonzalez and many others, events like \u003ca href=\"https://www.eventbrite.com/e/lovers-lane-2026-tickets-1979837225437?gclsrc=aw.ds&&utm_source=google&utm_medium=ebps&utm_campaign=PSNB_CUAL_PMK_PDO_0_US_SFC_BAU_0_GA05&utm_term=&aff=ebmkmxperformance&gad_source=1&gad_campaignid=21473931321&gbraid=0AAAAAo0IdU0eNfw5moP30SBXpe-2PyIhe&gclid=Cj0KCQiAy6vMBhDCARIsAK8rOgmJWohvHBvFIH83hD6XsgdJvSJmsnVi0l5fn8FIGAM8XeHruK_6UP8aAvkSEALw_wcB\">Lovers Lane\u003c/a> are a much-needed source of joy and resilience.\u003c/p>\n\u003cp>“Lovers Lane continues the tradition of community unity,” he says.\u003c/p>\n\u003cp>The free Valentine’s Day block party gets underway on Feb. 14 in the area surrounding Balmy Alley. It offers a love letter to the Mission in the form of live music, kids’ activities, local vendors, an art gallery, live painting, custom cars and wellness services. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For Gonzalez, who’s performing at Lovers Lane with his band Los OG Luv Daddys, gathering around art and culture feels essential this year. The Trump administration’s ICE operations are spreading fear through Latino neighborhoods across the country. Locally, the \u003ca href=\"https://missionlocal.org/2026/02/how-to-save-the-mission-cultural-center/\">abrupt closure of the 49-year-old Mission Cultural Center for Latino Arts\u003c/a> last month brought more grief and frustration.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Everything that was gained is now being taken away from us again,” Gonzalez says. “And especially with what’s going on with ICE … people are going to unite again.”\u003c/p>\n\u003cp>Now in its fifth year, Lovers Lane will feature performances from rapper Raquel, whose anti-gentrification banger “\u003ca href=\"https://www.instagram.com/_.raaqel._/reel/DRu2hrqEkfP/?hl=en\">2MNYTESLAS\u003c/a>” has been gaining traction; soul band Andre Cruz & the Black Diamond Rhythm Band; música Mexicana singer Mxka; and Palestinian rapper MC Abdul. Richard Bean of “Suavecito” hitmakers Malo will join Los OG Luv Daddys on stage.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/B4uF9pfu_UM'\n title='//www.youtube.com/embed/B4uF9pfu_UM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The live painting lineup highlights some of the Bay’s most prolific muralists, including Vogue, Timothy B, Agana and Twin Walls Mural Company. Health offerings begin at 10 a.m. with a stretching class and continue with free massages, cupping, a blood-pressure check station and information tables from local health organizations. And families will have no shortage of options to keep kids occupied, including bounce houses, live reptiles, an arts-and-crafts station and even a skate ramp.\u003c/p>\n\u003cp>Singer Andre Cruz first attended Lovers Lane last year and knew it was his dream gig when he heard soul music blasting from every corner. “I’m Chicano and I’m Black. The second I walked in, I was like, ‘Oh, I’m home, this is it,’” he says. “I got involved basically by banging on the door, being like, ‘Yo, please, please let me bring my soul music. … Give me a little corner. We’ll do our thing.’”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/1vqzFdoo-Tk'\n title='//www.youtube.com/embed/1vqzFdoo-Tk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Singer Nataly Ortiz, who organizes the festival with founder and muralist Lucia Ippolito, says she often sees that type of enthusiasm from attendees, many of whom have signed up to help with the event. Sixty volunteers run the festival the day-of, and 30 more support planning throughout the year. Among those are local residents as well as born-and-raised San Franciscans who have since been priced out.\u003c/p>\n\u003cp>When Lovers Lane ran into permitting issues with the San Francisco Municipal Transportation Agency last year, dozens of neighbors showed up to a hearing to support the festival. “It was like one after the other in public comment,” Ortiz says. “Like, ‘We are here for it, we’re here for, we’re here for it.’ And a lot of love from different organizations, neighbors.”\u003c/p>\n\u003cp>By day Ortiz works at a family shelter and says many of the Lovers Lane volunteers also work in local nonprofits serving the community. She says her work often leaves her frustrated at the ways local governments and institutions leave behind society’s most vulnerable. For her and many others, Lovers Lane is the fuel that keeps them going.\u003c/p>\n\u003cp>“This is like art therapy in a festival,” she says.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.eventbrite.com/e/lovers-lane-2026-tickets-1979837225437?gclsrc=aw.ds&&utm_source=google&utm_medium=ebps&utm_campaign=PSNB_CUAL_PMK_PDO_0_US_SFC_BAU_0_GA05&utm_term=&aff=ebmkmxperformance&gad_source=1&gad_campaignid=21473931321&gbraid=0AAAAAo0IdU0eNfw5moP30SBXpe-2PyIhe&gclid=Cj0KCQiAy6vMBhDCARIsAK8rOgmJWohvHBvFIH83hD6XsgdJvSJmsnVi0l5fn8FIGAM8XeHruK_6UP8aAvkSEALw_wcB\">Lovers Lane\u003c/a> takes place on Harrison Street between 24th and 26th Streets, Balmy Alley and 25th Street from Harrison to Treat on Feb. 14, 2026, 10 a.m.–6 p.m.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "bad-bunny-bay-area-imoact-sol-food-mural-pinatas-super-bowl-mission-district",
"title": "How’s Bad Bunny Left His Mark on the Bay Area? Let Us Count the Ways",
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"headTitle": "How’s Bad Bunny Left His Mark on the Bay Area? Let Us Count the Ways | KQED",
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"content": "\u003cp>Fresh off winning three Grammy awards and selling out a world tour, \u003ca href=\"https://www.kqed.org/arts/tag/bad-bunny\">Bad Bunny\u003c/a> visits the Bay Area this weekend to perform \u003ca href=\"https://www.kqed.org/arts/13986188/super-bowl-2026-ice-levis-stadium-bad-bunny-politics-protest\">at the Super Bowl halftime show\u003c/a> — and the Bay is fired up for “Benito Bowl.”\u003c/p>\n\u003cp>“We are so proud of him,” says María Medina Serafín, a musician who moved to San Francisco from Puerto Rico to form an all-women salsa band. “He has elevated Puerto Rican culture and has done it in a way that is true to himself.”\u003c/p>\n\u003cp>[aside postID='arts_13986188']While the Bay doesn’t boast a Puerto Rican diaspora as large as New York City or Philadelphia, Bad Bunny’s music and style have been embraced by the region’s many Latin American communities. His views on the \u003ca href=\"https://www.teenvogue.com/story/bad-bunny-debi-tirar-mas-fotos-political-lines-explained\">gentrification\u003c/a> of his home island, \u003ca href=\"https://www.npr.org/2022/05/28/1101921360/what-it-means-for-pop-music-to-raise-awareness-about-intimate-partner-violence\">female empowerment\u003c/a> and the role of U.S. Immigration and Customs Enforcement have strongly resonated with those in the Bay Area that live between two cultures.\u003c/p>\n\u003cp>“Y claro, it gives you a lot of pride to hear your language on the biggest show on the planet — all right where you live,” adds Medina Serafín.\u003c/p>\n\u003cp>Below, read about local artists whose work is inspired by Benito, along with moments in Bay Area history marked by the reggaetonero’s influence.\u003c/p>\n\u003cfigure id=\"attachment_13986285\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986285\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/012026_BadBunnyBayArea_GH_002_qed.jpg\" alt=\"A Latina woman in black top poses next to a large red heart-shaped piñata, with shelves of merchandise in the background\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/012026_BadBunnyBayArea_GH_002_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/012026_BadBunnyBayArea_GH_002_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/012026_BadBunnyBayArea_GH_002_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/012026_BadBunnyBayArea_GH_002_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Nayeli Bustamante, owner of Flor de Oaxaca, poses with a Bad Bunny-themed piñata inside her shop in San Francisco on Jan. 20, 2026. Bustamante runs the Mission District store as both a retail space for traditional Oaxacan clothing and a workshop where she makes custom piñatas. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Piñatas for Benito\u003c/h2>\n\u003cp>A short ride on the 14 or the 49 Muni bus from Celis Castro’s mural is the Excelsior District, home to Flor de Oaxaca, a shop that for years has imported craftware, clothing and art from the Mexican state of Oaxaca to San Francisco. In recent years, owner Nayeli Bustamante has also sold masterfully decorated piñatas, which she and her staff make by hand.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>While she doesn’t describe herself as a “superfan,” Bustamante has followed Bad Bunny’s career, and admires his dedication. “I have also learned a lot about Puerto Rico through him, and the way he talks about his home reminds me of Oaxaca.”\u003c/p>\n\u003cp>Ahead of his halftime show, she’s been making Bad Bunny-inspired piñatas. Some look like the unhappy heart from the \u003ci>Un Verano Sin Ti\u003c/i> album cover, and others take the form of the singer’s original logo: a white bunny with crossed-out eyes.\u003c/p>\n\u003cp>“We start with a basic image, but as you build the piñata, you find so many different ways to add more detail, texture and spark,” Bustamante says. “When you present the piñata to a child on their big day, and you see their huge smile, that’s the best part of the process.”\u003c/p>\n\u003cfigure id=\"attachment_13986284\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986284\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/012026_BadBunnyBayArea_GH_022_qed.jpg\" alt=\"A Latino man with short black hair and a beard, in a black top, stands in front of a colorful mural of a heart with a sad face, a sunset, and dolphins, as an elderly man walks past\" width=\"2000\" height=\"1293\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/012026_BadBunnyBayArea_GH_022_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/012026_BadBunnyBayArea_GH_022_qed-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/012026_BadBunnyBayArea_GH_022_qed-768x497.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/012026_BadBunnyBayArea_GH_022_qed-1536x993.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Efren Celis Castro with his Bad Bunny-inspired mural on a neighborhood convenience store in San Francisco’s Mission District, with passerby, on Jan. 20, 2026. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Mission District’s ‘Un Verano Sin Ti’ mural\u003c/h2>\n\u003cp>A block away from the 24th and Mission BART station stands a larger-than-life recreation of Benito’s 2022 album \u003ci>Un Verano Sin Ti\u003c/i>, complete with a sun setting over the horizon, flying dolphins and, of course, a very sad heart. On the side of a liquor store at the corner of 24th and Bartlett streets, the mural was painted in 2022 by 22-year-old Efren Celis Castro.\u003c/p>\n\u003cp>Growing up in the Mission, Celis Castro was surrounded by the neighborhood’s murals — testaments to the social justice and artistic movements constantly moving through the neighborhood. In high school, while selling his own paintings along Mission Street, a local restaurant owner gave him his very first mural commission. While he soon received more opportunities, there was one image he wanted to paint.\u003c/p>\n\u003cp>“The album art of \u003ci>Un Verano Sin Ti\u003c/i>. It was the album of the summer,” he says. “The vibes, the sound, you had to experience it in that moment.”\u003c/p>\n\u003cp>No one was willing to commission it, though, so he walked to a liquor store nearby and convinced the owner to let him paint the mural for free. Years later, he still gets tagged on Instagram from Bad Bunny fans who happen upon the mural while walking to BART.\u003c/p>\n\u003cp>“Kids see it too, and they’re going to remember that,” he says. “I think that’s what’s most important for me. Helping out the youth and giving inspiration to the young ones.”\u003c/p>\n\u003cfigure id=\"attachment_13986283\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986283\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/GettyImages-1321640886.jpg\" alt=\"A plate of chicken, rice, plantains and soup\" width=\"1024\" height=\"694\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/GettyImages-1321640886.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/GettyImages-1321640886-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/GettyImages-1321640886-768x521.jpg 768w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">The Pollo Al Horno, with rice, plantains and soup, at Sol Food restaurant in San Rafael. \u003ccite>(Liz Hafalia/The San Francisco Chronicle via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The day Bad Bunny brought a party of 80 to a Marin restaurant\u003c/h2>\n\u003cp>Two days before an Oakland show in 2022, Benito brought an entourage of 80 friends and members of his production crew across the Golden Gate Bridge for Puerto Rican food. They found it at Sol Food in San Rafael, and packed the place, ordering almost everything on the menu, says restaurant manager Francisco Gómez.\u003c/p>\n\u003cp>“In the beginning, we didn’t even know if he was with the group,” he says. “We assumed it was just his team working the concert — until he walked inside.”\u003c/p>\n\u003cp>With such a big party, all hands were on deck. Gómez himself jumped into the kitchen line to get orders out. “But everybody was laughing, eating, taking pictures, and enjoying the food,” he says, adding that Benito took plenty of selfies with the restaurant staff and thanked them for the meal.\u003c/p>\n\u003cp>Since that visit, Gómez says, Sol Food gets new customers from all over who heard about the restaurant after \u003ca href=\"https://www.sfgate.com/food/article/Bad-Bunny-dines-at-SF-Bay-Area-Sol-Food-17444606.php\">the reggaetonero’s visit\u003c/a>. He’s particularly excited that more people are trying out Puerto Rican food.\u003c/p>\n\u003cp>https://youtu.be/NO7EtdR3Dyw?si=VAkiKNXYaL5bkxIt\u003c/p>\n\u003ch2>San Francisco stars in a Bad Bunny music video\u003c/h2>\n\u003cp>Close your eyes and picture a Bad Bunny music video: a Caribbean beach, most likely, toasted by the warm sun, with happy people running and dancing. Pretty good guess — that essentially describes the visualisers from \u003ci>Un Verano Sin Ti\u003c/i>.\u003c/p>\n\u003cp>A cold and foggy day in San Francisco may not immediately come to mind, but that’s precisely the setting for the \u003ca href=\"https://youtu.be/NO7EtdR3Dyw?si=VAkiKNXYaL5bkxIt\">music video for 2021’s “Lo Siento BB:/,”\u003c/a> featuring producer Tainy and Mexican indie legend Julieta Venegas. Directed by Colombian-American director Stillz, the video follows a large, hairy \u003ci>Where the Wild Things Are\u003c/i>-like creature as it joylessly walks around the city, interrupted by memories of its sweetheart.\u003c/p>\n\u003cp>Matching the song’s melancholy lyrics, the video shows the quiet solitude that comes when fog envelops the city. Potrero Hill, the Mission, Ocean Beach and Chinatown become the background for the protagonist’s journey through heartbreak.\u003c/p>\n\u003cfigure id=\"attachment_13986286\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986286\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/ChingaLaMigra.BadBunny.jpg\" alt=\"\" width=\"2000\" height=\"1006\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/ChingaLaMigra.BadBunny.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/ChingaLaMigra.BadBunny-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/ChingaLaMigra.BadBunny-768x386.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/ChingaLaMigra.BadBunny-1536x773.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A ‘Chinga La Migra’ poster design featuring Sapo Concho, the Puerto Rican crested toad that appears in Bad Bunny’s Debí Tirar Más Fotos world tour. \u003ccite>(Designer Unknown)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>In the Bay’s anti-ICE protests, Benito’s creative symbols find a home\u003c/h2>\n\u003cp>Bay Area immigrant advocates have worked \u003ca href=\"https://www.kqed.org/news/12050993/a-day-in-the-life-of-san-joses-rapid-response-network-built-to-resist-ice-fear\">around the clock\u003c/a> to prevent deportations, assist families with legal proceedings and \u003ca href=\"https://www.kqed.org/news/12071746/thousands-gather-in-san-francisco-businesses-close-as-part-of-nationwide-ice-out-protest\">speak out\u003c/a> against violent acts by ICE agents, most recently the killings of \u003ca href=\"https://www.mprnews.org/story/2026/01/09/renee-goods-wife-releases-statement-about-ice-shooting\">Renée Macklin Good\u003c/a> and \u003ca href=\"https://www.npr.org/2026/01/26/nx-s1-5688898/alex-pretti-remembered-as-friend-nurse-and-dog-dad\">Alex Pretti\u003c/a> in Minneapolis.\u003c/p>\n\u003cp>While there’s no shortage of symbols used by folks on the ground to organize, posters have lately gone up in San Francisco with a familiar character: \u003ca href=\"https://wearemitu.com/wearemitu/entertainment/bad-bunny-sapo-concho-puerto-rico-visual-album/\">Sapo Concho\u003c/a>, the Puerto Rican crested toad that appears prominently in his Debí Tirar Más Fotos world tour.\u003c/p>\n\u003cp>The design is simple: Sapo Concho staring directly at the viewer while bold Barbara Kruger-style letters spell out “Chinga la Migra” or “Fuck ICE.” Around his neck, Sapo Concho wears a whistle similar to those used by volunteers with rapid response networks trained to spot ICE activity and alert vulnerable community members.\u003c/p>\n\u003cp>[aside postID='arts_13953317']In an interview \u003ca href=\"https://i-d.co/article/bad-bunny-puerto-rico-residency-issue-375-cover/\">last year\u003c/a>, Bad Bunny said he decided against performing in the United States on his Debí Tirar Más Fotos tour out of fear that ICE would target fans attending his shows. And although several Department of Homeland Security officials previously threatened to bring immigration enforcement to the big game, local officials and the NFL \u003ca href=\"https://www.kqed.org/news/12071704/ice-super-bowl-immigration-enforcement-santa-clara-san-francisco-bay-area-2026\">affirmed this week\u003c/a> that “there are no planned ICE or immigration enforcement operations that are scheduled around the Super Bowl or any of the Super Bowl related events.”\u003c/p>\n\u003cp>During his Grammy acceptance speech for Best Album, Benito sent out a clear message on a night when other major celebrities strongly criticized the White House’s immigration policies. “Before I say thanks to God, I’m going to say: ‘ICE out’,” said the musician. “We’re not savages, we’re not animals, we’re not aliens. We are humans, and we are Americans.”\u003c/p>\n\u003cfigure id=\"attachment_13935418\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935418\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/KQEDLIVE21LaDona-039-scaled.jpg\" alt=\"La Doña sings on stage next to her saxophonist and bassist.\" width=\"2560\" height=\"1703\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/KQEDLIVE21LaDona-039-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/KQEDLIVE21LaDona-039-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/KQEDLIVE21LaDona-039-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/KQEDLIVE21LaDona-039-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/KQEDLIVE21LaDona-039-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/KQEDLIVE21LaDona-039-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/KQEDLIVE21LaDona-039-2048x1363.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/KQEDLIVE21LaDona-039-1920x1277.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">La Doña performs at The Commons in KQED’s headquarters in 2021. \u003ccite>(Alain McLaughlin for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>And the Bay is ready to party for Benito Bowl\u003c/h2>\n\u003cp>Many young Latinos organizing Super Bowl watch parties are ensuring their events acknowledge immigrant families’ current fears. In Oakland on Sunday, local musician and educator La Doña hosts \u003ca href=\"https://www.instagram.com/p/DUHWjGCgcah\">a watch party at Crybaby\u003c/a>, with event proceeds going to the \u003ca href=\"https://www.ccijustice.org/\">California Collaborative for Immigrant Justice\u003c/a>, a group that demands transparency and better conditions at immigration detention centers.\u003c/p>\n\u003cp>In San Francisco, El Rio in the Mission District hosts eight DJs for a \u003ca href=\"https://tockify.com/elriosf2/detail/4093/1770591600000\">Super Bowl and halftime show watch party\u003c/a>. Event organizers tell KQED they plan to distribute stacks of “red cards,” which list people’s rights during encounters with federal immigration agents.\u003c/p>\n\u003cp>“We’re not going to be afraid. We’re going to be smart. We’re going to be informed and we’re going to be there to protect one another,” organizer Óscar Delgado says. The party’s name — “Play Bad Bunny” — is inspired by a constant request that he and other DJs unanimously get from their audiences.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>For those who won’t be at the stadium but still want to be close to Benito \u003ci>somehow\u003c/i>, Bad Bunny impersonator \u003ca href=\"https://www.instagram.com/abdul__bunny\">Abdul Bunny\u003c/a> performs \u003ca href=\"https://www.instagram.com/p/DUClv1akcDm/\">Feb. 4 at Beaux\u003c/a> in San Francisco and \u003ca href=\"https://www.instagram.com/p/DUT3q1SkkxR\">Feb. 6 at Que Rico\u003c/a> in Oakland.\u003c/p>\n\n",
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"excerpt": "From piñatas in the Mission District to anti-ICE signs inspired by his music, Bad Bunny has left a lasting impression ahead of his big gameday show.\r\n",
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"title": "How’s Bad Bunny Left His Mark on the Bay Area? Let Us Count the Ways | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Fresh off winning three Grammy awards and selling out a world tour, \u003ca href=\"https://www.kqed.org/arts/tag/bad-bunny\">Bad Bunny\u003c/a> visits the Bay Area this weekend to perform \u003ca href=\"https://www.kqed.org/arts/13986188/super-bowl-2026-ice-levis-stadium-bad-bunny-politics-protest\">at the Super Bowl halftime show\u003c/a> — and the Bay is fired up for “Benito Bowl.”\u003c/p>\n\u003cp>“We are so proud of him,” says María Medina Serafín, a musician who moved to San Francisco from Puerto Rico to form an all-women salsa band. “He has elevated Puerto Rican culture and has done it in a way that is true to himself.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>While the Bay doesn’t boast a Puerto Rican diaspora as large as New York City or Philadelphia, Bad Bunny’s music and style have been embraced by the region’s many Latin American communities. His views on the \u003ca href=\"https://www.teenvogue.com/story/bad-bunny-debi-tirar-mas-fotos-political-lines-explained\">gentrification\u003c/a> of his home island, \u003ca href=\"https://www.npr.org/2022/05/28/1101921360/what-it-means-for-pop-music-to-raise-awareness-about-intimate-partner-violence\">female empowerment\u003c/a> and the role of U.S. Immigration and Customs Enforcement have strongly resonated with those in the Bay Area that live between two cultures.\u003c/p>\n\u003cp>“Y claro, it gives you a lot of pride to hear your language on the biggest show on the planet — all right where you live,” adds Medina Serafín.\u003c/p>\n\u003cp>Below, read about local artists whose work is inspired by Benito, along with moments in Bay Area history marked by the reggaetonero’s influence.\u003c/p>\n\u003cfigure id=\"attachment_13986285\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986285\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/012026_BadBunnyBayArea_GH_002_qed.jpg\" alt=\"A Latina woman in black top poses next to a large red heart-shaped piñata, with shelves of merchandise in the background\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/012026_BadBunnyBayArea_GH_002_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/012026_BadBunnyBayArea_GH_002_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/012026_BadBunnyBayArea_GH_002_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/012026_BadBunnyBayArea_GH_002_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Nayeli Bustamante, owner of Flor de Oaxaca, poses with a Bad Bunny-themed piñata inside her shop in San Francisco on Jan. 20, 2026. Bustamante runs the Mission District store as both a retail space for traditional Oaxacan clothing and a workshop where she makes custom piñatas. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Piñatas for Benito\u003c/h2>\n\u003cp>A short ride on the 14 or the 49 Muni bus from Celis Castro’s mural is the Excelsior District, home to Flor de Oaxaca, a shop that for years has imported craftware, clothing and art from the Mexican state of Oaxaca to San Francisco. In recent years, owner Nayeli Bustamante has also sold masterfully decorated piñatas, which she and her staff make by hand.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>While she doesn’t describe herself as a “superfan,” Bustamante has followed Bad Bunny’s career, and admires his dedication. “I have also learned a lot about Puerto Rico through him, and the way he talks about his home reminds me of Oaxaca.”\u003c/p>\n\u003cp>Ahead of his halftime show, she’s been making Bad Bunny-inspired piñatas. Some look like the unhappy heart from the \u003ci>Un Verano Sin Ti\u003c/i> album cover, and others take the form of the singer’s original logo: a white bunny with crossed-out eyes.\u003c/p>\n\u003cp>“We start with a basic image, but as you build the piñata, you find so many different ways to add more detail, texture and spark,” Bustamante says. “When you present the piñata to a child on their big day, and you see their huge smile, that’s the best part of the process.”\u003c/p>\n\u003cfigure id=\"attachment_13986284\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986284\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/012026_BadBunnyBayArea_GH_022_qed.jpg\" alt=\"A Latino man with short black hair and a beard, in a black top, stands in front of a colorful mural of a heart with a sad face, a sunset, and dolphins, as an elderly man walks past\" width=\"2000\" height=\"1293\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/012026_BadBunnyBayArea_GH_022_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/012026_BadBunnyBayArea_GH_022_qed-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/012026_BadBunnyBayArea_GH_022_qed-768x497.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/012026_BadBunnyBayArea_GH_022_qed-1536x993.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Efren Celis Castro with his Bad Bunny-inspired mural on a neighborhood convenience store in San Francisco’s Mission District, with passerby, on Jan. 20, 2026. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Mission District’s ‘Un Verano Sin Ti’ mural\u003c/h2>\n\u003cp>A block away from the 24th and Mission BART station stands a larger-than-life recreation of Benito’s 2022 album \u003ci>Un Verano Sin Ti\u003c/i>, complete with a sun setting over the horizon, flying dolphins and, of course, a very sad heart. On the side of a liquor store at the corner of 24th and Bartlett streets, the mural was painted in 2022 by 22-year-old Efren Celis Castro.\u003c/p>\n\u003cp>Growing up in the Mission, Celis Castro was surrounded by the neighborhood’s murals — testaments to the social justice and artistic movements constantly moving through the neighborhood. In high school, while selling his own paintings along Mission Street, a local restaurant owner gave him his very first mural commission. While he soon received more opportunities, there was one image he wanted to paint.\u003c/p>\n\u003cp>“The album art of \u003ci>Un Verano Sin Ti\u003c/i>. It was the album of the summer,” he says. “The vibes, the sound, you had to experience it in that moment.”\u003c/p>\n\u003cp>No one was willing to commission it, though, so he walked to a liquor store nearby and convinced the owner to let him paint the mural for free. Years later, he still gets tagged on Instagram from Bad Bunny fans who happen upon the mural while walking to BART.\u003c/p>\n\u003cp>“Kids see it too, and they’re going to remember that,” he says. “I think that’s what’s most important for me. Helping out the youth and giving inspiration to the young ones.”\u003c/p>\n\u003cfigure id=\"attachment_13986283\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986283\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/GettyImages-1321640886.jpg\" alt=\"A plate of chicken, rice, plantains and soup\" width=\"1024\" height=\"694\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/GettyImages-1321640886.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/GettyImages-1321640886-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/GettyImages-1321640886-768x521.jpg 768w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">The Pollo Al Horno, with rice, plantains and soup, at Sol Food restaurant in San Rafael. \u003ccite>(Liz Hafalia/The San Francisco Chronicle via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The day Bad Bunny brought a party of 80 to a Marin restaurant\u003c/h2>\n\u003cp>Two days before an Oakland show in 2022, Benito brought an entourage of 80 friends and members of his production crew across the Golden Gate Bridge for Puerto Rican food. They found it at Sol Food in San Rafael, and packed the place, ordering almost everything on the menu, says restaurant manager Francisco Gómez.\u003c/p>\n\u003cp>“In the beginning, we didn’t even know if he was with the group,” he says. “We assumed it was just his team working the concert — until he walked inside.”\u003c/p>\n\u003cp>With such a big party, all hands were on deck. Gómez himself jumped into the kitchen line to get orders out. “But everybody was laughing, eating, taking pictures, and enjoying the food,” he says, adding that Benito took plenty of selfies with the restaurant staff and thanked them for the meal.\u003c/p>\n\u003cp>Since that visit, Gómez says, Sol Food gets new customers from all over who heard about the restaurant after \u003ca href=\"https://www.sfgate.com/food/article/Bad-Bunny-dines-at-SF-Bay-Area-Sol-Food-17444606.php\">the reggaetonero’s visit\u003c/a>. He’s particularly excited that more people are trying out Puerto Rican food.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/NO7EtdR3Dyw'\n title='//www.youtube.com/embed/NO7EtdR3Dyw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>San Francisco stars in a Bad Bunny music video\u003c/h2>\n\u003cp>Close your eyes and picture a Bad Bunny music video: a Caribbean beach, most likely, toasted by the warm sun, with happy people running and dancing. Pretty good guess — that essentially describes the visualisers from \u003ci>Un Verano Sin Ti\u003c/i>.\u003c/p>\n\u003cp>A cold and foggy day in San Francisco may not immediately come to mind, but that’s precisely the setting for the \u003ca href=\"https://youtu.be/NO7EtdR3Dyw?si=VAkiKNXYaL5bkxIt\">music video for 2021’s “Lo Siento BB:/,”\u003c/a> featuring producer Tainy and Mexican indie legend Julieta Venegas. Directed by Colombian-American director Stillz, the video follows a large, hairy \u003ci>Where the Wild Things Are\u003c/i>-like creature as it joylessly walks around the city, interrupted by memories of its sweetheart.\u003c/p>\n\u003cp>Matching the song’s melancholy lyrics, the video shows the quiet solitude that comes when fog envelops the city. Potrero Hill, the Mission, Ocean Beach and Chinatown become the background for the protagonist’s journey through heartbreak.\u003c/p>\n\u003cfigure id=\"attachment_13986286\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986286\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/ChingaLaMigra.BadBunny.jpg\" alt=\"\" width=\"2000\" height=\"1006\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/ChingaLaMigra.BadBunny.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/ChingaLaMigra.BadBunny-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/ChingaLaMigra.BadBunny-768x386.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/ChingaLaMigra.BadBunny-1536x773.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A ‘Chinga La Migra’ poster design featuring Sapo Concho, the Puerto Rican crested toad that appears in Bad Bunny’s Debí Tirar Más Fotos world tour. \u003ccite>(Designer Unknown)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>In the Bay’s anti-ICE protests, Benito’s creative symbols find a home\u003c/h2>\n\u003cp>Bay Area immigrant advocates have worked \u003ca href=\"https://www.kqed.org/news/12050993/a-day-in-the-life-of-san-joses-rapid-response-network-built-to-resist-ice-fear\">around the clock\u003c/a> to prevent deportations, assist families with legal proceedings and \u003ca href=\"https://www.kqed.org/news/12071746/thousands-gather-in-san-francisco-businesses-close-as-part-of-nationwide-ice-out-protest\">speak out\u003c/a> against violent acts by ICE agents, most recently the killings of \u003ca href=\"https://www.mprnews.org/story/2026/01/09/renee-goods-wife-releases-statement-about-ice-shooting\">Renée Macklin Good\u003c/a> and \u003ca href=\"https://www.npr.org/2026/01/26/nx-s1-5688898/alex-pretti-remembered-as-friend-nurse-and-dog-dad\">Alex Pretti\u003c/a> in Minneapolis.\u003c/p>\n\u003cp>While there’s no shortage of symbols used by folks on the ground to organize, posters have lately gone up in San Francisco with a familiar character: \u003ca href=\"https://wearemitu.com/wearemitu/entertainment/bad-bunny-sapo-concho-puerto-rico-visual-album/\">Sapo Concho\u003c/a>, the Puerto Rican crested toad that appears prominently in his Debí Tirar Más Fotos world tour.\u003c/p>\n\u003cp>The design is simple: Sapo Concho staring directly at the viewer while bold Barbara Kruger-style letters spell out “Chinga la Migra” or “Fuck ICE.” Around his neck, Sapo Concho wears a whistle similar to those used by volunteers with rapid response networks trained to spot ICE activity and alert vulnerable community members.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In an interview \u003ca href=\"https://i-d.co/article/bad-bunny-puerto-rico-residency-issue-375-cover/\">last year\u003c/a>, Bad Bunny said he decided against performing in the United States on his Debí Tirar Más Fotos tour out of fear that ICE would target fans attending his shows. And although several Department of Homeland Security officials previously threatened to bring immigration enforcement to the big game, local officials and the NFL \u003ca href=\"https://www.kqed.org/news/12071704/ice-super-bowl-immigration-enforcement-santa-clara-san-francisco-bay-area-2026\">affirmed this week\u003c/a> that “there are no planned ICE or immigration enforcement operations that are scheduled around the Super Bowl or any of the Super Bowl related events.”\u003c/p>\n\u003cp>During his Grammy acceptance speech for Best Album, Benito sent out a clear message on a night when other major celebrities strongly criticized the White House’s immigration policies. “Before I say thanks to God, I’m going to say: ‘ICE out’,” said the musician. “We’re not savages, we’re not animals, we’re not aliens. We are humans, and we are Americans.”\u003c/p>\n\u003cfigure id=\"attachment_13935418\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935418\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/KQEDLIVE21LaDona-039-scaled.jpg\" alt=\"La Doña sings on stage next to her saxophonist and bassist.\" width=\"2560\" height=\"1703\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/KQEDLIVE21LaDona-039-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/KQEDLIVE21LaDona-039-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/KQEDLIVE21LaDona-039-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/KQEDLIVE21LaDona-039-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/KQEDLIVE21LaDona-039-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/KQEDLIVE21LaDona-039-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/KQEDLIVE21LaDona-039-2048x1363.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/KQEDLIVE21LaDona-039-1920x1277.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">La Doña performs at The Commons in KQED’s headquarters in 2021. \u003ccite>(Alain McLaughlin for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>And the Bay is ready to party for Benito Bowl\u003c/h2>\n\u003cp>Many young Latinos organizing Super Bowl watch parties are ensuring their events acknowledge immigrant families’ current fears. In Oakland on Sunday, local musician and educator La Doña hosts \u003ca href=\"https://www.instagram.com/p/DUHWjGCgcah\">a watch party at Crybaby\u003c/a>, with event proceeds going to the \u003ca href=\"https://www.ccijustice.org/\">California Collaborative for Immigrant Justice\u003c/a>, a group that demands transparency and better conditions at immigration detention centers.\u003c/p>\n\u003cp>In San Francisco, El Rio in the Mission District hosts eight DJs for a \u003ca href=\"https://tockify.com/elriosf2/detail/4093/1770591600000\">Super Bowl and halftime show watch party\u003c/a>. Event organizers tell KQED they plan to distribute stacks of “red cards,” which list people’s rights during encounters with federal immigration agents.\u003c/p>\n\u003cp>“We’re not going to be afraid. We’re going to be smart. We’re going to be informed and we’re going to be there to protect one another,” organizer Óscar Delgado says. The party’s name — “Play Bad Bunny” — is inspired by a constant request that he and other DJs unanimously get from their audiences.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For those who won’t be at the stadium but still want to be close to Benito \u003ci>somehow\u003c/i>, Bad Bunny impersonator \u003ca href=\"https://www.instagram.com/abdul__bunny\">Abdul Bunny\u003c/a> performs \u003ca href=\"https://www.instagram.com/p/DUClv1akcDm/\">Feb. 4 at Beaux\u003c/a> in San Francisco and \u003ca href=\"https://www.instagram.com/p/DUT3q1SkkxR\">Feb. 6 at Que Rico\u003c/a> in Oakland.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "José ‘Dr. Loco’ Cuéllar, Chicano Scholar, Bandleader and Activist, Dies at 84",
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"content": "\u003cp>The last pachuco is gone.\u003c/p>\n\u003cp>Anthropologist José B. Cuéllar, who carved out a singular musical career as the saxophonist, accordionist, vocalist and leader of \u003ca href=\"https://www.kqed.org/arts/13934296/8-over-80-jose-cuellar-dr-loco\">Dr. Loco’s Rockin’ Jalapeño Band\u003c/a>, died at his Mission District home Jan. 21 surrounded by family. He was 84. The cause was lung cancer, according to his wife, Stacie Powers Cuéllar.\u003c/p>\n\u003cp>With his bushy eyebrows, impish smile, braided beard and long hair worn in a tight plait, Cuéllar was an iconic figure who effortlessly intertwined his twin callings as an educator and bandleader. His distinguished career as an academic included two decades studying and documenting Chicano culture as chair and director of San Francisco State’s Cesar Chavez Public Policy Institute.\u003c/p>\n\u003cp>But it was as Dr. Loco that he himself took the reins of Chicano culture.\u003c/p>\n\u003cp>[aside postID=arts_13934296 hero='https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/RS67183_230721-Jose%CC%81Cue%CC%81llar8over80-06-BL_COVER.jpg']Launched during his years teaching at Stanford in the mid-1980s, the Rockin’ Jalapeno Band drew upon his earlier career as an R&B musician in San Antonio, and later, Las Vegas. But the inveterately curious Cuéllar kept expanding the Rockin’ Jalapeno sound, deepening its connections to New Orleans grooves, jazz, and soul. Over the decades, the group included dozens of top Bay Area musicians, including many who went on to lead their own bands, and became known as a sure-fire act for fundraisers, community events, rallies and protests.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Even early on he had killer musicians, guys who represented the real Tejano sound he’d come from,” said Jesse “Chuy” Varela, a Latin music expert and program and music director at the radio station KCSM. “As he evolved he kept bringing in different folks, like trombonist/arranger Wayne Wallace and drummer Brian Andres. A lot of the gigs weren’t going to pay a lot, and he’d be paying musicians out of his pocket. For Loco, it was more about spreading joy through the message.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=J-WMhAJONdk\u003c/p>\n\u003cp>That message traveled much further than Cuéllar expected. His sound and visage made a particularly deep impression in Mexico City, where rock en español pioneers \u003ca href=\"https://www.instagram.com/malditavecindad/?hl=en\">Maldita Vecindad\u003c/a> viewed him as the embodiment of borderlands cool. They’d scored a major hit in 1991 with “\u003ca href=\"https://www.youtube.com/watch?v=jRN6n9Wgq2Q\">Pachuco\u003c/a>,” a song celebrating the sartorial style of Mexican American young men exemplified by zoot suits, “and they saw him as the last pachuco,” said Greg Landau, the eight-time Grammy Award nominee who started working with Dr. Loco as a producer and sideman in the 1990s.\u003c/p>\n\u003cp>In a final act of friendship, Landau produced an \u003ca href=\"https://missionlocal.org/2025/12/dr-locos-last-jam-at-brava/\">era-encompassing concert last month at Brava Theater Center\u003c/a>, “A Rockin’ Jalapeño Tribute Concert: Celebrating the Musical Legacy of Dr. Loco.” Landau had already been thinking about pulling together a celebration, but Cuéllar’s terminal diagnosis put the project on a fast track. The sold-out event featured three generations of Rockin’ Jalapeno bands playing songs from the albums \u003cem>Movimiento Music\u003c/em>, \u003cem>¡Puro Party!\u003c/em> and \u003cem>Barrio Ritmos & Blues\u003c/em>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zbY1JHtRFI8\u003c/p>\n\u003cp>“He was so overwhelmed,” Stacie Powers Cuéllar said of the concert, which Dr. Loco attended but was unable to perform at in his full capacity. “One thing he did through his music was connecting people all the time, in the classroom, at events. He had a really good time, but it was also heartbreaking for him, to know that was a defining moment and not be able to direct it. He so was proud of all the musicians and all the work and gigs they’d done.”\u003c/p>\n\u003cp>Born April 3, 1941 in San Antonio, Texas, Cuéllar often described obtaining a saxophone as a high school senior as a strike of lightning that changed the course of his life. He learned the ropes on the Texas roadhouse circuit with the Del–Kings, a mostly Chicano R&B band with a book of full of honking numbers by Junior Parker, Bobby “Blue” Bland, B.B. King and T–Bone Walker, with a little Five Satins-style doo-wop thrown in for romance.\u003c/p>\n\u003cp>He put down his horn when he enlisted in the Air Force, and trained as a dental technician. But upon mustering out, he realized that he didn’t want to face the hurdles “it would take for a Mexican to be a dentist in Texas, as presented to me by my dentist,” he told KQED in a 2023 interview. He returned to the saxophone, a more stimulating work tool than a dental drill. \u003c/p>\n\u003cfigure id=\"attachment_13931989\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS67199_230721-Jose%CC%81Cue%CC%81llar8over80-21-BL-KQED.jpg\" alt=\"A person with gray hair and a gray moustache and beard holds a photo of himself playing music at an earlier age.\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13931989\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS67199_230721-JoséCuéllar8over80-21-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS67199_230721-JoséCuéllar8over80-21-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS67199_230721-JoséCuéllar8over80-21-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS67199_230721-JoséCuéllar8over80-21-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS67199_230721-JoséCuéllar8over80-21-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS67199_230721-JoséCuéllar8over80-21-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS67199_230721-JoséCuéllar8over80-21-BL-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">José Cuéllar, 82, holds a photo of himself playing music in the early 1990s at his home in San Francisco on July 21, 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While Cuéllar spent the ’60s performing in Vegas and Southern California, he gradually found his way back to school, enrolling at Golden West College in Huntington Beach to study music. The anti-Vietnam War movement started his politicization, and when he transferred to Long Beach State in 1969, the rising Chicano movement, then deeply entwined with anti-war protests, shaped his scholarly direction.\u003c/p>\n\u003cp>He managed to juggle music and graduate studies, eventually earning a PhD in anthropology from UCLA in 1977. A tenure-track position at the University of Colorado at Boulder, however, left him bereft of musical comrades. “I wanted to get more involved in my academics too,” he said. “So the horn went into the closet and stayed there until I got to Stanford in 1983.”\u003c/p>\n\u003cp>[aside postID='arts_13880670']It was his students at Stanford who inspired him to get his groove back. Teaching Chicano Studies and serving as senior ethnogerontologist at the School of Medicine, they urged Cuéllar to form a combo to play campus events. Always in the thick of the cultural ferment, he often backed the Chicano comedy troupe Culture Clash, who felt he needed a catchy stage name. The problem was solved while he was doing research on gang kids, cholos, in Tijuana.\u003c/p>\n\u003cp>“I was standing there with a bunch of kids, and this kid comes up and says ‘Is it true you’re a doctor?’ And I said ‘Yeah, I’m an anthropologist,’ but in Spanish its \u003cem>antropólogo\u003c/em>, so he goes, ‘Dr. Loco.’” The name stuck.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Cuéllar is survived by his younger brothers, Hector and Tony Cuéllar, his son Benny Cuéllar, wife Stacie Powers Cuéllar, and their daughter Ixchel Cuéllar. A GoFundMe campaign to help funeral expenses will soon be created, according to his wife Stacie. A celebration of his life is planned for early April.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The last pachuco is gone.\u003c/p>\n\u003cp>Anthropologist José B. Cuéllar, who carved out a singular musical career as the saxophonist, accordionist, vocalist and leader of \u003ca href=\"https://www.kqed.org/arts/13934296/8-over-80-jose-cuellar-dr-loco\">Dr. Loco’s Rockin’ Jalapeño Band\u003c/a>, died at his Mission District home Jan. 21 surrounded by family. He was 84. The cause was lung cancer, according to his wife, Stacie Powers Cuéllar.\u003c/p>\n\u003cp>With his bushy eyebrows, impish smile, braided beard and long hair worn in a tight plait, Cuéllar was an iconic figure who effortlessly intertwined his twin callings as an educator and bandleader. His distinguished career as an academic included two decades studying and documenting Chicano culture as chair and director of San Francisco State’s Cesar Chavez Public Policy Institute.\u003c/p>\n\u003cp>But it was as Dr. Loco that he himself took the reins of Chicano culture.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Launched during his years teaching at Stanford in the mid-1980s, the Rockin’ Jalapeno Band drew upon his earlier career as an R&B musician in San Antonio, and later, Las Vegas. But the inveterately curious Cuéllar kept expanding the Rockin’ Jalapeno sound, deepening its connections to New Orleans grooves, jazz, and soul. Over the decades, the group included dozens of top Bay Area musicians, including many who went on to lead their own bands, and became known as a sure-fire act for fundraisers, community events, rallies and protests.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Even early on he had killer musicians, guys who represented the real Tejano sound he’d come from,” said Jesse “Chuy” Varela, a Latin music expert and program and music director at the radio station KCSM. “As he evolved he kept bringing in different folks, like trombonist/arranger Wayne Wallace and drummer Brian Andres. A lot of the gigs weren’t going to pay a lot, and he’d be paying musicians out of his pocket. For Loco, it was more about spreading joy through the message.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/J-WMhAJONdk'\n title='//www.youtube.com/embed/J-WMhAJONdk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>That message traveled much further than Cuéllar expected. His sound and visage made a particularly deep impression in Mexico City, where rock en español pioneers \u003ca href=\"https://www.instagram.com/malditavecindad/?hl=en\">Maldita Vecindad\u003c/a> viewed him as the embodiment of borderlands cool. They’d scored a major hit in 1991 with “\u003ca href=\"https://www.youtube.com/watch?v=jRN6n9Wgq2Q\">Pachuco\u003c/a>,” a song celebrating the sartorial style of Mexican American young men exemplified by zoot suits, “and they saw him as the last pachuco,” said Greg Landau, the eight-time Grammy Award nominee who started working with Dr. Loco as a producer and sideman in the 1990s.\u003c/p>\n\u003cp>In a final act of friendship, Landau produced an \u003ca href=\"https://missionlocal.org/2025/12/dr-locos-last-jam-at-brava/\">era-encompassing concert last month at Brava Theater Center\u003c/a>, “A Rockin’ Jalapeño Tribute Concert: Celebrating the Musical Legacy of Dr. Loco.” Landau had already been thinking about pulling together a celebration, but Cuéllar’s terminal diagnosis put the project on a fast track. The sold-out event featured three generations of Rockin’ Jalapeno bands playing songs from the albums \u003cem>Movimiento Music\u003c/em>, \u003cem>¡Puro Party!\u003c/em> and \u003cem>Barrio Ritmos & Blues\u003c/em>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/zbY1JHtRFI8'\n title='//www.youtube.com/embed/zbY1JHtRFI8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“He was so overwhelmed,” Stacie Powers Cuéllar said of the concert, which Dr. Loco attended but was unable to perform at in his full capacity. “One thing he did through his music was connecting people all the time, in the classroom, at events. He had a really good time, but it was also heartbreaking for him, to know that was a defining moment and not be able to direct it. He so was proud of all the musicians and all the work and gigs they’d done.”\u003c/p>\n\u003cp>Born April 3, 1941 in San Antonio, Texas, Cuéllar often described obtaining a saxophone as a high school senior as a strike of lightning that changed the course of his life. He learned the ropes on the Texas roadhouse circuit with the Del–Kings, a mostly Chicano R&B band with a book of full of honking numbers by Junior Parker, Bobby “Blue” Bland, B.B. King and T–Bone Walker, with a little Five Satins-style doo-wop thrown in for romance.\u003c/p>\n\u003cp>He put down his horn when he enlisted in the Air Force, and trained as a dental technician. But upon mustering out, he realized that he didn’t want to face the hurdles “it would take for a Mexican to be a dentist in Texas, as presented to me by my dentist,” he told KQED in a 2023 interview. He returned to the saxophone, a more stimulating work tool than a dental drill. \u003c/p>\n\u003cfigure id=\"attachment_13931989\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS67199_230721-Jose%CC%81Cue%CC%81llar8over80-21-BL-KQED.jpg\" alt=\"A person with gray hair and a gray moustache and beard holds a photo of himself playing music at an earlier age.\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13931989\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS67199_230721-JoséCuéllar8over80-21-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS67199_230721-JoséCuéllar8over80-21-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS67199_230721-JoséCuéllar8over80-21-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS67199_230721-JoséCuéllar8over80-21-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS67199_230721-JoséCuéllar8over80-21-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS67199_230721-JoséCuéllar8over80-21-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS67199_230721-JoséCuéllar8over80-21-BL-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">José Cuéllar, 82, holds a photo of himself playing music in the early 1990s at his home in San Francisco on July 21, 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While Cuéllar spent the ’60s performing in Vegas and Southern California, he gradually found his way back to school, enrolling at Golden West College in Huntington Beach to study music. The anti-Vietnam War movement started his politicization, and when he transferred to Long Beach State in 1969, the rising Chicano movement, then deeply entwined with anti-war protests, shaped his scholarly direction.\u003c/p>\n\u003cp>He managed to juggle music and graduate studies, eventually earning a PhD in anthropology from UCLA in 1977. A tenure-track position at the University of Colorado at Boulder, however, left him bereft of musical comrades. “I wanted to get more involved in my academics too,” he said. “So the horn went into the closet and stayed there until I got to Stanford in 1983.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It was his students at Stanford who inspired him to get his groove back. Teaching Chicano Studies and serving as senior ethnogerontologist at the School of Medicine, they urged Cuéllar to form a combo to play campus events. Always in the thick of the cultural ferment, he often backed the Chicano comedy troupe Culture Clash, who felt he needed a catchy stage name. The problem was solved while he was doing research on gang kids, cholos, in Tijuana.\u003c/p>\n\u003cp>“I was standing there with a bunch of kids, and this kid comes up and says ‘Is it true you’re a doctor?’ And I said ‘Yeah, I’m an anthropologist,’ but in Spanish its \u003cem>antropólogo\u003c/em>, so he goes, ‘Dr. Loco.’” The name stuck.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"radiolab": {
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"reveal": {
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},
"rightnowish": {
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"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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"snap-judgment": {
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"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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