Lovers Lane Unites San Francisco’s Mission District with Art and Cultura
How’s Bad Bunny Left His Mark on the Bay Area? Let Us Count the Ways
José ‘Dr. Loco’ Cuéllar, Chicano Scholar, Bandleader and Activist, Dies at 84
A Mission District Dance Party Wants to ‘Melt the ICE’
Poised to Blow Up, Spiritual Cramp Is Bringing San Francisco Along for the Ride
Lowriders Cruise Onto the National Stage In Smithsonian Exhibition
Rewinding to the Age of VHS, in All Its Grainy, Clunky Glory
For Trans and Queer Divas in the Mission, HIV Prevention Was an Art
This Mission District Art Gallery Wants Submissions From High School Teens
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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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"headTitle": "José ‘Dr. Loco’ Cuéllar, Chicano Scholar, Bandleader and Activist, Dies at 84 | KQED",
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"content": "\u003cp>The last pachuco is gone.\u003c/p>\n\u003cp>Anthropologist José B. Cuéllar, who carved out a singular musical career as the saxophonist, accordionist, vocalist and leader of \u003ca href=\"https://www.kqed.org/arts/13934296/8-over-80-jose-cuellar-dr-loco\">Dr. Loco’s Rockin’ Jalapeño Band\u003c/a>, died at his Mission District home Jan. 21 surrounded by family. He was 84. The cause was lung cancer, according to his wife, Stacie Powers Cuéllar.\u003c/p>\n\u003cp>With his bushy eyebrows, impish smile, braided beard and long hair worn in a tight plait, Cuéllar was an iconic figure who effortlessly intertwined his twin callings as an educator and bandleader. His distinguished career as an academic included two decades studying and documenting Chicano culture as chair and director of San Francisco State’s Cesar Chavez Public Policy Institute.\u003c/p>\n\u003cp>But it was as Dr. Loco that he himself took the reins of Chicano culture.\u003c/p>\n\u003cp>[aside postID=arts_13934296 hero='https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/RS67183_230721-Jose%CC%81Cue%CC%81llar8over80-06-BL_COVER.jpg']Launched during his years teaching at Stanford in the mid-1980s, the Rockin’ Jalapeno Band drew upon his earlier career as an R&B musician in San Antonio, and later, Las Vegas. But the inveterately curious Cuéllar kept expanding the Rockin’ Jalapeno sound, deepening its connections to New Orleans grooves, jazz, and soul. Over the decades, the group included dozens of top Bay Area musicians, including many who went on to lead their own bands, and became known as a sure-fire act for fundraisers, community events, rallies and protests.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Even early on he had killer musicians, guys who represented the real Tejano sound he’d come from,” said Jesse “Chuy” Varela, a Latin music expert and program and music director at the radio station KCSM. “As he evolved he kept bringing in different folks, like trombonist/arranger Wayne Wallace and drummer Brian Andres. A lot of the gigs weren’t going to pay a lot, and he’d be paying musicians out of his pocket. For Loco, it was more about spreading joy through the message.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=J-WMhAJONdk\u003c/p>\n\u003cp>That message traveled much further than Cuéllar expected. His sound and visage made a particularly deep impression in Mexico City, where rock en español pioneers \u003ca href=\"https://www.instagram.com/malditavecindad/?hl=en\">Maldita Vecindad\u003c/a> viewed him as the embodiment of borderlands cool. They’d scored a major hit in 1991 with “\u003ca href=\"https://www.youtube.com/watch?v=jRN6n9Wgq2Q\">Pachuco\u003c/a>,” a song celebrating the sartorial style of Mexican American young men exemplified by zoot suits, “and they saw him as the last pachuco,” said Greg Landau, the eight-time Grammy Award nominee who started working with Dr. Loco as a producer and sideman in the 1990s.\u003c/p>\n\u003cp>In a final act of friendship, Landau produced an \u003ca href=\"https://missionlocal.org/2025/12/dr-locos-last-jam-at-brava/\">era-encompassing concert last month at Brava Theater Center\u003c/a>, “A Rockin’ Jalapeño Tribute Concert: Celebrating the Musical Legacy of Dr. Loco.” Landau had already been thinking about pulling together a celebration, but Cuéllar’s terminal diagnosis put the project on a fast track. The sold-out event featured three generations of Rockin’ Jalapeno bands playing songs from the albums \u003cem>Movimiento Music\u003c/em>, \u003cem>¡Puro Party!\u003c/em> and \u003cem>Barrio Ritmos & Blues\u003c/em>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zbY1JHtRFI8\u003c/p>\n\u003cp>“He was so overwhelmed,” Stacie Powers Cuéllar said of the concert, which Dr. Loco attended but was unable to perform at in his full capacity. “One thing he did through his music was connecting people all the time, in the classroom, at events. He had a really good time, but it was also heartbreaking for him, to know that was a defining moment and not be able to direct it. He so was proud of all the musicians and all the work and gigs they’d done.”\u003c/p>\n\u003cp>Born April 3, 1941 in San Antonio, Texas, Cuéllar often described obtaining a saxophone as a high school senior as a strike of lightning that changed the course of his life. He learned the ropes on the Texas roadhouse circuit with the Del–Kings, a mostly Chicano R&B band with a book of full of honking numbers by Junior Parker, Bobby “Blue” Bland, B.B. King and T–Bone Walker, with a little Five Satins-style doo-wop thrown in for romance.\u003c/p>\n\u003cp>He put down his horn when he enlisted in the Air Force, and trained as a dental technician. But upon mustering out, he realized that he didn’t want to face the hurdles “it would take for a Mexican to be a dentist in Texas, as presented to me by my dentist,” he told KQED in a 2023 interview. He returned to the saxophone, a more stimulating work tool than a dental drill. \u003c/p>\n\u003cfigure id=\"attachment_13931989\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS67199_230721-Jose%CC%81Cue%CC%81llar8over80-21-BL-KQED.jpg\" alt=\"A person with gray hair and a gray moustache and beard holds a photo of himself playing music at an earlier age.\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13931989\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS67199_230721-JoséCuéllar8over80-21-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS67199_230721-JoséCuéllar8over80-21-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS67199_230721-JoséCuéllar8over80-21-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS67199_230721-JoséCuéllar8over80-21-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS67199_230721-JoséCuéllar8over80-21-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS67199_230721-JoséCuéllar8over80-21-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS67199_230721-JoséCuéllar8over80-21-BL-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">José Cuéllar, 82, holds a photo of himself playing music in the early 1990s at his home in San Francisco on July 21, 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While Cuéllar spent the ’60s performing in Vegas and Southern California, he gradually found his way back to school, enrolling at Golden West College in Huntington Beach to study music. The anti-Vietnam War movement started his politicization, and when he transferred to Long Beach State in 1969, the rising Chicano movement, then deeply entwined with anti-war protests, shaped his scholarly direction.\u003c/p>\n\u003cp>He managed to juggle music and graduate studies, eventually earning a PhD in anthropology from UCLA in 1977. A tenure-track position at the University of Colorado at Boulder, however, left him bereft of musical comrades. “I wanted to get more involved in my academics too,” he said. “So the horn went into the closet and stayed there until I got to Stanford in 1983.”\u003c/p>\n\u003cp>[aside postID='arts_13880670']It was his students at Stanford who inspired him to get his groove back. Teaching Chicano Studies and serving as senior ethnogerontologist at the School of Medicine, they urged Cuéllar to form a combo to play campus events. Always in the thick of the cultural ferment, he often backed the Chicano comedy troupe Culture Clash, who felt he needed a catchy stage name. The problem was solved while he was doing research on gang kids, cholos, in Tijuana.\u003c/p>\n\u003cp>“I was standing there with a bunch of kids, and this kid comes up and says ‘Is it true you’re a doctor?’ And I said ‘Yeah, I’m an anthropologist,’ but in Spanish its \u003cem>antropólogo\u003c/em>, so he goes, ‘Dr. Loco.’” The name stuck.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Cuéllar is survived by his younger brothers, Hector and Tony Cuéllar, his son Benny Cuéllar, wife Stacie Powers Cuéllar, and their daughter Ixchel Cuéllar. A GoFundMe campaign to help funeral expenses will soon be created, according to his wife Stacie. A celebration of his life is planned for early April.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The last pachuco is gone.\u003c/p>\n\u003cp>Anthropologist José B. Cuéllar, who carved out a singular musical career as the saxophonist, accordionist, vocalist and leader of \u003ca href=\"https://www.kqed.org/arts/13934296/8-over-80-jose-cuellar-dr-loco\">Dr. Loco’s Rockin’ Jalapeño Band\u003c/a>, died at his Mission District home Jan. 21 surrounded by family. He was 84. The cause was lung cancer, according to his wife, Stacie Powers Cuéllar.\u003c/p>\n\u003cp>With his bushy eyebrows, impish smile, braided beard and long hair worn in a tight plait, Cuéllar was an iconic figure who effortlessly intertwined his twin callings as an educator and bandleader. His distinguished career as an academic included two decades studying and documenting Chicano culture as chair and director of San Francisco State’s Cesar Chavez Public Policy Institute.\u003c/p>\n\u003cp>But it was as Dr. Loco that he himself took the reins of Chicano culture.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Launched during his years teaching at Stanford in the mid-1980s, the Rockin’ Jalapeno Band drew upon his earlier career as an R&B musician in San Antonio, and later, Las Vegas. But the inveterately curious Cuéllar kept expanding the Rockin’ Jalapeno sound, deepening its connections to New Orleans grooves, jazz, and soul. Over the decades, the group included dozens of top Bay Area musicians, including many who went on to lead their own bands, and became known as a sure-fire act for fundraisers, community events, rallies and protests.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Even early on he had killer musicians, guys who represented the real Tejano sound he’d come from,” said Jesse “Chuy” Varela, a Latin music expert and program and music director at the radio station KCSM. “As he evolved he kept bringing in different folks, like trombonist/arranger Wayne Wallace and drummer Brian Andres. A lot of the gigs weren’t going to pay a lot, and he’d be paying musicians out of his pocket. For Loco, it was more about spreading joy through the message.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/J-WMhAJONdk'\n title='//www.youtube.com/embed/J-WMhAJONdk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>That message traveled much further than Cuéllar expected. His sound and visage made a particularly deep impression in Mexico City, where rock en español pioneers \u003ca href=\"https://www.instagram.com/malditavecindad/?hl=en\">Maldita Vecindad\u003c/a> viewed him as the embodiment of borderlands cool. They’d scored a major hit in 1991 with “\u003ca href=\"https://www.youtube.com/watch?v=jRN6n9Wgq2Q\">Pachuco\u003c/a>,” a song celebrating the sartorial style of Mexican American young men exemplified by zoot suits, “and they saw him as the last pachuco,” said Greg Landau, the eight-time Grammy Award nominee who started working with Dr. Loco as a producer and sideman in the 1990s.\u003c/p>\n\u003cp>In a final act of friendship, Landau produced an \u003ca href=\"https://missionlocal.org/2025/12/dr-locos-last-jam-at-brava/\">era-encompassing concert last month at Brava Theater Center\u003c/a>, “A Rockin’ Jalapeño Tribute Concert: Celebrating the Musical Legacy of Dr. Loco.” Landau had already been thinking about pulling together a celebration, but Cuéllar’s terminal diagnosis put the project on a fast track. The sold-out event featured three generations of Rockin’ Jalapeno bands playing songs from the albums \u003cem>Movimiento Music\u003c/em>, \u003cem>¡Puro Party!\u003c/em> and \u003cem>Barrio Ritmos & Blues\u003c/em>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/zbY1JHtRFI8'\n title='//www.youtube.com/embed/zbY1JHtRFI8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“He was so overwhelmed,” Stacie Powers Cuéllar said of the concert, which Dr. Loco attended but was unable to perform at in his full capacity. “One thing he did through his music was connecting people all the time, in the classroom, at events. He had a really good time, but it was also heartbreaking for him, to know that was a defining moment and not be able to direct it. He so was proud of all the musicians and all the work and gigs they’d done.”\u003c/p>\n\u003cp>Born April 3, 1941 in San Antonio, Texas, Cuéllar often described obtaining a saxophone as a high school senior as a strike of lightning that changed the course of his life. He learned the ropes on the Texas roadhouse circuit with the Del–Kings, a mostly Chicano R&B band with a book of full of honking numbers by Junior Parker, Bobby “Blue” Bland, B.B. King and T–Bone Walker, with a little Five Satins-style doo-wop thrown in for romance.\u003c/p>\n\u003cp>He put down his horn when he enlisted in the Air Force, and trained as a dental technician. But upon mustering out, he realized that he didn’t want to face the hurdles “it would take for a Mexican to be a dentist in Texas, as presented to me by my dentist,” he told KQED in a 2023 interview. He returned to the saxophone, a more stimulating work tool than a dental drill. \u003c/p>\n\u003cfigure id=\"attachment_13931989\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS67199_230721-Jose%CC%81Cue%CC%81llar8over80-21-BL-KQED.jpg\" alt=\"A person with gray hair and a gray moustache and beard holds a photo of himself playing music at an earlier age.\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13931989\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS67199_230721-JoséCuéllar8over80-21-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS67199_230721-JoséCuéllar8over80-21-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS67199_230721-JoséCuéllar8over80-21-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS67199_230721-JoséCuéllar8over80-21-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS67199_230721-JoséCuéllar8over80-21-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS67199_230721-JoséCuéllar8over80-21-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS67199_230721-JoséCuéllar8over80-21-BL-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">José Cuéllar, 82, holds a photo of himself playing music in the early 1990s at his home in San Francisco on July 21, 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While Cuéllar spent the ’60s performing in Vegas and Southern California, he gradually found his way back to school, enrolling at Golden West College in Huntington Beach to study music. The anti-Vietnam War movement started his politicization, and when he transferred to Long Beach State in 1969, the rising Chicano movement, then deeply entwined with anti-war protests, shaped his scholarly direction.\u003c/p>\n\u003cp>He managed to juggle music and graduate studies, eventually earning a PhD in anthropology from UCLA in 1977. A tenure-track position at the University of Colorado at Boulder, however, left him bereft of musical comrades. “I wanted to get more involved in my academics too,” he said. “So the horn went into the closet and stayed there until I got to Stanford in 1983.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It was his students at Stanford who inspired him to get his groove back. Teaching Chicano Studies and serving as senior ethnogerontologist at the School of Medicine, they urged Cuéllar to form a combo to play campus events. Always in the thick of the cultural ferment, he often backed the Chicano comedy troupe Culture Clash, who felt he needed a catchy stage name. The problem was solved while he was doing research on gang kids, cholos, in Tijuana.\u003c/p>\n\u003cp>“I was standing there with a bunch of kids, and this kid comes up and says ‘Is it true you’re a doctor?’ And I said ‘Yeah, I’m an anthropologist,’ but in Spanish its \u003cem>antropólogo\u003c/em>, so he goes, ‘Dr. Loco.’” The name stuck.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Cuéllar is survived by his younger brothers, Hector and Tony Cuéllar, his son Benny Cuéllar, wife Stacie Powers Cuéllar, and their daughter Ixchel Cuéllar. A GoFundMe campaign to help funeral expenses will soon be created, according to his wife Stacie. A celebration of his life is planned for early April.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A Mission District Dance Party Wants to ‘Melt the ICE’",
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"content": "\u003cp>This Sunday, like so many other nights at the \u003ca href=\"https://www.kqed.org/arts/tag/mission-district\">Mission District\u003c/a> queer bar \u003ca href=\"https://www.elriosf.com/\">El Rio\u003c/a>, the dance floor will fill up with partygoers getting down to a live set of Latin fusion beats. There will be a full lineup of all trans DJs. There will be homemade tamales.\u003c/p>\n\u003cp>But the goal of this dance party won’t \u003cem>only \u003c/em>be for everyone to have a good time. Organized by the queer mutual aid collective \u003ca href=\"https://www.instagram.com/abundancealchemy_bayarea/\">Abundance Alchemy\u003c/a>, the Jan. 18 event will double as a fundraiser to support Bay Area families impacted by the recent spate of ICE deportation crackdowns — and as a form of grassroots resistance, its organizers say.\u003c/p>\n\u003cp>The name of the party? The \u003ca href=\"https://www.instagram.com/abundancealchemy_bayarea/\">Melt the ICE Fest\u003c/a>.\u003c/p>\n\u003cp>Collective member Yara, an Oakland-based visual artist, explains that Abundance Alchemy formed in late in 2023 in response to the widespread death and destruction happening in Gaza, as well as the police crackdowns on protests right here in the Bay Area. The idea, Yara says, was to figure out how folks could mobilize to help ease some of the suffering they were witnessing.\u003c/p>\n\u003cp>The collective’s first action was an art raffle in early 2024 that wound up raising $2,000 for organizations doing on-the-ground work to support victims in Palestine, Congo and Sudan. “That made us realize, ‘Oh, we can do something!'” Yara says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Since then, the collective has mostly focused on distributing food, clothing and other supplies to unhoused communities in Oakland and San Francisco. It now has 25 to 30 active members, most of them queer, spread all over the Bay Area.\u003c/p>\n\u003cfigure id=\"attachment_13985527\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985527\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/abundance-alchemy-food-distro.jpg\" alt=\"People pass out food in grocery bags from the trunk of a car.\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/abundance-alchemy-food-distro.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/abundance-alchemy-food-distro-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/abundance-alchemy-food-distro-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/abundance-alchemy-food-distro-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Members of Abundance Alchemy passing out food. \u003ccite>(Courtesy of Abundance Alchemy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sunday’s “Melt the ICE” event comes at a time when ICE’s aggressive, often violent deportation campaigns have sparked outrage nationwide, especially in the wake of an federal immigration agent’s \u003ca href=\"https://www.kqed.org/news/12069104/bay-area-immigrant-defense-groups-report-surge-in-support-after-minneapolis-ice-killing\">fatal shooting of Minneapolis mother Renee Good\u003c/a> last week. “\u003cspan style=\"font-weight: 400\">It’s heartbreaking what’s happening ,” Yara says. “The way they’re just killing people in the street is disgusting.”\u003c/span>\u003c/p>\n\u003cp>That said, Yara notes that the fundraising event has been in the works ever since ICE agents started \u003ca href=\"https://www.vox.com/policy/474842/ice-enforcement-operation-culture-violence-minneapolis-border\">ramping up the aggressiveness\u003c/a> of their on-the-ground tactics \u003ca href=\"https://www.kqed.org/news/12057190/fear-of-ice-raids-drains-sales-for-businesses-in-oaklands-fruitvale\">this past fall\u003c/a>. Members of Abundance Alchemy wanted to raise money to support local immigrant communities, but they also wanted do something fun and celebratory.\u003c/p>\n\u003cp>“\u003cspan style=\"font-weight: 400\">In this world we live in where everything can feel so bleak, sometimes we need to make things that will make us happy and make us come together in joy — to not only cry together but dance together, and share in this trauma together,” Yara says.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"color: #2b2b2b;font-weight: 400\">\u003cb>\u003cstrong>\u003cspan style=\"font-weight: 400\">[aside postID='news_12069590,arts_13953497']\u003c/span>\u003c/strong>\u003c/b>\u003c/span>Slowly, the different elements of the event came together: El Rio was an obvious fit to host because of how queer-friendly it is — and the bar was even willing to waive its usual fees for the fundraiser. A local cook, \u003ca href=\"https://www.instagram.com/veritas_cooking/\">Verita\u003c/a>, volunteered to make tamales to sell at the event. A ceramicist will also have a table set up.\u003c/p>\n\u003cp>Meanwhile, the fact that the DJ lineup is all trans wasn’t something they planned on purpose, Yara says. Those were just the DJs who responded to their call for volunteers. “They were the people who stepped up,” Yara says.\u003c/p>\n\u003cp>According to Yara, the bulk of the money raised at Sunday’s event will be distributed directly to a handful of Bay Area families who have been impacted by the ICE crackdowns. If there are extra funds, they’ll be donated to the Oakland Education Alliance’s \u003ca href=\"https://www.instagram.com/oea_rapidresponse/\">Rapid Response Team\u003c/a>, which provides legal services to immigrant families facing deportation.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.instagram.com/p/DTG7HGbEoZS/\">Melt the Ice Fest\u003c/a>, featuring DeAlma, Tranzmutation, DJMJ and Maryama, will take place at El Rio (3158 Mission St., San Francisco) on Sunday, Jan. 18, 3–8 p.m. The door fee will be a sliding scale of $10–$20. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This Sunday, like so many other nights at the \u003ca href=\"https://www.kqed.org/arts/tag/mission-district\">Mission District\u003c/a> queer bar \u003ca href=\"https://www.elriosf.com/\">El Rio\u003c/a>, the dance floor will fill up with partygoers getting down to a live set of Latin fusion beats. There will be a full lineup of all trans DJs. There will be homemade tamales.\u003c/p>\n\u003cp>But the goal of this dance party won’t \u003cem>only \u003c/em>be for everyone to have a good time. Organized by the queer mutual aid collective \u003ca href=\"https://www.instagram.com/abundancealchemy_bayarea/\">Abundance Alchemy\u003c/a>, the Jan. 18 event will double as a fundraiser to support Bay Area families impacted by the recent spate of ICE deportation crackdowns — and as a form of grassroots resistance, its organizers say.\u003c/p>\n\u003cp>The name of the party? The \u003ca href=\"https://www.instagram.com/abundancealchemy_bayarea/\">Melt the ICE Fest\u003c/a>.\u003c/p>\n\u003cp>Collective member Yara, an Oakland-based visual artist, explains that Abundance Alchemy formed in late in 2023 in response to the widespread death and destruction happening in Gaza, as well as the police crackdowns on protests right here in the Bay Area. The idea, Yara says, was to figure out how folks could mobilize to help ease some of the suffering they were witnessing.\u003c/p>\n\u003cp>The collective’s first action was an art raffle in early 2024 that wound up raising $2,000 for organizations doing on-the-ground work to support victims in Palestine, Congo and Sudan. “That made us realize, ‘Oh, we can do something!'” Yara says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Since then, the collective has mostly focused on distributing food, clothing and other supplies to unhoused communities in Oakland and San Francisco. It now has 25 to 30 active members, most of them queer, spread all over the Bay Area.\u003c/p>\n\u003cfigure id=\"attachment_13985527\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985527\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/abundance-alchemy-food-distro.jpg\" alt=\"People pass out food in grocery bags from the trunk of a car.\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/abundance-alchemy-food-distro.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/abundance-alchemy-food-distro-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/abundance-alchemy-food-distro-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/abundance-alchemy-food-distro-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Members of Abundance Alchemy passing out food. \u003ccite>(Courtesy of Abundance Alchemy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sunday’s “Melt the ICE” event comes at a time when ICE’s aggressive, often violent deportation campaigns have sparked outrage nationwide, especially in the wake of an federal immigration agent’s \u003ca href=\"https://www.kqed.org/news/12069104/bay-area-immigrant-defense-groups-report-surge-in-support-after-minneapolis-ice-killing\">fatal shooting of Minneapolis mother Renee Good\u003c/a> last week. “\u003cspan style=\"font-weight: 400\">It’s heartbreaking what’s happening ,” Yara says. “The way they’re just killing people in the street is disgusting.”\u003c/span>\u003c/p>\n\u003cp>That said, Yara notes that the fundraising event has been in the works ever since ICE agents started \u003ca href=\"https://www.vox.com/policy/474842/ice-enforcement-operation-culture-violence-minneapolis-border\">ramping up the aggressiveness\u003c/a> of their on-the-ground tactics \u003ca href=\"https://www.kqed.org/news/12057190/fear-of-ice-raids-drains-sales-for-businesses-in-oaklands-fruitvale\">this past fall\u003c/a>. Members of Abundance Alchemy wanted to raise money to support local immigrant communities, but they also wanted do something fun and celebratory.\u003c/p>\n\u003cp>“\u003cspan style=\"font-weight: 400\">In this world we live in where everything can feel so bleak, sometimes we need to make things that will make us happy and make us come together in joy — to not only cry together but dance together, and share in this trauma together,” Yara says.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"color: #2b2b2b;font-weight: 400\">\u003cb>\u003cstrong>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/strong>\u003c/b>\u003c/span>Slowly, the different elements of the event came together: El Rio was an obvious fit to host because of how queer-friendly it is — and the bar was even willing to waive its usual fees for the fundraiser. A local cook, \u003ca href=\"https://www.instagram.com/veritas_cooking/\">Verita\u003c/a>, volunteered to make tamales to sell at the event. A ceramicist will also have a table set up.\u003c/p>\n\u003cp>Meanwhile, the fact that the DJ lineup is all trans wasn’t something they planned on purpose, Yara says. Those were just the DJs who responded to their call for volunteers. “They were the people who stepped up,” Yara says.\u003c/p>\n\u003cp>According to Yara, the bulk of the money raised at Sunday’s event will be distributed directly to a handful of Bay Area families who have been impacted by the ICE crackdowns. If there are extra funds, they’ll be donated to the Oakland Education Alliance’s \u003ca href=\"https://www.instagram.com/oea_rapidresponse/\">Rapid Response Team\u003c/a>, which provides legal services to immigrant families facing deportation.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.instagram.com/p/DTG7HGbEoZS/\">Melt the Ice Fest\u003c/a>, featuring DeAlma, Tranzmutation, DJMJ and Maryama, will take place at El Rio (3158 Mission St., San Francisco) on Sunday, Jan. 18, 3–8 p.m. The door fee will be a sliding scale of $10–$20. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Poised to Blow Up, Spiritual Cramp Is Bringing San Francisco Along for the Ride",
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"content": "\u003cp>If you watch one music video from a San Francisco band this year, make it Spiritual Cramp’s “\u003ca href=\"https://youtu.be/vd3FHvPtsRU?si=4_7yIt1tVbC74dgt\">At My Funeral\u003c/a>.” It begins with gold-toothed singer Michael Bingham strutting through Clarion Alley toting a block rocker boombox. He then hauls it along to dance his ass off with punk panache to frenetic riffs and sinister drums in front of the Painted Ladies, the Ocean Beach seawall, Bernal Hill, a wedding on the City Hall steps, Kilowatt, Green Apple Books and the Brian Wilson plaque at Oracle Park. \u003c/p>\n\u003cp>While the lyrics are self-deprecating (“At my funeral, nobody came / They all had plans, couldn’t remember my name”) the video resoundingly celebrates the city where the band was formed. San Francisco’s culture and soul are embedded in Bingham’s heart and exalted throughout the band’s new album, \u003cem>Rude\u003c/em>. \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vd3FHvPtsRU\u003c/p>\n\u003cp>But the thing is, Bingham has been living in Los Angeles since 2021, when his wife, who is a hairstylist, followed a big career opportunity. (“She’s hitting grand slams,” he says.) And while the move has also been a boon for the band, Bingham still grapples with impostor syndrome. “What if I went back home to the Bay where I belong?” he sings on “True Love (Is Hard To Find),” the key question to the album. \u003c/p>\n\u003cp>“That question plays in my head every day,” Bingham says on a Zoom call from his Los Angeles apartment. “Eventually I want to make my way back to Frisco, but everything’s going so good it’s infuriating. I have all these problems and they’re problems I begged to God for.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Now on their second album (out Oct. 24), Spiritual Cramp have a lot of elements in place for a proper blow up. \u003cem>Rude\u003c/em> is produced by John Congleton, noted for his guiding hand on breakout records from the likes of St. Vincent, Thao & The Get Down Stay Down and Sharon Van Etten. The album is mixed by Paramore producer Carlos de La Garza, features a duet with Van Etten (“You’ve Got My Number”) and comes out on the Blue Grape Music label, founded by alums of trailblazing hard rock label Roadrunner Records. \u003c/p>\n\u003cp>Spiritual Cramp recently \u003ca href=\"https://www.altpress.com/spiritual-cramp-rude-interview/\">graced the cover\u003c/a> of Alternative Press magazine (who’ll be presenting the band’s U.S. tour in early 2026), and are co-managed by San Francisco’s Brilliant Corners, which also has Death Cab For Cutie and Toro y Moi on its roster. A few weeks after the album drops, the band is headed to Europe for a tour with decorated Swedish punk band The Hives. \u003c/p>\n\u003cp>It’s an impressive laundry list of accomplishments, especially for a band from San Francisco. \u003cem>Rude\u003c/em> is forged on elated new wave punk, with hardcore and dancehall brushstrokes — somewhere between The Clash and Turnstile. The album plays like a ride or die homage to SF and leaves no question what scene Bingham and company represent. “Just another warm San Francisco night, where every day is the best day of my life,” Bingham sings on “Young Offenders.”\u003c/p>\n\u003cfigure id=\"attachment_13982836\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Spiritual-Cramp-w-Daniel-lurie-_Sarah-Davis_2000.jpg\" alt=\"Mayor Daniel Lurie on cell phone looks at six-member band on steps\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13982836\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Spiritual-Cramp-w-Daniel-lurie-_Sarah-Davis_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Spiritual-Cramp-w-Daniel-lurie-_Sarah-Davis_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Spiritual-Cramp-w-Daniel-lurie-_Sarah-Davis_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Spiritual-Cramp-w-Daniel-lurie-_Sarah-Davis_2000-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Spiritual Cramp got a surprise visitor at their photoshoot on the steps of San Francisco’s City Hall. \u003ccite>(Sarah Davis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Often heard more frequently in hip-hop circles, the term “loyal to the soil” comes to mind when talking to Bingham. His allegiance isn’t much different from Pinole rapper \u003ca href=\"https://www.kqed.org/arts/tag/p-lo\">P-Lo\u003c/a>, who also calls LA home, but reps Bay Area culture everywhere he goes, Warriors games and concert appearances alike. \u003c/p>\n\u003cp>“I’d love to say that it hasn’t improved the business of the band,” Bingham says. “But it’s not true. Living in LA is good for business.” \u003c/p>\n\u003cp>The members of Spiritual Cramp met in and around the San Francisco punk scene in 2017, yet the six-piece is now fully spread out geographically. Drummer Julian Smith and guitarist Orville Neeley also live in Los Angeles, guitarist Nate Punty is in the Mission, bassist Nate Fenton is in Mendocino County, and percussionist Jose Luna lives in New York. Welcome to being in a band in 2025. \u003c/p>\n\u003cp>Sessions with Congleton happened at the producer’s studio in LA. Bingham had acted as the band’s producer until this point, but he credits Congleton’s “any idea is worth exploring” approach. “He challenged me in every way and forced me to stand by my decisions,” Bingham says.\u003c/p>\n\u003cp>Bingham and Van Etten forged a friendship in LA over the years that led to her appearance on “You’ve Got My Number,” a pop-polished waxing on constantly being on the road and incessantly missing someone. Rhythmically, it’s a dynamic foil to “Violence In The Supermarket,” which calls to mind The Specials’ ska-dub classic “Ghost Town” and rings in disgust at yuppies on a shopping run complaining about minutiae — one of the album’s many not-so-subtle jabs at certain LA denizens. \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=mVBpaXiH1RY\u003c/p>\n\u003cp>There’s a palpable push-pull on \u003cem>Rude\u003c/em>; San Francisco tugs at Bingham’s heartstrings even as he and the band experience growth (amid his own discomfort) in LA. Sometimes, he gets the best of both worlds. He describes being in his element on sunny walks through the Mission from his friend’s apartment above Kilowatt to Different Fur Studios for \u003cem>Rude\u003c/em>’s pre-production sessions. Then back in LA, he bumped into Tim Armstrong at an LA coffee shop, where the Rancid frontman commended Spiritual Cramp’s recent success. \u003c/p>\n\u003cp>The balance of it all never escapes him. Still, it’s clear to Bingham which city is truly fueling the band’s ascent. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“When we started the band, everyone lived here and we came together in the punk scene in the most SF way,” Bingham says. “We practiced at Polk and Bush, our first show was at the Hemlock. I want to project images of that place that’s still in my heart.” \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you watch one music video from a San Francisco band this year, make it Spiritual Cramp’s “\u003ca href=\"https://youtu.be/vd3FHvPtsRU?si=4_7yIt1tVbC74dgt\">At My Funeral\u003c/a>.” It begins with gold-toothed singer Michael Bingham strutting through Clarion Alley toting a block rocker boombox. He then hauls it along to dance his ass off with punk panache to frenetic riffs and sinister drums in front of the Painted Ladies, the Ocean Beach seawall, Bernal Hill, a wedding on the City Hall steps, Kilowatt, Green Apple Books and the Brian Wilson plaque at Oracle Park. \u003c/p>\n\u003cp>While the lyrics are self-deprecating (“At my funeral, nobody came / They all had plans, couldn’t remember my name”) the video resoundingly celebrates the city where the band was formed. San Francisco’s culture and soul are embedded in Bingham’s heart and exalted throughout the band’s new album, \u003cem>Rude\u003c/em>. \u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/vd3FHvPtsRU'\n title='//www.youtube.com/embed/vd3FHvPtsRU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But the thing is, Bingham has been living in Los Angeles since 2021, when his wife, who is a hairstylist, followed a big career opportunity. (“She’s hitting grand slams,” he says.) And while the move has also been a boon for the band, Bingham still grapples with impostor syndrome. “What if I went back home to the Bay where I belong?” he sings on “True Love (Is Hard To Find),” the key question to the album. \u003c/p>\n\u003cp>“That question plays in my head every day,” Bingham says on a Zoom call from his Los Angeles apartment. “Eventually I want to make my way back to Frisco, but everything’s going so good it’s infuriating. I have all these problems and they’re problems I begged to God for.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Now on their second album (out Oct. 24), Spiritual Cramp have a lot of elements in place for a proper blow up. \u003cem>Rude\u003c/em> is produced by John Congleton, noted for his guiding hand on breakout records from the likes of St. Vincent, Thao & The Get Down Stay Down and Sharon Van Etten. The album is mixed by Paramore producer Carlos de La Garza, features a duet with Van Etten (“You’ve Got My Number”) and comes out on the Blue Grape Music label, founded by alums of trailblazing hard rock label Roadrunner Records. \u003c/p>\n\u003cp>Spiritual Cramp recently \u003ca href=\"https://www.altpress.com/spiritual-cramp-rude-interview/\">graced the cover\u003c/a> of Alternative Press magazine (who’ll be presenting the band’s U.S. tour in early 2026), and are co-managed by San Francisco’s Brilliant Corners, which also has Death Cab For Cutie and Toro y Moi on its roster. A few weeks after the album drops, the band is headed to Europe for a tour with decorated Swedish punk band The Hives. \u003c/p>\n\u003cp>It’s an impressive laundry list of accomplishments, especially for a band from San Francisco. \u003cem>Rude\u003c/em> is forged on elated new wave punk, with hardcore and dancehall brushstrokes — somewhere between The Clash and Turnstile. The album plays like a ride or die homage to SF and leaves no question what scene Bingham and company represent. “Just another warm San Francisco night, where every day is the best day of my life,” Bingham sings on “Young Offenders.”\u003c/p>\n\u003cfigure id=\"attachment_13982836\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Spiritual-Cramp-w-Daniel-lurie-_Sarah-Davis_2000.jpg\" alt=\"Mayor Daniel Lurie on cell phone looks at six-member band on steps\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13982836\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Spiritual-Cramp-w-Daniel-lurie-_Sarah-Davis_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Spiritual-Cramp-w-Daniel-lurie-_Sarah-Davis_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Spiritual-Cramp-w-Daniel-lurie-_Sarah-Davis_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Spiritual-Cramp-w-Daniel-lurie-_Sarah-Davis_2000-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Spiritual Cramp got a surprise visitor at their photoshoot on the steps of San Francisco’s City Hall. \u003ccite>(Sarah Davis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Often heard more frequently in hip-hop circles, the term “loyal to the soil” comes to mind when talking to Bingham. His allegiance isn’t much different from Pinole rapper \u003ca href=\"https://www.kqed.org/arts/tag/p-lo\">P-Lo\u003c/a>, who also calls LA home, but reps Bay Area culture everywhere he goes, Warriors games and concert appearances alike. \u003c/p>\n\u003cp>“I’d love to say that it hasn’t improved the business of the band,” Bingham says. “But it’s not true. Living in LA is good for business.” \u003c/p>\n\u003cp>The members of Spiritual Cramp met in and around the San Francisco punk scene in 2017, yet the six-piece is now fully spread out geographically. Drummer Julian Smith and guitarist Orville Neeley also live in Los Angeles, guitarist Nate Punty is in the Mission, bassist Nate Fenton is in Mendocino County, and percussionist Jose Luna lives in New York. Welcome to being in a band in 2025. \u003c/p>\n\u003cp>Sessions with Congleton happened at the producer’s studio in LA. Bingham had acted as the band’s producer until this point, but he credits Congleton’s “any idea is worth exploring” approach. “He challenged me in every way and forced me to stand by my decisions,” Bingham says.\u003c/p>\n\u003cp>Bingham and Van Etten forged a friendship in LA over the years that led to her appearance on “You’ve Got My Number,” a pop-polished waxing on constantly being on the road and incessantly missing someone. Rhythmically, it’s a dynamic foil to “Violence In The Supermarket,” which calls to mind The Specials’ ska-dub classic “Ghost Town” and rings in disgust at yuppies on a shopping run complaining about minutiae — one of the album’s many not-so-subtle jabs at certain LA denizens. \u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/mVBpaXiH1RY'\n title='//www.youtube.com/embed/mVBpaXiH1RY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>There’s a palpable push-pull on \u003cem>Rude\u003c/em>; San Francisco tugs at Bingham’s heartstrings even as he and the band experience growth (amid his own discomfort) in LA. Sometimes, he gets the best of both worlds. He describes being in his element on sunny walks through the Mission from his friend’s apartment above Kilowatt to Different Fur Studios for \u003cem>Rude\u003c/em>’s pre-production sessions. Then back in LA, he bumped into Tim Armstrong at an LA coffee shop, where the Rancid frontman commended Spiritual Cramp’s recent success. \u003c/p>\n\u003cp>The balance of it all never escapes him. Still, it’s clear to Bingham which city is truly fueling the band’s ascent. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“When we started the band, everyone lived here and we came together in the punk scene in the most SF way,” Bingham says. “We practiced at Polk and Bush, our first show was at the Hemlock. I want to project images of that place that’s still in my heart.” \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Lowriders Cruise Onto the National Stage In Smithsonian Exhibition",
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"content": "\u003cp>Lowriders — American-made muscle cars customized with chrome plates, glossy paint and pristine rims — comprise an art form that neatly represents the ideals of this country.\u003c/p>\n\u003cp>The cars are products of engineering and ingenuity, as well as community and culture. With candy paint and gold rims, the mobile masterpieces come from a long tradition that’s been stigmatized and even criminalized.\u003c/p>\n\u003cp>Now, lowriding culture is being celebrated on the highest national level.\u003c/p>\n\u003cp>On Friday, Sept. 26, the Smithsonian National Museum of American History in Washington D.C. will open the exhibition \u003ca href=\"https://americanhistory.si.edu/explore/exhibitions/corazon-y-vida-lowriding-culture\">\u003cem>Corazón y vida\u003c/em>\u003c/a>, honoring more than 80 years of lowriding culture.\u003c/p>\n\u003cfigure id=\"attachment_13981674\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13981674 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/iwJihpZQ.jpg\" alt=\"\" width=\"1600\" height=\"794\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/iwJihpZQ.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/iwJihpZQ-160x79.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/iwJihpZQ-768x381.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/iwJihpZQ-1536x762.jpg 1536w\" sizes=\"auto, (max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">El Rey, a vintage 1963 Chevrolet Impala, has been named Lowrider of the Year three times by Lowrider Magazine. \u003ccite>(National Musuem of American History)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The exhibition includes photographs from artists like \u003ca href=\"https://www.sfmoma.org/artist/Lou_Dematteis/\">Lou Dematteis\u003c/a> and posters from the \u003ca href=\"https://library.harvard.edu/collections/royal-chicano-air-force-posters\">Royal Chicano Air Force\u003c/a>. Artifacts such as plaques, jackets, a tool box and a “No Cruising” sign from Sacramento help fill in important context.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And of course, there’s the legendary vehicles. Those include “\u003ca href=\"https://www.petersen.org/vehicle-spotlights/1963-chevrolet-impala-el-rey\">El Rey\u003c/a>,” Albert de Alba, Sr.’s 1963 cherry-and-sherbet-colored Chevrolet Impala, and “\u003ca href=\"https://www.petersen.org/vehicle-spotlights/1964-chevrolet-impala-gypsy-rose\">Gypsy Rose\u003c/a>,” a 1964 Chevrolet Impala hand-painted with a floral design by the late Jesse Valadez Sr..\u003c/p>\n\u003cp>“Yes, the car is the star,” exhibition curator Steve Velasquez tells me in a recent phone interview. “But it takes a community to build it. It takes a community to show it. It takes the community to really appreciate it.”\u003c/p>\n\u003cp>That community of lowrider lovers that Velasquez references is largely Latino. As the federal government makes it a point to accost, harass and deport immigrants — specifically Latino people — \u003ca href=\"https://www.npr.org/2025/09/23/nx-s1-5550915/trump-immigration-judges\">without due process\u003c/a>, \u003cem>Corazón y vida\u003c/em> comes at an interesting time, to say the least.\u003c/p>\n\u003cp>Add to that this administration’s \u003ca href=\"https://www.pbs.org/newshour/nation/trump-executive-order-to-force-changes-at-smithsonian-institution-targeting-funding-for-programs-with-improper-ideology\">meddling into the Smithsonian\u003c/a>, an institution under threat of a “\u003ca href=\"https://www.npr.org/2025/09/22/nx-s1-5517973/smithsonian-document-citizen-historians\">comprehensive internal review\u003c/a>” to weed out “improper ideology” and “divisive narratives.”\u003c/p>\n\u003cp>The exhibition has been in the works since the end of Trump’s first term, but it comes at the right time, says Velasquez, adding that it’s “the right thing to do” regardless of who’s in power.\u003c/p>\n\u003cp>Long before the current administration, lowriding and the culture from which it emerged faced harsh critiques, over-policing and biased legislation.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=9RAavisatXA\u003c/p>\n\u003cp>In January of last year, \u003ca href=\"https://lataco.com/california-cruising-law\">California’s Assembly Bill 436\u003c/a> took effect, ending a more than 25-year ban on “cruising zones” throughout the state. And while changing laws is a major accomplishment, changing people’s minds is a separate hurdle.\u003c/p>\n\u003cp>“It’s taken a lot of work, from a lot of people, to change the perception of lowriding as criminal and to make it more of an expression of culture,” says Velasquez.\u003c/p>\n\u003cp>Many car clubs serve the community by volunteering at hospitals, speaking to the incarcerated and organizing food drives, Velasquez says. Along with hanging fuzzy dice on the rear-view and installing hydraulics to make their cars hop, lowrider groups for years have filled the gaps created by a lack of city services and other social institutions.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13923205/best-of-roll-with-us-a-sisterhood-of-lowriding\">Dueñas\u003c/a>, an all-women, intergenerational collective from the South Bay led by Angel Romero, exemplifies the changing perception of lowriders.\u003c/p>\n\u003cp>Since their founding more than five years ago, the collective has turned heads at car shows, organized holiday toy drives for kids and performed philanthropic work throughout the South Bay.\u003c/p>\n\u003cfigure id=\"attachment_13981668\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981668\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Duen%CC%81as_2-scaled.jpeg\" alt=\"An intergenerational group of Latina women pose for a photo.\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Dueńas_2-scaled.jpeg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Dueńas_2-2000x1333.jpeg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Dueńas_2-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Dueńas_2-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Dueńas_2-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Dueńas_2-2048x1365.jpeg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Dueńas car club, pictured in 2021, is an intergenerational collective of women from the South Bay. \u003ccite>(Renée Lopez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now, an image of Dueñas will be included in the Smithsonian exhibition.\u003c/p>\n\u003cp>“I never thought that lowriding, in general, would be this widely accepted,” says Romero. “Especially in times like this, where we’re facing a lot of different things going on in our communities.”\u003c/p>\n\u003cp>Those “different things” include a widespread federal crackdown on immigration, which sharply increased after Trump’s spending bill, approved in July, dedicated a staggering $75 billion to ICE enforcement over the next four years.\u003c/p>\n\u003cp>“To see our culture and our history highlighted in the Smithsonian,” Romero says, “it shows that no matter what, we will always be here.”\u003c/p>\n\u003cp>The image of Romero’s car club included in the Smithsonian exhibit was created by Northern California-based photographer \u003ca href=\"https://www.instagram.com/misslopezmedia/?hl=en\">Renée Lopez\u003c/a>.\u003c/p>\n\u003cp>When Lopez got final confirmation of the exhibition, she printed the image and hand-delivered it to the car club members. “I was like, ‘Hey, by the way, y’all are about to be in Smithsonian,’” Lopez says. “We all cried, it was amazing.”\u003c/p>\n\u003cfigure id=\"attachment_13981669\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13981669 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Miss-Lopez-2000x2667.jpg\" alt=\"\" width=\"2000\" height=\"2667\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Miss-Lopez-2000x2667.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Miss-Lopez-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Miss-Lopez-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Miss-Lopez-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Miss-Lopez-1536x2048.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Miss-Lopez-scaled.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Renée Lopez, seen here at work in Oakland, has documented lowrider culture for years, with a specific focus on women. \u003ccite>(Courtesy of Miss Lopez Media)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://unscriptedphotographers.com/misslopezmedia\">A photographer\u003c/a> who’s spent the past six years documenting lowrider culture, specifically the women in the scene, Lopez says the inclusion in the exhibit is a huge honor, and something that she’s still trying to wrap her head around.\u003c/p>\n\u003cp>“I don’t get paid,” she says about her cultural documentation, “I do it out of love.”\u003c/p>\n\u003cp>Lopez’s mission to center women in lowriding underscores a significant shift within the culture. “We were really only allowed to be passengers,” Lopez says, in reference to older ways of thinking. “Now,” she says, “women have money to buy their own cars, they’re building their own cars and painting their own cars.” Two years ago, for the first time, she saw a woman compete in a hop contest.\u003c/p>\n\u003cp>“This is what I’ve been working for, to push the culture forward,” says Lopez. “For it to be at this time, with what’s happening in this country right now, it is so special. I can’t even explain it.”\u003c/p>\n\u003cp>Lopez, who is currently working on a documentary about women in lowriding, plans to make the trip to the nation’s capitol for this weekend’s opening.\u003c/p>\n\u003cp>“Lowriding has been happening for a long time, and it’s always about resistance and resilience, right?” she says.\u003c/p>\n\u003cp>“For it to be shown right now, I feel like the timing couldn’t have been better.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Corazón y vida’ opens Friday, Sept. 26, at the Smithsonian National Museum of American History in Washington D.C. \u003ca href=\"https://americanhistory.si.edu/explore/exhibitions/corazon-y-vida-lowriding-culture\">Details and more information here\u003c/a>. The touring exhibition \u003ca href=\"https://www.sites.si.edu/s/tour-schedule?exhibit=Lowrider%20Culture%20in%20the%20United%20States%20%2F%20Cultura%20Lowrider%20en%20los%20Estados%20Unidos\">visits three cities in California\u003c/a>: Anaheim, Port Hueneme and Fresno. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Lowriders — American-made muscle cars customized with chrome plates, glossy paint and pristine rims — comprise an art form that neatly represents the ideals of this country.\u003c/p>\n\u003cp>The cars are products of engineering and ingenuity, as well as community and culture. With candy paint and gold rims, the mobile masterpieces come from a long tradition that’s been stigmatized and even criminalized.\u003c/p>\n\u003cp>Now, lowriding culture is being celebrated on the highest national level.\u003c/p>\n\u003cp>On Friday, Sept. 26, the Smithsonian National Museum of American History in Washington D.C. will open the exhibition \u003ca href=\"https://americanhistory.si.edu/explore/exhibitions/corazon-y-vida-lowriding-culture\">\u003cem>Corazón y vida\u003c/em>\u003c/a>, honoring more than 80 years of lowriding culture.\u003c/p>\n\u003cfigure id=\"attachment_13981674\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13981674 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/iwJihpZQ.jpg\" alt=\"\" width=\"1600\" height=\"794\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/iwJihpZQ.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/iwJihpZQ-160x79.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/iwJihpZQ-768x381.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/iwJihpZQ-1536x762.jpg 1536w\" sizes=\"auto, (max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">El Rey, a vintage 1963 Chevrolet Impala, has been named Lowrider of the Year three times by Lowrider Magazine. \u003ccite>(National Musuem of American History)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The exhibition includes photographs from artists like \u003ca href=\"https://www.sfmoma.org/artist/Lou_Dematteis/\">Lou Dematteis\u003c/a> and posters from the \u003ca href=\"https://library.harvard.edu/collections/royal-chicano-air-force-posters\">Royal Chicano Air Force\u003c/a>. Artifacts such as plaques, jackets, a tool box and a “No Cruising” sign from Sacramento help fill in important context.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And of course, there’s the legendary vehicles. Those include “\u003ca href=\"https://www.petersen.org/vehicle-spotlights/1963-chevrolet-impala-el-rey\">El Rey\u003c/a>,” Albert de Alba, Sr.’s 1963 cherry-and-sherbet-colored Chevrolet Impala, and “\u003ca href=\"https://www.petersen.org/vehicle-spotlights/1964-chevrolet-impala-gypsy-rose\">Gypsy Rose\u003c/a>,” a 1964 Chevrolet Impala hand-painted with a floral design by the late Jesse Valadez Sr..\u003c/p>\n\u003cp>“Yes, the car is the star,” exhibition curator Steve Velasquez tells me in a recent phone interview. “But it takes a community to build it. It takes a community to show it. It takes the community to really appreciate it.”\u003c/p>\n\u003cp>That community of lowrider lovers that Velasquez references is largely Latino. As the federal government makes it a point to accost, harass and deport immigrants — specifically Latino people — \u003ca href=\"https://www.npr.org/2025/09/23/nx-s1-5550915/trump-immigration-judges\">without due process\u003c/a>, \u003cem>Corazón y vida\u003c/em> comes at an interesting time, to say the least.\u003c/p>\n\u003cp>Add to that this administration’s \u003ca href=\"https://www.pbs.org/newshour/nation/trump-executive-order-to-force-changes-at-smithsonian-institution-targeting-funding-for-programs-with-improper-ideology\">meddling into the Smithsonian\u003c/a>, an institution under threat of a “\u003ca href=\"https://www.npr.org/2025/09/22/nx-s1-5517973/smithsonian-document-citizen-historians\">comprehensive internal review\u003c/a>” to weed out “improper ideology” and “divisive narratives.”\u003c/p>\n\u003cp>The exhibition has been in the works since the end of Trump’s first term, but it comes at the right time, says Velasquez, adding that it’s “the right thing to do” regardless of who’s in power.\u003c/p>\n\u003cp>Long before the current administration, lowriding and the culture from which it emerged faced harsh critiques, over-policing and biased legislation.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/9RAavisatXA'\n title='//www.youtube.com/embed/9RAavisatXA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In January of last year, \u003ca href=\"https://lataco.com/california-cruising-law\">California’s Assembly Bill 436\u003c/a> took effect, ending a more than 25-year ban on “cruising zones” throughout the state. And while changing laws is a major accomplishment, changing people’s minds is a separate hurdle.\u003c/p>\n\u003cp>“It’s taken a lot of work, from a lot of people, to change the perception of lowriding as criminal and to make it more of an expression of culture,” says Velasquez.\u003c/p>\n\u003cp>Many car clubs serve the community by volunteering at hospitals, speaking to the incarcerated and organizing food drives, Velasquez says. Along with hanging fuzzy dice on the rear-view and installing hydraulics to make their cars hop, lowrider groups for years have filled the gaps created by a lack of city services and other social institutions.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13923205/best-of-roll-with-us-a-sisterhood-of-lowriding\">Dueñas\u003c/a>, an all-women, intergenerational collective from the South Bay led by Angel Romero, exemplifies the changing perception of lowriders.\u003c/p>\n\u003cp>Since their founding more than five years ago, the collective has turned heads at car shows, organized holiday toy drives for kids and performed philanthropic work throughout the South Bay.\u003c/p>\n\u003cfigure id=\"attachment_13981668\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981668\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Duen%CC%81as_2-scaled.jpeg\" alt=\"An intergenerational group of Latina women pose for a photo.\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Dueńas_2-scaled.jpeg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Dueńas_2-2000x1333.jpeg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Dueńas_2-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Dueńas_2-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Dueńas_2-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Dueńas_2-2048x1365.jpeg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Dueńas car club, pictured in 2021, is an intergenerational collective of women from the South Bay. \u003ccite>(Renée Lopez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now, an image of Dueñas will be included in the Smithsonian exhibition.\u003c/p>\n\u003cp>“I never thought that lowriding, in general, would be this widely accepted,” says Romero. “Especially in times like this, where we’re facing a lot of different things going on in our communities.”\u003c/p>\n\u003cp>Those “different things” include a widespread federal crackdown on immigration, which sharply increased after Trump’s spending bill, approved in July, dedicated a staggering $75 billion to ICE enforcement over the next four years.\u003c/p>\n\u003cp>“To see our culture and our history highlighted in the Smithsonian,” Romero says, “it shows that no matter what, we will always be here.”\u003c/p>\n\u003cp>The image of Romero’s car club included in the Smithsonian exhibit was created by Northern California-based photographer \u003ca href=\"https://www.instagram.com/misslopezmedia/?hl=en\">Renée Lopez\u003c/a>.\u003c/p>\n\u003cp>When Lopez got final confirmation of the exhibition, she printed the image and hand-delivered it to the car club members. “I was like, ‘Hey, by the way, y’all are about to be in Smithsonian,’” Lopez says. “We all cried, it was amazing.”\u003c/p>\n\u003cfigure id=\"attachment_13981669\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13981669 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Miss-Lopez-2000x2667.jpg\" alt=\"\" width=\"2000\" height=\"2667\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Miss-Lopez-2000x2667.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Miss-Lopez-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Miss-Lopez-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Miss-Lopez-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Miss-Lopez-1536x2048.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Miss-Lopez-scaled.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Renée Lopez, seen here at work in Oakland, has documented lowrider culture for years, with a specific focus on women. \u003ccite>(Courtesy of Miss Lopez Media)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://unscriptedphotographers.com/misslopezmedia\">A photographer\u003c/a> who’s spent the past six years documenting lowrider culture, specifically the women in the scene, Lopez says the inclusion in the exhibit is a huge honor, and something that she’s still trying to wrap her head around.\u003c/p>\n\u003cp>“I don’t get paid,” she says about her cultural documentation, “I do it out of love.”\u003c/p>\n\u003cp>Lopez’s mission to center women in lowriding underscores a significant shift within the culture. “We were really only allowed to be passengers,” Lopez says, in reference to older ways of thinking. “Now,” she says, “women have money to buy their own cars, they’re building their own cars and painting their own cars.” Two years ago, for the first time, she saw a woman compete in a hop contest.\u003c/p>\n\u003cp>“This is what I’ve been working for, to push the culture forward,” says Lopez. “For it to be at this time, with what’s happening in this country right now, it is so special. I can’t even explain it.”\u003c/p>\n\u003cp>Lopez, who is currently working on a documentary about women in lowriding, plans to make the trip to the nation’s capitol for this weekend’s opening.\u003c/p>\n\u003cp>“Lowriding has been happening for a long time, and it’s always about resistance and resilience, right?” she says.\u003c/p>\n\u003cp>“For it to be shown right now, I feel like the timing couldn’t have been better.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Corazón y vida’ opens Friday, Sept. 26, at the Smithsonian National Museum of American History in Washington D.C. \u003ca href=\"https://americanhistory.si.edu/explore/exhibitions/corazon-y-vida-lowriding-culture\">Details and more information here\u003c/a>. The touring exhibition \u003ca href=\"https://www.sites.si.edu/s/tour-schedule?exhibit=Lowrider%20Culture%20in%20the%20United%20States%20%2F%20Cultura%20Lowrider%20en%20los%20Estados%20Unidos\">visits three cities in California\u003c/a>: Anaheim, Port Hueneme and Fresno. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>If you’re at a garage sale, and you see a VHS tape of a McDonald’s training video, drop what you’re doing and call Mitsu Okubo.\u003c/p>\n\u003cp>Okubo is a VHS collector and co-founder of \u003ca href=\"https://www.instagram.com/basementvhs/\">Basement VHS\u003c/a>, a loose-knit collective that’s amassed a stockpile of more than 3,000 VHS tapes in a Mission District basement. And like most collectors, Okubo has a white whale.\u003c/p>\n\u003cp>“There’s a lot of McDonald’s employee training tapes out there, but there’s this one in particular, released to address the tragedy of 9/11 that was exclusively shown to their employees,” Okubo says, covetously. “It’s literally a Ronald McDonald, like, ‘This is how we deal with the tragedy of 9/11 with our employees and customers.’”\u003c/p>\n\u003cfigure id=\"attachment_13980798\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13980798\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/The-Basement_Tapes_Front_2000.jpg\" alt=\"book cover with red, black and lime green design\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/The-Basement_Tapes_Front_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/The-Basement_Tapes_Front_2000-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/The-Basement_Tapes_Front_2000-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/The-Basement_Tapes_Front_2000-1536x1536.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">‘The Basement Tapes,’ published by VS Press, presents a collection of VHS tapes in all their glory. \u003ccite>(Courtesy the Basement)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Why would anyone seek such a bizarre cultural artifact? Helpfully, there’s an explanation: \u003cem>\u003ca href=\"https://www.instagram.com/p/DM0gYTpsjRF/\">The Basement Tapes\u003c/a>\u003c/em>, a full-color, 352-page book chock-full of the most perplexing titles from the Basement VHS collection, edited by Okubo and his Basement VHS co-conspirator Luca Antonucci. The book’s release is celebrated with a day of movie screenings at the 4 Star Theater on Saturday, Aug. 30.\u003c/p>\n\u003cp>This all-analog crew of VHS enthusiasts has been adjusting their tracking together since 2011 and \u003ca href=\"https://www.radiovalencia.fm/podcasts/?show=basement%20radio\">discussing movies each week on Radio Valencia\u003c/a> since 2023. At weekly screenings each Wednesday, they invite others to the Basement, where piles of videotapes tower above fuzzy, grainy — or, ahem, “warm” — screenings of arcane non-blockbusters like \u003ci>Frankenhooker\u003c/i>, \u003ci>C.H.U.D.\u003c/i> and \u003ci>The People Under the Stairs\u003c/i>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postID='arts_13979518']Not only are the movies typically so-bad-they’re-good-and-wait-a-sec-actually-they-might-just-be-great, the medium defies the dominant notion that streaming is something to be embraced. “Entertainment should require a certain level of inconvenience,” Okubo writes in a foreword for the book, noting that not long ago, “entertainment was an event we had to wait for, adding anticipation and value to the experience.”\u003c/p>\n\u003cp>Plus, in a city hypnotized by individualism and the ceaseless charge of technology, gathering with others to watch movies on VHS amounts to a subversive act. Spencer Kerber, a 32-year-old computer systems analyst, started coming to Basement VHS nights after he moved to San Francisco three years ago.\u003c/p>\n\u003cp>“They have searched and scavenged across the world to build this crazy video archive that is unlike anything I’ve ever seen,” Kerber says of Basement VHS. “Their love for film and accidental finds can’t be replaced by some abstracted algorithm-powered streaming service.”\u003c/p>\n\u003cfigure id=\"attachment_13980802\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13980802\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/3covers_2000.jpg\" alt=\"VHS covers in a row\" width=\"2000\" height=\"1022\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/3covers_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/3covers_2000-160x82.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/3covers_2000-768x392.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/3covers_2000-1536x785.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Three titles featured in ‘The Basement Tapes.’ \u003ccite>(Courtesy the Basement)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Those accidental finds are perhaps the most intriguing inclusions in \u003cem>The Basement Tapes\u003c/em>, which presents their front and back covers, price tags and video-rental stickers intact.\u003c/p>\n\u003cp>\u003cem>Tree Stand Safety\u003c/em> shows a hapless man falling upside-down from a tree, clearly having failed to watch the video within. A white-haired elderly woman smiles from the cover of \u003cem>Celebration of Jackets\u003c/em>, which promises “True sewing excitement!” Instantly intriguing titles like \u003cem>Santa Claus Defeats the Aliens\u003c/em>, \u003cem>How to Have Cybersex on the Internet\u003c/em> and \u003ci>Turkish Star Wars\u003c/i> are included throughout.\u003c/p>\n\u003cp>[aside postID='arts_13922351']It’s that sort of cultural short-circuitry which’ll be on full display Saturday at the 4 Star, where Basement VHS has hosted screenings (yes, projected from a VCR) for the past year. Between the films \u003cem>Demons 2\u003c/em> (1986), \u003cem>From Beyond\u003c/em> (1986) and \u003cem>Riki-Oh: The Story of Ricky\u003c/em> (1991), shorter oddities will be screened, Risographed film stills and handmade T-shirts will be sold, and like-minded weirdos will get to commune over their love of trashy American detritus and half-inch magnetic tape.\u003c/p>\n\u003cp>And even though the movies aren’t well known, Okubo says, “It’ll still have this sort of like wow factor, because they are so bizarre and over the top. And still on VHS, with the grain and the glow.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Basement VHS screens the movies ‘Demons 2,’ ‘From Beyond’ and ‘Riki-Oh: The Story of Ricky,’ interspersed with 1980s and 1990s oddities and music by Beau Wanzer, at the 4 Star Theater (2200 Clement St., San Francisco) on Saturday, Aug. 30. \u003ca href=\"https://www.4-star-movies.com/\">Tickets and details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you’re at a garage sale, and you see a VHS tape of a McDonald’s training video, drop what you’re doing and call Mitsu Okubo.\u003c/p>\n\u003cp>Okubo is a VHS collector and co-founder of \u003ca href=\"https://www.instagram.com/basementvhs/\">Basement VHS\u003c/a>, a loose-knit collective that’s amassed a stockpile of more than 3,000 VHS tapes in a Mission District basement. And like most collectors, Okubo has a white whale.\u003c/p>\n\u003cp>“There’s a lot of McDonald’s employee training tapes out there, but there’s this one in particular, released to address the tragedy of 9/11 that was exclusively shown to their employees,” Okubo says, covetously. “It’s literally a Ronald McDonald, like, ‘This is how we deal with the tragedy of 9/11 with our employees and customers.’”\u003c/p>\n\u003cfigure id=\"attachment_13980798\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13980798\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/The-Basement_Tapes_Front_2000.jpg\" alt=\"book cover with red, black and lime green design\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/The-Basement_Tapes_Front_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/The-Basement_Tapes_Front_2000-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/The-Basement_Tapes_Front_2000-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/The-Basement_Tapes_Front_2000-1536x1536.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">‘The Basement Tapes,’ published by VS Press, presents a collection of VHS tapes in all their glory. \u003ccite>(Courtesy the Basement)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Why would anyone seek such a bizarre cultural artifact? Helpfully, there’s an explanation: \u003cem>\u003ca href=\"https://www.instagram.com/p/DM0gYTpsjRF/\">The Basement Tapes\u003c/a>\u003c/em>, a full-color, 352-page book chock-full of the most perplexing titles from the Basement VHS collection, edited by Okubo and his Basement VHS co-conspirator Luca Antonucci. The book’s release is celebrated with a day of movie screenings at the 4 Star Theater on Saturday, Aug. 30.\u003c/p>\n\u003cp>This all-analog crew of VHS enthusiasts has been adjusting their tracking together since 2011 and \u003ca href=\"https://www.radiovalencia.fm/podcasts/?show=basement%20radio\">discussing movies each week on Radio Valencia\u003c/a> since 2023. At weekly screenings each Wednesday, they invite others to the Basement, where piles of videotapes tower above fuzzy, grainy — or, ahem, “warm” — screenings of arcane non-blockbusters like \u003ci>Frankenhooker\u003c/i>, \u003ci>C.H.U.D.\u003c/i> and \u003ci>The People Under the Stairs\u003c/i>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Not only are the movies typically so-bad-they’re-good-and-wait-a-sec-actually-they-might-just-be-great, the medium defies the dominant notion that streaming is something to be embraced. “Entertainment should require a certain level of inconvenience,” Okubo writes in a foreword for the book, noting that not long ago, “entertainment was an event we had to wait for, adding anticipation and value to the experience.”\u003c/p>\n\u003cp>Plus, in a city hypnotized by individualism and the ceaseless charge of technology, gathering with others to watch movies on VHS amounts to a subversive act. Spencer Kerber, a 32-year-old computer systems analyst, started coming to Basement VHS nights after he moved to San Francisco three years ago.\u003c/p>\n\u003cp>“They have searched and scavenged across the world to build this crazy video archive that is unlike anything I’ve ever seen,” Kerber says of Basement VHS. “Their love for film and accidental finds can’t be replaced by some abstracted algorithm-powered streaming service.”\u003c/p>\n\u003cfigure id=\"attachment_13980802\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13980802\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/3covers_2000.jpg\" alt=\"VHS covers in a row\" width=\"2000\" height=\"1022\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/3covers_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/3covers_2000-160x82.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/3covers_2000-768x392.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/3covers_2000-1536x785.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Three titles featured in ‘The Basement Tapes.’ \u003ccite>(Courtesy the Basement)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Those accidental finds are perhaps the most intriguing inclusions in \u003cem>The Basement Tapes\u003c/em>, which presents their front and back covers, price tags and video-rental stickers intact.\u003c/p>\n\u003cp>\u003cem>Tree Stand Safety\u003c/em> shows a hapless man falling upside-down from a tree, clearly having failed to watch the video within. A white-haired elderly woman smiles from the cover of \u003cem>Celebration of Jackets\u003c/em>, which promises “True sewing excitement!” Instantly intriguing titles like \u003cem>Santa Claus Defeats the Aliens\u003c/em>, \u003cem>How to Have Cybersex on the Internet\u003c/em> and \u003ci>Turkish Star Wars\u003c/i> are included throughout.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It’s that sort of cultural short-circuitry which’ll be on full display Saturday at the 4 Star, where Basement VHS has hosted screenings (yes, projected from a VCR) for the past year. Between the films \u003cem>Demons 2\u003c/em> (1986), \u003cem>From Beyond\u003c/em> (1986) and \u003cem>Riki-Oh: The Story of Ricky\u003c/em> (1991), shorter oddities will be screened, Risographed film stills and handmade T-shirts will be sold, and like-minded weirdos will get to commune over their love of trashy American detritus and half-inch magnetic tape.\u003c/p>\n\u003cp>And even though the movies aren’t well known, Okubo says, “It’ll still have this sort of like wow factor, because they are so bizarre and over the top. And still on VHS, with the grain and the glow.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Basement VHS screens the movies ‘Demons 2,’ ‘From Beyond’ and ‘Riki-Oh: The Story of Ricky,’ interspersed with 1980s and 1990s oddities and music by Beau Wanzer, at the 4 Star Theater (2200 Clement St., San Francisco) on Saturday, Aug. 30. \u003ca href=\"https://www.4-star-movies.com/\">Tickets and details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cstrong>\u003cem>Editor’s note:\u003c/em>\u003c/strong>\u003cem> This story is part of ‘\u003ca href=\"https://www.kqed.org/transhistory\">Trans Bay: A History of San Francisco’s Gender-Diverse Community\u003c/a>.’ From June 9–19, we’re publishing stories about transgender artists and activists who shaped culture from the 1890s to today.\u003c/em>\u003c/p>\n\u003cp>When it opened its doors in 1979, \u003ca href=\"https://www.kqed.org/pop/11250/esta-noche-to-close-nothing-is-sacred-san-francisco\">Esta Noche\u003c/a> became a gathering place for queer Latinos in the Mission. As the sun went down in the San Francisco neighborhood, the small dive bar exploded with fabric and sequin. DJs spun Juan Gabriel records alongside house beats, and reinas cackled and cotorreaban on the street outside.\u003c/p>\n\u003cp>“It was a tumultuous and fabulous time. There was lots of loss and chaos,” says Tina Valentín Aguirre, who first came to 16th Street as a Stanford student in 1987 to meet other young, queer Latinos. Since Aguirre hadn’t turned 21 yet, they ended up making friends with folks hanging outside the bar.\u003c/p>\n\u003cp>“I quickly met some people who were doing HIV outreach there, distributing condoms, lube and bleach,” says Aguirre, now an artist and the director of the \u003ca href=\"https://castrolgbtq.org/cultural-districts/\">Castro LGBTQ Cultural District\u003c/a>. By then, HIV had already infected thousands of people in San Francisco, most of them gay men and trans women. [aside postid='arts_13977169']\u003c/p>\n\u003cp>“Even though we’re talking about people with AIDS dying, there were some traditional Latino organizations that did not feel comfortable in talking about queer and trans issues,” says Aguirre. In 1994, they partnered with filmmaker Augie Robles on the documentary \u003ca href=\"https://vimeo.com/342185138\">\u003cem>¡Viva 16!\u003c/em>\u003c/a>, which captures the places and people that made up queer Latino nightlife in the Mission District of the ’80s and ’90s.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Meanwhile, in the Castro, “there were white-serving, mostly gay organizations that really didn’t have any idea how to work with queer and transgender people,” Aguirre adds.\u003c/p>\n\u003cp>So on the corner of 16th and Valencia Streets — the place geographically and culturally between the “straight,” Latino Mission and the gay, predominantly white Castro — is where Aguirre met some of the people that shaped the community’s unique response to the HIV/AIDS crisis. These artists and organizers came together to create programs and spaces that centered the needs of queer and trans Latinos, a new way of thinking that would shape public health efforts for decades to come.\u003c/p>\n\u003cp>https://youtu.be/_rQV2hmCUN8?si=6mKqTklxK2ssNRHb\u003c/p>\n\u003cp>One influential artist in the 16th Street scene was the dynamic and charismatic ranchera singer Teresita La Campesina. “Campesina” in Spanish can translate to “farmworker,” but as Teresita once told Aguirre in a \u003ca href=\"https://vimeo.com/516881521\">videotaped interview\u003c/a> years later: “There’s nothing about me that’s a farmworker. They call me ‘Campesina’ because I sing music from the ranch, from the country.”\u003c/p>\n\u003cp>With a voice powerful enough to command even the rowdiest party, Teresita sang ballads of heartbreak, longing and desire all over the bars of 16th Street. “Once I was able to go into the bars, she would try to take my drink — she would try to take my man,” Aguirre recalls.\u003c/p>\n\u003cp>The two would go on to form a profound connection: In Aguirre’s chosen family, Teresita became their mother. “Us younger queens helped her with makeup and getting dressed,” Aguirre says. In turn, “she helped us understand how to take care of ourselves and how to be safe with some of the men who just wanted to have a good time.”\u003c/p>\n\u003cp>After contracting HIV in the early ’90s, Teresita became more vocal about HIV/AIDS, talking about prevention and available treatment during her performances. “We needed her as one of our elders to show up and tell her story,” Aguirre says. “She was a sex worker on top of being a singer and later an AIDS activist. … Her story was a political story.”\u003c/p>\n\u003ch2>Better understanding safe sex\u003c/h2>\n\u003cp>Throughout the ’90s, the HIV/AIDS crisis intensified among San Francisco’s queer Latino community. The city already had one of the highest rates of people living with AIDS in the country, and among different demographic groups nationwide, Latinos had some of the highest rates of HIV infection.\u003c/p>\n\u003cp>It was during this moment that Rafael Díaz, a developmental psychologist and clinical social worker, began to interview gay and bisexual Latino men living in San Francisco to better understand how this group was thinking about HIV and safe sex. He found that while many of these men knew that safe sex practices — like using a condom — can help prevent an HIV infection, they were still knowingly putting themselves at risk.\u003c/p>\n\u003cp>“Our safer sex intentions are too often weakened by strong factors in our culture such as machismo, homophobia, poverty, racism and sexual silence, to name a few,” Díaz later wrote in his 1998 book, \u003ca href=\"https://www.routledge.com/Latino-Gay-Men-and-HIV-Culture-Sexuality-and-Risk-Behavior/Diaz/p/book/9780415913881/\">\u003cem>Latino Gay Men and HIV: Culture, Sexuality and Risk Behavior\u003c/em>\u003c/a>. In order to better prevent and educate about HIV, care providers would have to take into account these cultural factors, he argued.\u003c/p>\n\u003cfigure id=\"attachment_13977383\" class=\"wp-caption aligncenter\" style=\"max-width: 1614px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13977383\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/IMG_20250512_165049-1.jpg\" alt=\"\" width=\"1614\" height=\"2048\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/IMG_20250512_165049-1.jpg 1614w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/IMG_20250512_165049-1-160x203.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/IMG_20250512_165049-1-768x975.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/IMG_20250512_165049-1-1211x1536.jpg 1211w\" sizes=\"auto, (max-width: 1614px) 100vw, 1614px\">\u003cfigcaption class=\"wp-caption-text\">Héctor León performed as La Condonera in the ’90s as part of the drag troupe Las AtreDivas, and handed out condoms to whoever needed them on the street. \u003ccite>(Courtesy of Héctor León)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of the people that Díaz spoke to as part of his research was artist and community organizer Héctor León, who in 1989 moved from Mexico City to San Francisco. Before coming to the U.S., León was already involved in HIV/AIDS activism as a member of \u003ca href=\"https://www.zocalopublicsquare.org/mexico-city-gay-pride-marches/\">Frente Homosexual de Acción Revolucionaria\u003c/a>, the collective that organized Mexico’s first-ever gay pride march in 1979. Once in San Francisco, León quickly got involved in volunteering efforts to care for those living with AIDS, and prevention work with Community United in Response to AIDS/SIDA (CURAS).\u003c/p>\n\u003cp>“[Díaz’s research] confirmed what some of us already knew. … One of the reasons that people were more vulnerable to contracting HIV is because they were alone and didn’t have a support network,” León says in Spanish. In the Mission District in the ’80s, León saw how transgender people and sex workers faced intense rejection from the rest of the community and had very limited access to healthcare services.\u003c/p>\n\u003cp>In response, León decided to put on a wig and a dress, and pick up a briefcase. They became “La Condonera,” a persona that walked the streets of the Mission District at night passing out condoms to the transgender sex workers and anyone else who might need them. “The girls didn’t like that a gay boy showed up to pass out condoms,” they explain. “But if I dressed up, it would be easier for me to approach them.”\u003c/p>\n\u003cp>La Condonera would also visit bars and clubs holding up their briefcase, a reinterpretation of a 1920s cigar girl. “At the time, you had to be discreet — even when talking about condoms,” they say. “So I would set up the condoms as if they were chocolates and would even ask people, ‘Would you like a chocolate?’”\u003c/p>\n\u003cp>“People would always welcome La Condonera,” León adds.\u003c/p>\n\u003cfigure id=\"attachment_13977385\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13977385\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/glbths_GLBT-EPH_NTFAP_PCSPV_blackandwhiteparty.jpg\" alt=\"\" width=\"2000\" height=\"2545\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/glbths_GLBT-EPH_NTFAP_PCSPV_blackandwhiteparty.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/glbths_GLBT-EPH_NTFAP_PCSPV_blackandwhiteparty-160x204.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/glbths_GLBT-EPH_NTFAP_PCSPV_blackandwhiteparty-768x977.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/glbths_GLBT-EPH_NTFAP_PCSPV_blackandwhiteparty-1207x1536.jpg 1207w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/glbths_GLBT-EPH_NTFAP_PCSPV_blackandwhiteparty-1609x2048.jpg 1609w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A flyer from Proyecto ContraSIDa Por Vida. Ephemera collection, National Task Force on AIDS Prevention. \u003ccite>(Courtesy of Gay, Lesbian, Bisexual, Transgender Historical Society)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Different cuerpos, different deseos, different culturas’\u003c/h2>\n\u003cp>In 1993, León joined forces with legendary lesbian activist and DJ Diane Félix, National Task Force on AIDS Prevention director Reggie Williams, organizer Jesse Johnson and other community leaders to start Proyecto ContraSIDA Por Vida (PCPV) — Project Against AIDS and For Life. From the beginning, PCPV sought to provide HIV services that responded to the cultural and linguistic diversity of the Mission District.\u003c/p>\n\u003cp>First located at the corner of 16th and Mission Streets, PCPV was a space where anyone could come in and pick up condoms, and a hub for extensive artistic, athletic and cultural expression. “Las Diablitas,” a soccer team for young queer women; a hiking and meditation group for HIV-positive gay Latino men called “¡Adelante Caminante!”; “CuidaTe-Ta,” a monthly support group “for hermanas of all ethnic backgrounds and orientations.”\u003c/p>\n\u003cfigure id=\"attachment_13977384\" class=\"wp-caption aligncenter\" style=\"max-width: 2311px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13977384\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/glbths_GLBT-EPH_NTFAP_PCSPV_card2.jpg\" alt=\"\" width=\"2311\" height=\"1696\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/glbths_GLBT-EPH_NTFAP_PCSPV_card2.jpg 2311w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/glbths_GLBT-EPH_NTFAP_PCSPV_card2-2000x1468.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/glbths_GLBT-EPH_NTFAP_PCSPV_card2-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/glbths_GLBT-EPH_NTFAP_PCSPV_card2-768x564.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/glbths_GLBT-EPH_NTFAP_PCSPV_card2-1536x1127.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/glbths_GLBT-EPH_NTFAP_PCSPV_card2-2048x1503.jpg 2048w\" sizes=\"auto, (max-width: 2311px) 100vw, 2311px\">\u003cfigcaption class=\"wp-caption-text\">A flyer from Proyecto ContraSIDA Por Vida. Ephemera collection, National Task Force on AIDS Prevention. \u003ccite>(Courtesy of Gay, Lesbian, Bisexual, Transgender Historical Society)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As he continued his research on HIV/AIDS prevention through the 1990s, Rafael Díaz confirmed that discrimination and sexual silence were putting the Latino community at greater risk of infection. PCPV’s mission statement spoke directly to these factors: “Different nombres, different cuerpos, different deseos, different culturas coming together to form a community dedicated to living, to fighting the spread of HIV disease and the other unnatural disasters of racism, sexism, homophobia, xenophobia and poverty,” declared the group’s mission statement.\u003c/p>\n\u003cp>“Proyecto challenged the assumption that everybody wanted to live,” says Juana María Rodríguez, professor of ethnic studies and performance studies at UC Berkeley. While working on her dissertation in the mid-’90s, Rodríguez started going to PCPV events, which were completely different from any type of HIV work she had seen before. “Creativity and art are life-affirming. … This gave these young queers a reason to want to take care of themselves.”\u003c/p>\n\u003cp>PCPV was also different from other organizations because of who led the programming, Rodríguez points out. “Many of the most vulnerable members of the community were immigrant trans women,” she says. “Proyecto, in some ways, had trans women at the very center of its vision.”\u003c/p>\n\u003cfigure id=\"attachment_13967307\" class=\"wp-caption aligncenter\" style=\"max-width: 604px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967307\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/AtreDivas.jpg\" alt=\"\" width=\"604\" height=\"448\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/AtreDivas.jpg 604w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/AtreDivas-160x119.jpg 160w\" sizes=\"auto, (max-width: 604px) 100vw, 604px\">\u003cfigcaption class=\"wp-caption-text\">Las AtreDivas perform in the early ’90s. \u003ccite>(Wikimedia Commons)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>An old friend of León’s, legendary drag performer Adela Vázquez, soon joined PCPV, where they both ran the group’s AtreDivas collective (a play on words that combines “daring” and “divas”), that offered sewing and classes for trans Latinas. Las AtreDivas performed all over the Bay Area — including at Esta Noche — educating their audiences about HIV and safe sex while lip syncing until the early hours of the morning.\u003c/p>\n\u003cp>“What worked well for Proyecto was that there was a clear vision,” says León. “Through art, we could bring people together to create things, who wanted to design a shirt or write a poem … and that way make sure that no one had to talk about AIDS by themselves.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=kDsPB8IfPzY\u003c/p>\n\u003ch2>‘Hablar del VIH es hablar de la vida’\u003c/h2>\n\u003cp>In 2005, PCPV transformed into \u003ca href=\"https://ellaparatranslatinas.org/\">El/La Para TransLatinas\u003c/a>, a nonprofit that focuses on serving immigrant trans women. After living with HIV for over a decade, Teresita La Campesina died in 2002. And more recently, \u003ca href=\"https://www.kqed.org/arts/13967317/remembering-adela-vazquez-beloved-trans-activist-and-performer\">Adela Vázquez\u003c/a> passed away from a heart attack at 66 years old last October. But the HIV work that came out from 16th Street during the height of the crisis is still felt both in the Mission District and among public health experts.\u003c/p>\n\u003cp>Only a few blocks away from where Esta Noche and PCPV used to be is Mission Neighborhood Health Center (MNHC), which serves thousands of families, most of them Spanish-speaking immigrants. In 1989, MNHC opened Clínica Esperanza, the first bilingual HIV clinic in the city, offering both medical services and support groups. Tina Aguirre helped design the clinic’s original programming, and Rafael Díaz’s research became the foundation for an intervention program for Spanish-speaking gay and bisexual men: Hermanos de Luna y Sol, which continues to operate after 30 years.\u003c/p>\n\u003cfigure id=\"attachment_13936482\" class=\"wp-caption aligncenter\" style=\"max-width: 1456px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936482\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Photo-by-Freddie-Niem.png\" alt=\"Flyer with event info, black text on cream paper, photos of three storytellers at top of page\" width=\"1456\" height=\"1928\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Photo-by-Freddie-Niem.png 1456w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Photo-by-Freddie-Niem-800x1059.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Photo-by-Freddie-Niem-1020x1351.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Photo-by-Freddie-Niem-160x212.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Photo-by-Freddie-Niem-768x1017.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Photo-by-Freddie-Niem-1160x1536.png 1160w\" sizes=\"auto, (max-width: 1456px) 100vw, 1456px\">\u003cfigcaption class=\"wp-caption-text\">A 1997 flyer by Laylani Wong (photo by Freddie Niems) for Adela Vázquez, Tamara Ching and Connie Amarathithada’s live storytelling event promoting safe sex. \u003ccite>(Courtesy Adela Vázquez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Many of the men at Hermanos de Luna y Sol are living in the U.S. by themselves after being rejected by their biological families back in their countries of origin, says César Monroy, HIV and Prevention Wellness Manager at MNHC, who also runs the Hermanos de Luna y Sol meetings.\u003c/p>\n\u003cp>“In our countries, we don’t really have the chance to talk about our personal things … which sometimes makes us believe that no one else has experienced what we’re going through,” he says.\u003c/p>\n\u003cp>“If you’re worried about paying rent or not having a job, we’ll talk about that … as these are factors that may push you to make risky decisions,” he adds. “Hablar del VIH es hablar de la vida.” — “Talking about HIV is talking about life.”\u003c/p>\n\u003cp>At the height of the COVID-19 pandemic, public health experts in San Francisco partnered with community members to create a prevention and treatment strategy for the city’s Latino population that took into account unique cultural factors. Researchers with UCSF’s Unidos en Salud initiative confirmed that their COVID-19 strategy was partly informed by the impact of HIV/AIDS among the Latino community.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“We don’t have to imagine that this is the first time the community has ever faced oppression or exclusion,” says Aguirre, thinking back to what they learned from Teresita La Campesina and the other queens that formed their chosen family during those nights at Esta Noche. “We were not the first, and not only that, we had a lot to learn from people who have already been there.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>\u003cem>Editor’s note:\u003c/em>\u003c/strong>\u003cem> This story is part of ‘\u003ca href=\"https://www.kqed.org/transhistory\">Trans Bay: A History of San Francisco’s Gender-Diverse Community\u003c/a>.’ From June 9–19, we’re publishing stories about transgender artists and activists who shaped culture from the 1890s to today.\u003c/em>\u003c/p>\n\u003cp>When it opened its doors in 1979, \u003ca href=\"https://www.kqed.org/pop/11250/esta-noche-to-close-nothing-is-sacred-san-francisco\">Esta Noche\u003c/a> became a gathering place for queer Latinos in the Mission. As the sun went down in the San Francisco neighborhood, the small dive bar exploded with fabric and sequin. DJs spun Juan Gabriel records alongside house beats, and reinas cackled and cotorreaban on the street outside.\u003c/p>\n\u003cp>“It was a tumultuous and fabulous time. There was lots of loss and chaos,” says Tina Valentín Aguirre, who first came to 16th Street as a Stanford student in 1987 to meet other young, queer Latinos. Since Aguirre hadn’t turned 21 yet, they ended up making friends with folks hanging outside the bar.\u003c/p>\n\u003cp>“I quickly met some people who were doing HIV outreach there, distributing condoms, lube and bleach,” says Aguirre, now an artist and the director of the \u003ca href=\"https://castrolgbtq.org/cultural-districts/\">Castro LGBTQ Cultural District\u003c/a>. By then, HIV had already infected thousands of people in San Francisco, most of them gay men and trans women. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Even though we’re talking about people with AIDS dying, there were some traditional Latino organizations that did not feel comfortable in talking about queer and trans issues,” says Aguirre. In 1994, they partnered with filmmaker Augie Robles on the documentary \u003ca href=\"https://vimeo.com/342185138\">\u003cem>¡Viva 16!\u003c/em>\u003c/a>, which captures the places and people that made up queer Latino nightlife in the Mission District of the ’80s and ’90s.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Meanwhile, in the Castro, “there were white-serving, mostly gay organizations that really didn’t have any idea how to work with queer and transgender people,” Aguirre adds.\u003c/p>\n\u003cp>So on the corner of 16th and Valencia Streets — the place geographically and culturally between the “straight,” Latino Mission and the gay, predominantly white Castro — is where Aguirre met some of the people that shaped the community’s unique response to the HIV/AIDS crisis. These artists and organizers came together to create programs and spaces that centered the needs of queer and trans Latinos, a new way of thinking that would shape public health efforts for decades to come.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/_rQV2hmCUN8'\n title='//www.youtube.com/embed/_rQV2hmCUN8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>One influential artist in the 16th Street scene was the dynamic and charismatic ranchera singer Teresita La Campesina. “Campesina” in Spanish can translate to “farmworker,” but as Teresita once told Aguirre in a \u003ca href=\"https://vimeo.com/516881521\">videotaped interview\u003c/a> years later: “There’s nothing about me that’s a farmworker. They call me ‘Campesina’ because I sing music from the ranch, from the country.”\u003c/p>\n\u003cp>With a voice powerful enough to command even the rowdiest party, Teresita sang ballads of heartbreak, longing and desire all over the bars of 16th Street. “Once I was able to go into the bars, she would try to take my drink — she would try to take my man,” Aguirre recalls.\u003c/p>\n\u003cp>The two would go on to form a profound connection: In Aguirre’s chosen family, Teresita became their mother. “Us younger queens helped her with makeup and getting dressed,” Aguirre says. In turn, “she helped us understand how to take care of ourselves and how to be safe with some of the men who just wanted to have a good time.”\u003c/p>\n\u003cp>After contracting HIV in the early ’90s, Teresita became more vocal about HIV/AIDS, talking about prevention and available treatment during her performances. “We needed her as one of our elders to show up and tell her story,” Aguirre says. “She was a sex worker on top of being a singer and later an AIDS activist. … Her story was a political story.”\u003c/p>\n\u003ch2>Better understanding safe sex\u003c/h2>\n\u003cp>Throughout the ’90s, the HIV/AIDS crisis intensified among San Francisco’s queer Latino community. The city already had one of the highest rates of people living with AIDS in the country, and among different demographic groups nationwide, Latinos had some of the highest rates of HIV infection.\u003c/p>\n\u003cp>It was during this moment that Rafael Díaz, a developmental psychologist and clinical social worker, began to interview gay and bisexual Latino men living in San Francisco to better understand how this group was thinking about HIV and safe sex. He found that while many of these men knew that safe sex practices — like using a condom — can help prevent an HIV infection, they were still knowingly putting themselves at risk.\u003c/p>\n\u003cp>“Our safer sex intentions are too often weakened by strong factors in our culture such as machismo, homophobia, poverty, racism and sexual silence, to name a few,” Díaz later wrote in his 1998 book, \u003ca href=\"https://www.routledge.com/Latino-Gay-Men-and-HIV-Culture-Sexuality-and-Risk-Behavior/Diaz/p/book/9780415913881/\">\u003cem>Latino Gay Men and HIV: Culture, Sexuality and Risk Behavior\u003c/em>\u003c/a>. In order to better prevent and educate about HIV, care providers would have to take into account these cultural factors, he argued.\u003c/p>\n\u003cfigure id=\"attachment_13977383\" class=\"wp-caption aligncenter\" style=\"max-width: 1614px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13977383\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/IMG_20250512_165049-1.jpg\" alt=\"\" width=\"1614\" height=\"2048\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/IMG_20250512_165049-1.jpg 1614w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/IMG_20250512_165049-1-160x203.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/IMG_20250512_165049-1-768x975.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/IMG_20250512_165049-1-1211x1536.jpg 1211w\" sizes=\"auto, (max-width: 1614px) 100vw, 1614px\">\u003cfigcaption class=\"wp-caption-text\">Héctor León performed as La Condonera in the ’90s as part of the drag troupe Las AtreDivas, and handed out condoms to whoever needed them on the street. \u003ccite>(Courtesy of Héctor León)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of the people that Díaz spoke to as part of his research was artist and community organizer Héctor León, who in 1989 moved from Mexico City to San Francisco. Before coming to the U.S., León was already involved in HIV/AIDS activism as a member of \u003ca href=\"https://www.zocalopublicsquare.org/mexico-city-gay-pride-marches/\">Frente Homosexual de Acción Revolucionaria\u003c/a>, the collective that organized Mexico’s first-ever gay pride march in 1979. Once in San Francisco, León quickly got involved in volunteering efforts to care for those living with AIDS, and prevention work with Community United in Response to AIDS/SIDA (CURAS).\u003c/p>\n\u003cp>“[Díaz’s research] confirmed what some of us already knew. … One of the reasons that people were more vulnerable to contracting HIV is because they were alone and didn’t have a support network,” León says in Spanish. In the Mission District in the ’80s, León saw how transgender people and sex workers faced intense rejection from the rest of the community and had very limited access to healthcare services.\u003c/p>\n\u003cp>In response, León decided to put on a wig and a dress, and pick up a briefcase. They became “La Condonera,” a persona that walked the streets of the Mission District at night passing out condoms to the transgender sex workers and anyone else who might need them. “The girls didn’t like that a gay boy showed up to pass out condoms,” they explain. “But if I dressed up, it would be easier for me to approach them.”\u003c/p>\n\u003cp>La Condonera would also visit bars and clubs holding up their briefcase, a reinterpretation of a 1920s cigar girl. “At the time, you had to be discreet — even when talking about condoms,” they say. “So I would set up the condoms as if they were chocolates and would even ask people, ‘Would you like a chocolate?’”\u003c/p>\n\u003cp>“People would always welcome La Condonera,” León adds.\u003c/p>\n\u003cfigure id=\"attachment_13977385\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13977385\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/glbths_GLBT-EPH_NTFAP_PCSPV_blackandwhiteparty.jpg\" alt=\"\" width=\"2000\" height=\"2545\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/glbths_GLBT-EPH_NTFAP_PCSPV_blackandwhiteparty.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/glbths_GLBT-EPH_NTFAP_PCSPV_blackandwhiteparty-160x204.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/glbths_GLBT-EPH_NTFAP_PCSPV_blackandwhiteparty-768x977.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/glbths_GLBT-EPH_NTFAP_PCSPV_blackandwhiteparty-1207x1536.jpg 1207w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/glbths_GLBT-EPH_NTFAP_PCSPV_blackandwhiteparty-1609x2048.jpg 1609w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A flyer from Proyecto ContraSIDa Por Vida. Ephemera collection, National Task Force on AIDS Prevention. \u003ccite>(Courtesy of Gay, Lesbian, Bisexual, Transgender Historical Society)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Different cuerpos, different deseos, different culturas’\u003c/h2>\n\u003cp>In 1993, León joined forces with legendary lesbian activist and DJ Diane Félix, National Task Force on AIDS Prevention director Reggie Williams, organizer Jesse Johnson and other community leaders to start Proyecto ContraSIDA Por Vida (PCPV) — Project Against AIDS and For Life. From the beginning, PCPV sought to provide HIV services that responded to the cultural and linguistic diversity of the Mission District.\u003c/p>\n\u003cp>First located at the corner of 16th and Mission Streets, PCPV was a space where anyone could come in and pick up condoms, and a hub for extensive artistic, athletic and cultural expression. “Las Diablitas,” a soccer team for young queer women; a hiking and meditation group for HIV-positive gay Latino men called “¡Adelante Caminante!”; “CuidaTe-Ta,” a monthly support group “for hermanas of all ethnic backgrounds and orientations.”\u003c/p>\n\u003cfigure id=\"attachment_13977384\" class=\"wp-caption aligncenter\" style=\"max-width: 2311px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13977384\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/glbths_GLBT-EPH_NTFAP_PCSPV_card2.jpg\" alt=\"\" width=\"2311\" height=\"1696\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/glbths_GLBT-EPH_NTFAP_PCSPV_card2.jpg 2311w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/glbths_GLBT-EPH_NTFAP_PCSPV_card2-2000x1468.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/glbths_GLBT-EPH_NTFAP_PCSPV_card2-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/glbths_GLBT-EPH_NTFAP_PCSPV_card2-768x564.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/glbths_GLBT-EPH_NTFAP_PCSPV_card2-1536x1127.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/glbths_GLBT-EPH_NTFAP_PCSPV_card2-2048x1503.jpg 2048w\" sizes=\"auto, (max-width: 2311px) 100vw, 2311px\">\u003cfigcaption class=\"wp-caption-text\">A flyer from Proyecto ContraSIDA Por Vida. Ephemera collection, National Task Force on AIDS Prevention. \u003ccite>(Courtesy of Gay, Lesbian, Bisexual, Transgender Historical Society)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As he continued his research on HIV/AIDS prevention through the 1990s, Rafael Díaz confirmed that discrimination and sexual silence were putting the Latino community at greater risk of infection. PCPV’s mission statement spoke directly to these factors: “Different nombres, different cuerpos, different deseos, different culturas coming together to form a community dedicated to living, to fighting the spread of HIV disease and the other unnatural disasters of racism, sexism, homophobia, xenophobia and poverty,” declared the group’s mission statement.\u003c/p>\n\u003cp>“Proyecto challenged the assumption that everybody wanted to live,” says Juana María Rodríguez, professor of ethnic studies and performance studies at UC Berkeley. While working on her dissertation in the mid-’90s, Rodríguez started going to PCPV events, which were completely different from any type of HIV work she had seen before. “Creativity and art are life-affirming. … This gave these young queers a reason to want to take care of themselves.”\u003c/p>\n\u003cp>PCPV was also different from other organizations because of who led the programming, Rodríguez points out. “Many of the most vulnerable members of the community were immigrant trans women,” she says. “Proyecto, in some ways, had trans women at the very center of its vision.”\u003c/p>\n\u003cfigure id=\"attachment_13967307\" class=\"wp-caption aligncenter\" style=\"max-width: 604px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967307\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/AtreDivas.jpg\" alt=\"\" width=\"604\" height=\"448\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/AtreDivas.jpg 604w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/AtreDivas-160x119.jpg 160w\" sizes=\"auto, (max-width: 604px) 100vw, 604px\">\u003cfigcaption class=\"wp-caption-text\">Las AtreDivas perform in the early ’90s. \u003ccite>(Wikimedia Commons)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>An old friend of León’s, legendary drag performer Adela Vázquez, soon joined PCPV, where they both ran the group’s AtreDivas collective (a play on words that combines “daring” and “divas”), that offered sewing and classes for trans Latinas. Las AtreDivas performed all over the Bay Area — including at Esta Noche — educating their audiences about HIV and safe sex while lip syncing until the early hours of the morning.\u003c/p>\n\u003cp>“What worked well for Proyecto was that there was a clear vision,” says León. “Through art, we could bring people together to create things, who wanted to design a shirt or write a poem … and that way make sure that no one had to talk about AIDS by themselves.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/kDsPB8IfPzY'\n title='//www.youtube.com/embed/kDsPB8IfPzY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>‘Hablar del VIH es hablar de la vida’\u003c/h2>\n\u003cp>In 2005, PCPV transformed into \u003ca href=\"https://ellaparatranslatinas.org/\">El/La Para TransLatinas\u003c/a>, a nonprofit that focuses on serving immigrant trans women. After living with HIV for over a decade, Teresita La Campesina died in 2002. And more recently, \u003ca href=\"https://www.kqed.org/arts/13967317/remembering-adela-vazquez-beloved-trans-activist-and-performer\">Adela Vázquez\u003c/a> passed away from a heart attack at 66 years old last October. But the HIV work that came out from 16th Street during the height of the crisis is still felt both in the Mission District and among public health experts.\u003c/p>\n\u003cp>Only a few blocks away from where Esta Noche and PCPV used to be is Mission Neighborhood Health Center (MNHC), which serves thousands of families, most of them Spanish-speaking immigrants. In 1989, MNHC opened Clínica Esperanza, the first bilingual HIV clinic in the city, offering both medical services and support groups. Tina Aguirre helped design the clinic’s original programming, and Rafael Díaz’s research became the foundation for an intervention program for Spanish-speaking gay and bisexual men: Hermanos de Luna y Sol, which continues to operate after 30 years.\u003c/p>\n\u003cfigure id=\"attachment_13936482\" class=\"wp-caption aligncenter\" style=\"max-width: 1456px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936482\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Photo-by-Freddie-Niem.png\" alt=\"Flyer with event info, black text on cream paper, photos of three storytellers at top of page\" width=\"1456\" height=\"1928\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Photo-by-Freddie-Niem.png 1456w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Photo-by-Freddie-Niem-800x1059.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Photo-by-Freddie-Niem-1020x1351.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Photo-by-Freddie-Niem-160x212.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Photo-by-Freddie-Niem-768x1017.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Photo-by-Freddie-Niem-1160x1536.png 1160w\" sizes=\"auto, (max-width: 1456px) 100vw, 1456px\">\u003cfigcaption class=\"wp-caption-text\">A 1997 flyer by Laylani Wong (photo by Freddie Niems) for Adela Vázquez, Tamara Ching and Connie Amarathithada’s live storytelling event promoting safe sex. \u003ccite>(Courtesy Adela Vázquez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Many of the men at Hermanos de Luna y Sol are living in the U.S. by themselves after being rejected by their biological families back in their countries of origin, says César Monroy, HIV and Prevention Wellness Manager at MNHC, who also runs the Hermanos de Luna y Sol meetings.\u003c/p>\n\u003cp>“In our countries, we don’t really have the chance to talk about our personal things … which sometimes makes us believe that no one else has experienced what we’re going through,” he says.\u003c/p>\n\u003cp>“If you’re worried about paying rent or not having a job, we’ll talk about that … as these are factors that may push you to make risky decisions,” he adds. “Hablar del VIH es hablar de la vida.” — “Talking about HIV is talking about life.”\u003c/p>\n\u003cp>At the height of the COVID-19 pandemic, public health experts in San Francisco partnered with community members to create a prevention and treatment strategy for the city’s Latino population that took into account unique cultural factors. Researchers with UCSF’s Unidos en Salud initiative confirmed that their COVID-19 strategy was partly informed by the impact of HIV/AIDS among the Latino community.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We don’t have to imagine that this is the first time the community has ever faced oppression or exclusion,” says Aguirre, thinking back to what they learned from Teresita La Campesina and the other queens that formed their chosen family during those nights at Esta Noche. “We were not the first, and not only that, we had a lot to learn from people who have already been there.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The clock is ticking for \u003ca href=\"https://www.kqed.org/arts/13975081/art-school-degrees-bay-area-closures\">student artists\u003c/a> in San Francisco to submit their work for a major \u003ca href=\"https://www.kqed.org/arts/tag/mission-district\">Mission District\u003c/a> art show held in May and June.\u003c/p>\n\u003cp>For the past two weeks, the \u003ca href=\"https://drawingroominc.org/\">Drawing Room Annex\u003c/a> at 599 Valencia Street has been accepting submissions for its second-ever \u003cem>High School Art Show\u003c/em> in San Francisco. The deadline for submissions is this Sunday, April 27, at 6 p.m. Those unable to deliver art in person may also do so online via \u003ca href=\"https://drawingroominc.org/pages/the-high-school-art-show-2025?mc_cid=08997340b7&mc_eid=9f3df90253\">the Annex’s website\u003c/a>. The theme of the show is \u003cem>We Are/I Am: Art and Identity\u003c/em>.\u003c/p>\n\u003cp>[aside postid='arts_13972197']“We encourage students to submit a piece of work that best represents them,” the Annex states on its submissions page. “We have a very large space to fill with visual art, as well as space to host live performances in music and poetry/spoken word. We want people to see, hear and experience what you are creating!”\u003c/p>\n\u003cp>Photography, video and digital artworks are being accepted, in addition to more traditional formats like painting and sculpture. Members of the gallery will also be on hand to assist students with matting, framing and other art prep. Artists are asked to submit one piece of art only.\u003c/p>\n\u003cp>The Drawing Room Annex’s previous \u003cem>High School Art Show\u003c/em> took place in 2022, and exhibited the work of over 350 students from over 20 San Francisco schools.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=LJBc3Ic7mmo\u003c/p>\n\u003cp>This year’s opening reception will take place on May 3 from 4-9 p.m., and the exhibition will run through June 15, 2025.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Annex emphasizes to students: “We want to share this space with you and provide an opportunity to for you to show your artwork and creativity. This exhibition will demonstrate the importance of art in our daily lives and its critical role for teenagers — especially now.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The clock is ticking for \u003ca href=\"https://www.kqed.org/arts/13975081/art-school-degrees-bay-area-closures\">student artists\u003c/a> in San Francisco to submit their work for a major \u003ca href=\"https://www.kqed.org/arts/tag/mission-district\">Mission District\u003c/a> art show held in May and June.\u003c/p>\n\u003cp>For the past two weeks, the \u003ca href=\"https://drawingroominc.org/\">Drawing Room Annex\u003c/a> at 599 Valencia Street has been accepting submissions for its second-ever \u003cem>High School Art Show\u003c/em> in San Francisco. The deadline for submissions is this Sunday, April 27, at 6 p.m. Those unable to deliver art in person may also do so online via \u003ca href=\"https://drawingroominc.org/pages/the-high-school-art-show-2025?mc_cid=08997340b7&mc_eid=9f3df90253\">the Annex’s website\u003c/a>. The theme of the show is \u003cem>We Are/I Am: Art and Identity\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“We encourage students to submit a piece of work that best represents them,” the Annex states on its submissions page. “We have a very large space to fill with visual art, as well as space to host live performances in music and poetry/spoken word. We want people to see, hear and experience what you are creating!”\u003c/p>\n\u003cp>Photography, video and digital artworks are being accepted, in addition to more traditional formats like painting and sculpture. Members of the gallery will also be on hand to assist students with matting, framing and other art prep. Artists are asked to submit one piece of art only.\u003c/p>\n\u003cp>The Drawing Room Annex’s previous \u003cem>High School Art Show\u003c/em> took place in 2022, and exhibited the work of over 350 students from over 20 San Francisco schools.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
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},
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"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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},
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"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
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},
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"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"order": 8
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1MDAyODE4NTgz",
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},
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"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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},
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"order": 1
},
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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},
"commonwealth-club": {
"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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},
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"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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},
"freakonomics-radio": {
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"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
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"officialWebsiteLink": "http://freakonomics.com/",
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"meta": {
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},
"link": "/radio/program/freakonomics-radio",
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},
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"id": "fresh-air",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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},
"hidden-brain": {
"id": "hidden-brain",
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
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"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"link": "/radio/program/how-i-built-this",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
},
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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"source": "npr"
},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
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