This Saturday, Taiwanese Food Once Again Takes Over Union Square
Om Records’ 30 Years of Deep House, Downtempo and Hip-Hop in SF
Looking At The Ground: A Photo Walk Through Frisco
Chonkers the Gigantic Steller Sea Lion Draws Crowds to Pier 39
Celebrate the Grit and Glory of ‘25 Years of Hamburger Eyes’ at the SF Public Library
La Doña Traveled to 5 Countries to Make Her Borderless Album, ‘Corrientes’
A Shakespeare Story in Need of Brushing Up
A Conversation About Black Feminist Art Takes off at SFO
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"content": "\u003cp>\u003ci>This story is part of \u003ca href=\"https://www.kqed.org/affordability\">How We Get By\u003c/a>, a KQED series exploring how people are coping with rising costs in the Bay Area and California. Find the \u003ca href=\"https://www.kqed.org/affordability\">full series here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>You don’t need to sit down at one of the Bay Area’s posh and trendy temples of fine dining to know that eating out in the year 2026 is too damn expensive. These days, even the most generic fast food might cost $50 or $60 to feed a family of four, and buying groceries to cook at home is an increasingly fraught and overwhelming expense.\u003c/p>\n\u003cp>Thankfully, the high-end California cuisine restaurant isn’t the \u003ci>only\u003c/i> hallmark of the Bay Area food scene — there’s also the neighborhood taco truck, noodle counter, bánh mì shop and casual takeout dim sum deli. In every city in the Bay, these essential restaurants are still feeding the people, often at a shockingly inexpensive price point. You just need to know which ones are actually delicious.\u003c/p>\n\u003cp>Here, then, is my guide to eating well on a budget: 25 of my favorite affordable Bay Area restaurants where you can get a full, satisfying meal for $12 or less.\u003c/p>\n\u003cp>\u003cstrong>Jump straight to:\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>\u003cstrong>\u003ca href=\"#CheapEatsinSanFrancisco\">Cheap eats in San Francisco\u003c/a>\u003c/strong>\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"#CheapEatsintheSouthBayandPeninsula\">Cheap eats in the South Bay and Peninsula\u003c/a>\u003c/strong>\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"#CheapEatsintheNorthBay\">Cheap eats in the North Bay\u003c/a>\u003c/strong>\u003c/li>\n\u003c/ul>\n\u003ch1>\u003cb>EAST BAY\u003c/b>\u003c/h1>\n\u003cfigure id=\"attachment_13989352\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989352\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/universal-bakery-pan-con-todo.jpg\" alt=\"Breakfast sandwich with sausage, scrambled egg and queso fresco.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/universal-bakery-pan-con-todo.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/universal-bakery-pan-con-todo-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/universal-bakery-pan-con-todo-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/universal-bakery-pan-con-todo-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The pan con todo with Guatemalan sausage at Universal Bakery, which has locations in San Pablo, San Francisco and Daly City. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Universal Bakery\u003c/h2>\n\u003cp>\u003cem>1946 23rd St., San Pablo\u003c/em>\u003c/p>\n\u003cp>This bustling Guatemalan bakery is the king of the delicious, inexpensive breakfast sandwich, serving at least seven different varieties of its pan con todo. The baseline sandwich ($6.55) comes with fluffy scrambled eggs, refried beans, crema and a wedge of fresh cheese — the staples of a traditional Guatemalan breakfast, all piled onto a good, crusty French roll. My favorite version adds well-charred longaniza (Guatemalan pork sausage) to the mix; others feature sweet plantains or carne asada. The bakery has additional locations in \u003ca href=\"https://www.google.com/maps/place/Universal+Bakery+on+Mission/@37.741405,-122.4228077,3291m/data=!3m1!1e3!4m6!3m5!1s0x808f7e5d405c2f8b:0xb24e30761070f266!8m2!3d37.741405!4d-122.4228077!16s%2Fg%2F1vlqqfmk?entry=ttu&g_ep=EgoyMDI2MDQyOS4wIKXMDSoASAFQAw%3D%3D\">San Francisco’s Mission District\u003c/a> and in \u003ca href=\"https://www.google.com/maps/place/Universal+Bakery+on+Geneva/@37.7070028,-122.4146378,17z/data=!3m1!4b1!4m6!3m5!1s0x808f7ec563977c09:0x63c23ad1f3300324!8m2!3d37.7070028!4d-122.4146378!16s%2Fg%2F11bx9t7vrz?entry=ttu&g_ep=EgoyMDI1MDMyNS4wIKXMDSoASAFQAw%3D%3D\">Daly City\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cfigure id=\"attachment_13989373\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989373\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/aqua-terra_branzino_credit-luketsai.jpg\" alt=\"Seared fish fillet on a bed of noodles, with grilled vegetables on the side.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/aqua-terra_branzino_credit-luketsai.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/aqua-terra_branzino_credit-luketsai-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/aqua-terra_branzino_credit-luketsai-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/aqua-terra_branzino_credit-luketsai-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Even the most expensive items on the menu at Aqua Terra, like this seared branzino, only cost $16. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Aqua Terra Grill at Contra Costa College\u003c/h2>\n\u003cp>\u003cem>2600 Mission Bell Dr. SAB-130, San Pablo\u003c/em>\u003c/p>\n\u003cp>Located on the Contra Costa College campus, \u003ca href=\"https://linktr.ee/ccc_order?fbclid=IwY2xjawRlx6JleHRuA2FlbQIxMABicmlkETFEWHBmMlhCam1JYk1ZTjdRc3J0YwZhcHBfaWQQMjIyMDM5MTc4ODIwMDg5MgABHkJtQLftRhaphc9HVpBM1Pr9EdNirfRNdN9VR35XQrQKyp3Rsl1ce1jrD45w_aem_5GeBZRKVmdFI7Kideqc3EA\">Aqua Terra\u003c/a> functions as a training facility for students in the school’s \u003ca href=\"https://www.instagram.com/ccc_culinaryacademy\">culinary academy\u003c/a>, but it it’s also fully open to the public for lunch service, three days a week (Tuesday–Thursday). The bonus with getting a meal prepared and served by students still learning their trade is that it’s an extraordinary value — say, a cool $9 for braised beef shank ravioli or a portobello focaccia sandwich with fries. (It’s just $16 to splurge on grilled branzino with garlic noodles.) The food can be a little uneven, with a throwback-to-’90s-New-American vibe. But it’s a solid meal — slightly fancy, even! — with sweet, earnest service for fast food prices. Note: the restaurant follows the school calendar, which means it’s already wrapping up for the semester. The last hurrah is a big Mother’s Day buffet on May 12–13; \u003ca href=\"https://forms.office.com/pages/responsepage.aspx?id=SmlUw-XMn0iyo6Kp0m4MP3XtfkM2ShJPnQ6gSMwaMQJUNE5WMTdVR05WQldHUTJDNEFWUEFKM1M2MC4u&route=shorturl\">reservations\u003c/a> are highly recommended.\u003c/p>\n\u003cfigure id=\"attachment_13989374\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989374\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/la-selva_credit-luketsai_2.jpg\" alt=\"Whole grilled chicken in a takeout container, with rice, refried beans and various salsas on the side.\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/la-selva_credit-luketsai_2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/la-selva_credit-luketsai_2-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/la-selva_credit-luketsai_2-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/la-selva_credit-luketsai_2-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The whole chicken meal at Richmond’s La Selva is an affordable way to feed the whole family. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>La Selva Taqueria\u003c/h2>\n\u003cp>\u003cem>1049 23rd St., Richmond\u003c/em>\u003c/p>\n\u003cp>The house specialty at this rainforest-themed taqueria near the end of \u003ca href=\"https://eastbayexpress.com/a-richmond-taco-crawl-2-1/\">Richmond’s 23rd Street taco corridor\u003c/a> is pollo al carbon — whole spatchcocked chickens slow-grilled over charcoal until the skin is deeply charred and the flesh is smoky, tender and delicious. You can get your chicken either on tacos or in a burrito, but my preference is the $30 family meal, which comes with a whole bird, tortillas, rice, refried beans, chips and as many tubs of salsa as you want from the restaurant’s excellent serve-yourself salsa bar. It’s enough to feed my family of four with leftovers — just $7.50 per person.\u003c/p>\n\u003ch2>Grand Cafe\u003c/h2>\n\u003cp>\u003cem>4250 Macdonald Ave., Richmond\u003c/em>\u003c/p>\n\u003cp>This under-the-radar Hong Kong cafe tucked inside a Target shopping plaza isn’t notable for any single standout dish, but instead for its overall dedication to affordability: \u003ca href=\"https://www.kqed.org/arts/13986256/cheap-cantonese-restaurant-richmond-east-bay-grand-cafe-dim-sum-claypot-rice\">Nothing on the menu costs more than $10.75\u003c/a>, and most dishes come with free soy milk and a bowl of hot soup on the side. My favorite is the claypot rice with spare ribs and preserved sausage.\u003c/p>\n\u003cfigure id=\"attachment_13923368\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13923368\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/antojitos-exterior.jpg\" alt=\"Exterior of the Antojitos Guatemaltecos restaurant with a yellow facade and a handful of outdoor tables on the sidewalk.\" width=\"1920\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/antojitos-exterior.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/antojitos-exterior-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/antojitos-exterior-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/antojitos-exterior-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/antojitos-exterior-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/antojitos-exterior-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Tamales are the staple dish at Antojitos Guatemaltecos in El Cerrito. \u003ccite>(Luke Tsai)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Antojitos Guatemaltecos\u003c/h2>\n\u003cp>\u003cem>11252 San Pablo Ave., El Cerrito\u003c/em>\u003c/p>\n\u003cp>Tamales are the staple dish at this \u003ca href=\"https://www.kqed.org/arts/13923359/antojitos-guatemaltecos-guatemalan-restaurant-el-cerrito-tamales-pollo-campero\">homestyle Guatemalan restaurant\u003c/a> — and at $5 a pop, they’re also its most affordable offering. Two of these, mixed and matched between about a half-dozen available varieties, make for a hearty breakfast, lunch or dinner. I especially love the wonderfully jiggly and custard-like Guatemalan-style corn-masa tamales and the harder-to-find \u003ca href=\"https://www.kqed.org/arts/13913355/guatemalan-rice-tamales-antojitos-guatemaltecos-richmond\">rice tamales\u003c/a>, which are like a soupy Central American cousin to Chinese zongzi. The restaurant has a great deal on its extraordinarily flavorful \u003ca href=\"https://www.latimes.com/california/story/2021-04-14/pollo-campero-central-america-los-angeles\">Pollo Campero–style\u003c/a> fried chicken — a whole leg, fries and a handmade tortilla for $11.95.\u003c/p>\n\u003ch2>Top Dog\u003c/h2>\n\u003cp>\u003cem>2534 Durant Ave., Berkeley\u003c/em>\u003c/p>\n\u003cp>The original, and only remaining, location of Top Dog is a Berkeley \u003ca href=\"https://www.kqed.org/arts/13954597/top-dog-late-night-hot-dogs-berkeley-midnight-diners\">late-night institution\u003c/a> for good reason. The hot dogs, served on the shop’s signature toasty French rolls, are simply the best. One of them makes for a solid lunch (the garlic frankfurter is my favorite); two in one sitting feels like a downright feast. Note well: Most of the dogs are priced at $4.75, but the shop has a $5 credit card minimum. If you don’t feel like buying a soda, the mild, creamy potato salad is a nice add-on.\u003c/p>\n\u003cfigure id=\"attachment_13989377\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989377\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/alems-coffee-shihan-ful_credit-luketsai.jpg\" alt=\"Dark red fava bean stew, with two crusty rolls on the side.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/alems-coffee-shihan-ful_credit-luketsai.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/alems-coffee-shihan-ful_credit-luketsai-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/alems-coffee-shihan-ful_credit-luketsai-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/alems-coffee-shihan-ful_credit-luketsai-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The shihan ful at Alem’s Coffee in Oakland. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Alem’s Coffee\u003c/h2>\n\u003cp>\u003cem>5353 Claremont Ave., Oakland\u003c/em>\u003c/p>\n\u003cp>Strictly speaking, my favorite dishes at this classic Eritrean cafe are \u003ci>just \u003c/i>above this roundup’s $12 threshold — the oniony egg frittata ($12.50) and the spice-redolent fava bean stew known as shihan ful ($13), both served with excellent crusty bread for dipping. On a hot day, though, it’s tough to beat the value on the $9 umbotito, a quirky, refreshing potato sandwich of sorts — slices of cold, al dente boiled potato topped with lettuce, tomatoes and onions in a light vinaigrette. The cafe’s location, across from the Oakland DMV parking lot, has made it the one bright spot in many otherwise dreary mornings.\u003c/p>\n\u003cfigure id=\"attachment_13989378\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989378\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/souk-savanh_rice-plate_credit-luketsai.jpg\" alt=\"Sticky rice, sausage balls and fried egg on a metal tray.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/souk-savanh_rice-plate_credit-luketsai.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/souk-savanh_rice-plate_credit-luketsai-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/souk-savanh_rice-plate_credit-luketsai-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/souk-savanh_rice-plate_credit-luketsai-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The $10 Lao sausage rice plate at the newly opened Souk Savanh 2.0 in Oakland. The fried egg is a $2 add-on. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Soukh Savanh 2.0\u003c/h2>\n\u003cp>\u003cem>1707 Telegraph Ave., Oakland\u003c/em>\u003c/p>\n\u003cp>Recently reborn in a prime Uptown location, the new, counter-service incarnation of this \u003ca href=\"https://eastbayexpress.com/paradise-deferred-2-1/\">much-loved Lao-Thai restaurant\u003c/a> has one of the most affordable menus in the neighborhood. The headliner is the selection of $10 rice plates, which are available all day long. I especially love the fermented Lao sausage, which Souk Savanh serves as crisp-edged meatballs — absurdly delicious when dunked in a runny-yolked fried egg (a $2 add-on); dipped in funky-sweet jeow som; and then scooped up, Lao-style, with a clump of sticky rice. Pro tip: For a near-perfect meal, two diners can split one rice plate and an order of nam khao (crispy rice ball salad) — one of the best versions in the Bay — for about $12 a person. \u003cem>\u003cstrong>Editor’s note: Souk Savanh is now \u003ca href=\"https://www.instagram.com/p/DYN4ropPhGb/\">closed indefinitely\u003c/a>.\u003c/strong>\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13989379\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989379\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/banh-mi-ba-le_credit-luketsai_1.jpg\" alt=\"Hand holding what's left of a banh mi sandwich with ground pork and egg.\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/banh-mi-ba-le_credit-luketsai_1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/banh-mi-ba-le_credit-luketsai_1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/banh-mi-ba-le_credit-luketsai_1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/banh-mi-ba-le_credit-luketsai_1-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A view of a half-eaten #13 meatball and egg bánh mì from Banh Mi Ba Le. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Banh Mi Ba Le\u003c/h2>\n\u003cp>\u003cem>1909 International Blvd., Oakland\u003c/em>\u003c/p>\n\u003cp>Ba Le’s #13 meatball-and-egg bánh mì shot to the top of my bánh mì rankings the first time I tried it, some 15 years ago — just an exquisite combination of juicy, peppery ground pork; a jammy-yolked fried egg; a big smear of buttery Vietnamese mayo; and both fresh and pickled vegetables. It’s still my favorite to this day. The only things that have changed is that the shop now keeps super-limited hours (Friday–Sunday only) and no longer has a dine-in area. The prices have crept up too, but at $6.30 a pop for most sandwiches on the menu ($7.25 for the #13), it’s still as good a bang for your buck as you can find in the East Bay.\u003c/p>\n\u003cfigure id=\"attachment_13989380\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989380\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/taqueria-el-paisa_credit-luketsai.jpg\" alt=\"Two tacos, radishes, grilled onions and nopales on a paper plate.\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/taqueria-el-paisa_credit-luketsai.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/taqueria-el-paisa_credit-luketsai-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/taqueria-el-paisa_credit-luketsai-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/taqueria-el-paisa_credit-luketsai-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A two-taco plate at Taqueria El Paisa in Oakland’s Fruitvale District. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Taqueria El Paisa\u003c/h2>\n\u003cp>\u003cem>4610 International Blvd., Oakland\u003c/em>\u003c/p>\n\u003cp>The beauty of Fruitvale is that you can get amazing, inexpensive tacos up and down International Boulevard, but this no-frills taqueria is the \u003ca href=\"https://eastbayexpress.com/taqueria-el-paisa-at-com-serves-the-best-tacos-in-town-2-1/\">best of the best\u003c/a>. Favorites include the decadent tripa (a divine combination of soft, squishy and crunchy textures) and the exquisitely tender, juicy suadero. These days, El Paisa tacos will run you $4.50 a pop — by no means the cheapest in the neighborhood — but they’re so rich and meaty that a two-taco lunch is usually all I want. A three-taco lunch? That’s cause for celebration (and maybe a short nap).\u003c/p>\n\u003cp> \u003c/p>\n\u003ch1>\u003ca id=\"CheapEatsinSanFrancisco\">\u003c/a>\u003cb>SAN FRANCISCO\u003c/b>\u003c/h1>\n\u003ch2>Freddie’s Sandwiches\u003c/h2>\n\u003cp>\u003cem>300 Francisco St., San Francisco\u003c/em>\u003c/p>\n\u003cp>Freddie’s is the very definition of the low-key neighborhood deli that’s always there when you need it. I got lunch here at least once a week when I worked near North Beach, alternating between the Italian combo and the egg salad, both excellent, always on Dutch Crunch. Most sandwiches are priced at $10.95 for the small (but generously stuffed) 6-inch size — I never wanted anything bigger.\u003c/p>\n\u003cfigure id=\"attachment_13989385\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989385\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/lung-fung_credit-luketsai_2.jpg\" alt=\"The interior of a Chinese bakery, with a fully stocked display case and old-fashioned signage visible.\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/lung-fung_credit-luketsai_2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/lung-fung_credit-luketsai_2-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/lung-fung_credit-luketsai_2-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/lung-fung_credit-luketsai_2-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Lung Fung Bakery serves some of the best baked pork buns and egg custard tarts in San Francisco. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Lung Fung Bakery\u003c/h2>\n\u003cp>\u003cem>1823 Clement St., San Francisco\u003c/em>\u003c/p>\n\u003cp>Chinese bakeries are some of the best places to cobble together an S-tier struggle meal — to, for instance, drop $5 on a couple of barbecue pork buns and fill your daily meat and carb allowance. At Lung Fung in the Outer Richmond, the baked char siu buns aren’t just inexpensive, at $2.50 apiece; they’re also my very favorite version of this treat — beautifully golden-brown with a super-lush and meaty filling. If you’ve got a couple bucks to spare on dessert, Lung Fung’s egg custard tarts ($2.38) are also some of the best around. Cash only.\u003c/p>\n\u003cfigure id=\"attachment_13989390\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989390\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/yo-yo_credit-luketsai_2.jpg\" alt=\"Takeout containers of soba and curry chicken against a concrete backdrop.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/yo-yo_credit-luketsai_2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/yo-yo_credit-luketsai_2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/yo-yo_credit-luketsai_2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/yo-yo_credit-luketsai_2-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The curry chicken special and a half order of cold soba from Yo Yo’s. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Yo Yo’s\u003c/h2>\n\u003cp>\u003cem>318 Pacific Ave., San Francisco\u003c/em>\u003c/p>\n\u003cp>This tiny, utterly unpretentious Japanese takeout shop feels like a miracle in the Financial District. Udon for $9? Six-piece unagi rolls for $3.25? Almost everything on the menu available as a (still-substantial) half portion? All in all, I’m hard-pressed to think of a more affordable lunch in the city. On days when I’m particularly cash-strapped, my go-to is the half order of cold soba ($5), which comes loaded with spinach, tofu puffs and crispy puffed rice, plus a refreshing hit of wasabi by request. But it’s hard to pass up on the curry chicken special ($12) when it’s available: two tender chicken legs, a hard-boiled egg and big chunks of carrot and potato in a spicy-sweet sauce that tastes more like home-cooked Thai massaman curry than your standard Japanese roux. It’s delicious, and enough food to stretch the leftovers into another meal. Cash only.\u003c/p>\n\u003cfigure id=\"attachment_13989251\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989251\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/050526BEST-MEALS-UNDER-10_GH_002-KQED.jpg\" alt=\"Siu mai dumplings in a metal steamer.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/050526BEST-MEALS-UNDER-10_GH_002-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/050526BEST-MEALS-UNDER-10_GH_002-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/050526BEST-MEALS-UNDER-10_GH_002-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/050526BEST-MEALS-UNDER-10_GH_002-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Beef siu mai dumplings at Good Mong Kok. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Good Mong Kok\u003c/h2>\n\u003cp>\u003cem>1039 Stockton St., San Francisco\u003c/em>\u003c/p>\n\u003cp>It’s easy to understand why this popular takeout dim sum spot draws some of the longest lines in Chinatown: The shop sells a huge assortment of extremely tasty, conveniently portable buns and dumplings for bargain-basement prices. Most items are between $2 and $4, perfect for sampling a good mix. The steamed buns here are especially great: uncommonly juicy and savory pork-and-vegetable buns (three for $3.80) and, my favorite, the truly enormous big (or “combination”) chicken bun ($2.80), which comes jam-packed with thigh meat, shiitakes, preserved sausage and hard-boiled egg — a whole meal unto itself. Cash only.\u003c/p>\n\u003cfigure id=\"attachment_13989392\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989392\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/yamo-2.jpg\" alt=\"A bowl of beef noodles with Burmese tea leaf salad on the side.\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/yamo-2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/yamo-2-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/yamo-2-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/yamo-2-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Yuma’s beef noodles with an order of tea leaf salad on the side. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Yamo\u003c/h2>\n\u003cp>\u003cem>3406 18th St., San Francisco\u003c/em>\u003c/p>\n\u003cp>This narrow, eight-seat Burmese noodle counter in the heart of the Mission seems almost too charming to be real, with its older proprietress working three hot woks at a time while her daughter greets the shop’s diverse cast of twenty- and thirtysomething regular customers by name. Oh, and every single item on the menu costs $9 or less. The headliner here is the house noodles ($9), a simple and satisfying oil-slicked stir-fry topped with crispy garlic and your protein of choice. But everything I’ve tried has been tasty: the blazing-hot, shatteringly crispy potato samusas ($5) and the tea leaf salad ($9), which has a wonderful zip of heat that cuts through the funk of the fermented tea. Cash only.\u003c/p>\n\u003cfigure id=\"attachment_13989393\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989393\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/basa-seafood-shoyu-salmon-poke_credit-luketsai.jpg\" alt=\"A container of salmon poke and a side of white rice, shown on a park bench.\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/basa-seafood-shoyu-salmon-poke_credit-luketsai.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/basa-seafood-shoyu-salmon-poke_credit-luketsai-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/basa-seafood-shoyu-salmon-poke_credit-luketsai-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/basa-seafood-shoyu-salmon-poke_credit-luketsai-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">An order of shoyu salmon poke from Basa Seafood Express is best enjoyed on a nearby park bench. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Basa Seafood Express\u003c/h2>\n\u003cp>\u003cem>3064 24th St., San Francisco\u003c/em>\u003c/p>\n\u003cp>This bare-bones Mission District seafood counter is a neighborhood staple for affordable sushi rolls, sashimi and fried seafood dishes. My go-to lunch order is the shoyu salmon poke ($8.50) with a small side of rice — the combination of raw fish, seasoned soy sauce and hot rice is such a simple, exquisite pleasure in the middle of the workday. Also great: the impeccably fried, poboy-adjacent soft-shell crab burger ($11.50). There’s no dine-in seating, so you can bring your food home or find a park bench a couple blocks away for a nice al fresco meal.\u003c/p>\n\u003cp> \u003c/p>\n\u003ch1>\u003ca id=\"CheapEatsintheSouthBayandPeninsula\">\u003c/a>\u003cb>SOUTH BAY AND PENINSULA\u003c/b>\u003c/h1>\n\u003cfigure id=\"attachment_13989395\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989395\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/fil-am_credit-luketsai_2.jpg\" alt=\"To-go container of barbecue skewers over white rice.\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/fil-am_credit-luketsai_2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/fil-am_credit-luketsai_2-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/fil-am_credit-luketsai_2-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/fil-am_credit-luketsai_2-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Filipino BBQ skewers over rice from Fil-Am Cuisine in Daly City. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Fil-Am Cuisine\u003c/h2>\n\u003cp>\u003cem>66 School St., Daly City\u003c/em>\u003c/p>\n\u003cp>I don’t know if there’s such a thing as a perfect lunch, but two Filipino barbecue meat sticks over rice from Fil-Am Cuisine comes pretty close to my Platonic ideal — especially since it only costs $9.99. The sweet smell of the shop’s well-charred pork and chicken skewers ($3.75 each a la carte) is irresistible. Add a couple more to your order plus a large carton of pancit ($9), and you can feed the whole family. Cash only.\u003c/p>\n\u003cfigure id=\"attachment_13989396\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989396\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/keiths-chicken_credit-luketsai.jpg\" alt=\"A waffle and three chicken wings on a paper plate.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/keiths-chicken_credit-luketsai.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/keiths-chicken_credit-luketsai-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/keiths-chicken_credit-luketsai-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/keiths-chicken_credit-luketsai-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Three chicken wings and a Belgian waffle — one of the discounted daily specials at Keith’s Chicken & Waffles in Daly City. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Keith’s Chicken & Waffles\u003c/h2>\n\u003cp>\u003cem>270 San Pedro Rd., Daly City\u003c/em>\u003c/p>\n\u003cp>The best thing about Keith’s is that it sells some of the \u003ca href=\"https://www.kqed.org/arts/13979460/keiths-chicken-waffles-crunchiest-fried-chicken-daly-city-late-night\">crunchiest, most exceptionally well seasoned fried chicken\u003c/a> you can find in the Bay Area, along with several varieties of crisp-edged, airy-light waffles. The second-best thing? The prices are so reasonable that they put even fast food chicken chains like Popeyes and Raising Cane’s to shame. Combo meals, which come with a waffle or side dish, start at $12, and there’s always a daily special — say, three wings and a Belgian waffle — for around $10.\u003c/p>\n\u003cfigure id=\"attachment_13989261\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989261\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/050626BEST-MEALS-UNDER-10_GH_031-KQED.jpg\" alt=\"Hand holding a salmon musubi.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/050626BEST-MEALS-UNDER-10_GH_031-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/050626BEST-MEALS-UNDER-10_GH_031-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/050626BEST-MEALS-UNDER-10_GH_031-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/050626BEST-MEALS-UNDER-10_GH_031-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The luscious salmon musubi from Takahashi Market in San Mateo. The 120-year-old market’s musubis are one of the Bay Area’s best lunch deals. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Takahashi Market\u003c/h2>\n\u003cp>\u003cem>221 S. Claremont St., San Mateo\u003c/em>\u003c/p>\n\u003cp>The wonderfully varied assortment of musubis at this 120-year-old Japanese-Hawaiian market aren’t just one of the best lunch deals in town; they’re one of my favorite things to eat in the Bay Area, flat out. Just one of these hefty, seven-inch beauties will fill you up — the Spam musubi ($6.95) is a classic for good reason, but my personal favorite is the decadent, tobiko-topped salmon-and-crawfish musubi.\u003c/p>\n\u003ch2>Taiwan Porridge\u003c/h2>\n\u003cp>\u003cem>20956 Homestead Rd., Cupertino\u003c/em>\u003c/p>\n\u003cp>For Taiwanese immigrants, this strip mall spot’s format is deeply nostalgic: a dazzling array of hot and cold dishes all meant to accompany big tureens of velvety sweet potato congee. Value-wise, the highlight is the $12.83 three-item lunch special (available until 4 p.m.), which puts the average Chinese takeout joint’s combo plate to shame with cozy, home-style options like cold lotus root salad, twice-cooked pork belly, anchovies stir-fried with peanuts, and loofah with scrambled eggs. If budget allows, you should absolutely pay an extra $1.83 to upgrade from regular steamed rice to congee — or better yet, get the four-item combo ($15.58) and split it with a friend. Taiwan Porridge also has locations in Milpitas and Fremont.\u003c/p>\n\u003cfigure id=\"attachment_13989256\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989256\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/050526BEST-MEALS-UNDER-10_GH_015-KQED.jpg\" alt='An Indian supermarket lit up at night. The sign above reads, \"Apni Mandi.\"' width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/050526BEST-MEALS-UNDER-10_GH_015-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/050526BEST-MEALS-UNDER-10_GH_015-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/050526BEST-MEALS-UNDER-10_GH_015-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/050526BEST-MEALS-UNDER-10_GH_015-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The exterior of Apni Mandi in Sunnyvale. The Indian market sells hot food 24/7. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Apni Mandi\u003c/h2>\n\u003cp>\u003cem>1111 W. El Camino Real, Sunnyvale\u003c/em>\u003c/p>\n\u003cp>Not only is the hot food counter at Sunnyvale’s \u003ca href=\"https://www.kqed.org/arts/13955884/sunnyvale-late-night-food-24-hour-indian-grocery-apni-mandi-apna-bazar\">24-hour Indian grocery store\u003c/a> open all day and night, its $8.99 vegetarian thali platter is one of best deals around — a three-compartment foil clamshell container crammed full of rice, onion salad and your choice of two curries (I especially love the paneer makhani and the fritter-studded kadhi pakora), with a couple rounds of chapati on the side.\u003c/p>\n\u003cfigure id=\"attachment_13989400\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989400\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/duc-huong_grilled-pork-egg_luketsai.jpg\" alt=\"Hand holding a small banh mi in a parking lot.\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/duc-huong_grilled-pork-egg_luketsai.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/duc-huong_grilled-pork-egg_luketsai-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/duc-huong_grilled-pork-egg_luketsai-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/duc-huong_grilled-pork-egg_luketsai-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The option to order a budget-friendly half-size bánh mì at Duc Huong also allows diners to try multiple varieties. Pictured here is the grilled pork and egg bánh mì. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Duc Huong\u003c/h2>\n\u003cp>\u003cem>1020 Story Rd. Ste. C, San José\u003c/em>\u003c/p>\n\u003cp>My favorite South Bay bánh mì mini-chain is especially good for budget-minded diners because it offers a half-size sandwich option ($4.50 for most varieties), allowing lighter eaters to save some money — and giving heartier eaters the chance to sample two different sandwiches for the price of one. I love the classic #2 cold-cut combo the best, but the #8 (grilled pork topped with a fluffy egg omelette) is also pretty great, especially on garlic bread. Why not get both? Apart from its very busy original Story Road location, Duc Huong has \u003ca href=\"https://duchuongsandwiches.com/#locations\">three other shops\u003c/a> around San José, plus one in Sacramento.\u003c/p>\n\u003cp> \u003c/p>\n\u003ch1>\u003ca id=\"CheapEatsintheNorthBay\">\u003c/a>\u003cb>NORTH BAY\u003c/b>\u003c/h1>\n\u003ch2>Guerneville Taco Truck\u003c/h2>\n\u003cp>\u003cem>16632 Main St., Guerneville\u003c/em>\u003c/p>\n\u003cp>Amidst all of Sonoma County’s frou-frou dining options, this taco truck — parked in a Safeway parking lot — is an oasis for locals and daytrippers looking for something more casual and inexpensive. Tacos are $3; the excellent (massive, totally shareable) breakfast burrito is $14. My favorite, the $12.50 fry-stuffed California burrito, has enough calories to keep you going all day. This is a must-stop for my family on our way to an Armstrong Woods hike, or on our way back from a day of Russian River Valley wine tasting.\u003c/p>\n\u003cfigure id=\"attachment_13907215\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13907215\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/WhataChicken.jpg\" alt=\"A man in a flannel and hat tends to chicken on a grill on an overcast day\" width=\"1920\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/WhataChicken.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/WhataChicken-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/WhataChicken-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/WhataChicken-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/WhataChicken-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/WhataChicken-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">What a Chicken’s outdoor grill, seen here at the Santa Rosa Flea Market. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>What a Chicken\u003c/h2>\n\u003cp>\u003cem>706 E. Washington St., Petaluma\u003c/em>\u003c/p>\n\u003cp>This gem of a pollo asado shop sits near the gateway to wine country, slinging hearty portions of its exceptionally juicy and crisp-skinned char-grilled chicken at a good value in one of the Bay Area’s most expensive regions. The prices especially work in your favor if you come with a crowd: My standard order is a half ($18.99) or whole chicken plate ($34.99), which comes with rice, salsa and piping-hot handmade tortillas — plenty of food to feed two or four adults, respectively, at under $10 per person. Pro tip: I always add one of the shop’s meaty, slow-cooked pork ribs ($4.99) to my order. It’s just as good as the chicken.\u003c/p>\n\u003cfigure id=\"attachment_13989401\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989401\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/pupuseria-blankita_credit-luketsai.jpg\" alt=\"A pupusa on a white plate, with a small tub of curtido and a bowl of salsa on the side.\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/pupuseria-blankita_credit-luketsai.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/pupuseria-blankita_credit-luketsai-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/pupuseria-blankita_credit-luketsai-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/pupuseria-blankita_credit-luketsai-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">One of Pupuseria Blankita’s toasty, well-griddled pupusas. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Pupuseria Blankita\u003c/h2>\n\u003cp>\u003cem>48 N. San Pedro Rd., San Rafael\u003c/em>\u003c/p>\n\u003cp>Two of Blankita’s toasty, well-griddled pupusas make for the ideal post–Marin Farmers Market lunch — say, the revuelta ($5.50), with its classic pork, bean and cheese filling, and maybe the green-flecked zucchini and cheese ($4.50), both topped with a generous heap of bright, crunchy curtido. To mix it up, sometimes I’ll order just one pupusa and add a gooey, sugar-dusted fried plantain empanada ($5) for dessert.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "Your guide to the best — and most affordable — taquerias, noodle counters and bánh mì shops in the Bay.",
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"title": "The Best Cheap Meals in the Bay Area | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>This story is part of \u003ca href=\"https://www.kqed.org/affordability\">How We Get By\u003c/a>, a KQED series exploring how people are coping with rising costs in the Bay Area and California. Find the \u003ca href=\"https://www.kqed.org/affordability\">full series here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>You don’t need to sit down at one of the Bay Area’s posh and trendy temples of fine dining to know that eating out in the year 2026 is too damn expensive. These days, even the most generic fast food might cost $50 or $60 to feed a family of four, and buying groceries to cook at home is an increasingly fraught and overwhelming expense.\u003c/p>\n\u003cp>Thankfully, the high-end California cuisine restaurant isn’t the \u003ci>only\u003c/i> hallmark of the Bay Area food scene — there’s also the neighborhood taco truck, noodle counter, bánh mì shop and casual takeout dim sum deli. In every city in the Bay, these essential restaurants are still feeding the people, often at a shockingly inexpensive price point. You just need to know which ones are actually delicious.\u003c/p>\n\u003cp>Here, then, is my guide to eating well on a budget: 25 of my favorite affordable Bay Area restaurants where you can get a full, satisfying meal for $12 or less.\u003c/p>\n\u003cp>\u003cstrong>Jump straight to:\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>\u003cstrong>\u003ca href=\"#CheapEatsinSanFrancisco\">Cheap eats in San Francisco\u003c/a>\u003c/strong>\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"#CheapEatsintheSouthBayandPeninsula\">Cheap eats in the South Bay and Peninsula\u003c/a>\u003c/strong>\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"#CheapEatsintheNorthBay\">Cheap eats in the North Bay\u003c/a>\u003c/strong>\u003c/li>\n\u003c/ul>\n\u003ch1>\u003cb>EAST BAY\u003c/b>\u003c/h1>\n\u003cfigure id=\"attachment_13989352\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989352\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/universal-bakery-pan-con-todo.jpg\" alt=\"Breakfast sandwich with sausage, scrambled egg and queso fresco.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/universal-bakery-pan-con-todo.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/universal-bakery-pan-con-todo-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/universal-bakery-pan-con-todo-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/universal-bakery-pan-con-todo-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The pan con todo with Guatemalan sausage at Universal Bakery, which has locations in San Pablo, San Francisco and Daly City. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Universal Bakery\u003c/h2>\n\u003cp>\u003cem>1946 23rd St., San Pablo\u003c/em>\u003c/p>\n\u003cp>This bustling Guatemalan bakery is the king of the delicious, inexpensive breakfast sandwich, serving at least seven different varieties of its pan con todo. The baseline sandwich ($6.55) comes with fluffy scrambled eggs, refried beans, crema and a wedge of fresh cheese — the staples of a traditional Guatemalan breakfast, all piled onto a good, crusty French roll. My favorite version adds well-charred longaniza (Guatemalan pork sausage) to the mix; others feature sweet plantains or carne asada. The bakery has additional locations in \u003ca href=\"https://www.google.com/maps/place/Universal+Bakery+on+Mission/@37.741405,-122.4228077,3291m/data=!3m1!1e3!4m6!3m5!1s0x808f7e5d405c2f8b:0xb24e30761070f266!8m2!3d37.741405!4d-122.4228077!16s%2Fg%2F1vlqqfmk?entry=ttu&g_ep=EgoyMDI2MDQyOS4wIKXMDSoASAFQAw%3D%3D\">San Francisco’s Mission District\u003c/a> and in \u003ca href=\"https://www.google.com/maps/place/Universal+Bakery+on+Geneva/@37.7070028,-122.4146378,17z/data=!3m1!4b1!4m6!3m5!1s0x808f7ec563977c09:0x63c23ad1f3300324!8m2!3d37.7070028!4d-122.4146378!16s%2Fg%2F11bx9t7vrz?entry=ttu&g_ep=EgoyMDI1MDMyNS4wIKXMDSoASAFQAw%3D%3D\">Daly City\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cfigure id=\"attachment_13989373\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989373\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/aqua-terra_branzino_credit-luketsai.jpg\" alt=\"Seared fish fillet on a bed of noodles, with grilled vegetables on the side.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/aqua-terra_branzino_credit-luketsai.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/aqua-terra_branzino_credit-luketsai-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/aqua-terra_branzino_credit-luketsai-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/aqua-terra_branzino_credit-luketsai-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Even the most expensive items on the menu at Aqua Terra, like this seared branzino, only cost $16. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Aqua Terra Grill at Contra Costa College\u003c/h2>\n\u003cp>\u003cem>2600 Mission Bell Dr. SAB-130, San Pablo\u003c/em>\u003c/p>\n\u003cp>Located on the Contra Costa College campus, \u003ca href=\"https://linktr.ee/ccc_order?fbclid=IwY2xjawRlx6JleHRuA2FlbQIxMABicmlkETFEWHBmMlhCam1JYk1ZTjdRc3J0YwZhcHBfaWQQMjIyMDM5MTc4ODIwMDg5MgABHkJtQLftRhaphc9HVpBM1Pr9EdNirfRNdN9VR35XQrQKyp3Rsl1ce1jrD45w_aem_5GeBZRKVmdFI7Kideqc3EA\">Aqua Terra\u003c/a> functions as a training facility for students in the school’s \u003ca href=\"https://www.instagram.com/ccc_culinaryacademy\">culinary academy\u003c/a>, but it it’s also fully open to the public for lunch service, three days a week (Tuesday–Thursday). The bonus with getting a meal prepared and served by students still learning their trade is that it’s an extraordinary value — say, a cool $9 for braised beef shank ravioli or a portobello focaccia sandwich with fries. (It’s just $16 to splurge on grilled branzino with garlic noodles.) The food can be a little uneven, with a throwback-to-’90s-New-American vibe. But it’s a solid meal — slightly fancy, even! — with sweet, earnest service for fast food prices. Note: the restaurant follows the school calendar, which means it’s already wrapping up for the semester. The last hurrah is a big Mother’s Day buffet on May 12–13; \u003ca href=\"https://forms.office.com/pages/responsepage.aspx?id=SmlUw-XMn0iyo6Kp0m4MP3XtfkM2ShJPnQ6gSMwaMQJUNE5WMTdVR05WQldHUTJDNEFWUEFKM1M2MC4u&route=shorturl\">reservations\u003c/a> are highly recommended.\u003c/p>\n\u003cfigure id=\"attachment_13989374\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989374\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/la-selva_credit-luketsai_2.jpg\" alt=\"Whole grilled chicken in a takeout container, with rice, refried beans and various salsas on the side.\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/la-selva_credit-luketsai_2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/la-selva_credit-luketsai_2-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/la-selva_credit-luketsai_2-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/la-selva_credit-luketsai_2-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The whole chicken meal at Richmond’s La Selva is an affordable way to feed the whole family. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>La Selva Taqueria\u003c/h2>\n\u003cp>\u003cem>1049 23rd St., Richmond\u003c/em>\u003c/p>\n\u003cp>The house specialty at this rainforest-themed taqueria near the end of \u003ca href=\"https://eastbayexpress.com/a-richmond-taco-crawl-2-1/\">Richmond’s 23rd Street taco corridor\u003c/a> is pollo al carbon — whole spatchcocked chickens slow-grilled over charcoal until the skin is deeply charred and the flesh is smoky, tender and delicious. You can get your chicken either on tacos or in a burrito, but my preference is the $30 family meal, which comes with a whole bird, tortillas, rice, refried beans, chips and as many tubs of salsa as you want from the restaurant’s excellent serve-yourself salsa bar. It’s enough to feed my family of four with leftovers — just $7.50 per person.\u003c/p>\n\u003ch2>Grand Cafe\u003c/h2>\n\u003cp>\u003cem>4250 Macdonald Ave., Richmond\u003c/em>\u003c/p>\n\u003cp>This under-the-radar Hong Kong cafe tucked inside a Target shopping plaza isn’t notable for any single standout dish, but instead for its overall dedication to affordability: \u003ca href=\"https://www.kqed.org/arts/13986256/cheap-cantonese-restaurant-richmond-east-bay-grand-cafe-dim-sum-claypot-rice\">Nothing on the menu costs more than $10.75\u003c/a>, and most dishes come with free soy milk and a bowl of hot soup on the side. My favorite is the claypot rice with spare ribs and preserved sausage.\u003c/p>\n\u003cfigure id=\"attachment_13923368\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13923368\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/antojitos-exterior.jpg\" alt=\"Exterior of the Antojitos Guatemaltecos restaurant with a yellow facade and a handful of outdoor tables on the sidewalk.\" width=\"1920\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/antojitos-exterior.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/antojitos-exterior-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/antojitos-exterior-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/antojitos-exterior-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/antojitos-exterior-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/antojitos-exterior-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Tamales are the staple dish at Antojitos Guatemaltecos in El Cerrito. \u003ccite>(Luke Tsai)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Antojitos Guatemaltecos\u003c/h2>\n\u003cp>\u003cem>11252 San Pablo Ave., El Cerrito\u003c/em>\u003c/p>\n\u003cp>Tamales are the staple dish at this \u003ca href=\"https://www.kqed.org/arts/13923359/antojitos-guatemaltecos-guatemalan-restaurant-el-cerrito-tamales-pollo-campero\">homestyle Guatemalan restaurant\u003c/a> — and at $5 a pop, they’re also its most affordable offering. Two of these, mixed and matched between about a half-dozen available varieties, make for a hearty breakfast, lunch or dinner. I especially love the wonderfully jiggly and custard-like Guatemalan-style corn-masa tamales and the harder-to-find \u003ca href=\"https://www.kqed.org/arts/13913355/guatemalan-rice-tamales-antojitos-guatemaltecos-richmond\">rice tamales\u003c/a>, which are like a soupy Central American cousin to Chinese zongzi. The restaurant has a great deal on its extraordinarily flavorful \u003ca href=\"https://www.latimes.com/california/story/2021-04-14/pollo-campero-central-america-los-angeles\">Pollo Campero–style\u003c/a> fried chicken — a whole leg, fries and a handmade tortilla for $11.95.\u003c/p>\n\u003ch2>Top Dog\u003c/h2>\n\u003cp>\u003cem>2534 Durant Ave., Berkeley\u003c/em>\u003c/p>\n\u003cp>The original, and only remaining, location of Top Dog is a Berkeley \u003ca href=\"https://www.kqed.org/arts/13954597/top-dog-late-night-hot-dogs-berkeley-midnight-diners\">late-night institution\u003c/a> for good reason. The hot dogs, served on the shop’s signature toasty French rolls, are simply the best. One of them makes for a solid lunch (the garlic frankfurter is my favorite); two in one sitting feels like a downright feast. Note well: Most of the dogs are priced at $4.75, but the shop has a $5 credit card minimum. If you don’t feel like buying a soda, the mild, creamy potato salad is a nice add-on.\u003c/p>\n\u003cfigure id=\"attachment_13989377\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989377\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/alems-coffee-shihan-ful_credit-luketsai.jpg\" alt=\"Dark red fava bean stew, with two crusty rolls on the side.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/alems-coffee-shihan-ful_credit-luketsai.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/alems-coffee-shihan-ful_credit-luketsai-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/alems-coffee-shihan-ful_credit-luketsai-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/alems-coffee-shihan-ful_credit-luketsai-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The shihan ful at Alem’s Coffee in Oakland. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Alem’s Coffee\u003c/h2>\n\u003cp>\u003cem>5353 Claremont Ave., Oakland\u003c/em>\u003c/p>\n\u003cp>Strictly speaking, my favorite dishes at this classic Eritrean cafe are \u003ci>just \u003c/i>above this roundup’s $12 threshold — the oniony egg frittata ($12.50) and the spice-redolent fava bean stew known as shihan ful ($13), both served with excellent crusty bread for dipping. On a hot day, though, it’s tough to beat the value on the $9 umbotito, a quirky, refreshing potato sandwich of sorts — slices of cold, al dente boiled potato topped with lettuce, tomatoes and onions in a light vinaigrette. The cafe’s location, across from the Oakland DMV parking lot, has made it the one bright spot in many otherwise dreary mornings.\u003c/p>\n\u003cfigure id=\"attachment_13989378\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989378\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/souk-savanh_rice-plate_credit-luketsai.jpg\" alt=\"Sticky rice, sausage balls and fried egg on a metal tray.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/souk-savanh_rice-plate_credit-luketsai.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/souk-savanh_rice-plate_credit-luketsai-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/souk-savanh_rice-plate_credit-luketsai-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/souk-savanh_rice-plate_credit-luketsai-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The $10 Lao sausage rice plate at the newly opened Souk Savanh 2.0 in Oakland. The fried egg is a $2 add-on. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Soukh Savanh 2.0\u003c/h2>\n\u003cp>\u003cem>1707 Telegraph Ave., Oakland\u003c/em>\u003c/p>\n\u003cp>Recently reborn in a prime Uptown location, the new, counter-service incarnation of this \u003ca href=\"https://eastbayexpress.com/paradise-deferred-2-1/\">much-loved Lao-Thai restaurant\u003c/a> has one of the most affordable menus in the neighborhood. The headliner is the selection of $10 rice plates, which are available all day long. I especially love the fermented Lao sausage, which Souk Savanh serves as crisp-edged meatballs — absurdly delicious when dunked in a runny-yolked fried egg (a $2 add-on); dipped in funky-sweet jeow som; and then scooped up, Lao-style, with a clump of sticky rice. Pro tip: For a near-perfect meal, two diners can split one rice plate and an order of nam khao (crispy rice ball salad) — one of the best versions in the Bay — for about $12 a person. \u003cem>\u003cstrong>Editor’s note: Souk Savanh is now \u003ca href=\"https://www.instagram.com/p/DYN4ropPhGb/\">closed indefinitely\u003c/a>.\u003c/strong>\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13989379\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989379\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/banh-mi-ba-le_credit-luketsai_1.jpg\" alt=\"Hand holding what's left of a banh mi sandwich with ground pork and egg.\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/banh-mi-ba-le_credit-luketsai_1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/banh-mi-ba-le_credit-luketsai_1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/banh-mi-ba-le_credit-luketsai_1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/banh-mi-ba-le_credit-luketsai_1-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A view of a half-eaten #13 meatball and egg bánh mì from Banh Mi Ba Le. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Banh Mi Ba Le\u003c/h2>\n\u003cp>\u003cem>1909 International Blvd., Oakland\u003c/em>\u003c/p>\n\u003cp>Ba Le’s #13 meatball-and-egg bánh mì shot to the top of my bánh mì rankings the first time I tried it, some 15 years ago — just an exquisite combination of juicy, peppery ground pork; a jammy-yolked fried egg; a big smear of buttery Vietnamese mayo; and both fresh and pickled vegetables. It’s still my favorite to this day. The only things that have changed is that the shop now keeps super-limited hours (Friday–Sunday only) and no longer has a dine-in area. The prices have crept up too, but at $6.30 a pop for most sandwiches on the menu ($7.25 for the #13), it’s still as good a bang for your buck as you can find in the East Bay.\u003c/p>\n\u003cfigure id=\"attachment_13989380\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989380\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/taqueria-el-paisa_credit-luketsai.jpg\" alt=\"Two tacos, radishes, grilled onions and nopales on a paper plate.\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/taqueria-el-paisa_credit-luketsai.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/taqueria-el-paisa_credit-luketsai-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/taqueria-el-paisa_credit-luketsai-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/taqueria-el-paisa_credit-luketsai-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A two-taco plate at Taqueria El Paisa in Oakland’s Fruitvale District. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Taqueria El Paisa\u003c/h2>\n\u003cp>\u003cem>4610 International Blvd., Oakland\u003c/em>\u003c/p>\n\u003cp>The beauty of Fruitvale is that you can get amazing, inexpensive tacos up and down International Boulevard, but this no-frills taqueria is the \u003ca href=\"https://eastbayexpress.com/taqueria-el-paisa-at-com-serves-the-best-tacos-in-town-2-1/\">best of the best\u003c/a>. Favorites include the decadent tripa (a divine combination of soft, squishy and crunchy textures) and the exquisitely tender, juicy suadero. These days, El Paisa tacos will run you $4.50 a pop — by no means the cheapest in the neighborhood — but they’re so rich and meaty that a two-taco lunch is usually all I want. A three-taco lunch? That’s cause for celebration (and maybe a short nap).\u003c/p>\n\u003cp> \u003c/p>\n\u003ch1>\u003ca id=\"CheapEatsinSanFrancisco\">\u003c/a>\u003cb>SAN FRANCISCO\u003c/b>\u003c/h1>\n\u003ch2>Freddie’s Sandwiches\u003c/h2>\n\u003cp>\u003cem>300 Francisco St., San Francisco\u003c/em>\u003c/p>\n\u003cp>Freddie’s is the very definition of the low-key neighborhood deli that’s always there when you need it. I got lunch here at least once a week when I worked near North Beach, alternating between the Italian combo and the egg salad, both excellent, always on Dutch Crunch. Most sandwiches are priced at $10.95 for the small (but generously stuffed) 6-inch size — I never wanted anything bigger.\u003c/p>\n\u003cfigure id=\"attachment_13989385\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989385\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/lung-fung_credit-luketsai_2.jpg\" alt=\"The interior of a Chinese bakery, with a fully stocked display case and old-fashioned signage visible.\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/lung-fung_credit-luketsai_2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/lung-fung_credit-luketsai_2-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/lung-fung_credit-luketsai_2-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/lung-fung_credit-luketsai_2-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Lung Fung Bakery serves some of the best baked pork buns and egg custard tarts in San Francisco. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Lung Fung Bakery\u003c/h2>\n\u003cp>\u003cem>1823 Clement St., San Francisco\u003c/em>\u003c/p>\n\u003cp>Chinese bakeries are some of the best places to cobble together an S-tier struggle meal — to, for instance, drop $5 on a couple of barbecue pork buns and fill your daily meat and carb allowance. At Lung Fung in the Outer Richmond, the baked char siu buns aren’t just inexpensive, at $2.50 apiece; they’re also my very favorite version of this treat — beautifully golden-brown with a super-lush and meaty filling. If you’ve got a couple bucks to spare on dessert, Lung Fung’s egg custard tarts ($2.38) are also some of the best around. Cash only.\u003c/p>\n\u003cfigure id=\"attachment_13989390\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989390\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/yo-yo_credit-luketsai_2.jpg\" alt=\"Takeout containers of soba and curry chicken against a concrete backdrop.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/yo-yo_credit-luketsai_2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/yo-yo_credit-luketsai_2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/yo-yo_credit-luketsai_2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/yo-yo_credit-luketsai_2-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The curry chicken special and a half order of cold soba from Yo Yo’s. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Yo Yo’s\u003c/h2>\n\u003cp>\u003cem>318 Pacific Ave., San Francisco\u003c/em>\u003c/p>\n\u003cp>This tiny, utterly unpretentious Japanese takeout shop feels like a miracle in the Financial District. Udon for $9? Six-piece unagi rolls for $3.25? Almost everything on the menu available as a (still-substantial) half portion? All in all, I’m hard-pressed to think of a more affordable lunch in the city. On days when I’m particularly cash-strapped, my go-to is the half order of cold soba ($5), which comes loaded with spinach, tofu puffs and crispy puffed rice, plus a refreshing hit of wasabi by request. But it’s hard to pass up on the curry chicken special ($12) when it’s available: two tender chicken legs, a hard-boiled egg and big chunks of carrot and potato in a spicy-sweet sauce that tastes more like home-cooked Thai massaman curry than your standard Japanese roux. It’s delicious, and enough food to stretch the leftovers into another meal. Cash only.\u003c/p>\n\u003cfigure id=\"attachment_13989251\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989251\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/050526BEST-MEALS-UNDER-10_GH_002-KQED.jpg\" alt=\"Siu mai dumplings in a metal steamer.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/050526BEST-MEALS-UNDER-10_GH_002-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/050526BEST-MEALS-UNDER-10_GH_002-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/050526BEST-MEALS-UNDER-10_GH_002-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/050526BEST-MEALS-UNDER-10_GH_002-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Beef siu mai dumplings at Good Mong Kok. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Good Mong Kok\u003c/h2>\n\u003cp>\u003cem>1039 Stockton St., San Francisco\u003c/em>\u003c/p>\n\u003cp>It’s easy to understand why this popular takeout dim sum spot draws some of the longest lines in Chinatown: The shop sells a huge assortment of extremely tasty, conveniently portable buns and dumplings for bargain-basement prices. Most items are between $2 and $4, perfect for sampling a good mix. The steamed buns here are especially great: uncommonly juicy and savory pork-and-vegetable buns (three for $3.80) and, my favorite, the truly enormous big (or “combination”) chicken bun ($2.80), which comes jam-packed with thigh meat, shiitakes, preserved sausage and hard-boiled egg — a whole meal unto itself. Cash only.\u003c/p>\n\u003cfigure id=\"attachment_13989392\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989392\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/yamo-2.jpg\" alt=\"A bowl of beef noodles with Burmese tea leaf salad on the side.\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/yamo-2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/yamo-2-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/yamo-2-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/yamo-2-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Yuma’s beef noodles with an order of tea leaf salad on the side. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Yamo\u003c/h2>\n\u003cp>\u003cem>3406 18th St., San Francisco\u003c/em>\u003c/p>\n\u003cp>This narrow, eight-seat Burmese noodle counter in the heart of the Mission seems almost too charming to be real, with its older proprietress working three hot woks at a time while her daughter greets the shop’s diverse cast of twenty- and thirtysomething regular customers by name. Oh, and every single item on the menu costs $9 or less. The headliner here is the house noodles ($9), a simple and satisfying oil-slicked stir-fry topped with crispy garlic and your protein of choice. But everything I’ve tried has been tasty: the blazing-hot, shatteringly crispy potato samusas ($5) and the tea leaf salad ($9), which has a wonderful zip of heat that cuts through the funk of the fermented tea. Cash only.\u003c/p>\n\u003cfigure id=\"attachment_13989393\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989393\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/basa-seafood-shoyu-salmon-poke_credit-luketsai.jpg\" alt=\"A container of salmon poke and a side of white rice, shown on a park bench.\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/basa-seafood-shoyu-salmon-poke_credit-luketsai.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/basa-seafood-shoyu-salmon-poke_credit-luketsai-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/basa-seafood-shoyu-salmon-poke_credit-luketsai-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/basa-seafood-shoyu-salmon-poke_credit-luketsai-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">An order of shoyu salmon poke from Basa Seafood Express is best enjoyed on a nearby park bench. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Basa Seafood Express\u003c/h2>\n\u003cp>\u003cem>3064 24th St., San Francisco\u003c/em>\u003c/p>\n\u003cp>This bare-bones Mission District seafood counter is a neighborhood staple for affordable sushi rolls, sashimi and fried seafood dishes. My go-to lunch order is the shoyu salmon poke ($8.50) with a small side of rice — the combination of raw fish, seasoned soy sauce and hot rice is such a simple, exquisite pleasure in the middle of the workday. Also great: the impeccably fried, poboy-adjacent soft-shell crab burger ($11.50). There’s no dine-in seating, so you can bring your food home or find a park bench a couple blocks away for a nice al fresco meal.\u003c/p>\n\u003cp> \u003c/p>\n\u003ch1>\u003ca id=\"CheapEatsintheSouthBayandPeninsula\">\u003c/a>\u003cb>SOUTH BAY AND PENINSULA\u003c/b>\u003c/h1>\n\u003cfigure id=\"attachment_13989395\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989395\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/fil-am_credit-luketsai_2.jpg\" alt=\"To-go container of barbecue skewers over white rice.\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/fil-am_credit-luketsai_2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/fil-am_credit-luketsai_2-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/fil-am_credit-luketsai_2-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/fil-am_credit-luketsai_2-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Filipino BBQ skewers over rice from Fil-Am Cuisine in Daly City. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Fil-Am Cuisine\u003c/h2>\n\u003cp>\u003cem>66 School St., Daly City\u003c/em>\u003c/p>\n\u003cp>I don’t know if there’s such a thing as a perfect lunch, but two Filipino barbecue meat sticks over rice from Fil-Am Cuisine comes pretty close to my Platonic ideal — especially since it only costs $9.99. The sweet smell of the shop’s well-charred pork and chicken skewers ($3.75 each a la carte) is irresistible. Add a couple more to your order plus a large carton of pancit ($9), and you can feed the whole family. Cash only.\u003c/p>\n\u003cfigure id=\"attachment_13989396\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989396\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/keiths-chicken_credit-luketsai.jpg\" alt=\"A waffle and three chicken wings on a paper plate.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/keiths-chicken_credit-luketsai.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/keiths-chicken_credit-luketsai-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/keiths-chicken_credit-luketsai-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/keiths-chicken_credit-luketsai-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Three chicken wings and a Belgian waffle — one of the discounted daily specials at Keith’s Chicken & Waffles in Daly City. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Keith’s Chicken & Waffles\u003c/h2>\n\u003cp>\u003cem>270 San Pedro Rd., Daly City\u003c/em>\u003c/p>\n\u003cp>The best thing about Keith’s is that it sells some of the \u003ca href=\"https://www.kqed.org/arts/13979460/keiths-chicken-waffles-crunchiest-fried-chicken-daly-city-late-night\">crunchiest, most exceptionally well seasoned fried chicken\u003c/a> you can find in the Bay Area, along with several varieties of crisp-edged, airy-light waffles. The second-best thing? The prices are so reasonable that they put even fast food chicken chains like Popeyes and Raising Cane’s to shame. Combo meals, which come with a waffle or side dish, start at $12, and there’s always a daily special — say, three wings and a Belgian waffle — for around $10.\u003c/p>\n\u003cfigure id=\"attachment_13989261\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989261\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/050626BEST-MEALS-UNDER-10_GH_031-KQED.jpg\" alt=\"Hand holding a salmon musubi.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/050626BEST-MEALS-UNDER-10_GH_031-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/050626BEST-MEALS-UNDER-10_GH_031-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/050626BEST-MEALS-UNDER-10_GH_031-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/050626BEST-MEALS-UNDER-10_GH_031-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The luscious salmon musubi from Takahashi Market in San Mateo. The 120-year-old market’s musubis are one of the Bay Area’s best lunch deals. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Takahashi Market\u003c/h2>\n\u003cp>\u003cem>221 S. Claremont St., San Mateo\u003c/em>\u003c/p>\n\u003cp>The wonderfully varied assortment of musubis at this 120-year-old Japanese-Hawaiian market aren’t just one of the best lunch deals in town; they’re one of my favorite things to eat in the Bay Area, flat out. Just one of these hefty, seven-inch beauties will fill you up — the Spam musubi ($6.95) is a classic for good reason, but my personal favorite is the decadent, tobiko-topped salmon-and-crawfish musubi.\u003c/p>\n\u003ch2>Taiwan Porridge\u003c/h2>\n\u003cp>\u003cem>20956 Homestead Rd., Cupertino\u003c/em>\u003c/p>\n\u003cp>For Taiwanese immigrants, this strip mall spot’s format is deeply nostalgic: a dazzling array of hot and cold dishes all meant to accompany big tureens of velvety sweet potato congee. Value-wise, the highlight is the $12.83 three-item lunch special (available until 4 p.m.), which puts the average Chinese takeout joint’s combo plate to shame with cozy, home-style options like cold lotus root salad, twice-cooked pork belly, anchovies stir-fried with peanuts, and loofah with scrambled eggs. If budget allows, you should absolutely pay an extra $1.83 to upgrade from regular steamed rice to congee — or better yet, get the four-item combo ($15.58) and split it with a friend. Taiwan Porridge also has locations in Milpitas and Fremont.\u003c/p>\n\u003cfigure id=\"attachment_13989256\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989256\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/050526BEST-MEALS-UNDER-10_GH_015-KQED.jpg\" alt='An Indian supermarket lit up at night. The sign above reads, \"Apni Mandi.\"' width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/050526BEST-MEALS-UNDER-10_GH_015-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/050526BEST-MEALS-UNDER-10_GH_015-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/050526BEST-MEALS-UNDER-10_GH_015-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/050526BEST-MEALS-UNDER-10_GH_015-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The exterior of Apni Mandi in Sunnyvale. The Indian market sells hot food 24/7. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Apni Mandi\u003c/h2>\n\u003cp>\u003cem>1111 W. El Camino Real, Sunnyvale\u003c/em>\u003c/p>\n\u003cp>Not only is the hot food counter at Sunnyvale’s \u003ca href=\"https://www.kqed.org/arts/13955884/sunnyvale-late-night-food-24-hour-indian-grocery-apni-mandi-apna-bazar\">24-hour Indian grocery store\u003c/a> open all day and night, its $8.99 vegetarian thali platter is one of best deals around — a three-compartment foil clamshell container crammed full of rice, onion salad and your choice of two curries (I especially love the paneer makhani and the fritter-studded kadhi pakora), with a couple rounds of chapati on the side.\u003c/p>\n\u003cfigure id=\"attachment_13989400\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989400\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/duc-huong_grilled-pork-egg_luketsai.jpg\" alt=\"Hand holding a small banh mi in a parking lot.\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/duc-huong_grilled-pork-egg_luketsai.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/duc-huong_grilled-pork-egg_luketsai-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/duc-huong_grilled-pork-egg_luketsai-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/duc-huong_grilled-pork-egg_luketsai-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The option to order a budget-friendly half-size bánh mì at Duc Huong also allows diners to try multiple varieties. Pictured here is the grilled pork and egg bánh mì. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Duc Huong\u003c/h2>\n\u003cp>\u003cem>1020 Story Rd. Ste. C, San José\u003c/em>\u003c/p>\n\u003cp>My favorite South Bay bánh mì mini-chain is especially good for budget-minded diners because it offers a half-size sandwich option ($4.50 for most varieties), allowing lighter eaters to save some money — and giving heartier eaters the chance to sample two different sandwiches for the price of one. I love the classic #2 cold-cut combo the best, but the #8 (grilled pork topped with a fluffy egg omelette) is also pretty great, especially on garlic bread. Why not get both? Apart from its very busy original Story Road location, Duc Huong has \u003ca href=\"https://duchuongsandwiches.com/#locations\">three other shops\u003c/a> around San José, plus one in Sacramento.\u003c/p>\n\u003cp> \u003c/p>\n\u003ch1>\u003ca id=\"CheapEatsintheNorthBay\">\u003c/a>\u003cb>NORTH BAY\u003c/b>\u003c/h1>\n\u003ch2>Guerneville Taco Truck\u003c/h2>\n\u003cp>\u003cem>16632 Main St., Guerneville\u003c/em>\u003c/p>\n\u003cp>Amidst all of Sonoma County’s frou-frou dining options, this taco truck — parked in a Safeway parking lot — is an oasis for locals and daytrippers looking for something more casual and inexpensive. Tacos are $3; the excellent (massive, totally shareable) breakfast burrito is $14. My favorite, the $12.50 fry-stuffed California burrito, has enough calories to keep you going all day. This is a must-stop for my family on our way to an Armstrong Woods hike, or on our way back from a day of Russian River Valley wine tasting.\u003c/p>\n\u003cfigure id=\"attachment_13907215\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13907215\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/WhataChicken.jpg\" alt=\"A man in a flannel and hat tends to chicken on a grill on an overcast day\" width=\"1920\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/WhataChicken.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/WhataChicken-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/WhataChicken-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/WhataChicken-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/WhataChicken-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/WhataChicken-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">What a Chicken’s outdoor grill, seen here at the Santa Rosa Flea Market. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>What a Chicken\u003c/h2>\n\u003cp>\u003cem>706 E. Washington St., Petaluma\u003c/em>\u003c/p>\n\u003cp>This gem of a pollo asado shop sits near the gateway to wine country, slinging hearty portions of its exceptionally juicy and crisp-skinned char-grilled chicken at a good value in one of the Bay Area’s most expensive regions. The prices especially work in your favor if you come with a crowd: My standard order is a half ($18.99) or whole chicken plate ($34.99), which comes with rice, salsa and piping-hot handmade tortillas — plenty of food to feed two or four adults, respectively, at under $10 per person. Pro tip: I always add one of the shop’s meaty, slow-cooked pork ribs ($4.99) to my order. It’s just as good as the chicken.\u003c/p>\n\u003cfigure id=\"attachment_13989401\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989401\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/pupuseria-blankita_credit-luketsai.jpg\" alt=\"A pupusa on a white plate, with a small tub of curtido and a bowl of salsa on the side.\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/pupuseria-blankita_credit-luketsai.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/pupuseria-blankita_credit-luketsai-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/pupuseria-blankita_credit-luketsai-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/pupuseria-blankita_credit-luketsai-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">One of Pupuseria Blankita’s toasty, well-griddled pupusas. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Pupuseria Blankita\u003c/h2>\n\u003cp>\u003cem>48 N. San Pedro Rd., San Rafael\u003c/em>\u003c/p>\n\u003cp>Two of Blankita’s toasty, well-griddled pupusas make for the ideal post–Marin Farmers Market lunch — say, the revuelta ($5.50), with its classic pork, bean and cheese filling, and maybe the green-flecked zucchini and cheese ($4.50), both topped with a generous heap of bright, crunchy curtido. To mix it up, sometimes I’ll order just one pupusa and add a gooey, sugar-dusted fried plantain empanada ($5) for dessert.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "This Saturday, Taiwanese Food Once Again Takes Over Union Square",
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"content": "\u003cp>On Saturday, tourists and locals passing through Union Square will find more than just the usual cable cars, big-box retailers and historic hotels. Instead, a huge, bustling Taiwanese market, not unlike a scene one might see in Taipei, will occupy the district’s central plaza — dozens upon dozens of vendors selling T-shirts, cute handmade stationery, artisanal soy sauce, boba drinks and, of course, a dazzling array of \u003ca href=\"https://www.kqed.org/arts/tag/taiwanese-food\">Taiwanese food\u003c/a>.\u003c/p>\n\u003cp>It’s the 33rd annual \u003ca href=\"https://www.tap-sf.org/tacf\">Taiwanese American Cultural Festival\u003c/a>, which organizers tout as the largest event of its kind on the West Coast, drawing upwards of 10,000 visitors each year. As always, the annual celebration of Taiwanese American culture will showcase local artists and designers, and feature live performances running the gamut from traditional folk dance to soft boy pop (including a set by San Francisco singer-songwriter \u003ca href=\"https://www.instagram.com/iamfedge/\">Fedge\u003c/a>).\u003c/p>\n\u003cp>More than anything, though, the event is a big coming-out day for Taiwanese food, which had long kept a relatively low profile in the Bay Area before experiencing a \u003ca href=\"https://www.kqed.org/arts/13897272/bay-area-taiwanese-food-scene-nostalgia\">real renaissance in recent years\u003c/a>. The festival’s market area will include booths selling pantry staples like soy sauce and chili oil, as well as \u003ca href=\"https://www.instagram.com/daeliciousness?igsh=NTc4MTIwNjQ2YQ%3D%3D\">multiple\u003c/a> \u003ca href=\"https://www.instagram.com/shopteappo/?hl=en\">vendors\u003c/a> selling loose-leaf oolong teas sourced from the mountains of Taiwan.\u003c/p>\n\u003cfigure id=\"attachment_13989323\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989323\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/liangs-noodle-pull_jan-stec.jpg\" alt=\"A food vendor pulls noodles at an outdoor festival.\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/liangs-noodle-pull_jan-stec.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/liangs-noodle-pull_jan-stec-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/liangs-noodle-pull_jan-stec-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/liangs-noodle-pull_jan-stec-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/liangs-noodle-pull_jan-stec-600x600.jpg 600w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Pulling noodles by hand at the Liang’s Village stand at the 2025 edition of the Taiwanese American Cultural Festival. \u003ccite>(Jan Stec, courtesy of TAP-SF.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"color: #2b2b2b;font-weight: 400\">\u003cb>\u003cstrong>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13897936,arts_13959259']\u003c/span>\u003c/strong>\u003c/b>\u003c/span>For many visitors, the biggest attraction will be the rare opportunity to sample a wide variety of the street foods normally found at Taiwanese night markets. This year’s selection is especially robust. For the first time, the stylish fusion lounge \u003ca href=\"https://www.instagram.com/pigletco.sf/\">Piglet & Co\u003c/a> will be on hand, serving their fancified (and utterly delicious) take on Taiwanese braised pork rice, aka \u003ca href=\"https://www.kqed.org/arts/13897498/mama-liu-lu-rou-fan-taiwanese-food-comic\">lu rou fan\u003c/a>. The caterer \u003ca href=\"https://www.instagram.com/bun.me.up/?hl=en\">Bun Me Up\u003c/a> will offer braised pork belly buns and other steamed bun sandwiches — essentially a modern twist on Taiwanese gua bao. And Hayward-based \u003ca href=\"https://www.instagram.com/mitk1655/\">MITK\u003c/a> will have black pepper buns — a Taipei night market classic — and the thin, soupy noodles known as mee sua.\u003c/p>\n\u003cp>Meanwhile, \u003ca href=\"https://www.kqed.org/arts/13897684/pandemic-taiwanese-food-liangs-village\">Liang’s Village\u003c/a>, one of the most popular Taiwanese restaurants in the Bay, will sell both vegan and pork-based versions of its hand-pulled noodles, served with a spicy peanut-sesame sauce and fried dough sticks.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For those who’ve saved room for dessert, the festival hosts a number of up-and-coming Taiwanese bakery pop-ups. Newcomers include \u003ca href=\"https://www.instagram.com/lunarbakerysf/?hl=en\">Lunar Bakery\u003c/a>, with their Taiwanese-inspired takes on pastel de nata and tres leches cake, and \u003ca href=\"https://www.instagram.com/atoibakes/?hl=en\">À Toi Bakes\u003c/a>, whose offerings will include \u003ca href=\"https://www.instagram.com/p/DWCRJb1iaOu/?hl=en\">snowflake crisps\u003c/a> — a kind of crispy-chewy nougat treat that’s especially trendy in Taiwan right now.\u003c/p>\n\u003cfigure id=\"attachment_13989320\" class=\"wp-caption alignnone\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989320\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/piglet-and-co_lu-rou-fan.jpg\" alt=\"An elegant bowl of braised pork over rice.\" width=\"1500\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/piglet-and-co_lu-rou-fan.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/piglet-and-co_lu-rou-fan-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/piglet-and-co_lu-rou-fan-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/piglet-and-co_lu-rou-fan-1152x1536.jpg 1152w\" sizes=\"auto, (max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Piglet & Co will serve its popular, upscale version of Taiwanese-style braised pork rice (lu rou fan). \u003ccite>(Courtesy of Piglet & Co)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The \u003c/i>\u003ca href=\"https://www.tap-sf.org/tacf\">\u003ci>Taiwanese American Cultural Festival\u003c/i>\u003c/a>\u003ci> will take place on Saturday, May 9, 10 a.m.–4 p.m. at Union Square in San Francisco. Admission is free.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Saturday, tourists and locals passing through Union Square will find more than just the usual cable cars, big-box retailers and historic hotels. Instead, a huge, bustling Taiwanese market, not unlike a scene one might see in Taipei, will occupy the district’s central plaza — dozens upon dozens of vendors selling T-shirts, cute handmade stationery, artisanal soy sauce, boba drinks and, of course, a dazzling array of \u003ca href=\"https://www.kqed.org/arts/tag/taiwanese-food\">Taiwanese food\u003c/a>.\u003c/p>\n\u003cp>It’s the 33rd annual \u003ca href=\"https://www.tap-sf.org/tacf\">Taiwanese American Cultural Festival\u003c/a>, which organizers tout as the largest event of its kind on the West Coast, drawing upwards of 10,000 visitors each year. As always, the annual celebration of Taiwanese American culture will showcase local artists and designers, and feature live performances running the gamut from traditional folk dance to soft boy pop (including a set by San Francisco singer-songwriter \u003ca href=\"https://www.instagram.com/iamfedge/\">Fedge\u003c/a>).\u003c/p>\n\u003cp>More than anything, though, the event is a big coming-out day for Taiwanese food, which had long kept a relatively low profile in the Bay Area before experiencing a \u003ca href=\"https://www.kqed.org/arts/13897272/bay-area-taiwanese-food-scene-nostalgia\">real renaissance in recent years\u003c/a>. The festival’s market area will include booths selling pantry staples like soy sauce and chili oil, as well as \u003ca href=\"https://www.instagram.com/daeliciousness?igsh=NTc4MTIwNjQ2YQ%3D%3D\">multiple\u003c/a> \u003ca href=\"https://www.instagram.com/shopteappo/?hl=en\">vendors\u003c/a> selling loose-leaf oolong teas sourced from the mountains of Taiwan.\u003c/p>\n\u003cfigure id=\"attachment_13989323\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989323\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/liangs-noodle-pull_jan-stec.jpg\" alt=\"A food vendor pulls noodles at an outdoor festival.\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/liangs-noodle-pull_jan-stec.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/liangs-noodle-pull_jan-stec-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/liangs-noodle-pull_jan-stec-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/liangs-noodle-pull_jan-stec-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/liangs-noodle-pull_jan-stec-600x600.jpg 600w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Pulling noodles by hand at the Liang’s Village stand at the 2025 edition of the Taiwanese American Cultural Festival. \u003ccite>(Jan Stec, courtesy of TAP-SF.)\u003c/cite>\u003c/figcaption>\u003c/figure>\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>For many visitors, the biggest attraction will be the rare opportunity to sample a wide variety of the street foods normally found at Taiwanese night markets. This year’s selection is especially robust. For the first time, the stylish fusion lounge \u003ca href=\"https://www.instagram.com/pigletco.sf/\">Piglet & Co\u003c/a> will be on hand, serving their fancified (and utterly delicious) take on Taiwanese braised pork rice, aka \u003ca href=\"https://www.kqed.org/arts/13897498/mama-liu-lu-rou-fan-taiwanese-food-comic\">lu rou fan\u003c/a>. The caterer \u003ca href=\"https://www.instagram.com/bun.me.up/?hl=en\">Bun Me Up\u003c/a> will offer braised pork belly buns and other steamed bun sandwiches — essentially a modern twist on Taiwanese gua bao. And Hayward-based \u003ca href=\"https://www.instagram.com/mitk1655/\">MITK\u003c/a> will have black pepper buns — a Taipei night market classic — and the thin, soupy noodles known as mee sua.\u003c/p>\n\u003cp>Meanwhile, \u003ca href=\"https://www.kqed.org/arts/13897684/pandemic-taiwanese-food-liangs-village\">Liang’s Village\u003c/a>, one of the most popular Taiwanese restaurants in the Bay, will sell both vegan and pork-based versions of its hand-pulled noodles, served with a spicy peanut-sesame sauce and fried dough sticks.\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’ve saved room for dessert, the festival hosts a number of up-and-coming Taiwanese bakery pop-ups. Newcomers include \u003ca href=\"https://www.instagram.com/lunarbakerysf/?hl=en\">Lunar Bakery\u003c/a>, with their Taiwanese-inspired takes on pastel de nata and tres leches cake, and \u003ca href=\"https://www.instagram.com/atoibakes/?hl=en\">À Toi Bakes\u003c/a>, whose offerings will include \u003ca href=\"https://www.instagram.com/p/DWCRJb1iaOu/?hl=en\">snowflake crisps\u003c/a> — a kind of crispy-chewy nougat treat that’s especially trendy in Taiwan right now.\u003c/p>\n\u003cfigure id=\"attachment_13989320\" class=\"wp-caption alignnone\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989320\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/piglet-and-co_lu-rou-fan.jpg\" alt=\"An elegant bowl of braised pork over rice.\" width=\"1500\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/piglet-and-co_lu-rou-fan.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/piglet-and-co_lu-rou-fan-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/piglet-and-co_lu-rou-fan-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/piglet-and-co_lu-rou-fan-1152x1536.jpg 1152w\" sizes=\"auto, (max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Piglet & Co will serve its popular, upscale version of Taiwanese-style braised pork rice (lu rou fan). \u003ccite>(Courtesy of Piglet & Co)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The \u003c/i>\u003ca href=\"https://www.tap-sf.org/tacf\">\u003ci>Taiwanese American Cultural Festival\u003c/i>\u003c/a>\u003ci> will take place on Saturday, May 9, 10 a.m.–4 p.m. at Union Square in San Francisco. Admission is free.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Om Records’ 30 Years of Deep House, Downtempo and Hip-Hop in SF",
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"content": "\u003cp>I moved to \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco\">San Francisco\u003c/a> in the late 2000s, attracted by a certain romanticism, most of it due to the music and art born here in the city. \u003c/p>\n\u003cp>My early visits to the Bay would always include a stop at Amoeba Music, where I’d spend hours browsing the used CD racks for local \u003ca href=\"https://www.kqed.org/arts/tag/hip-hop\">hip-hop\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/tag/electronic-music\">electronic\u003c/a> releases. It was there that I fell into the seemingly endless treasure trove of Om Records, a small San Francisco house music label that first entered my consciousness at the turn of the millennium via DJ Mark Farina’s downtempo compilation series, \u003ci>Mushroom Jazz\u003c/i>. \u003c/p>\n\u003cp>Every visit yielded another batch of CDs. Comp mixes curated by artists like Kaskade, Groove Armada, and DJ Heather, as well as hip-hop albums like People Under the Stairs’ jazz & soul sample-soaked \u003ci>O.S.T. \u003c/i>and Ming + FS’s breakbeat-riddled \u003ci>Hell’s Kitchen. \u003c/i>There was the masterfully curated \u003ci>Om Lounge\u003c/i> downtempo series — a precursor to the “chill beats to relax to” playlist fodder of today — and an \u003ci>Om: Winter Sessions\u003c/i> deep house mix from a then little-known SF DJ named Justin Martin.\u003c/p>\n\u003cp>In other words, Om’s curation guided my curiosity. After a while, no matter which Om release I took a chance on, it was usually right up my alley. \u003c/p>\n\u003cfigure id=\"attachment_13989294\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Shiny-Objects-2photo-by-Krescent-Carasso.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13989294\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Shiny-Objects-2photo-by-Krescent-Carasso.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Shiny-Objects-2photo-by-Krescent-Carasso-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Shiny-Objects-2photo-by-Krescent-Carasso-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Shiny-Objects-2photo-by-Krescent-Carasso-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Shiny Objects, a.k.a. Om Records cofounder Chris Smith, performs at this weekend’s anniversary parties for the label. \u003ccite>(Krescent Carasso)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The music scene in the city was incredible when we started the label,” says Chris Smith, who co-founded Om Records in 1995. “There were solid club nights seven nights a week for house music, downtempo, acid jazz — and a vibrant hip-hop scene, too, that we commingled with, and that’s what inspired me. We were obviously super into house music, but we wanted to do something that really embodied all of these eclectic sounds.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After moving to San Francisco in 1992, Smith spent days and months digging through downtempo and European electronic records at stores like BPM, Clear, Zebra and Tweakin. The latter, now home to Vinyl Dreams, is where he met Om co-founder Steve Gray (who moved back to England shortly after the label was founded.) \u003c/p>\n\u003cp>Smith met Farina at an 11am afterparty at DNA Lounge, where the \u003ci>Mushroom Jazz\u003c/i> auteur was dropping tracks that would later appear on \u003ci>Mushroom Jazz Vol. 1\u003c/i>. The jazz-, hip-hop- and soul-inflected downtempo series became a phenomenon — from college and club night afterparties to soundtracking buzzy restaurant dining rooms in LA and Miami — and still stands as Om’s most widely recognized output. \u003c/p>\n\u003cp>\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=883256820/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" seamless>\u003ca href=\"https://markfarina.bandcamp.com/album/mushroom-jazz-vol-1\">Mushroom Jazz Vol. 1 by Various Artists\u003c/a>\u003c/iframe>\u003c/p>\n\u003cp>Now, three decades and 800+ releases later, Om is not only releasing a 30th anniversary compilation album on May 8th, it’s the focus of a \u003ca href=\"https://apeconcerts.com/events/om-records-260509/\">free Day Party on Embarcadero Plaza on Sat, May 9th\u003c/a>. Featuring label mainstays Farina, Colette, DJ Heather, J.Boogie and Shiny Objects (Smith’s production moniker), and produced by Another Planet Entertainment (APE) and SF Rec & Parks, it’s one of a growing number of free outdoor concerts meant to generate optimism for the future of San Francisco. \u003c/p>\n\u003cp>Strangely, Om is hardly a household name in the city these days. The majority of its young residents haven’t been here for a decade, let alone three. And while electronic music would go on to become a big-money industry, coinciding with corporate promoters’ takeover of major markets, Om declined to sign up for the big-room EDM revolution – even as some of the label’s early artists (Kaskade, Martin, Claude VonStroke) went on to help define it. \u003c/p>\n\u003cp>“There were so many trends that came along that were, in my view, so cheesy,” says Smith. “I have so much respect for what Kaskade did when he left Om, but it’s just not in my DNA; I don’t understand that part of things. Maybe there were opportunities that we may have missed. I’ve just been more programmed into liking underground music.” \u003c/p>\n\u003cfigure id=\"attachment_13989293\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/JBoogie_SternGrove_June2025-60.jpg\" alt=\"\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13989293\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/JBoogie_SternGrove_June2025-60.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/JBoogie_SternGrove_June2025-60-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/JBoogie_SternGrove_June2025-60-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/JBoogie_SternGrove_June2025-60-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Bay Area DJ J.Boogie, seen here at San Francisco’s Stern Grove, has been with Om Records since its inception. \u003ccite>(Kristina Nguyen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If Om has slowed its release calendar in the last decade, it’s because Smith also co-founded local nightclubs in Potrero’s The Great Northern and Downtown’s Monarch, as well as restaurants like The Pawn Shop (adjacent to Monarch) and Sonoma Pizza Co. in Forestville, where he lives with his family. The pizza place takes up most of his time; Om’s longtime GM, Gunnar Hissam, runs the label’s day-to-day operations. Turns out over 20 years of running a dance music label and working in nightlife will burn you out some.\u003c/p>\n\u003cp>But this weekend, it’s paying off. APE’s Bryan Duquette tells KQED that more than 6,000 people have RSVP’d for the Om Anniversary Day Party.\u003c/p>\n\u003cp>“We try to work with independent labels and artists that have ties to SF” for the parties APE has produced with the city, Duquette says. “This show in particular has a historical tie to us, because we were booking J.Boogie at gigs at the Elbo Room before APE even existed, when we were still known as Mystery Machine Productions.”\u003c/p>\n\u003cp>As the 30th anniversary concert gets underway (followed by \u003ca href=\"https://www.om-records.com/news/2026/3/19/sf-30-years-day-night-parties-announced\">a night show at Great Northern\u003c/a>), one has to wonder if the nostalgia of 800+ releases might be lost on many of the new wave of San Franciscans. It’s no secret that services like Spotify and Apple Music serve up formulaic playlists to listeners who rely solely on their algorithms for a semblance of “discovery.”\u003c/p>\n\u003cfigure id=\"attachment_13989297\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/unnamed-1.jpg\" alt=\"\" width=\"2000\" height=\"1648\" class=\"size-full wp-image-13989297\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/unnamed-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/unnamed-1-160x132.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/unnamed-1-768x633.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/unnamed-1-1536x1266.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Collette. \u003ccite>(Courtesy Om Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The streaming age hasn’t been particularly kind to Om. Smith laments that even though Om was an early beta test partner for iTunes (he remembers meeting Steve Jobs) and early download purchases were big for Om financially, label catalogs were largely left behind in the artist-centric streaming era.\u003c/p>\n\u003cp>“First it was Napster downloads, then the bottom fell off the CD market and nobody was buying vinyl anymore,” Smith recalls. “We weathered them all, but it was challenging.”\u003c/p>\n\u003cp>This weekend’s party, then, is affirmation of not just Om Records’ successes, but something that automation has yet to replicate: its good taste.\u003c/p>\n\u003cp>“We were in the shadows and took a back seat for a minute,” Smith says. “But we’ve never been a label that hops on a trend, like prog house or trance or whatever. We always stuck with what we love.” \u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Om Records’ 30th Anniversary Day Party takes place Saturday, May 9, from 1–5pm at Embarcadero Plaza in San Francisco. \u003ca href=\"https://apeconcerts.com/events/om-records-260509/\">More info here\u003c/a>. That night, from 9pm–3am, the party continues at the Great Northern (119 Utah St., San Francisco) with an evening headlined by Derrick Carter. \u003ca href=\"https://www.om-records.com/news/2026/3/19/sf-30-years-day-night-parties-announced\">Tickets and more info here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I moved to \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco\">San Francisco\u003c/a> in the late 2000s, attracted by a certain romanticism, most of it due to the music and art born here in the city. \u003c/p>\n\u003cp>My early visits to the Bay would always include a stop at Amoeba Music, where I’d spend hours browsing the used CD racks for local \u003ca href=\"https://www.kqed.org/arts/tag/hip-hop\">hip-hop\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/tag/electronic-music\">electronic\u003c/a> releases. It was there that I fell into the seemingly endless treasure trove of Om Records, a small San Francisco house music label that first entered my consciousness at the turn of the millennium via DJ Mark Farina’s downtempo compilation series, \u003ci>Mushroom Jazz\u003c/i>. \u003c/p>\n\u003cp>Every visit yielded another batch of CDs. Comp mixes curated by artists like Kaskade, Groove Armada, and DJ Heather, as well as hip-hop albums like People Under the Stairs’ jazz & soul sample-soaked \u003ci>O.S.T. \u003c/i>and Ming + FS’s breakbeat-riddled \u003ci>Hell’s Kitchen. \u003c/i>There was the masterfully curated \u003ci>Om Lounge\u003c/i> downtempo series — a precursor to the “chill beats to relax to” playlist fodder of today — and an \u003ci>Om: Winter Sessions\u003c/i> deep house mix from a then little-known SF DJ named Justin Martin.\u003c/p>\n\u003cp>In other words, Om’s curation guided my curiosity. After a while, no matter which Om release I took a chance on, it was usually right up my alley. \u003c/p>\n\u003cfigure id=\"attachment_13989294\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Shiny-Objects-2photo-by-Krescent-Carasso.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13989294\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Shiny-Objects-2photo-by-Krescent-Carasso.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Shiny-Objects-2photo-by-Krescent-Carasso-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Shiny-Objects-2photo-by-Krescent-Carasso-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Shiny-Objects-2photo-by-Krescent-Carasso-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Shiny Objects, a.k.a. Om Records cofounder Chris Smith, performs at this weekend’s anniversary parties for the label. \u003ccite>(Krescent Carasso)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The music scene in the city was incredible when we started the label,” says Chris Smith, who co-founded Om Records in 1995. “There were solid club nights seven nights a week for house music, downtempo, acid jazz — and a vibrant hip-hop scene, too, that we commingled with, and that’s what inspired me. We were obviously super into house music, but we wanted to do something that really embodied all of these eclectic sounds.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After moving to San Francisco in 1992, Smith spent days and months digging through downtempo and European electronic records at stores like BPM, Clear, Zebra and Tweakin. The latter, now home to Vinyl Dreams, is where he met Om co-founder Steve Gray (who moved back to England shortly after the label was founded.) \u003c/p>\n\u003cp>Smith met Farina at an 11am afterparty at DNA Lounge, where the \u003ci>Mushroom Jazz\u003c/i> auteur was dropping tracks that would later appear on \u003ci>Mushroom Jazz Vol. 1\u003c/i>. The jazz-, hip-hop- and soul-inflected downtempo series became a phenomenon — from college and club night afterparties to soundtracking buzzy restaurant dining rooms in LA and Miami — and still stands as Om’s most widely recognized output. \u003c/p>\n\u003cp>\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=883256820/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" seamless>\u003ca href=\"https://markfarina.bandcamp.com/album/mushroom-jazz-vol-1\">Mushroom Jazz Vol. 1 by Various Artists\u003c/a>\u003c/iframe>\u003c/p>\n\u003cp>Now, three decades and 800+ releases later, Om is not only releasing a 30th anniversary compilation album on May 8th, it’s the focus of a \u003ca href=\"https://apeconcerts.com/events/om-records-260509/\">free Day Party on Embarcadero Plaza on Sat, May 9th\u003c/a>. Featuring label mainstays Farina, Colette, DJ Heather, J.Boogie and Shiny Objects (Smith’s production moniker), and produced by Another Planet Entertainment (APE) and SF Rec & Parks, it’s one of a growing number of free outdoor concerts meant to generate optimism for the future of San Francisco. \u003c/p>\n\u003cp>Strangely, Om is hardly a household name in the city these days. The majority of its young residents haven’t been here for a decade, let alone three. And while electronic music would go on to become a big-money industry, coinciding with corporate promoters’ takeover of major markets, Om declined to sign up for the big-room EDM revolution – even as some of the label’s early artists (Kaskade, Martin, Claude VonStroke) went on to help define it. \u003c/p>\n\u003cp>“There were so many trends that came along that were, in my view, so cheesy,” says Smith. “I have so much respect for what Kaskade did when he left Om, but it’s just not in my DNA; I don’t understand that part of things. Maybe there were opportunities that we may have missed. I’ve just been more programmed into liking underground music.” \u003c/p>\n\u003cfigure id=\"attachment_13989293\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/JBoogie_SternGrove_June2025-60.jpg\" alt=\"\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13989293\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/JBoogie_SternGrove_June2025-60.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/JBoogie_SternGrove_June2025-60-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/JBoogie_SternGrove_June2025-60-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/JBoogie_SternGrove_June2025-60-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Bay Area DJ J.Boogie, seen here at San Francisco’s Stern Grove, has been with Om Records since its inception. \u003ccite>(Kristina Nguyen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If Om has slowed its release calendar in the last decade, it’s because Smith also co-founded local nightclubs in Potrero’s The Great Northern and Downtown’s Monarch, as well as restaurants like The Pawn Shop (adjacent to Monarch) and Sonoma Pizza Co. in Forestville, where he lives with his family. The pizza place takes up most of his time; Om’s longtime GM, Gunnar Hissam, runs the label’s day-to-day operations. Turns out over 20 years of running a dance music label and working in nightlife will burn you out some.\u003c/p>\n\u003cp>But this weekend, it’s paying off. APE’s Bryan Duquette tells KQED that more than 6,000 people have RSVP’d for the Om Anniversary Day Party.\u003c/p>\n\u003cp>“We try to work with independent labels and artists that have ties to SF” for the parties APE has produced with the city, Duquette says. “This show in particular has a historical tie to us, because we were booking J.Boogie at gigs at the Elbo Room before APE even existed, when we were still known as Mystery Machine Productions.”\u003c/p>\n\u003cp>As the 30th anniversary concert gets underway (followed by \u003ca href=\"https://www.om-records.com/news/2026/3/19/sf-30-years-day-night-parties-announced\">a night show at Great Northern\u003c/a>), one has to wonder if the nostalgia of 800+ releases might be lost on many of the new wave of San Franciscans. It’s no secret that services like Spotify and Apple Music serve up formulaic playlists to listeners who rely solely on their algorithms for a semblance of “discovery.”\u003c/p>\n\u003cfigure id=\"attachment_13989297\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/unnamed-1.jpg\" alt=\"\" width=\"2000\" height=\"1648\" class=\"size-full wp-image-13989297\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/unnamed-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/unnamed-1-160x132.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/unnamed-1-768x633.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/unnamed-1-1536x1266.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Collette. \u003ccite>(Courtesy Om Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The streaming age hasn’t been particularly kind to Om. Smith laments that even though Om was an early beta test partner for iTunes (he remembers meeting Steve Jobs) and early download purchases were big for Om financially, label catalogs were largely left behind in the artist-centric streaming era.\u003c/p>\n\u003cp>“First it was Napster downloads, then the bottom fell off the CD market and nobody was buying vinyl anymore,” Smith recalls. “We weathered them all, but it was challenging.”\u003c/p>\n\u003cp>This weekend’s party, then, is affirmation of not just Om Records’ successes, but something that automation has yet to replicate: its good taste.\u003c/p>\n\u003cp>“We were in the shadows and took a back seat for a minute,” Smith says. “But we’ve never been a label that hops on a trend, like prog house or trance or whatever. We always stuck with what we love.” \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>Om Records’ 30th Anniversary Day Party takes place Saturday, May 9, from 1–5pm at Embarcadero Plaza in San Francisco. \u003ca href=\"https://apeconcerts.com/events/om-records-260509/\">More info here\u003c/a>. That night, from 9pm–3am, the party continues at the Great Northern (119 Utah St., San Francisco) with an evening headlined by Derrick Carter. \u003ca href=\"https://www.om-records.com/news/2026/3/19/sf-30-years-day-night-parties-announced\">Tickets and more info here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Looking At The Ground: A Photo Walk Through Frisco",
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"content": "\u003cp>It’s just after 9 a.m. Saturday morning, and I’m late for my adult field trip. No bag lunch, forgot my name tag and I’m rolling solo — clearly not adhering to the buddy system. But I got my camera.\u003c/p>\n\u003cp>Photographer \u003ca href=\"https://www.instagram.com/pablocirca/\">pablo circa\u003c/a> stands in front of about 40 to 50 other camera-toting people, explaining that we’re set to embark on a journey through the Mission: down Clarion Alley, around Dolores Park and back to KQED headquarters.\u003c/p>\n\u003cp>The meet up & photo walk is a part of a \u003ca href=\"https://www.catchlight.io/\">CatchLight\u003c/a> Visual Storytelling Summit. Pablo, co-founder of the \u003ca href=\"https://www.instagram.com/camerasandcoffeeclub/\">Cameras and Coffee Club\u003c/a>, leads us on a two-hour exercise in artistic exploration and community building; a reminder that photography doesn’t have to be a solo sport.\u003c/p>\n\u003cp>I’m in the back of the crowd, chit-chatting and cracking jokes with some familiar faces as we head out. A few blocks into our journey, Pablo tells us to be aware of a turd on the corner of 17th and Harrison streets. From that point on, I take note of the ground.\u003c/p>\n\u003cfigure id=\"attachment_13989138\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989138\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1152-scaled.jpg\" alt=\"A woman walks past and looks down at a hypodermic needle on the ground in San Francisco. \" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1152-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1152-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1152-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1152-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1152-1536x2048.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Photographer Fatosh Arabacıoğlu walks past a hypodermic needle in San Francisco’s Clarion Alley. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>San Francisco’s pavement is evidence of a unique civilization. Urban decay alongside glimpses of innovation. Expensive cars and unhoused people. Fallen leaves entangled with discarded trash. Everywhere, political messages on stickers and tags; artwork rules the avenues.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As I kneel down to photograph the words “CURB CREEPS” painted on the street, renowned photographer and dancer \u003ca href=\"https://www.instagram.com/tracibartlow/\">Traci Bartlow\u003c/a> makes my day by telling me she enjoys watching my process, and seeing what catches my eye.\u003c/p>\n\u003cfigure id=\"attachment_13989145\" class=\"wp-caption aligncenter\" style=\"max-width: 1900px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989145\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1204-scaled-e1777922504569.jpg\" alt='The words \"CURB CREEPS\" etched in aerosol spray on the corner of 17th and Capp Street in San Francisco.' width=\"1900\" height=\"2360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1204-scaled-e1777922504569.jpg 1900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1204-scaled-e1777922504569-160x199.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1204-scaled-e1777922504569-768x954.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1204-scaled-e1777922504569-1237x1536.jpg 1237w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1204-scaled-e1777922504569-1649x2048.jpg 1649w\" sizes=\"auto, (max-width: 1900px) 100vw, 1900px\">\u003cfigcaption class=\"wp-caption-text\">The words ‘CURB CREEPS’ spraypainted on the corner of 17th and Capp Street in San Francisco. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And in that, she names my internal reaction on the photo walk: by seeing other photographers on this excursion work in real time, my eye became a bit more keen. What are other folks \u003cem>not\u003c/em> seeing?\u003c/p>\n\u003cp>We’re all on the same street, and we have essentially the same tools. But what sticks out to you? What story do you tell? What gives you a unique perspective? That’s what I kept asking myself.\u003c/p>\n\u003cfigure id=\"attachment_13989140\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989140\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1205-scaled.jpg\" alt=\"Fallen pink flower pedals line the curb of a street in San Francisco. \" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1205-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1205-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1205-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1205-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1205-1536x2048.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Fallen pink flower pedals line the curb along 17th Street in San Francisco. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Murals made for dope backgrounds as people posed for portraits. Photographers took candid images of moped-riding delivery men. Others clicked away making landscape portraits of the MUNI bus along Mission Street.\u003c/p>\n\u003cp>I kept my eyes affixed to the sidewalk. Gum stains, dried paint, a dead rat and a small bush growing through the pavement. A soiled pair of pants and the six-pack plastic ring that we used to cut up back in the ’90s. “How in the hell are companies still making those?” I asked to anyone within earshot.\u003c/p>\n\u003cfigure id=\"attachment_13989146\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989146\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1166-scaled.jpg\" alt=\"Translucent 6-pack plastic rings sit in front of a mural in an alleyway. \" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1166-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1166-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1166-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1166-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1166-1536x2048.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">How is it still legal to produce six-pack plastic rings? \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As we walked, the conversations flowed. Photographers \u003ca href=\"https://www.instagram.com/p/BAqncd_lfBf/\">Rudi Tcruz\u003c/a> and \u003ca href=\"https://www.instagram.com/galexsir/\">Galex Tcruz\u003c/a> joked about the need to focus less on our 9-5s and more on our 5-10s.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/shamikaszn/\">Shamika\u003c/a>, a part-time multi-hyphenate creative and full-time cyber threat intelligence analyst at Twilio, told me about the theory of recycled faces. Now I can’t stop seeing the similarities in people.\u003c/p>\n\u003cp>Lost in a conversation with educator and portrait photographer \u003ca href=\"https://www.instagram.com/madannud21\">Adam Dunn\u003c/a> about his move from Cleveland to Sebastopol, I hesitated and missed out on a photo of an older woman in front of her business, cleaning the stoop. The perspective of the water hitting the sidewalk would’ve been refreshing, but the conversation’s currents were too strong.\u003c/p>\n\u003cfigure id=\"attachment_13989143\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989143\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1211-scaled-e1777919408926.jpg\" alt=\"A condom wrapper rests on the street in San Francisco. \" width=\"1920\" height=\"2402\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1211-scaled-e1777919408926.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1211-scaled-e1777919408926-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1211-scaled-e1777919408926-768x961.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1211-scaled-e1777919408926-1228x1536.jpg 1228w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1211-scaled-e1777919408926-1637x2048.jpg 1637w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A condom wrapper straddles the lines in the concrete on the street in San Francisco. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One photographer told me about his unique telephoto lens, another told me about the evolution of microchips inside the camera.\u003c/p>\n\u003cp>At one point, our posse crossed paths with a bunch of adorable dogs and their owners. I thought we were going to heal the world right then and there.\u003c/p>\n\u003cfigure id=\"attachment_13989151\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989151\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1194-scaled.jpg\" alt=\"A close image of a dog in a park. \" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1194-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1194-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1194-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1194-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1194-1536x2048.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">One of the many dogs enjoying a Saturday at Dolores Park in San Francisco. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At another moment, I stopped on a corner to watch photographer \u003ca href=\"https://www.instagram.com/hourvoyses/\">Darius Riley\u003c/a> capture the smiles of a family walking down Valencia Street. An \u003ca href=\"https://www.kqed.org/arts/13964439/east-palo-alto-hidden-beauty-photography-darius-riley\">extremely talented photographer\u003c/a>, Riley goes on group photo walks regularly, he says, “because they offer spaces to be connected with other photographers, and also be inspired.”\u003c/p>\n\u003cp>“We need more photography community events, things that bring us together,” he says. An entrepreneur and artist from East Palo Alto who often works in isolation, Riley finds solace and affirmation in the creative circles of Oakland and Frisco.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13989141\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1178-scaled.jpg\" alt=\"\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1178-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1178-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1178-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1178-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1178-1536x2048.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>“To be in company with other people who are in the same field, and recognize me for my craft,” he says, “is very validating and makes me want to keep going.”\u003c/p>\n\u003cp>He’s right. Photography is an isolating sport. At times, I’ll bring my camera to an event as my plus-one, hiding behind the lens instead of socializing. But at a photo walk, the device becomes a way to introduce yourself to others.\u003c/p>\n\u003cp>Before even telling me their names, people would ask questions like “What are you shooting with?” or “Who do you shoot for?” One person asked me, “What are you taking photos of?” I answered, “The ground.”\u003c/p>\n\u003cfigure id=\"attachment_13989148\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989148\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1209-scaled.jpg\" alt=\"A dead rat near a curb in San Francisco. \" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1209-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1209-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1209-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1209-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1209-1536x2048.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A local rat laid to rest in a curbside grave. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It was musician and photographer \u003ca href=\"https://www.instagram.com/fatoshphotography/\">Fatosh Arabacıoğlu\u003c/a>’s first time out with the group, and she didn’t know what to expect. “But it ended up being one of those days where you just \u003cem>click\u003c/em> with people instantly,” she says.\u003c/p>\n\u003cp>Photography is so much richer as a shared experience — creating art while learning about others and seeing what inspires them lit something inside her during the event. She’s already scheduled get-togethers with new friends made from the photo walk.\u003c/p>\n\u003cfigure id=\"attachment_13989137\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989137\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1160-scaled.jpg\" alt=\"A fallen piece of fruit sits in font of a colorfully painted portrait image of an African American man.\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1160-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1160-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1160-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1160-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1160-1536x2048.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">In San Francisco’s Clarion Alley, a fallen piece of fruit rests in front of an image of the late Oakland-raised lyricist, Stephen ‘Baba Zumbi’ Gaines. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This particular photo walk only happens once or twice a year. But the Cameras and Coffee Club offers monthly meet ups, mostly in the East Bay. Those gatherings, pablo circa says, are “intended to slow things down,” giving space and opportunity for visual storytellers “to connect around the craft and shift out of their usual rhythm.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>That’s what the two-hour walk did for me. After all the conversations and photos, I left with a handful of new photographer friends and a new perspective on the streets of San Francisco.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s just after 9 a.m. Saturday morning, and I’m late for my adult field trip. No bag lunch, forgot my name tag and I’m rolling solo — clearly not adhering to the buddy system. But I got my camera.\u003c/p>\n\u003cp>Photographer \u003ca href=\"https://www.instagram.com/pablocirca/\">pablo circa\u003c/a> stands in front of about 40 to 50 other camera-toting people, explaining that we’re set to embark on a journey through the Mission: down Clarion Alley, around Dolores Park and back to KQED headquarters.\u003c/p>\n\u003cp>The meet up & photo walk is a part of a \u003ca href=\"https://www.catchlight.io/\">CatchLight\u003c/a> Visual Storytelling Summit. Pablo, co-founder of the \u003ca href=\"https://www.instagram.com/camerasandcoffeeclub/\">Cameras and Coffee Club\u003c/a>, leads us on a two-hour exercise in artistic exploration and community building; a reminder that photography doesn’t have to be a solo sport.\u003c/p>\n\u003cp>I’m in the back of the crowd, chit-chatting and cracking jokes with some familiar faces as we head out. A few blocks into our journey, Pablo tells us to be aware of a turd on the corner of 17th and Harrison streets. From that point on, I take note of the ground.\u003c/p>\n\u003cfigure id=\"attachment_13989138\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989138\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1152-scaled.jpg\" alt=\"A woman walks past and looks down at a hypodermic needle on the ground in San Francisco. \" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1152-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1152-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1152-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1152-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1152-1536x2048.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Photographer Fatosh Arabacıoğlu walks past a hypodermic needle in San Francisco’s Clarion Alley. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>San Francisco’s pavement is evidence of a unique civilization. Urban decay alongside glimpses of innovation. Expensive cars and unhoused people. Fallen leaves entangled with discarded trash. Everywhere, political messages on stickers and tags; artwork rules the avenues.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As I kneel down to photograph the words “CURB CREEPS” painted on the street, renowned photographer and dancer \u003ca href=\"https://www.instagram.com/tracibartlow/\">Traci Bartlow\u003c/a> makes my day by telling me she enjoys watching my process, and seeing what catches my eye.\u003c/p>\n\u003cfigure id=\"attachment_13989145\" class=\"wp-caption aligncenter\" style=\"max-width: 1900px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989145\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1204-scaled-e1777922504569.jpg\" alt='The words \"CURB CREEPS\" etched in aerosol spray on the corner of 17th and Capp Street in San Francisco.' width=\"1900\" height=\"2360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1204-scaled-e1777922504569.jpg 1900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1204-scaled-e1777922504569-160x199.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1204-scaled-e1777922504569-768x954.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1204-scaled-e1777922504569-1237x1536.jpg 1237w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1204-scaled-e1777922504569-1649x2048.jpg 1649w\" sizes=\"auto, (max-width: 1900px) 100vw, 1900px\">\u003cfigcaption class=\"wp-caption-text\">The words ‘CURB CREEPS’ spraypainted on the corner of 17th and Capp Street in San Francisco. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And in that, she names my internal reaction on the photo walk: by seeing other photographers on this excursion work in real time, my eye became a bit more keen. What are other folks \u003cem>not\u003c/em> seeing?\u003c/p>\n\u003cp>We’re all on the same street, and we have essentially the same tools. But what sticks out to you? What story do you tell? What gives you a unique perspective? That’s what I kept asking myself.\u003c/p>\n\u003cfigure id=\"attachment_13989140\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989140\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1205-scaled.jpg\" alt=\"Fallen pink flower pedals line the curb of a street in San Francisco. \" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1205-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1205-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1205-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1205-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1205-1536x2048.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Fallen pink flower pedals line the curb along 17th Street in San Francisco. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Murals made for dope backgrounds as people posed for portraits. Photographers took candid images of moped-riding delivery men. Others clicked away making landscape portraits of the MUNI bus along Mission Street.\u003c/p>\n\u003cp>I kept my eyes affixed to the sidewalk. Gum stains, dried paint, a dead rat and a small bush growing through the pavement. A soiled pair of pants and the six-pack plastic ring that we used to cut up back in the ’90s. “How in the hell are companies still making those?” I asked to anyone within earshot.\u003c/p>\n\u003cfigure id=\"attachment_13989146\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989146\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1166-scaled.jpg\" alt=\"Translucent 6-pack plastic rings sit in front of a mural in an alleyway. \" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1166-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1166-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1166-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1166-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1166-1536x2048.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">How is it still legal to produce six-pack plastic rings? \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As we walked, the conversations flowed. Photographers \u003ca href=\"https://www.instagram.com/p/BAqncd_lfBf/\">Rudi Tcruz\u003c/a> and \u003ca href=\"https://www.instagram.com/galexsir/\">Galex Tcruz\u003c/a> joked about the need to focus less on our 9-5s and more on our 5-10s.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/shamikaszn/\">Shamika\u003c/a>, a part-time multi-hyphenate creative and full-time cyber threat intelligence analyst at Twilio, told me about the theory of recycled faces. Now I can’t stop seeing the similarities in people.\u003c/p>\n\u003cp>Lost in a conversation with educator and portrait photographer \u003ca href=\"https://www.instagram.com/madannud21\">Adam Dunn\u003c/a> about his move from Cleveland to Sebastopol, I hesitated and missed out on a photo of an older woman in front of her business, cleaning the stoop. The perspective of the water hitting the sidewalk would’ve been refreshing, but the conversation’s currents were too strong.\u003c/p>\n\u003cfigure id=\"attachment_13989143\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989143\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1211-scaled-e1777919408926.jpg\" alt=\"A condom wrapper rests on the street in San Francisco. \" width=\"1920\" height=\"2402\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1211-scaled-e1777919408926.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1211-scaled-e1777919408926-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1211-scaled-e1777919408926-768x961.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1211-scaled-e1777919408926-1228x1536.jpg 1228w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1211-scaled-e1777919408926-1637x2048.jpg 1637w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A condom wrapper straddles the lines in the concrete on the street in San Francisco. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One photographer told me about his unique telephoto lens, another told me about the evolution of microchips inside the camera.\u003c/p>\n\u003cp>At one point, our posse crossed paths with a bunch of adorable dogs and their owners. I thought we were going to heal the world right then and there.\u003c/p>\n\u003cfigure id=\"attachment_13989151\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989151\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1194-scaled.jpg\" alt=\"A close image of a dog in a park. \" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1194-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1194-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1194-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1194-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1194-1536x2048.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">One of the many dogs enjoying a Saturday at Dolores Park in San Francisco. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At another moment, I stopped on a corner to watch photographer \u003ca href=\"https://www.instagram.com/hourvoyses/\">Darius Riley\u003c/a> capture the smiles of a family walking down Valencia Street. An \u003ca href=\"https://www.kqed.org/arts/13964439/east-palo-alto-hidden-beauty-photography-darius-riley\">extremely talented photographer\u003c/a>, Riley goes on group photo walks regularly, he says, “because they offer spaces to be connected with other photographers, and also be inspired.”\u003c/p>\n\u003cp>“We need more photography community events, things that bring us together,” he says. An entrepreneur and artist from East Palo Alto who often works in isolation, Riley finds solace and affirmation in the creative circles of Oakland and Frisco.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13989141\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1178-scaled.jpg\" alt=\"\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1178-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1178-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1178-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1178-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1178-1536x2048.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>“To be in company with other people who are in the same field, and recognize me for my craft,” he says, “is very validating and makes me want to keep going.”\u003c/p>\n\u003cp>He’s right. Photography is an isolating sport. At times, I’ll bring my camera to an event as my plus-one, hiding behind the lens instead of socializing. But at a photo walk, the device becomes a way to introduce yourself to others.\u003c/p>\n\u003cp>Before even telling me their names, people would ask questions like “What are you shooting with?” or “Who do you shoot for?” One person asked me, “What are you taking photos of?” I answered, “The ground.”\u003c/p>\n\u003cfigure id=\"attachment_13989148\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989148\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1209-scaled.jpg\" alt=\"A dead rat near a curb in San Francisco. \" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1209-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1209-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1209-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1209-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1209-1536x2048.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A local rat laid to rest in a curbside grave. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It was musician and photographer \u003ca href=\"https://www.instagram.com/fatoshphotography/\">Fatosh Arabacıoğlu\u003c/a>’s first time out with the group, and she didn’t know what to expect. “But it ended up being one of those days where you just \u003cem>click\u003c/em> with people instantly,” she says.\u003c/p>\n\u003cp>Photography is so much richer as a shared experience — creating art while learning about others and seeing what inspires them lit something inside her during the event. She’s already scheduled get-togethers with new friends made from the photo walk.\u003c/p>\n\u003cfigure id=\"attachment_13989137\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989137\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1160-scaled.jpg\" alt=\"A fallen piece of fruit sits in font of a colorfully painted portrait image of an African American man.\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1160-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1160-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1160-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1160-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_1160-1536x2048.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">In San Francisco’s Clarion Alley, a fallen piece of fruit rests in front of an image of the late Oakland-raised lyricist, Stephen ‘Baba Zumbi’ Gaines. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This particular photo walk only happens once or twice a year. But the Cameras and Coffee Club offers monthly meet ups, mostly in the East Bay. Those gatherings, pablo circa says, are “intended to slow things down,” giving space and opportunity for visual storytellers “to connect around the craft and shift out of their usual rhythm.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That’s what the two-hour walk did for me. After all the conversations and photos, I left with a handful of new photographer friends and a new perspective on the streets of San Francisco.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>An intrepid sea lion nicknamed Chonkers is waddling his way into the hearts of tourists and locals who have flocked to San Francisco’s Pier 39 for a glimpse of the massive pinniped.\u003c/p>\n\u003cp>On Thursday morning, visitors snapped photos as the Steller sea lion flopped on the pier, surrounded by dozens of much smaller California sea lions that call the docks home.\u003c/p>\n\u003cp>[aside postid='arts_13983145']“He’s like a Volkswagen! He’s so huge!” said Oluwaseyi Akinbobola, a visitor from Los Angeles who had an extra half hour so she ran down to the pier for a hopeful peek of the elusive sea lion. “I have heard everywhere about this big giant sea lion, and I like to look at things, so just thought I’d check it out.”\u003c/p>\n\u003cp>Chonkers likely came from up north off the coast of Washington or Oregon and is estimated to weigh between 1,500 and 2,000 pounds (680 and 907 kilograms), said Laura Gill, public programs manager at The Marine Mammal Center in nearby Sausalito. Chonkers has been one of the few Steller sea lions to venture to the pier, which is protected from predators and crashing waves while providing a fish-filled buffet.\u003c/p>\n\u003cp>“There’s plenty of food in San Francisco Bay for them, so the fish, the rockfish, the anchovies, the herring, there’s a lot of easy prey for them,” she said.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" cite=\"https://www.tiktok.com/@apnews/video/7635006173397175566\" data-video-id=\"7635006173397175566\" style=\"max-width: 605px;min-width: 325px\">\n\u003csection> \u003ca target=\"_blank\" title=\"@apnews\" href=\"https://www.tiktok.com/@apnews?refer=embed\">@apnews\u003c/a> A surprise guest at San Francisco's Fisherman's Wharf is quite literally making waves. Meet Chonkers, the name given to a giant Steller sea lion spotted this week lounging among his considerably smaller California sea lion neighbors. Chonkers belongs to the Steller species, the largest of all sea lions, known for their commanding presence and dock-dominating energy. Adult males can weigh over a ton. \u003ca title=\"sealion\" target=\"_blank\" href=\"https://www.tiktok.com/tag/sealion?refer=embed\">#sealion\u003c/a> \u003ca title=\"cuteanimals\" target=\"_blank\" href=\"https://www.tiktok.com/tag/cuteanimals?refer=embed\">#cuteanimals\u003c/a> \u003ca title=\"sanfrancisco\" target=\"_blank\" href=\"https://www.tiktok.com/tag/sanfrancisco?refer=embed\">#sanfrancisco\u003c/a> \u003ca title=\"seal\" target=\"_blank\" href=\"https://www.tiktok.com/tag/seal?refer=embed\">#seal\u003c/a> \u003ca title=\"california\" target=\"_blank\" href=\"https://www.tiktok.com/tag/california?refer=embed\">#california\u003c/a> \u003ca title=\"fishermanswharf\" target=\"_blank\" href=\"https://www.tiktok.com/tag/fishermanswharf?refer=embed\">#fishermanswharf\u003c/a> \u003ca title=\"animals\" target=\"_blank\" href=\"https://www.tiktok.com/tag/animals?refer=embed\">#animals\u003c/a> \u003ca title=\"ocean\" target=\"_blank\" href=\"https://www.tiktok.com/tag/ocean?refer=embed\">#ocean\u003c/a> \u003ca target=\"_blank\" title=\"♬ original sound - The Associated Press\" href=\"https://www.tiktok.com/music/original-sound-The-Associated-Press-7635006276820339470?refer=embed\">♬ original sound – The Associated Press\u003c/a> \u003c/section>\n\u003c/blockquote>\n\u003cp> [tiktok]\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The giant sea lion, which was first spotted on the pier last month, has brought the community together, said San Francisco resident Danielle Ovadia. “He’s so precious, and he’s quite literally humongous,” she said.\u003c/p>\n\u003cp>[aside postid='arts_13987000']Sea lions have become synonymous with the popular tourist pier, but they didn’t start gathering there until after the 1989 Loma Prieta earthquake, according to the marina. One lone male was quickly joined by dozens more and by February 1990, the pinniped population had grown to more than 300.\u003c/p>\n\u003cp>Chonkers has been spotted at the docks early in the morning but is harder to pin down during the rest of the day, Gill said. She said it is endearing to watch him try to snuggle with the regular sea lions for warmth and it will be interesting to see if other Steller sea lions follow suit.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“He’s trying to fit in, but he sticks out like a sore thumb,” she said.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>An intrepid sea lion nicknamed Chonkers is waddling his way into the hearts of tourists and locals who have flocked to San Francisco’s Pier 39 for a glimpse of the massive pinniped.\u003c/p>\n\u003cp>On Thursday morning, visitors snapped photos as the Steller sea lion flopped on the pier, surrounded by dozens of much smaller California sea lions that call the docks home.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“He’s like a Volkswagen! He’s so huge!” said Oluwaseyi Akinbobola, a visitor from Los Angeles who had an extra half hour so she ran down to the pier for a hopeful peek of the elusive sea lion. “I have heard everywhere about this big giant sea lion, and I like to look at things, so just thought I’d check it out.”\u003c/p>\n\u003cp>Chonkers likely came from up north off the coast of Washington or Oregon and is estimated to weigh between 1,500 and 2,000 pounds (680 and 907 kilograms), said Laura Gill, public programs manager at The Marine Mammal Center in nearby Sausalito. Chonkers has been one of the few Steller sea lions to venture to the pier, which is protected from predators and crashing waves while providing a fish-filled buffet.\u003c/p>\n\u003cp>“There’s plenty of food in San Francisco Bay for them, so the fish, the rockfish, the anchovies, the herring, there’s a lot of easy prey for them,” she said.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" cite=\"https://www.tiktok.com/@apnews/video/7635006173397175566\" data-video-id=\"7635006173397175566\" style=\"max-width: 605px;min-width: 325px\">\n\u003csection> \u003ca target=\"_blank\" title=\"@apnews\" href=\"https://www.tiktok.com/@apnews?refer=embed\">@apnews\u003c/a> A surprise guest at San Francisco's Fisherman's Wharf is quite literally making waves. Meet Chonkers, the name given to a giant Steller sea lion spotted this week lounging among his considerably smaller California sea lion neighbors. Chonkers belongs to the Steller species, the largest of all sea lions, known for their commanding presence and dock-dominating energy. Adult males can weigh over a ton. \u003ca title=\"sealion\" target=\"_blank\" href=\"https://www.tiktok.com/tag/sealion?refer=embed\">#sealion\u003c/a> \u003ca title=\"cuteanimals\" target=\"_blank\" href=\"https://www.tiktok.com/tag/cuteanimals?refer=embed\">#cuteanimals\u003c/a> \u003ca title=\"sanfrancisco\" target=\"_blank\" href=\"https://www.tiktok.com/tag/sanfrancisco?refer=embed\">#sanfrancisco\u003c/a> \u003ca title=\"seal\" target=\"_blank\" href=\"https://www.tiktok.com/tag/seal?refer=embed\">#seal\u003c/a> \u003ca title=\"california\" target=\"_blank\" href=\"https://www.tiktok.com/tag/california?refer=embed\">#california\u003c/a> \u003ca title=\"fishermanswharf\" target=\"_blank\" href=\"https://www.tiktok.com/tag/fishermanswharf?refer=embed\">#fishermanswharf\u003c/a> \u003ca title=\"animals\" target=\"_blank\" href=\"https://www.tiktok.com/tag/animals?refer=embed\">#animals\u003c/a> \u003ca title=\"ocean\" target=\"_blank\" href=\"https://www.tiktok.com/tag/ocean?refer=embed\">#ocean\u003c/a> \u003ca target=\"_blank\" title=\"♬ original sound - The Associated Press\" href=\"https://www.tiktok.com/music/original-sound-The-Associated-Press-7635006276820339470?refer=embed\">♬ original sound – The Associated Press\u003c/a> \u003c/section>\n\u003c/blockquote>\n\u003cp> \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The giant sea lion, which was first spotted on the pier last month, has brought the community together, said San Francisco resident Danielle Ovadia. “He’s so precious, and he’s quite literally humongous,” she said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Sea lions have become synonymous with the popular tourist pier, but they didn’t start gathering there until after the 1989 Loma Prieta earthquake, according to the marina. One lone male was quickly joined by dozens more and by February 1990, the pinniped population had grown to more than 300.\u003c/p>\n\u003cp>Chonkers has been spotted at the docks early in the morning but is harder to pin down during the rest of the day, Gill said. She said it is endearing to watch him try to snuggle with the regular sea lions for warmth and it will be interesting to see if other Steller sea lions follow suit.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“He’s trying to fit in, but he sticks out like a sore thumb,” she said.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>If you were a Bay Area dirtbag in the early 2000s, you likely remember the thrill of seeing your people, your neighborhoods and your more nefarious activities reflected back at you in the street photography of the period. \u003cem>Vice\u003c/em> magazine is usually credited with popularizing the unfiltered and uncompromising aesthetic, but Bay Area photographers were arguably the underground leaders.\u003c/p>\n\u003cp>[aside postid='arts_13983681']At the forefront was \u003cem>\u003ca href=\"https://www.kqed.org/arts/10802/hamburger_eyes_the_odyssey\">Hamburger Eyes\u003c/a>\u003c/em>, a fanzine that captured and celebrated the everyday realities of city living in black-and-white candids. Founder and editor Ray Potes arrived in San Francisco (from San Diego) in 2003 and quickly began printing his zine on a Heidelberg press, with the assistance of his brother David. By 2007, Potes and his close collaborator Stefan Simikich had also set up the Photo Epicenter in the Mission District — an art gallery, dark room and social space. A year later came the first \u003cem>Hamburger Eyes\u003c/em> book: \u003ca href=\"https://powerhousebooks.com/books/hamburger-eyes-inside-burgerworld/\">\u003cem>Inside Burgerworld\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Potes has helmed or assisted countless photo projects in the time since, including his side project zine \u003cem>\u003ca href=\"https://rumorbooks.com/products/the-best-of-celly-brian-vol-3-hamburger-eyes\">Celly Brain\u003c/a>\u003c/em> which, for a time, offered an online cellphone photo portal that pre-dated Instagram.\u003c/p>\n\u003cfigure id=\"attachment_13988956\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13988956 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Tobin-Yelland-The-Changsta.jpg\" alt=\"A woman lies with her upper face obscured by her own arm which is raised to reveal a hairy armpit. She sticks her tongue out.\" width=\"1600\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Tobin-Yelland-The-Changsta.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Tobin-Yelland-The-Changsta-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Tobin-Yelland-The-Changsta-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Tobin-Yelland-The-Changsta-1229x1536.jpg 1229w\" sizes=\"auto, (max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">Tobin Yelland, ‘The Changsta,’ 1992 in the Hamburger Eyes exhibit at the San Francisco Public Library. \u003ccite>(Courtesy of the San Francisco Public Library)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For the next five months, the San Francisco Public Library’s Jewett Gallery is exhibiting work by 83 photographers who have featured in the pages of \u003cem>Hamburger Eyes\u003c/em>. These shots start with \u003ca href=\"https://www.tedpushinskyphotography.com/\">Ted Pushinsky\u003c/a>’s early-’80s street photography and transport viewers up to the present day, via images of everything and anything you can think of. Like kids lined up on a fairground ride, a dog carrying around a dead pigeon and an entirely wrecked automobile on the side of the road, adorned with a “FREE CAR” sign. The show is a fitting reflection of the chaos that \u003cem>Hamburger Eyes\u003c/em> has always embraced.\u003c/p>\n\u003cp>As usual, Potes (with co-curator Megan Merritt) has leaned into curious juxtapositions for \u003cem>The Continuing Story Of Life On Earth: 25 Years of Hamburger Eyes\u003c/em>. In one corner, a photo of an aging man showing off his torso of stick and poke tattoos sits underneath the image of posed, suburban family portraits discarded inside a dumpster. A cluster of microphone-wielding journalists sits directly above curious hands touching a giant yellow python. Near a shot of an old man sitting quietly in a laundromat is a photograph of a young man stuck halfway through a hole in a chainlink fence, while his skateboard waits patiently for him on the other side. It is a dizzying, consistently absorbing display.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Accompanying the anniversary celebration is a new book too. \u003cem>Hamburger Eyes — The First 25 Years\u003c/em> features 200 photographers, including the likes of \u003ca href=\"https://www.kqed.org/arts/13923399/honoring-dave-schubert-san-franciscos-wildest-street-photographer\">Dave Schubert\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13967132/tobin-yelland-skateboard-photography-san-francisco-deluxe-mission-dlx\">Tobin Yelland\u003c/a>, \u003ca href=\"https://www.instagram.com/tholden415/\">Troy Holden\u003c/a>, \u003ca href=\"https://www.instagram.com/teenwitchsf/\">Andrea Sonnenberg\u003c/a> and \u003cem>Mother Jones\u003c/em> photo director \u003ca href=\"https://www.markmurrmann.com/\">Mark Murrmann\u003c/a>. The work of Murrmann and Potes also features heavily in a free zine available only at the exhibition.\u003c/p>\n\u003cfigure id=\"attachment_13988971\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988971\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042306HamburgerEyes_GH_022_qed.jpg\" alt=\"A white man with receding hairline examines a wall covered with black and white photo magnets, arranged on a white door. \" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042306HamburgerEyes_GH_022_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042306HamburgerEyes_GH_022_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042306HamburgerEyes_GH_022_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042306HamburgerEyes_GH_022_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A display of magnetic photographs allows visitors to create their own sequences during the ‘Hamburger Eyes: The First 25 Years’ exhibition at the Jewett Gallery at the San Francisco Public Library. \u003ccite>(Gustavo Hernandez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The importance of Potes’ indefatigable work highlighting photo talent cannot be overstated. His commitment to DIY forms of visual expression is not limited to his own output either. At the KQED-sponsored \u003ca href=\"https://www.kqed.org/event/6104\">Night of Ideas\u003c/a> earlier this month, Potes helmed a Hamburger Eyes panel that was followed by a zine-making workshop by Fish Juice’s Edie Trautwein, to encourage young creators to get involved. There is also a section at the library exhibit that offers visitors the chance to arrange a set of Potes’ magnetized photos into their own zine display.\u003c/p>\n\u003cp>For many of us who were first thrilled by the work in \u003cem>Hamburger Eyes\u003c/em> decades ago, our dirtbag days are firmly in the rearview. The fact that \u003cem>Hamburger Eyes\u003c/em> continues to survive and thrive on its own terms is truly an event to be celebrated.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://sfpl.org/exhibits/2026/04/23/continuing-story-life-earth-25-years-hamburger-eyes\">The Continuing Story Of Life On Earth: 25 Years of Hamburger Eyes\u003c/a>’ is on view at the San Francisco Public Library’s Jewett Gallery through Sept. 24, 2026. The accompanying book ‘\u003ca href=\"https://hamburgereyes.com/2026/03/25/hamburger-eyes-the-first-25-years/\">Hamburger Eyes — The First 25 Years\u003c/a>’ is out now. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>At the forefront was \u003cem>\u003ca href=\"https://www.kqed.org/arts/10802/hamburger_eyes_the_odyssey\">Hamburger Eyes\u003c/a>\u003c/em>, a fanzine that captured and celebrated the everyday realities of city living in black-and-white candids. Founder and editor Ray Potes arrived in San Francisco (from San Diego) in 2003 and quickly began printing his zine on a Heidelberg press, with the assistance of his brother David. By 2007, Potes and his close collaborator Stefan Simikich had also set up the Photo Epicenter in the Mission District — an art gallery, dark room and social space. A year later came the first \u003cem>Hamburger Eyes\u003c/em> book: \u003ca href=\"https://powerhousebooks.com/books/hamburger-eyes-inside-burgerworld/\">\u003cem>Inside Burgerworld\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Potes has helmed or assisted countless photo projects in the time since, including his side project zine \u003cem>\u003ca href=\"https://rumorbooks.com/products/the-best-of-celly-brian-vol-3-hamburger-eyes\">Celly Brain\u003c/a>\u003c/em> which, for a time, offered an online cellphone photo portal that pre-dated Instagram.\u003c/p>\n\u003cfigure id=\"attachment_13988956\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13988956 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Tobin-Yelland-The-Changsta.jpg\" alt=\"A woman lies with her upper face obscured by her own arm which is raised to reveal a hairy armpit. She sticks her tongue out.\" width=\"1600\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Tobin-Yelland-The-Changsta.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Tobin-Yelland-The-Changsta-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Tobin-Yelland-The-Changsta-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Tobin-Yelland-The-Changsta-1229x1536.jpg 1229w\" sizes=\"auto, (max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">Tobin Yelland, ‘The Changsta,’ 1992 in the Hamburger Eyes exhibit at the San Francisco Public Library. \u003ccite>(Courtesy of the San Francisco Public Library)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For the next five months, the San Francisco Public Library’s Jewett Gallery is exhibiting work by 83 photographers who have featured in the pages of \u003cem>Hamburger Eyes\u003c/em>. These shots start with \u003ca href=\"https://www.tedpushinskyphotography.com/\">Ted Pushinsky\u003c/a>’s early-’80s street photography and transport viewers up to the present day, via images of everything and anything you can think of. Like kids lined up on a fairground ride, a dog carrying around a dead pigeon and an entirely wrecked automobile on the side of the road, adorned with a “FREE CAR” sign. The show is a fitting reflection of the chaos that \u003cem>Hamburger Eyes\u003c/em> has always embraced.\u003c/p>\n\u003cp>As usual, Potes (with co-curator Megan Merritt) has leaned into curious juxtapositions for \u003cem>The Continuing Story Of Life On Earth: 25 Years of Hamburger Eyes\u003c/em>. In one corner, a photo of an aging man showing off his torso of stick and poke tattoos sits underneath the image of posed, suburban family portraits discarded inside a dumpster. A cluster of microphone-wielding journalists sits directly above curious hands touching a giant yellow python. Near a shot of an old man sitting quietly in a laundromat is a photograph of a young man stuck halfway through a hole in a chainlink fence, while his skateboard waits patiently for him on the other side. It is a dizzying, consistently absorbing display.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Accompanying the anniversary celebration is a new book too. \u003cem>Hamburger Eyes — The First 25 Years\u003c/em> features 200 photographers, including the likes of \u003ca href=\"https://www.kqed.org/arts/13923399/honoring-dave-schubert-san-franciscos-wildest-street-photographer\">Dave Schubert\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13967132/tobin-yelland-skateboard-photography-san-francisco-deluxe-mission-dlx\">Tobin Yelland\u003c/a>, \u003ca href=\"https://www.instagram.com/tholden415/\">Troy Holden\u003c/a>, \u003ca href=\"https://www.instagram.com/teenwitchsf/\">Andrea Sonnenberg\u003c/a> and \u003cem>Mother Jones\u003c/em> photo director \u003ca href=\"https://www.markmurrmann.com/\">Mark Murrmann\u003c/a>. The work of Murrmann and Potes also features heavily in a free zine available only at the exhibition.\u003c/p>\n\u003cfigure id=\"attachment_13988971\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988971\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042306HamburgerEyes_GH_022_qed.jpg\" alt=\"A white man with receding hairline examines a wall covered with black and white photo magnets, arranged on a white door. \" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042306HamburgerEyes_GH_022_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042306HamburgerEyes_GH_022_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042306HamburgerEyes_GH_022_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042306HamburgerEyes_GH_022_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A display of magnetic photographs allows visitors to create their own sequences during the ‘Hamburger Eyes: The First 25 Years’ exhibition at the Jewett Gallery at the San Francisco Public Library. \u003ccite>(Gustavo Hernandez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The importance of Potes’ indefatigable work highlighting photo talent cannot be overstated. His commitment to DIY forms of visual expression is not limited to his own output either. At the KQED-sponsored \u003ca href=\"https://www.kqed.org/event/6104\">Night of Ideas\u003c/a> earlier this month, Potes helmed a Hamburger Eyes panel that was followed by a zine-making workshop by Fish Juice’s Edie Trautwein, to encourage young creators to get involved. There is also a section at the library exhibit that offers visitors the chance to arrange a set of Potes’ magnetized photos into their own zine display.\u003c/p>\n\u003cp>For many of us who were first thrilled by the work in \u003cem>Hamburger Eyes\u003c/em> decades ago, our dirtbag days are firmly in the rearview. The fact that \u003cem>Hamburger Eyes\u003c/em> continues to survive and thrive on its own terms is truly an event to be celebrated.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://sfpl.org/exhibits/2026/04/23/continuing-story-life-earth-25-years-hamburger-eyes\">The Continuing Story Of Life On Earth: 25 Years of Hamburger Eyes\u003c/a>’ is on view at the San Francisco Public Library’s Jewett Gallery through Sept. 24, 2026. The accompanying book ‘\u003ca href=\"https://hamburgereyes.com/2026/03/25/hamburger-eyes-the-first-25-years/\">Hamburger Eyes — The First 25 Years\u003c/a>’ is out now. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "la-dona-corrientes-album-san-francisco",
"title": "La Doña Traveled to 5 Countries to Make Her Borderless Album, ‘Corrientes’",
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"headTitle": "La Doña Traveled to 5 Countries to Make Her Borderless Album, ‘Corrientes’ | KQED",
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"content": "\u003cfigure id=\"attachment_13988957\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988957\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_004-Edit.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_004-Edit.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_004-Edit-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_004-Edit-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_004-Edit-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Cecilia Peña-Govea, known as La Doña, poses on the hood of her vintage Chevrolet Impala coupe in West Oakland on April 24, 2026. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003cem>This story was reported for K Onda KQED, a monthly newsletter focused on the Bay Area’s Latinx community. \u003ca href=\"https://www.kqed.org/newsletters/k-onda\">Click here to subscribe\u003c/a>.\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>One of the songs on \u003ca href=\"https://www.kqed.org/arts/tag/la-dona\">La Doña\u003c/a>‘s new album, \u003cem>Corrientes\u003c/em>, tells the story of her parents’ 44-year-long partnership that started with a chance meeting when her dad was an undergraduate at UC Berkeley and her mom was a law student there.\u003c/p>\n\u003cp>That night, \u003ca href=\"https://www.instagram.com/ladona415/\">La Doña\u003c/a>‘s mom pulled a fiddle out of her car and played a song she called the “Jessie Polka,” a rendition of “Jesusita en Chihuahua,” a beloved folk song composed during the Mexican Revolution.\u003c/p>\n\u003cp>“From that moment on, they had this cultural exchange and this language that they shared,” says La Doña, whose real name is Cecilia Peña-Govea. “They were learning about each other and learning about their own roots and practices.”\u003c/p>\n\u003cp>Her song, “La Que Nos Unió” (“The One that United Us”) is set to an uptempo merengue beat, which, like polka, rouses listeners to get up and dance.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“[The song] is a celebration of their love and the legacy that I’m walking in and the beauty of the musical traditions that they endowed me with,” the 33-year-old says. “I wanted it to be a party song because they’re fun and they’re party animals.”\u003c/p>\n\u003cp>La Doña’s ethos of paying homage to tradition and history while bringing her own style reverberates throughout the 16 songs on \u003cem>Corrientes\u003c/em>, which comes out April 29. This is the second full-length record for the born-and-raised San Franciscan, who started releasing music in 2018.\u003c/p>\n\u003cp>\u003cem>Corrientes\u003c/em> is La Doña’s most ambitious and comprehensive project yet. She incorporates many genres, including some that are tried-and-true for her: cumbia, reggaeton, ranchera, bolero and salsa. She also branches out further into bachata, merengue, electronic dance music and son jarocho, a folk music style that originated in the Mexican state of Veracruz.\u003c/p>\n\u003cp>\u003cem>Corrientes\u003c/em> shows off La Doña’s deep understanding of music while showcasing her brilliance, versatility and expansive range as a singer and songwriter. The album feels like a multinational tour of Latin America with a passionate guide at the helm; while working on the album, she traveled to five countries and collaborated with 40 musicians. Her sultry vocals fit seamlessly, whether she’s singing in English, Spanish or both.\u003c/p>\n\u003cp>https://youtu.be/93ZK9i1wh5k?si=CcW-XD74gTUCrXqu\u003c/p>\n\u003cp>On the cheeky, “Frisco Hates You Too,” collaborators Jada Imani, Stoni and Qing Qi join La Doña for a delicious clap-back banger that takes aim at outsiders who try to force their aesthetics and preferences on Bay Area culture.\u003c/p>\n\u003cp>“If you were born and raised in San Francisco, you’ve always felt this impending doom, right? If gentrification doesn’t get me, then the earthquake’s going to get me. You always feel like something is going to remove you from your city or your space,” she says. “So ‘Frisco Hates You Too’ is related to a quote that Jimmy Fails says in [the movie] \u003ca href=\"https://www.kqed.org/arts/13858829/the-last-black-man-in-san-francisco-hits-home-in-oakland\">\u003cem>The Last Black Man in San Francisco\u003c/em>\u003c/a>, which is, ‘You can’t hate it unless you love it.’”\u003c/p>\n\u003cp>On the bolero, “Consiénteme,” (“Pamper Me”) she sings poetic stanzas in Spanish about passionate love and then switches to English for a spoken word plea for clarity about the relationship: “Dear redacted, did you mean it when you said you wanted to be my baby daddy?”\u003c/p>\n\u003cp>As an independent artist, La Doña takes risks both in music and activism. Her support of Palestinian people amid the war in Gaza has drawn backlash and cost her opportunities, she says, but silence for her is not an option.\u003c/p>\n\u003cp>https://youtu.be/3F5Jncvig3Y?si=AVUoLZOivTchyz0V\u003c/p>\n\u003cp>In the song, “Mentira y La Verdad,” (“Lies and Truth”) La Doña sings about how people have tried to pressure her to stop speaking out, but she refuses to back down.\u003c/p>\n\u003cp>“They come to my concerts. At night, they write to me always criticizing and demanding apologies, but my song today will sound louder tomorrow,” she sings in Spanish.\u003c/p>\n\u003cp>La Doña has a couple of Northern California performances planned, including a \u003ca href=\"https://www.theuctheatre.org/shows/la-dona-15-may\">release show on May 15 at Berkeley’s UC Theatre\u003c/a>, but has not yet set up a tour. She’s at a crossroads as she decides between different graduate school options for this fall.\u003c/p>\n\u003cp>La Doña sat down with KQED to talk about her artistry, her aesthetics and what might come next for her future.\u003c/p>\n\u003cp>\u003cem>This interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13988958\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988958\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_008-Edit.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_008-Edit.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_008-Edit-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_008-Edit-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_008-Edit-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">La Doña poses in the inside of her vintage Chevrolet Impala coupe in West Oakland on April 24, 2026. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Blanca Torres:\u003c/strong> On this album, you have some salsa, you have some reggaeton, you have some banda and then the son jarocho. Is any of that new that you’re trying out, or is it all stuff that you’ve been working on for a while?\u003c/p>\n\u003cp>\u003cstrong>La Doña:\u003c/strong> I have been playing salsa since I was a very young girl, especially playing the trumpet. I also grew up listening to and playing a lot of corridos, rancheras, so that also feels very natural for me. Especially bolero, mambo, salsa, how these genres of music are moving freely between countries and across borders has informed so much of my writing and so much of my understanding, both of self and of genres and music in general. Was a stretch production-wise just because, yeah, there’s like 20 different styles on this album, right? Just the nature of getting together 40 musicians who all are masters in their craft. It was a huge undertaking.\u003c/p>\n\u003cp>\u003cstrong>How do you decide if you want a song in Spanish or in English or both? What’s kind of your creative process since you can access so many styles of music?\u003c/strong>\u003c/p>\n\u003cp>Conversationally, I’m more comfortable in English. Musically, I’m more comfortable in Spanish. When I’m writing lyrics or when the song is really led by a story or narrative, I begin composing in Spanish. Whereas if the material is more conversational, then I tend to lean towards English.\u003c/p>\n\u003cp>https://youtu.be/fokeuzQS4Ac?si=dQD1kudLICbeW7FV\u003c/p>\n\u003cp>\u003cstrong>Can you talk about taking very traditional styles and bringing in modern elements? Is that something intentional that you’re doing?\u003c/strong>\u003c/p>\n\u003cp>Everything that I create, I think about how it’s going to be received and how I’m going be able to present it to people because that’s one of the most special and important parts of music — how it is shared with other people in a live setting.\u003c/p>\n\u003cp>\u003cstrong>“Por Un Amor” starts out as a sad story and then it turns at the end. Where did that inspiration come from?\u003c/strong>\u003c/p>\n\u003cp>“Por Un Amor” is actually about my breakup with my ex. As a songwriter, as a storyteller, I always get to tell my story, and I always take up space. Also, I love him very much and honor his story and his side of the struggle. I definitely see that. So I wanted to represent that as well.\u003c/p>\n\u003cp>\u003cstrong>On “Mentira y La Verdad,” you sing about how people have tried to silence you for sharing political views. Can you talk about that song and this experience that you’ve had the last few years?\u003c/strong>\u003c/p>\n\u003cp>I have a very strong moral compass, and that has made it much harder to exist within the music industry because it is such an exploitative and usurping machine. Unfortunately in this system, in this society, we’re going to be engaging with different oppressive systems and we must maintain our own truths and integrity. That’s really the only way to make it out of it alive with our souls intact.\u003c/p>\n\u003cfigure id=\"attachment_13988959\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988959\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_016-Edit.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_016-Edit.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_016-Edit-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_016-Edit-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_016-Edit-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">La Doña stands for a portrait against a painted brick wall in West Oakland on April 24, 2026. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Some people might look at you and say, “You’re living the dream, you’re making music, you’re performing.” Is that how you see your life?\u003c/strong>\u003c/p>\n\u003cp>I never wanted to be a musician. I had been playing music since I was so little and my parents always told me, “Get a union job. Get something that will pay the bills. Get a pension. You need to be able to retire and buy a house in the Bay Area.” I had these very pragmatic goals for my life.\u003c/p>\n\u003cp>When I started making music, all of that changed. I worked really hard, but I didn’t have an end goal of being a professional musician or a lifelong artist. I have maintained it because I do love music and I do love making music and I do love performing, but in terms of, is this my final form? I don’t think so.\u003c/p>\n\u003cp>\u003cstrong>You applied to a wide variety of graduate programs and schools for fall of 2026. Have you decided?\u003c/strong>\u003c/p>\n\u003cp>No, girl, I’m freaking out. I’m really trying to figure it out. And in short, no, I don’t know where I’m going yet.\u003c/p>\n\u003cp>https://youtu.be/y2a-_w4xRPU?si=1Y99SXRdE_WyMCZU\u003c/p>\n\u003cp>\u003cstrong>You’re clearly rooted in your identity as a Latina, as someone of Mexican descent, as someone from San Francisco. How does your look, your aesthetic relate to your artistry?\u003c/strong>\u003c/p>\n\u003cp>I’ve always looked like this. I’ve also acted like this, I’ve always sung like this. I’ve always been this person. Growing up seeing this Frisco-chola aesthetic and knowing that that’s where I feel comfortable, and that’s where I feel safe, and that is where I felt most like myself. But, also having the self-confidence to try new things and to lean into more adventurous styles and by learning how to sew and design at a young age.\u003c/p>\n\u003cp>I grew up in a household where my mom didn’t really buy me dresses. She didn’t buy me anything pink. I wasn’t allowed to have Barbies. I didn’t have dolls. I didn’t watch Disney. I didn’t watch TV. She wanted me to learn about myself outside of these Eurocentric, sexist and misogynistic views of femininity and what it meant to be a woman. I came to this iteration of myself by a lot of choice-making and a lot of research and a lot of conviction around how I want to look and how I want to present and what feels good for me.\u003c/p>\n\u003cfigure id=\"attachment_13988961\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988961\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_003_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_003_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_003_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_003_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_003_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">La Doña sits behind the wheel of her vintage Chevrolet Impala coupe in West Oakland on April 24, 2026. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Research and really understanding the history of music is super important to you, can you talk about that?\u003c/strong>\u003c/p>\n\u003cp>I’m already doing deep ethnographic work and auto-ethnographic work. I’m looking for different ways to talk and think about it. For me, this album was definitely about going deeper and not relying on parts of traditional music that have already been utilized or deemed acceptable or palatable by the general public, but looking at things that I am fascinated by, and that I think are important, and that might not really have as much visibility or as much space carved out within the pop canon.\u003c/p>\n\u003cp>\u003cstrong>What’s the best way for fans to support you?\u003c/strong>\u003c/p>\n\u003cp>I need you to listen to the music and I need you to expand your own experience of music, of self, of the world. Listen with an open mind, listen again, listen with a closed mind. I don’t care, just listen. And, come to the show and buy the vinyl.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>La Doña performs at her \u003ca href=\"https://www.theuctheatre.org/shows/la-dona-15-may\">album release party at the UC Theatre\u003c/a> in Berkeley on May 15, followed by another concert on \u003ca href=\"https://www.harlows.com/event/buscabulla-x-la-do%c3%b1a/harlows/sacramento-california/\">May 17 at Harlow’s in Sacramento\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13988957\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988957\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_004-Edit.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_004-Edit.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_004-Edit-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_004-Edit-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_004-Edit-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Cecilia Peña-Govea, known as La Doña, poses on the hood of her vintage Chevrolet Impala coupe in West Oakland on April 24, 2026. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003cem>This story was reported for K Onda KQED, a monthly newsletter focused on the Bay Area’s Latinx community. \u003ca href=\"https://www.kqed.org/newsletters/k-onda\">Click here to subscribe\u003c/a>.\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>One of the songs on \u003ca href=\"https://www.kqed.org/arts/tag/la-dona\">La Doña\u003c/a>‘s new album, \u003cem>Corrientes\u003c/em>, tells the story of her parents’ 44-year-long partnership that started with a chance meeting when her dad was an undergraduate at UC Berkeley and her mom was a law student there.\u003c/p>\n\u003cp>That night, \u003ca href=\"https://www.instagram.com/ladona415/\">La Doña\u003c/a>‘s mom pulled a fiddle out of her car and played a song she called the “Jessie Polka,” a rendition of “Jesusita en Chihuahua,” a beloved folk song composed during the Mexican Revolution.\u003c/p>\n\u003cp>“From that moment on, they had this cultural exchange and this language that they shared,” says La Doña, whose real name is Cecilia Peña-Govea. “They were learning about each other and learning about their own roots and practices.”\u003c/p>\n\u003cp>Her song, “La Que Nos Unió” (“The One that United Us”) is set to an uptempo merengue beat, which, like polka, rouses listeners to get up and dance.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“[The song] is a celebration of their love and the legacy that I’m walking in and the beauty of the musical traditions that they endowed me with,” the 33-year-old says. “I wanted it to be a party song because they’re fun and they’re party animals.”\u003c/p>\n\u003cp>La Doña’s ethos of paying homage to tradition and history while bringing her own style reverberates throughout the 16 songs on \u003cem>Corrientes\u003c/em>, which comes out April 29. This is the second full-length record for the born-and-raised San Franciscan, who started releasing music in 2018.\u003c/p>\n\u003cp>\u003cem>Corrientes\u003c/em> is La Doña’s most ambitious and comprehensive project yet. She incorporates many genres, including some that are tried-and-true for her: cumbia, reggaeton, ranchera, bolero and salsa. She also branches out further into bachata, merengue, electronic dance music and son jarocho, a folk music style that originated in the Mexican state of Veracruz.\u003c/p>\n\u003cp>\u003cem>Corrientes\u003c/em> shows off La Doña’s deep understanding of music while showcasing her brilliance, versatility and expansive range as a singer and songwriter. The album feels like a multinational tour of Latin America with a passionate guide at the helm; while working on the album, she traveled to five countries and collaborated with 40 musicians. Her sultry vocals fit seamlessly, whether she’s singing in English, Spanish or both.\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/93ZK9i1wh5k'\n title='//www.youtube.com/embed/93ZK9i1wh5k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>On the cheeky, “Frisco Hates You Too,” collaborators Jada Imani, Stoni and Qing Qi join La Doña for a delicious clap-back banger that takes aim at outsiders who try to force their aesthetics and preferences on Bay Area culture.\u003c/p>\n\u003cp>“If you were born and raised in San Francisco, you’ve always felt this impending doom, right? If gentrification doesn’t get me, then the earthquake’s going to get me. You always feel like something is going to remove you from your city or your space,” she says. “So ‘Frisco Hates You Too’ is related to a quote that Jimmy Fails says in [the movie] \u003ca href=\"https://www.kqed.org/arts/13858829/the-last-black-man-in-san-francisco-hits-home-in-oakland\">\u003cem>The Last Black Man in San Francisco\u003c/em>\u003c/a>, which is, ‘You can’t hate it unless you love it.’”\u003c/p>\n\u003cp>On the bolero, “Consiénteme,” (“Pamper Me”) she sings poetic stanzas in Spanish about passionate love and then switches to English for a spoken word plea for clarity about the relationship: “Dear redacted, did you mean it when you said you wanted to be my baby daddy?”\u003c/p>\n\u003cp>As an independent artist, La Doña takes risks both in music and activism. Her support of Palestinian people amid the war in Gaza has drawn backlash and cost her opportunities, she says, but silence for her is not an option.\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/3F5Jncvig3Y'\n title='//www.youtube.com/embed/3F5Jncvig3Y'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In the song, “Mentira y La Verdad,” (“Lies and Truth”) La Doña sings about how people have tried to pressure her to stop speaking out, but she refuses to back down.\u003c/p>\n\u003cp>“They come to my concerts. At night, they write to me always criticizing and demanding apologies, but my song today will sound louder tomorrow,” she sings in Spanish.\u003c/p>\n\u003cp>La Doña has a couple of Northern California performances planned, including a \u003ca href=\"https://www.theuctheatre.org/shows/la-dona-15-may\">release show on May 15 at Berkeley’s UC Theatre\u003c/a>, but has not yet set up a tour. She’s at a crossroads as she decides between different graduate school options for this fall.\u003c/p>\n\u003cp>La Doña sat down with KQED to talk about her artistry, her aesthetics and what might come next for her future.\u003c/p>\n\u003cp>\u003cem>This interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13988958\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988958\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_008-Edit.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_008-Edit.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_008-Edit-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_008-Edit-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_008-Edit-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">La Doña poses in the inside of her vintage Chevrolet Impala coupe in West Oakland on April 24, 2026. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Blanca Torres:\u003c/strong> On this album, you have some salsa, you have some reggaeton, you have some banda and then the son jarocho. Is any of that new that you’re trying out, or is it all stuff that you’ve been working on for a while?\u003c/p>\n\u003cp>\u003cstrong>La Doña:\u003c/strong> I have been playing salsa since I was a very young girl, especially playing the trumpet. I also grew up listening to and playing a lot of corridos, rancheras, so that also feels very natural for me. Especially bolero, mambo, salsa, how these genres of music are moving freely between countries and across borders has informed so much of my writing and so much of my understanding, both of self and of genres and music in general. Was a stretch production-wise just because, yeah, there’s like 20 different styles on this album, right? Just the nature of getting together 40 musicians who all are masters in their craft. It was a huge undertaking.\u003c/p>\n\u003cp>\u003cstrong>How do you decide if you want a song in Spanish or in English or both? What’s kind of your creative process since you can access so many styles of music?\u003c/strong>\u003c/p>\n\u003cp>Conversationally, I’m more comfortable in English. Musically, I’m more comfortable in Spanish. When I’m writing lyrics or when the song is really led by a story or narrative, I begin composing in Spanish. Whereas if the material is more conversational, then I tend to lean towards English.\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/fokeuzQS4Ac'\n title='//www.youtube.com/embed/fokeuzQS4Ac'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Can you talk about taking very traditional styles and bringing in modern elements? Is that something intentional that you’re doing?\u003c/strong>\u003c/p>\n\u003cp>Everything that I create, I think about how it’s going to be received and how I’m going be able to present it to people because that’s one of the most special and important parts of music — how it is shared with other people in a live setting.\u003c/p>\n\u003cp>\u003cstrong>“Por Un Amor” starts out as a sad story and then it turns at the end. Where did that inspiration come from?\u003c/strong>\u003c/p>\n\u003cp>“Por Un Amor” is actually about my breakup with my ex. As a songwriter, as a storyteller, I always get to tell my story, and I always take up space. Also, I love him very much and honor his story and his side of the struggle. I definitely see that. So I wanted to represent that as well.\u003c/p>\n\u003cp>\u003cstrong>On “Mentira y La Verdad,” you sing about how people have tried to silence you for sharing political views. Can you talk about that song and this experience that you’ve had the last few years?\u003c/strong>\u003c/p>\n\u003cp>I have a very strong moral compass, and that has made it much harder to exist within the music industry because it is such an exploitative and usurping machine. Unfortunately in this system, in this society, we’re going to be engaging with different oppressive systems and we must maintain our own truths and integrity. That’s really the only way to make it out of it alive with our souls intact.\u003c/p>\n\u003cfigure id=\"attachment_13988959\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988959\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_016-Edit.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_016-Edit.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_016-Edit-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_016-Edit-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_016-Edit-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">La Doña stands for a portrait against a painted brick wall in West Oakland on April 24, 2026. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Some people might look at you and say, “You’re living the dream, you’re making music, you’re performing.” Is that how you see your life?\u003c/strong>\u003c/p>\n\u003cp>I never wanted to be a musician. I had been playing music since I was so little and my parents always told me, “Get a union job. Get something that will pay the bills. Get a pension. You need to be able to retire and buy a house in the Bay Area.” I had these very pragmatic goals for my life.\u003c/p>\n\u003cp>When I started making music, all of that changed. I worked really hard, but I didn’t have an end goal of being a professional musician or a lifelong artist. I have maintained it because I do love music and I do love making music and I do love performing, but in terms of, is this my final form? I don’t think so.\u003c/p>\n\u003cp>\u003cstrong>You applied to a wide variety of graduate programs and schools for fall of 2026. Have you decided?\u003c/strong>\u003c/p>\n\u003cp>No, girl, I’m freaking out. I’m really trying to figure it out. And in short, no, I don’t know where I’m going yet.\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/y2a-_w4xRPU'\n title='//www.youtube.com/embed/y2a-_w4xRPU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>You’re clearly rooted in your identity as a Latina, as someone of Mexican descent, as someone from San Francisco. How does your look, your aesthetic relate to your artistry?\u003c/strong>\u003c/p>\n\u003cp>I’ve always looked like this. I’ve also acted like this, I’ve always sung like this. I’ve always been this person. Growing up seeing this Frisco-chola aesthetic and knowing that that’s where I feel comfortable, and that’s where I feel safe, and that is where I felt most like myself. But, also having the self-confidence to try new things and to lean into more adventurous styles and by learning how to sew and design at a young age.\u003c/p>\n\u003cp>I grew up in a household where my mom didn’t really buy me dresses. She didn’t buy me anything pink. I wasn’t allowed to have Barbies. I didn’t have dolls. I didn’t watch Disney. I didn’t watch TV. She wanted me to learn about myself outside of these Eurocentric, sexist and misogynistic views of femininity and what it meant to be a woman. I came to this iteration of myself by a lot of choice-making and a lot of research and a lot of conviction around how I want to look and how I want to present and what feels good for me.\u003c/p>\n\u003cfigure id=\"attachment_13988961\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988961\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_003_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_003_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_003_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_003_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_003_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">La Doña sits behind the wheel of her vintage Chevrolet Impala coupe in West Oakland on April 24, 2026. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Research and really understanding the history of music is super important to you, can you talk about that?\u003c/strong>\u003c/p>\n\u003cp>I’m already doing deep ethnographic work and auto-ethnographic work. I’m looking for different ways to talk and think about it. For me, this album was definitely about going deeper and not relying on parts of traditional music that have already been utilized or deemed acceptable or palatable by the general public, but looking at things that I am fascinated by, and that I think are important, and that might not really have as much visibility or as much space carved out within the pop canon.\u003c/p>\n\u003cp>\u003cstrong>What’s the best way for fans to support you?\u003c/strong>\u003c/p>\n\u003cp>I need you to listen to the music and I need you to expand your own experience of music, of self, of the world. Listen with an open mind, listen again, listen with a closed mind. I don’t care, just listen. And, come to the show and buy the vinyl.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>During one of the most critical scenes in the play \u003cem>Hamnet\u003c/em>, a grieving mother, Agnes, watches in awe at the theater world of her husband, William Shakespeare. A world of costumes and nightly death, it also inspires reverence, and she comes to understand that her late son was the quintessence of glory. \u003c/p>\n\u003cp>To see Agnes absorb \u003cem>Hamlet\u003c/em>’s every word despite not understanding most of them is to witness simultaneous grief and healing. For eternity, she realizes, one of the world’s greatest plays will be connected to one of the universe’s most perfect 11-year-old boys.\u003c/p>\n\u003cp>Running through May 24 at San Francisco’s American Conservatory Theater, \u003cem>Hamnet\u003c/em> gives agency to Shakespeare’s mysterious and enigmatic wife, known as Anne or Agnes. This is not a historical account of a woman who simply sat by as a dutiful spouse, raising three children in Stratford-upon-Avon as Shakespeare gallivanted through London’s seedy and bustling Elizabethan theater district. Nor is it \u003cem>Shakespeare in Love\u003c/em>, the 1998 film which portrays Anne as a loveless hindrance to Shakespeare’s quill and immortality. \u003c/p>\n\u003cfigure id=\"attachment_13988826\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/1_HAMNET_KyleFlubacker.jpg\" alt=\"A man in blue and a woman with a flower crown nuzzle up against one another\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13988826\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/1_HAMNET_KyleFlubacker.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/1_HAMNET_KyleFlubacker-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/1_HAMNET_KyleFlubacker-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/1_HAMNET_KyleFlubacker-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Rory Alexander and Kemi-Bo Jacobs as William and Agnes Shakespeare in the Royal Shakespeare Company’s ‘Hamnet’ at ACT in San Francisco. \u003ccite>(Kyle Flubacker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Hamnet\u003c/em> is more on par with the jukebox musical \u003cem>& Juliet\u003c/em>, in which Anne directly questions the misogyny of Shakespeare’s storytelling. (A young teenage girl throwing her life away for a dithering and pathetic boy who changes his passions like he changes his underwear? What kind of hot garbage is that, Will?) \u003c/p>\n\u003cp>Onstage at ACT, the battles between Agnes (Kemi-Bo Jacobs) and William (Rory Alexander) are filled with pain, as Shakespeare knows he has no choice but to make the four-day trek to London and continue writing plays that may someday change the world.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Lolita Chakrabarti’s adaptation from Maggie O’Farrell’s sweeping tale is a highly metaphoric jaunt through the thrill of new love — the mystery of this strange falcon girl who may have deep connections to witchcraft, and a base Latin tutor helping his father (Nigel Barrett) climb out of crippling debt.\u003c/p>\n\u003cfigure id=\"attachment_13988825\" class=\"wp-caption aligncenter\" style=\"max-width: 1320px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/5_HAMNET_KyleFlubacker.jpg\" alt=\"\" width=\"1320\" height=\"2000\" class=\"size-full wp-image-13988825\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/5_HAMNET_KyleFlubacker.jpg 1320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/5_HAMNET_KyleFlubacker-160x242.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/5_HAMNET_KyleFlubacker-768x1164.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/5_HAMNET_KyleFlubacker-1014x1536.jpg 1014w\" sizes=\"auto, (max-width: 1320px) 100vw, 1320px\">\u003cfigcaption class=\"wp-caption-text\">Kemi-Bo Jacobs as Agnes (center), with Ajani Cabey as Hamnet and Saffron Dey as Judith in the Royal Shakespeare Company’s ‘Hamnet’ at ACT in San Francisco. \u003ccite>(Kyle Flubacker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In Erica Whyman’s astute direction, long swatches of material become babies and pregnancies. This theatrical approach complements a grand and rustic scenic design by Tom Piper, who also designed the costumes. Simon Baker’s soundscape leans heavily into deep bass to augment whispers and wisdom that form much of the play’s mystery. \u003c/p>\n\u003cp>Chakrabarti’s reimagined script veers somewhat from O’Farrell’s flashback-heavy 2020 novel. Yet it’s respectful to the novel’s great intentions (the stunning clarity in the book to describe a first tryst among the apples is staged beautifully here). \u003c/p>\n\u003cp>While much about ACT’s production works, it is not perfect. The initial sounds of child whispers are hard, if not impossible, to understand. While plenty of the show meets the story’s emotional demands, other moments fall toward a thinner, more unsatisfying end. Hard honesty moves through space with too much rapidity for an audience yearning for authenticity. \u003c/p>\n\u003cfigure id=\"attachment_13988824\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/6_HAMNET_KyleFlubacker.jpg\" alt=\"\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13988824\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/6_HAMNET_KyleFlubacker.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/6_HAMNET_KyleFlubacker-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/6_HAMNET_KyleFlubacker-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/6_HAMNET_KyleFlubacker-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Saffron Dey as Judith and Ajani Cabey as Hamnet in the Royal Shakespeare Company’s‘Hamnet’ at ACT in San Francisco. \u003ccite>(Kyle Flubacker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Some fantastic setups preface the second act’s more damaging moments. Anyone with the slightest knowledge of Shakespeare knows that Hamnet’s demise is near; a gentle, well-paced staging doesn’t make that any easier to digest. But take note of how Jacobs conveys the hurt. As in the Ocscar-winning 2025 film of \u003cem>Hamnet\u003c/em>, Jacobs’ cries as Agnes are guttural, produced from a place that only exists for those who’ve bore and lost a child. \u003c/p>\n\u003cp>While William channels his agony into his opus, unbeknownst to those mourning back home, the stoic Agnes is the face of devastation, conveyed by Jacobs using every ounce of her emotions. \u003c/p>\n\u003cp>Both John and Mary (Penny Layden) represent the issues that encompass Will as he navigates a scandalous pregnancy out of wedlock. While Barrett conveys the horror of John’s temper in O’Farrell’s novel, he’s equally delightful as the bumbling comic actor Will Kempe. And Troy Alexander as Barthlolomew is a gargantuan presence, taking charge when he sees fit. \u003c/p>\n\u003cp>Art will always have the power to heal weary souls, contextualizing some of existence’s most distressing moments. Hamnet needs a greater commitment to manifest its own quintessence, but the pathway is there for the taking. \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Hamnet’ runs through Sunday, May 24 at the Toni Rembe Theater in San Francisco. \u003ca href=\"https://www.act-sf.org/whats-on/2025-26-season/hamnet\">Tickets and more information here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"excerpt": "Despite a somewhat uneven production at ACT, ‘Hamnet’ resonates with emotion.\r\n",
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"title": "Review: ‘Hamnet’ at ACT in San Francisco Needs Brushing Up | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>During one of the most critical scenes in the play \u003cem>Hamnet\u003c/em>, a grieving mother, Agnes, watches in awe at the theater world of her husband, William Shakespeare. A world of costumes and nightly death, it also inspires reverence, and she comes to understand that her late son was the quintessence of glory. \u003c/p>\n\u003cp>To see Agnes absorb \u003cem>Hamlet\u003c/em>’s every word despite not understanding most of them is to witness simultaneous grief and healing. For eternity, she realizes, one of the world’s greatest plays will be connected to one of the universe’s most perfect 11-year-old boys.\u003c/p>\n\u003cp>Running through May 24 at San Francisco’s American Conservatory Theater, \u003cem>Hamnet\u003c/em> gives agency to Shakespeare’s mysterious and enigmatic wife, known as Anne or Agnes. This is not a historical account of a woman who simply sat by as a dutiful spouse, raising three children in Stratford-upon-Avon as Shakespeare gallivanted through London’s seedy and bustling Elizabethan theater district. Nor is it \u003cem>Shakespeare in Love\u003c/em>, the 1998 film which portrays Anne as a loveless hindrance to Shakespeare’s quill and immortality. \u003c/p>\n\u003cfigure id=\"attachment_13988826\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/1_HAMNET_KyleFlubacker.jpg\" alt=\"A man in blue and a woman with a flower crown nuzzle up against one another\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13988826\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/1_HAMNET_KyleFlubacker.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/1_HAMNET_KyleFlubacker-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/1_HAMNET_KyleFlubacker-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/1_HAMNET_KyleFlubacker-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Rory Alexander and Kemi-Bo Jacobs as William and Agnes Shakespeare in the Royal Shakespeare Company’s ‘Hamnet’ at ACT in San Francisco. \u003ccite>(Kyle Flubacker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Hamnet\u003c/em> is more on par with the jukebox musical \u003cem>& Juliet\u003c/em>, in which Anne directly questions the misogyny of Shakespeare’s storytelling. (A young teenage girl throwing her life away for a dithering and pathetic boy who changes his passions like he changes his underwear? What kind of hot garbage is that, Will?) \u003c/p>\n\u003cp>Onstage at ACT, the battles between Agnes (Kemi-Bo Jacobs) and William (Rory Alexander) are filled with pain, as Shakespeare knows he has no choice but to make the four-day trek to London and continue writing plays that may someday change the world.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Lolita Chakrabarti’s adaptation from Maggie O’Farrell’s sweeping tale is a highly metaphoric jaunt through the thrill of new love — the mystery of this strange falcon girl who may have deep connections to witchcraft, and a base Latin tutor helping his father (Nigel Barrett) climb out of crippling debt.\u003c/p>\n\u003cfigure id=\"attachment_13988825\" class=\"wp-caption aligncenter\" style=\"max-width: 1320px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/5_HAMNET_KyleFlubacker.jpg\" alt=\"\" width=\"1320\" height=\"2000\" class=\"size-full wp-image-13988825\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/5_HAMNET_KyleFlubacker.jpg 1320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/5_HAMNET_KyleFlubacker-160x242.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/5_HAMNET_KyleFlubacker-768x1164.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/5_HAMNET_KyleFlubacker-1014x1536.jpg 1014w\" sizes=\"auto, (max-width: 1320px) 100vw, 1320px\">\u003cfigcaption class=\"wp-caption-text\">Kemi-Bo Jacobs as Agnes (center), with Ajani Cabey as Hamnet and Saffron Dey as Judith in the Royal Shakespeare Company’s ‘Hamnet’ at ACT in San Francisco. \u003ccite>(Kyle Flubacker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In Erica Whyman’s astute direction, long swatches of material become babies and pregnancies. This theatrical approach complements a grand and rustic scenic design by Tom Piper, who also designed the costumes. Simon Baker’s soundscape leans heavily into deep bass to augment whispers and wisdom that form much of the play’s mystery. \u003c/p>\n\u003cp>Chakrabarti’s reimagined script veers somewhat from O’Farrell’s flashback-heavy 2020 novel. Yet it’s respectful to the novel’s great intentions (the stunning clarity in the book to describe a first tryst among the apples is staged beautifully here). \u003c/p>\n\u003cp>While much about ACT’s production works, it is not perfect. The initial sounds of child whispers are hard, if not impossible, to understand. While plenty of the show meets the story’s emotional demands, other moments fall toward a thinner, more unsatisfying end. Hard honesty moves through space with too much rapidity for an audience yearning for authenticity. \u003c/p>\n\u003cfigure id=\"attachment_13988824\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/6_HAMNET_KyleFlubacker.jpg\" alt=\"\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13988824\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/6_HAMNET_KyleFlubacker.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/6_HAMNET_KyleFlubacker-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/6_HAMNET_KyleFlubacker-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/6_HAMNET_KyleFlubacker-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Saffron Dey as Judith and Ajani Cabey as Hamnet in the Royal Shakespeare Company’s‘Hamnet’ at ACT in San Francisco. \u003ccite>(Kyle Flubacker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Some fantastic setups preface the second act’s more damaging moments. Anyone with the slightest knowledge of Shakespeare knows that Hamnet’s demise is near; a gentle, well-paced staging doesn’t make that any easier to digest. But take note of how Jacobs conveys the hurt. As in the Ocscar-winning 2025 film of \u003cem>Hamnet\u003c/em>, Jacobs’ cries as Agnes are guttural, produced from a place that only exists for those who’ve bore and lost a child. \u003c/p>\n\u003cp>While William channels his agony into his opus, unbeknownst to those mourning back home, the stoic Agnes is the face of devastation, conveyed by Jacobs using every ounce of her emotions. \u003c/p>\n\u003cp>Both John and Mary (Penny Layden) represent the issues that encompass Will as he navigates a scandalous pregnancy out of wedlock. While Barrett conveys the horror of John’s temper in O’Farrell’s novel, he’s equally delightful as the bumbling comic actor Will Kempe. And Troy Alexander as Barthlolomew is a gargantuan presence, taking charge when he sees fit. \u003c/p>\n\u003cp>Art will always have the power to heal weary souls, contextualizing some of existence’s most distressing moments. Hamnet needs a greater commitment to manifest its own quintessence, but the pathway is there for the taking. \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Hamnet’ runs through Sunday, May 24 at the Toni Rembe Theater in San Francisco. \u003ca href=\"https://www.act-sf.org/whats-on/2025-26-season/hamnet\">Tickets and more information here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "san-francisco-international-airport-sfo-museum-alison-saar",
"title": "A Conversation About Black Feminist Art Takes off at SFO",
"publishDate": 1776984232,
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"headTitle": "A Conversation About Black Feminist Art Takes off at SFO | KQED",
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"content": "\u003cp>In an average year, over 50 million people pass through San Francisco International Airport. Most of them are rushing to catch a plane or greet their loved ones. But how many travelers take time to enjoy the art?\u003c/p>\n\u003cp>Art can be found all throughout SFO’s terminals, and even outside of the building. In Terminal 3, \u003ca href=\"https://nmwa.org/art/artists/alison-saar/\">Alison Saar\u003c/a>‘s stainless steel sculpture \u003cem>\u003cspan class=\"font-bold italic\">Flourish\u003c/span>\u003c/em> (2021), of a little Black girl sitting on a stack of suitcases, offers an homage to immigrant roots and diversity.\u003c/p>\n\u003cp>The artist’s goal was to have “a different conversation” about displacement and inclusion, says Ashara Ekundayo, founder of the arts organization \u003ca href=\"https://www.artistasfirstresponder.com/\">Artist As First Responder\u003c/a>. “The great thing about her piece,” says Ekundayo, “is that it sits before security.”\u003c/p>\n\u003cp>Because of that, anyone can come to airport and see it. This Friday at SFO, the public is invited to a roundtable discussion with Saar and fellow artists \u003ca href=\"https://www.adiamillett.com/\">Adia Millett\u003c/a>, \u003ca href=\"https://grokipedia.com/page/eve_sandler\">Eve Sandler \u003c/a>and the duo \u003ca href=\"https://www.instagram.com/tallersanaa/\">Taller SANAA\u003c/a> (\u003ca href=\"https://www.shannastrauss.co/?utm_source=ig&utm_medium=social&utm_content=link_in_bio&fbclid=PAZXh0bgNhZW0CMTEAc3J0YwZhcHBfaWQMMjU2MjgxMDQwNTU4AAGnR8yVv7RGaM__KxytVLvejtgEuuA4wmZZgLH9_H6cLzq-vWx3Uv3o_bskN3M_aem_cOqLcWpSrp4zfnzZI_fYyg\">Shanna Strauss\u003c/a> and \u003ca href=\"https://www.jessicasabogal.com/\">Jessica Sabogal\u003c/a>), moderated by Ekundayo.\u003c/p>\n\u003cfigure id=\"attachment_13988804\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13988804 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/SFO1.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/SFO1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/SFO1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/SFO1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/SFO1-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Alison Saar, ‘Flourish,’ 2021. \u003ccite>(Ethan Kaplan Photography.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The discussion, titled \u003ca href=\"https://www.eventbrite.com/e/reclaiming-histories-black-feminisms-and-visual-art-tickets-1986951839439?utm-campaign=social&utm-content=attendeeshare&utm-medium=discovery&utm-term=listing&utm-source=wsa&aff=ebdsshwebmobile\">\u003cem>Reclaiming Histories: Black Feminisms and Visual Art: A Roundtable Discussion\u003c/em>\u003c/a>, is part of a line of events leading up to the 50th anniversary of the \u003ca href=\"https://www.reed.edu/cres/assets/Combahee-River-Collective,-Black-Feminist-Statement,-How-We-Get-Free---Taylor.pdf\">Combahee River Collective’s statement.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Written by a group of Black feminist artists and academics in April 1977, the statement is a manifesto on intersectional oppression and how liberation for Black women leads to liberation for all.\u003c/p>\n\u003cfigure id=\"attachment_13988834\" class=\"wp-caption alignright\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988834\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Alison.jpg\" alt=\"\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Alison.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Alison-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Alison-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Alison-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Alison-600x600.jpg 600w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Alison Saar at Arion Press in San Francisco, 2024. \u003ccite>(Courtesy of L.A. Louver Venice CA. Photograph by Nicholas Lea Bruno)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To guide the discussion, Ekundayo will pull from many of its concepts, as well as an analysis of the current state of art in San Francisco.\u003c/p>\n\u003cp>Two years ago, Ekundayo asked the San Francisco Arts Commission how many women were in the city’s Civic Art Collection holdings at SFO. “They gave me a list, it was very short,” she says.\u003c/p>\n\u003cp>That list grew even shorter when she asked how many of them were women of color. And shorter still when she asked how many were Black women.\u003c/p>\n\u003cp>There were only a few, recalls Ekundayo, they were \u003ca href=\"https://www.soulsgrowndeep.org/artist/louisiana-p-bendolph\">Louisiana Bendolph\u003c/a>, \u003ca href=\"https://www.instagram.com/mildredhoward/\">Mildred Howard\u003c/a> and Alison Saar.\u003c/p>\n\u003cp>The collection now includes the works of 15 artists who are Black women and gender-expansive people of color, including \u003ca href=\"https://www.kqed.org/arts/13877054/conjuring-the-ancestors-with-art\">Sydney Cain\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13886069/future-artifacts-gaze-back-in-erica-deemans-familiar-stranger\">Erica Deeman\u003c/a>, \u003ca href=\"https://www.instagram.com/ye.tunde/\">yétúndé ọlágbajú\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13986884/trina-michelle-robinson-open-your-eyes-to-water-review-root-division-500-capp-san-francisco\">Trina Michelle Robinson\u003c/a> and others.\u003c/p>\n\u003cp>In the spirit of the Combahee River Collective, addressing the history of institutions and the current state of arts in the community is Ekundayo’s larger goal. [aside postid='arts_13988742']\u003c/p>\n\u003cp>Along with archivist \u003ca href=\"https://linktr.ee/lisbettellefsen\">Lisbet Tellefsen\u003c/a> and artist and educator\u003ca href=\"https://www.courtneydesireemorris.com/\"> Dr. Courtney Desiree Morris\u003c/a>, Ekundayo is curating a website that will chart events leading up to the Statement’s 50th anniversary in 2027. It’s called \u003ca href=\"https://blackwhole.art/\">BlackW(hole).Art\u003c/a>.\u003c/p>\n\u003cp>The listings include film screenings and group archiving events, like one held earlier this month, where Ekundayo worked with Eastside Arts Alliance’s \u003ca href=\"https://www.eastsideartsalliance.org/archive-carp\">\u003cspan class=\"sqsrte-text-highlight\" data-text-attribute-id=\"1249e58e-0f20-48a1-91ed-443130327049\">Community Archival Resource Project\u003c/span>\u003c/a>. The collective invited people to contribute images to a community capsule. This was the first of four such events, and the next one will be on June 13 in partnership with the \u003ca href=\"https://www.bayarealesbianarchives.org/\">Bay Area Lesbian Archives\u003c/a>. [aside postid='arts_13987669']\u003c/p>\n\u003cp>All of these events, says Ekundayo, are representative of “a Black feminist praxis, beyond Black feminist thought.” She adds that the impact of the Combahee River Collective’s statement is in “the utility of Black women being free” and “facilitating the freedom of everyone else.”\u003c/p>\n\u003cp>As a capstone to this effort, in the spring of 2027, Ekundayo, Morris and company will partner with a number of institutions and community-based organizations to host a Black feminist symposium at UC Berkeley.\u003c/p>\n\u003cp>But for those who are either passing through the terminal, or have some time to stop by the airport tomorrow, they don’t have to wait to get a taste of what Ekundayo calls a “Black feminism visual offering.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.eventbrite.com/e/reclaiming-histories-black-feminisms-and-visual-art-tickets-1986951839439?utm-campaign=social&utm-content=attendeeshare&utm-medium=discovery&utm-term=listing&utm-source=wsa&aff=ebdsshwebmobile\">Reclaiming Histories: Black Feminisms and Visual Art: A Roundtable Discussion\u003c/a> takes place April 24 at 11 a.m. at SFO Museum-Louis A. Turpen Aviation Museum and Library (International Terminal Departures Level, San Francisco International Airport). \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In an average year, over 50 million people pass through San Francisco International Airport. Most of them are rushing to catch a plane or greet their loved ones. But how many travelers take time to enjoy the art?\u003c/p>\n\u003cp>Art can be found all throughout SFO’s terminals, and even outside of the building. In Terminal 3, \u003ca href=\"https://nmwa.org/art/artists/alison-saar/\">Alison Saar\u003c/a>‘s stainless steel sculpture \u003cem>\u003cspan class=\"font-bold italic\">Flourish\u003c/span>\u003c/em> (2021), of a little Black girl sitting on a stack of suitcases, offers an homage to immigrant roots and diversity.\u003c/p>\n\u003cp>The artist’s goal was to have “a different conversation” about displacement and inclusion, says Ashara Ekundayo, founder of the arts organization \u003ca href=\"https://www.artistasfirstresponder.com/\">Artist As First Responder\u003c/a>. “The great thing about her piece,” says Ekundayo, “is that it sits before security.”\u003c/p>\n\u003cp>Because of that, anyone can come to airport and see it. This Friday at SFO, the public is invited to a roundtable discussion with Saar and fellow artists \u003ca href=\"https://www.adiamillett.com/\">Adia Millett\u003c/a>, \u003ca href=\"https://grokipedia.com/page/eve_sandler\">Eve Sandler \u003c/a>and the duo \u003ca href=\"https://www.instagram.com/tallersanaa/\">Taller SANAA\u003c/a> (\u003ca href=\"https://www.shannastrauss.co/?utm_source=ig&utm_medium=social&utm_content=link_in_bio&fbclid=PAZXh0bgNhZW0CMTEAc3J0YwZhcHBfaWQMMjU2MjgxMDQwNTU4AAGnR8yVv7RGaM__KxytVLvejtgEuuA4wmZZgLH9_H6cLzq-vWx3Uv3o_bskN3M_aem_cOqLcWpSrp4zfnzZI_fYyg\">Shanna Strauss\u003c/a> and \u003ca href=\"https://www.jessicasabogal.com/\">Jessica Sabogal\u003c/a>), moderated by Ekundayo.\u003c/p>\n\u003cfigure id=\"attachment_13988804\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13988804 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/SFO1.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/SFO1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/SFO1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/SFO1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/SFO1-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Alison Saar, ‘Flourish,’ 2021. \u003ccite>(Ethan Kaplan Photography.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The discussion, titled \u003ca href=\"https://www.eventbrite.com/e/reclaiming-histories-black-feminisms-and-visual-art-tickets-1986951839439?utm-campaign=social&utm-content=attendeeshare&utm-medium=discovery&utm-term=listing&utm-source=wsa&aff=ebdsshwebmobile\">\u003cem>Reclaiming Histories: Black Feminisms and Visual Art: A Roundtable Discussion\u003c/em>\u003c/a>, is part of a line of events leading up to the 50th anniversary of the \u003ca href=\"https://www.reed.edu/cres/assets/Combahee-River-Collective,-Black-Feminist-Statement,-How-We-Get-Free---Taylor.pdf\">Combahee River Collective’s statement.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Written by a group of Black feminist artists and academics in April 1977, the statement is a manifesto on intersectional oppression and how liberation for Black women leads to liberation for all.\u003c/p>\n\u003cfigure id=\"attachment_13988834\" class=\"wp-caption alignright\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988834\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Alison.jpg\" alt=\"\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Alison.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Alison-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Alison-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Alison-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Alison-600x600.jpg 600w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Alison Saar at Arion Press in San Francisco, 2024. \u003ccite>(Courtesy of L.A. Louver Venice CA. Photograph by Nicholas Lea Bruno)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To guide the discussion, Ekundayo will pull from many of its concepts, as well as an analysis of the current state of art in San Francisco.\u003c/p>\n\u003cp>Two years ago, Ekundayo asked the San Francisco Arts Commission how many women were in the city’s Civic Art Collection holdings at SFO. “They gave me a list, it was very short,” she says.\u003c/p>\n\u003cp>That list grew even shorter when she asked how many of them were women of color. And shorter still when she asked how many were Black women.\u003c/p>\n\u003cp>There were only a few, recalls Ekundayo, they were \u003ca href=\"https://www.soulsgrowndeep.org/artist/louisiana-p-bendolph\">Louisiana Bendolph\u003c/a>, \u003ca href=\"https://www.instagram.com/mildredhoward/\">Mildred Howard\u003c/a> and Alison Saar.\u003c/p>\n\u003cp>The collection now includes the works of 15 artists who are Black women and gender-expansive people of color, including \u003ca href=\"https://www.kqed.org/arts/13877054/conjuring-the-ancestors-with-art\">Sydney Cain\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13886069/future-artifacts-gaze-back-in-erica-deemans-familiar-stranger\">Erica Deeman\u003c/a>, \u003ca href=\"https://www.instagram.com/ye.tunde/\">yétúndé ọlágbajú\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13986884/trina-michelle-robinson-open-your-eyes-to-water-review-root-division-500-capp-san-francisco\">Trina Michelle Robinson\u003c/a> and others.\u003c/p>\n\u003cp>In the spirit of the Combahee River Collective, addressing the history of institutions and the current state of arts in the community is Ekundayo’s larger goal. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Along with archivist \u003ca href=\"https://linktr.ee/lisbettellefsen\">Lisbet Tellefsen\u003c/a> and artist and educator\u003ca href=\"https://www.courtneydesireemorris.com/\"> Dr. Courtney Desiree Morris\u003c/a>, Ekundayo is curating a website that will chart events leading up to the Statement’s 50th anniversary in 2027. It’s called \u003ca href=\"https://blackwhole.art/\">BlackW(hole).Art\u003c/a>.\u003c/p>\n\u003cp>The listings include film screenings and group archiving events, like one held earlier this month, where Ekundayo worked with Eastside Arts Alliance’s \u003ca href=\"https://www.eastsideartsalliance.org/archive-carp\">\u003cspan class=\"sqsrte-text-highlight\" data-text-attribute-id=\"1249e58e-0f20-48a1-91ed-443130327049\">Community Archival Resource Project\u003c/span>\u003c/a>. The collective invited people to contribute images to a community capsule. This was the first of four such events, and the next one will be on June 13 in partnership with the \u003ca href=\"https://www.bayarealesbianarchives.org/\">Bay Area Lesbian Archives\u003c/a>. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>All of these events, says Ekundayo, are representative of “a Black feminist praxis, beyond Black feminist thought.” She adds that the impact of the Combahee River Collective’s statement is in “the utility of Black women being free” and “facilitating the freedom of everyone else.”\u003c/p>\n\u003cp>As a capstone to this effort, in the spring of 2027, Ekundayo, Morris and company will partner with a number of institutions and community-based organizations to host a Black feminist symposium at UC Berkeley.\u003c/p>\n\u003cp>But for those who are either passing through the terminal, or have some time to stop by the airport tomorrow, they don’t have to wait to get a taste of what Ekundayo calls a “Black feminism visual offering.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.eventbrite.com/e/reclaiming-histories-black-feminisms-and-visual-art-tickets-1986951839439?utm-campaign=social&utm-content=attendeeshare&utm-medium=discovery&utm-term=listing&utm-source=wsa&aff=ebdsshwebmobile\">Reclaiming Histories: Black Feminisms and Visual Art: A Roundtable Discussion\u003c/a> takes place April 24 at 11 a.m. at SFO Museum-Louis A. Turpen Aviation Museum and Library (International Terminal Departures Level, San Francisco International Airport). \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"source": "BBC World Service"
},
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},
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"id": "californiareport",
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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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"officialWebsiteLink": "/californiareport",
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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},
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"title": "The California Report Magazine",
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"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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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
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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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"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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"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.",
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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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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"order": 9
},
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},
"freakonomics-radio": {
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"officialWebsiteLink": "http://freakonomics.com/",
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"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
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"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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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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"link": "/radio/program/hidden-brain",
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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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"order": 15
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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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},
"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": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"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)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"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",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/onourwatch",
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"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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