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"content": "\u003cfigure id=\"attachment_13979679\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Cherisse_Alcantara_BessieCarmichaelSchoolCourtyard.jpg\" alt=\"\" width=\"1600\" height=\"2000\" class=\"size-full wp-image-13979679\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Cherisse_Alcantara_BessieCarmichaelSchoolCourtyard.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Cherisse_Alcantara_BessieCarmichaelSchoolCourtyard-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Cherisse_Alcantara_BessieCarmichaelSchoolCourtyard-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Cherisse_Alcantara_BessieCarmichaelSchoolCourtyard-1229x1536.jpg 1229w\" sizes=\"auto, (max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">Cherisse Alcantara, ‘School Courtyard (Bessie Carmichael School FEC),’ 2025. The work is part of ‘MAKIBAKA: A Living Legacy,’ an exhibition on view through Jan. 4, 2026 at YBCA in San Francisco. \u003ccite>(Courtesy YBCA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At \u003ca href=\"https://www.kqed.org/arts/tag/ybca\">Yerba Buena Center for the Arts\u003c/a>, the flame-bladed sword piercing the sun, the baybayin script on the wall and the bundles of sampaguita blossoms hanging from triangular banderitas across the ceiling are not merely festive decor, but markers of culture, memory and collective resistance.\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://ybca.org/event/makibaka-a-living-legacy/\">MAKIBAKA: A Living Legacy\u003c/a>\u003c/em>, co-curated by SOMA Pilipinas and Trisha Lagaso Goldberg, features artwork by over 20 Bay Area Filipino American artists. The exhibition, Goldberg writes, “honors the generations who held their ground and made the city theirs — through protest, through art, through unrelenting care. … Filipino presence in San Francisco is not symbolic — it is structural, embodied, and alive.”\u003c/p>\n\u003cp>In English, the word makibaka translates to “to fight.” In the 1970s and ’80s, amid president Ferdinand Marcos’ dictatorship in the Philippines, protestors chanted in the streets of Manila: “Makibaka, huwag matakot!” Fight, don’t be afraid.\u003c/p>\n\u003cp>That phrase was a call to courage, action and collective power. Today, it echoes again, across oceans and generations. At YBCA, resistance to oppression and displacement appears in paint, prints, fabric, clay and archival memory.\u003c/p>\n\u003cp>Walking through \u003cem>MAKIBAKA\u003c/em>, installed in the second-floor galleries, feels like flipping a breathing scrapbook; the show is intimate, reflective and fiercely political. Works speak to individual experiences while grounding themselves in shared struggles. \u003c/p>\n\u003cfigure id=\"attachment_13979678\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Hidalgo_TheBlightedAndValuableStreets.jpg\" alt=\"A grid of paper strips, covered in impressions of city street names from the sidewalk, lays on a concrete floor\" width=\"2000\" height=\"1500\" class=\"size-full wp-image-13979678\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Hidalgo_TheBlightedAndValuableStreets.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Hidalgo_TheBlightedAndValuableStreets-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Hidalgo_TheBlightedAndValuableStreets-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Hidalgo_TheBlightedAndValuableStreets-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">England Hidalgo, ‘The Blighted And Valuable Streets Of South Of Market,’ 2021. \u003ccite>(Courtesy YBCA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13885733/sometimes-it-takes-time-erina-alejo-the-third-generation-renter\">Erina Alejo\u003c/a>’s contribution to the show occupies that middle ground. In \u003cem>The Older I Get, The More I Remember\u003c/em>, the walls of a gallery corner are wrapped in dark chalk, layered with scrawled writing and neatly hung archival photographs by Alejo’s former middle school students. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“My vision for [the piece] is my compulsion to ground our present and futures in community archives, kind of like equipping ourselves with a care toolkit,” Alejo wrote to KQED. “So we know how and where to look back to remember and for whom we are fighting for, especially when things get tough.”\u003c/p>\n\u003cp>The installation is a bit like looking at the open windows of an apartment building, a peek into other people’s lives. Many of the images feature youth in SoMa. These aren’t just snapshots of the past, they are affirmations of continued presence: We are still here. \u003c/p>\n\u003cp>[aside postID='arts_13885733']Established in 2016 as San Francisco’s Filipino Cultural Heritage District, \u003ca href=\"https://www.somapilipinas.org/\">SOMA Pilipinas\u003c/a> was created to celebrate and preserve Filipino culture in the neighborhood. Yerba Buena Gardens, a massive redevelopment project that began in the 1960s, displaced nearly 4,000 people, many of them Filipino.\u003c/p>\n\u003cp>With this history as a backdrop, \u003cem>MAKIBAKA\u003c/em> pays homage to the creative ecosystems that have long sustained Filipino American communities in San Francisco. Bindlestiff Studio, KulArts, Manilatown Heritage Foundation and other institutions appear along the exhibition’s timeline as living extensions of the makibaka spirit. These art spaces are community anchors where organizing, storytelling and healing continue to thrive.\u003c/p>\n\u003cp>Other pieces in the show draw on symbolism and materiality to showcase stories of movement and ancestry. \u003ca href=\"https://westonteruya.com/\">Weston Teruya\u003c/a>’s sculptural work \u003cem>Splintered on the Black River\u003c/em> is an ode to Kānāwai Māmalahoe, or the Hawaiian Law of the Splintered Paddle. The piece, a paddle constructed from tar paper, charred wood and salvaged materials, feels ceremonial. It is delicate yet resilient, held together by quiet intention.\u003c/p>\n\u003cfigure id=\"attachment_13979680\" class=\"wp-caption aligncenter\" style=\"max-width: 1736px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Hidalgo_GranOrienteFilipino.jpg\" alt=\"\" width=\"1736\" height=\"2000\" class=\"size-full wp-image-13979680\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Hidalgo_GranOrienteFilipino.jpg 1736w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Hidalgo_GranOrienteFilipino-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Hidalgo_GranOrienteFilipino-768x885.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Hidalgo_GranOrienteFilipino-1333x1536.jpg 1333w\" sizes=\"auto, (max-width: 1736px) 100vw, 1736px\">\u003cfigcaption class=\"wp-caption-text\">England Hidalgo, ‘Gran Oriente Filipino,’ 2020. \u003ccite>(Courtesy YBCA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the top of the lobby’s stairs, \u003ca href=\"https://cherissealcantara.com/home.html\">Cherisse Alcantara\u003c/a>’s paintings bring the focus back to place. Her paintings of parks and community spaces are eclectic and vibrant, depicting environments that shape daily life in SoMa. Alcantara honors the mundane and makes it beautiful, alive with bright color.\u003c/p>\n\u003cp>The show also takes viewers to the center of the movement. A standout installation by the \u003ca href=\"https://www.somcan.org/\">South of Market Community Action Network\u003c/a> (SOMCAN) features decades of protest signs, flyers and photographs from local organizing efforts. The messages remain startlingly urgent: “Stop Deportations,” “Housing is a Human Right,” “Keep Families Together.” These aren’t just artifacts of past struggle. They are reflections of battles still being fought today, just outside of YBCA’s walls.\u003c/p>\n\u003cp>Around the corner from this collection, in a striking blend of historical memory and pop aesthetics, \u003ca href=\"https://johannapoethig.com/\">Johanna Poethig\u003c/a> used movie-poster-style graphics to depict a manghihilot (healer) as a superhero, and displacement as worthy of Hollywood attention. Next to these images, \u003ca href=\"https://www.kimacebo.art/\">Kimberly Acebo Arteche\u003c/a>’s work honors the I-Hotel, spotlighting community elders and Manilatown’s legacy.\u003c/p>\n\u003cp>One of the most grounding works, a piece that offers a quiet yet powerful meditation on legacy, comes from \u003ca href=\"https://www.cristineblanco.com/\">Cristine Blanco\u003c/a>. In \u003cem>Embedded Bricks III\u003c/em>, she molds handmade bricks from clay, each one inscribed with words like “mother tongue,” “trust” and “future generations.” They feel sacred, like building the foundation of a home, brick by brick.\u003c/p>\n\u003cp>This is what \u003cem>MAKIBAKA\u003c/em> does so well: it shows us that art is not separate from struggle. Art can document resistance, but it can also \u003cem>be\u003c/em> resistance. The experience of creating art can heal wounds and connect generations. \u003c/p>\n\u003cp>\u003cem>MAKIBAKA\u003c/em> isn’t just about looking back. It’s about standing tall in the present, locking arms with those who came before and those who will come after. It’s about the power of showing up again and again. Through protest. Through art. Through community.\u003c/p>\n\u003cp>Because to exist — fully, loudly and unapologetically — is already an act of defiance. The movement continues. Brick by brick. Shoulder to shoulder. One step at a time. Makibaka, huwag matakot. \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://ybca.org/event/makibaka-a-living-legacy/\">MAKIBAKA: A Living Legacy\u003c/a>’ is on view at Yerba Buena Center for the Arts through Jan. 4, 2026. As part of the \u003ca href=\"https://www.pistahan.net/\">32nd annual Pistahan Parade and Festival\u003c/a>, YBCA will offer free admission on Aug. 9 and 10.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13979679\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Cherisse_Alcantara_BessieCarmichaelSchoolCourtyard.jpg\" alt=\"\" width=\"1600\" height=\"2000\" class=\"size-full wp-image-13979679\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Cherisse_Alcantara_BessieCarmichaelSchoolCourtyard.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Cherisse_Alcantara_BessieCarmichaelSchoolCourtyard-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Cherisse_Alcantara_BessieCarmichaelSchoolCourtyard-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Cherisse_Alcantara_BessieCarmichaelSchoolCourtyard-1229x1536.jpg 1229w\" sizes=\"auto, (max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">Cherisse Alcantara, ‘School Courtyard (Bessie Carmichael School FEC),’ 2025. The work is part of ‘MAKIBAKA: A Living Legacy,’ an exhibition on view through Jan. 4, 2026 at YBCA in San Francisco. \u003ccite>(Courtesy YBCA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At \u003ca href=\"https://www.kqed.org/arts/tag/ybca\">Yerba Buena Center for the Arts\u003c/a>, the flame-bladed sword piercing the sun, the baybayin script on the wall and the bundles of sampaguita blossoms hanging from triangular banderitas across the ceiling are not merely festive decor, but markers of culture, memory and collective resistance.\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://ybca.org/event/makibaka-a-living-legacy/\">MAKIBAKA: A Living Legacy\u003c/a>\u003c/em>, co-curated by SOMA Pilipinas and Trisha Lagaso Goldberg, features artwork by over 20 Bay Area Filipino American artists. The exhibition, Goldberg writes, “honors the generations who held their ground and made the city theirs — through protest, through art, through unrelenting care. … Filipino presence in San Francisco is not symbolic — it is structural, embodied, and alive.”\u003c/p>\n\u003cp>In English, the word makibaka translates to “to fight.” In the 1970s and ’80s, amid president Ferdinand Marcos’ dictatorship in the Philippines, protestors chanted in the streets of Manila: “Makibaka, huwag matakot!” Fight, don’t be afraid.\u003c/p>\n\u003cp>That phrase was a call to courage, action and collective power. Today, it echoes again, across oceans and generations. At YBCA, resistance to oppression and displacement appears in paint, prints, fabric, clay and archival memory.\u003c/p>\n\u003cp>Walking through \u003cem>MAKIBAKA\u003c/em>, installed in the second-floor galleries, feels like flipping a breathing scrapbook; the show is intimate, reflective and fiercely political. Works speak to individual experiences while grounding themselves in shared struggles. \u003c/p>\n\u003cfigure id=\"attachment_13979678\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Hidalgo_TheBlightedAndValuableStreets.jpg\" alt=\"A grid of paper strips, covered in impressions of city street names from the sidewalk, lays on a concrete floor\" width=\"2000\" height=\"1500\" class=\"size-full wp-image-13979678\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Hidalgo_TheBlightedAndValuableStreets.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Hidalgo_TheBlightedAndValuableStreets-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Hidalgo_TheBlightedAndValuableStreets-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Hidalgo_TheBlightedAndValuableStreets-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">England Hidalgo, ‘The Blighted And Valuable Streets Of South Of Market,’ 2021. \u003ccite>(Courtesy YBCA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13885733/sometimes-it-takes-time-erina-alejo-the-third-generation-renter\">Erina Alejo\u003c/a>’s contribution to the show occupies that middle ground. In \u003cem>The Older I Get, The More I Remember\u003c/em>, the walls of a gallery corner are wrapped in dark chalk, layered with scrawled writing and neatly hung archival photographs by Alejo’s former middle school students. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“My vision for [the piece] is my compulsion to ground our present and futures in community archives, kind of like equipping ourselves with a care toolkit,” Alejo wrote to KQED. “So we know how and where to look back to remember and for whom we are fighting for, especially when things get tough.”\u003c/p>\n\u003cp>The installation is a bit like looking at the open windows of an apartment building, a peek into other people’s lives. Many of the images feature youth in SoMa. These aren’t just snapshots of the past, they are affirmations of continued presence: We are still here. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Established in 2016 as San Francisco’s Filipino Cultural Heritage District, \u003ca href=\"https://www.somapilipinas.org/\">SOMA Pilipinas\u003c/a> was created to celebrate and preserve Filipino culture in the neighborhood. Yerba Buena Gardens, a massive redevelopment project that began in the 1960s, displaced nearly 4,000 people, many of them Filipino.\u003c/p>\n\u003cp>With this history as a backdrop, \u003cem>MAKIBAKA\u003c/em> pays homage to the creative ecosystems that have long sustained Filipino American communities in San Francisco. Bindlestiff Studio, KulArts, Manilatown Heritage Foundation and other institutions appear along the exhibition’s timeline as living extensions of the makibaka spirit. These art spaces are community anchors where organizing, storytelling and healing continue to thrive.\u003c/p>\n\u003cp>Other pieces in the show draw on symbolism and materiality to showcase stories of movement and ancestry. \u003ca href=\"https://westonteruya.com/\">Weston Teruya\u003c/a>’s sculptural work \u003cem>Splintered on the Black River\u003c/em> is an ode to Kānāwai Māmalahoe, or the Hawaiian Law of the Splintered Paddle. The piece, a paddle constructed from tar paper, charred wood and salvaged materials, feels ceremonial. It is delicate yet resilient, held together by quiet intention.\u003c/p>\n\u003cfigure id=\"attachment_13979680\" class=\"wp-caption aligncenter\" style=\"max-width: 1736px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Hidalgo_GranOrienteFilipino.jpg\" alt=\"\" width=\"1736\" height=\"2000\" class=\"size-full wp-image-13979680\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Hidalgo_GranOrienteFilipino.jpg 1736w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Hidalgo_GranOrienteFilipino-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Hidalgo_GranOrienteFilipino-768x885.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Hidalgo_GranOrienteFilipino-1333x1536.jpg 1333w\" sizes=\"auto, (max-width: 1736px) 100vw, 1736px\">\u003cfigcaption class=\"wp-caption-text\">England Hidalgo, ‘Gran Oriente Filipino,’ 2020. \u003ccite>(Courtesy YBCA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the top of the lobby’s stairs, \u003ca href=\"https://cherissealcantara.com/home.html\">Cherisse Alcantara\u003c/a>’s paintings bring the focus back to place. Her paintings of parks and community spaces are eclectic and vibrant, depicting environments that shape daily life in SoMa. Alcantara honors the mundane and makes it beautiful, alive with bright color.\u003c/p>\n\u003cp>The show also takes viewers to the center of the movement. A standout installation by the \u003ca href=\"https://www.somcan.org/\">South of Market Community Action Network\u003c/a> (SOMCAN) features decades of protest signs, flyers and photographs from local organizing efforts. The messages remain startlingly urgent: “Stop Deportations,” “Housing is a Human Right,” “Keep Families Together.” These aren’t just artifacts of past struggle. They are reflections of battles still being fought today, just outside of YBCA’s walls.\u003c/p>\n\u003cp>Around the corner from this collection, in a striking blend of historical memory and pop aesthetics, \u003ca href=\"https://johannapoethig.com/\">Johanna Poethig\u003c/a> used movie-poster-style graphics to depict a manghihilot (healer) as a superhero, and displacement as worthy of Hollywood attention. Next to these images, \u003ca href=\"https://www.kimacebo.art/\">Kimberly Acebo Arteche\u003c/a>’s work honors the I-Hotel, spotlighting community elders and Manilatown’s legacy.\u003c/p>\n\u003cp>One of the most grounding works, a piece that offers a quiet yet powerful meditation on legacy, comes from \u003ca href=\"https://www.cristineblanco.com/\">Cristine Blanco\u003c/a>. In \u003cem>Embedded Bricks III\u003c/em>, she molds handmade bricks from clay, each one inscribed with words like “mother tongue,” “trust” and “future generations.” They feel sacred, like building the foundation of a home, brick by brick.\u003c/p>\n\u003cp>This is what \u003cem>MAKIBAKA\u003c/em> does so well: it shows us that art is not separate from struggle. Art can document resistance, but it can also \u003cem>be\u003c/em> resistance. The experience of creating art can heal wounds and connect generations. \u003c/p>\n\u003cp>\u003cem>MAKIBAKA\u003c/em> isn’t just about looking back. It’s about standing tall in the present, locking arms with those who came before and those who will come after. It’s about the power of showing up again and again. Through protest. Through art. Through community.\u003c/p>\n\u003cp>Because to exist — fully, loudly and unapologetically — is already an act of defiance. The movement continues. Brick by brick. Shoulder to shoulder. One step at a time. Makibaka, huwag matakot. \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://ybca.org/event/makibaka-a-living-legacy/\">MAKIBAKA: A Living Legacy\u003c/a>’ is on view at Yerba Buena Center for the Arts through Jan. 4, 2026. As part of the \u003ca href=\"https://www.pistahan.net/\">32nd annual Pistahan Parade and Festival\u003c/a>, YBCA will offer free admission on Aug. 9 and 10.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>When \u003ca href=\"https://www.kqed.org/arts/13895671/somas-kapwa-gardens-offer-a-lush-space-for-community-growth\">Kapwa Gardens\u003c/a> opened in the SOMA Pilipinas Cultural District in 2021, the planter-filled, brightly painted, artificial turf–covered parking lot on Mission Street provided a rare safe gathering space in what was still the depths of the COVID-19 pandemic. Over the ensuing years, the 8,777-square-foot lot hosted over 264 public events, including yoga, concerts and martial arts classes. \u003c/p>\n\u003cp>Now, this version of Kapwa Gardens is coming to a close. It was always meant to be a temporary activation of the space; the city-owned parking lot is slated to become \u003ca href=\"https://967mission.com/\">affordable senior rental housing\u003c/a>. Saturday, July 26, will mark the gardens’ final event, the beloved ube festival Yum Yams.\u003c/p>\n\u003cp>The July 26 Yum Yams event will include DJ sets by Jon Reyes, ETIV and Trixamillion, and vendors such as Katha Collection, Hatzumomo, Arkipelago Books, Batok ni Kabuay, Made by Meech, Wyldflower and Common Thread Activation. \u003c/p>\n\u003cp>One of the most rewarding aspects of the Kapwa Gardens project, says Desi Danganan, whose nonprofit \u003ca href=\"https://www.kqed.org/arts/13913947/balay-kreative-soma-pilipinas-filipino-heritage-district\">Kultivate Labs\u003c/a> designed and programmed the space, was the connections formed between the 350 volunteers who built it out. “People were so desperate for connection that our volunteer network became like a social network,” he says. “I know of one volunteer in particular who would bring his first dates to our build days.”\u003c/p>\n\u003cfigure id=\"attachment_13895678\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/batista_bus_1200.jpg\" alt=\"mural painted bus seen through leaves\" width=\"1200\" height=\"793\" class=\"size-full wp-image-13895678\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/batista_bus_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/batista_bus_1200-800x529.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/batista_bus_1200-1020x674.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/batista_bus_1200-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/batista_bus_1200-768x508.jpg 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A colorfully painted bus divides the space at Kapwa Gardens. \u003ccite>(Alvaro Batista)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And all that work won’t be in vain — most of the equipment and materials collected at Kapwa Gardens will go to \u003ca href=\"https://missionlocal.org/2025/06/sf-oasis-troubled-sixth-street-urban-alchemy/\">Urban Alchemy’s new Oasis Park\u003c/a>, coming to Sixth and Jessie Streets, and modeled after the nonprofit’s park at Turk and Hyde. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The one thing that hasn’t found a home yet, Danganan says, is Kapwa Gardens’ \u003ca href=\"https://www.facebook.com/marketplace/item/1037222275129153/\">40-foot, non-operable, mural-covered bus\u003c/a>. “If you could put that in the article, that this big, beautiful bus that we put $30,000 into renovating to make it into a legit office and sound booth — it needs a home,” he pitches. He’s adamant the solar-powered bus not end up in the landfill.\u003c/p>\n\u003cp>It’s been a tumultuous time for Kultivate Labs. In early March, the nonprofit economic development and arts organization announced that they were \u003ca href=\"https://www.kqed.org/arts/13972547/balay-kreative-pauses-operations-san-francisco-filipino-arts\">pausing their Balay Kreative program\u003c/a>, which provided studio space and grants to Filipino American artists. Republika, their planned marketplace and gallery, replacing Balay in the ground floor of the 5th and Mission Garage, has been delayed by cost increases caused by tariffs. \u003c/p>\n\u003cp>Earlier this month, though, the San Francisco Arts Commission announced Kultivate as a grantee. “That was a godsend,” Danganan says of the \u003ca href=\"https://www.kqed.org/arts/13978179/san-francisco-artist-grants-sfac-2025-2026\">$100,000 grant\u003c/a>. “That allows us to restart the Balay program over again, but we’re going to be finding a new site for that.”\u003c/p>\n\u003cfigure id=\"attachment_13913964\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220520-23.jpg\" alt=\"\" width=\"2048\" height=\"1365\" class=\"size-full wp-image-13913964\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220520-23.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220520-23-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220520-23-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220520-23-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220520-23-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220520-23-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220520-23-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Desi Danganan poses for a portrait in the former Balay Kreative space on May, 20, 2022.\u003c/figcaption>\u003c/figure>\n\u003cp>Also restarting, eventually, will be Kapwa Gardens, this time at an empty lot at Fourth and Folsom. The site was originally planned for a housing development, but its location over the Central Subway line made building prohibitively expensive. The San Francisco Office of Economic and Workforce Development has awarded a small grant to Kultivate Labs to flesh out their plan for Kapwa Gardens 2.0.\u003c/p>\n\u003cp>Kultivate will take with them everything they’ve learned in their five years on Mission Street, along with their favorite programs (Die Hard, a family friendly Easter egg hunt, will surely rise again). \u003c/p>\n\u003cp>Until then, Danganan sees the transfer of the equipment to Sixth Street as entirely in the spirit of the endeavor. “It’s really fulfilling one of the core principles of what Kapwa Gardens does — creating a healing space and being interconnected to your community,” he says.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003ca href=\"https://www.kapwagardens.com/events/yumyams-2025\">Yum Yams 2025: A Final Community Gathering Celebrating 5 Years of Kapwa Gardens\u003c/a> will take place at Kapwa Gardens (967 Mission St., San Francisco) on Saturday, July 26, 12–5 p.m. The event is free to attend.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When \u003ca href=\"https://www.kqed.org/arts/13895671/somas-kapwa-gardens-offer-a-lush-space-for-community-growth\">Kapwa Gardens\u003c/a> opened in the SOMA Pilipinas Cultural District in 2021, the planter-filled, brightly painted, artificial turf–covered parking lot on Mission Street provided a rare safe gathering space in what was still the depths of the COVID-19 pandemic. Over the ensuing years, the 8,777-square-foot lot hosted over 264 public events, including yoga, concerts and martial arts classes. \u003c/p>\n\u003cp>Now, this version of Kapwa Gardens is coming to a close. It was always meant to be a temporary activation of the space; the city-owned parking lot is slated to become \u003ca href=\"https://967mission.com/\">affordable senior rental housing\u003c/a>. Saturday, July 26, will mark the gardens’ final event, the beloved ube festival Yum Yams.\u003c/p>\n\u003cp>The July 26 Yum Yams event will include DJ sets by Jon Reyes, ETIV and Trixamillion, and vendors such as Katha Collection, Hatzumomo, Arkipelago Books, Batok ni Kabuay, Made by Meech, Wyldflower and Common Thread Activation. \u003c/p>\n\u003cp>One of the most rewarding aspects of the Kapwa Gardens project, says Desi Danganan, whose nonprofit \u003ca href=\"https://www.kqed.org/arts/13913947/balay-kreative-soma-pilipinas-filipino-heritage-district\">Kultivate Labs\u003c/a> designed and programmed the space, was the connections formed between the 350 volunteers who built it out. “People were so desperate for connection that our volunteer network became like a social network,” he says. “I know of one volunteer in particular who would bring his first dates to our build days.”\u003c/p>\n\u003cfigure id=\"attachment_13895678\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/batista_bus_1200.jpg\" alt=\"mural painted bus seen through leaves\" width=\"1200\" height=\"793\" class=\"size-full wp-image-13895678\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/batista_bus_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/batista_bus_1200-800x529.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/batista_bus_1200-1020x674.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/batista_bus_1200-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/batista_bus_1200-768x508.jpg 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A colorfully painted bus divides the space at Kapwa Gardens. \u003ccite>(Alvaro Batista)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And all that work won’t be in vain — most of the equipment and materials collected at Kapwa Gardens will go to \u003ca href=\"https://missionlocal.org/2025/06/sf-oasis-troubled-sixth-street-urban-alchemy/\">Urban Alchemy’s new Oasis Park\u003c/a>, coming to Sixth and Jessie Streets, and modeled after the nonprofit’s park at Turk and Hyde. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The one thing that hasn’t found a home yet, Danganan says, is Kapwa Gardens’ \u003ca href=\"https://www.facebook.com/marketplace/item/1037222275129153/\">40-foot, non-operable, mural-covered bus\u003c/a>. “If you could put that in the article, that this big, beautiful bus that we put $30,000 into renovating to make it into a legit office and sound booth — it needs a home,” he pitches. He’s adamant the solar-powered bus not end up in the landfill.\u003c/p>\n\u003cp>It’s been a tumultuous time for Kultivate Labs. In early March, the nonprofit economic development and arts organization announced that they were \u003ca href=\"https://www.kqed.org/arts/13972547/balay-kreative-pauses-operations-san-francisco-filipino-arts\">pausing their Balay Kreative program\u003c/a>, which provided studio space and grants to Filipino American artists. Republika, their planned marketplace and gallery, replacing Balay in the ground floor of the 5th and Mission Garage, has been delayed by cost increases caused by tariffs. \u003c/p>\n\u003cp>Earlier this month, though, the San Francisco Arts Commission announced Kultivate as a grantee. “That was a godsend,” Danganan says of the \u003ca href=\"https://www.kqed.org/arts/13978179/san-francisco-artist-grants-sfac-2025-2026\">$100,000 grant\u003c/a>. “That allows us to restart the Balay program over again, but we’re going to be finding a new site for that.”\u003c/p>\n\u003cfigure id=\"attachment_13913964\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220520-23.jpg\" alt=\"\" width=\"2048\" height=\"1365\" class=\"size-full wp-image-13913964\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220520-23.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220520-23-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220520-23-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220520-23-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220520-23-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220520-23-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220520-23-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Desi Danganan poses for a portrait in the former Balay Kreative space on May, 20, 2022.\u003c/figcaption>\u003c/figure>\n\u003cp>Also restarting, eventually, will be Kapwa Gardens, this time at an empty lot at Fourth and Folsom. The site was originally planned for a housing development, but its location over the Central Subway line made building prohibitively expensive. The San Francisco Office of Economic and Workforce Development has awarded a small grant to Kultivate Labs to flesh out their plan for Kapwa Gardens 2.0.\u003c/p>\n\u003cp>Kultivate will take with them everything they’ve learned in their five years on Mission Street, along with their favorite programs (Die Hard, a family friendly Easter egg hunt, will surely rise again). \u003c/p>\n\u003cp>Until then, Danganan sees the transfer of the equipment to Sixth Street as entirely in the spirit of the endeavor. “It’s really fulfilling one of the core principles of what Kapwa Gardens does — creating a healing space and being interconnected to your community,” he says.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003ca href=\"https://www.kapwagardens.com/events/yumyams-2025\">Yum Yams 2025: A Final Community Gathering Celebrating 5 Years of Kapwa Gardens\u003c/a> will take place at Kapwa Gardens (967 Mission St., San Francisco) on Saturday, July 26, 12–5 p.m. The event is free to attend.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Filipino Arts Accelerator Balay Kreative Pauses Operations in SF, Citing Funding",
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"content": "\u003cp>As the federal government makes huge cuts to arts funding, local organizations like Balay Kreative are feeling the pressure from Washington, D.C. all the way down to the city level.\u003c/p>\n\u003cp>Last week, the San Francisco-based Filipino arts accelerator \u003ca href=\"https://balaykreative.org/stories-content/balay-kreative-is-pressing-pause\">announced a pause on its operations\u003c/a>.\u003c/p>\n\u003cp>Desi Danganan, executive director of Balay Kreative’s umbrella organization \u003ca href=\"https://www.kultivatelabs.org/\">Kultivate Labs\u003c/a>, explained in a post on the organization’s website that the decision was due to funding. Over the past two years, the organization has had to lay off staff and cut their budget by more than $500,000, while from 2024 to 2025, funding dropped by 80%, according to Danganan.\u003c/p>\n\u003cp>[aside postID='arts_13913947']“We can no longer operate as if it’s business as usual,” he wrote.\u003c/p>\n\u003cp>Located on Mission Street in the retail floor level of a city parking garage, where it receives free rent from SFMTA, \u003ca href=\"https://www.kqed.org/arts/13913947/balay-kreative-soma-pilipinas-filipino-heritage-district\">Balay Kreative provides pop-up studio space\u003c/a> to Filipino American artists, designers and small businesses in the SOMA Pilipinas Filipino Heritage District. It has also dispersed grants to individual artists. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Kultivate Labs will work on repurposing the Balay Kreative space on Mission Street for Republika, an artisan marketplace and art gallery, which is fully funded, Danganan said.\u003c/p>\n\u003cfigure id=\"attachment_13972582\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13972582 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Balay-Open-Studios-27-800x449.jpg\" alt=\"An audience of people sit, gathered at an open studio at Balay Kreative in San Francisco. \" width=\"800\" height=\"449\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Balay-Open-Studios-27-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Balay-Open-Studios-27-1020x572.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Balay-Open-Studios-27-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Balay-Open-Studios-27-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Balay-Open-Studios-27-1536x862.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Balay-Open-Studios-27-2048x1149.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Balay-Open-Studios-27-1920x1078.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An audience of people gather at an open studio at Balay Kreative in San Francisco. \u003ccite>(Courtesy of Balay Kreative)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Danganan explained that future funding for Balay Kreative has been jeopardized by the NEA’s \u003ca href=\"https://www.kqed.org/arts/13971749/nea-arts-funding-canceled-dei-trump\">cancellation of the Challenge America grant\u003c/a>, and its announcement to \u003ca href=\"https://www.kqed.org/arts/13971749/nea-arts-funding-canceled-dei-trump\">no longer support organizations grounded in diversity, equity and inclusion\u003c/a>. In the \u003ca href=\"https://www.kqed.org/arts/13970297/nea-grants-list-of-sf-bay-area-organizations-receiving-grants-in-2025\">latest round of NEA grants\u003c/a>, Balay Kreative received $15,000 to support the Balay Kreative Growth Masterclass Series.\u003c/p>\n\u003cp>Over the phone Danganan called the NEA announcement “salt in the wound,” and illustrative of the federal government’s priorities as a whole. “They want to dismantle anything that is for marginalized communities,” Danganan said of the current administration. \u003c/p>\n\u003cp>[aside postID='arts_13971749']Locally, in San Francisco, he sees a systematic problem in which the city is promoting itself as an arts and culture hub but not providing enough resources.\u003c/p>\n\u003cp>“We were one of those organizations that they highlighted,” Danganan said of the city. He noted that Kultivate Labs has a few “arms,” which allows the organization to generate revenue for programs like Kapwa Gardens and Undiscovered SF. “We were the ones doing really well,” said Danganan, “and we’re still getting a 60% cut.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/grants-for-the-arts\">Grants for the Arts\u003c/a>, funded by a hotel tax, has seen reduced revenue in the wake of the COVID pandemic and a “doom loop” narrative about San Francisco, both of which have kept tourists away from the city. \u003c/p>\n\u003cp>[aside postID='arts_13970297']While the city has been \u003ca href=\"https://www.kqed.org/arts/13967182/svane-family-foundation-culture-forward-grant\">encouraging artists and organizations to move back downtown\u003c/a>, Danganan has seen several recent closures on his organization’s block in SoMa.\u003c/p>\n\u003cp>“There \u003cem>was\u003c/em> a restaurant next to us,” he said. “SF Pizza closed. The T-Mobile store on our block closed.” He adds to the list the upcoming closure of department store Bloomingdales, across the street from Balay Kreative, and a recently closed Starbucks at the end of the block (another Starbucks, directly across the street from it, remains open).\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Are they going to have to bring in arts and culture from the outside,” Danganan said, “instead of incubating the arts and culture that we have here?”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As the federal government makes huge cuts to arts funding, local organizations like Balay Kreative are feeling the pressure from Washington, D.C. all the way down to the city level.\u003c/p>\n\u003cp>Last week, the San Francisco-based Filipino arts accelerator \u003ca href=\"https://balaykreative.org/stories-content/balay-kreative-is-pressing-pause\">announced a pause on its operations\u003c/a>.\u003c/p>\n\u003cp>Desi Danganan, executive director of Balay Kreative’s umbrella organization \u003ca href=\"https://www.kultivatelabs.org/\">Kultivate Labs\u003c/a>, explained in a post on the organization’s website that the decision was due to funding. Over the past two years, the organization has had to lay off staff and cut their budget by more than $500,000, while from 2024 to 2025, funding dropped by 80%, according to Danganan.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“We can no longer operate as if it’s business as usual,” he wrote.\u003c/p>\n\u003cp>Located on Mission Street in the retail floor level of a city parking garage, where it receives free rent from SFMTA, \u003ca href=\"https://www.kqed.org/arts/13913947/balay-kreative-soma-pilipinas-filipino-heritage-district\">Balay Kreative provides pop-up studio space\u003c/a> to Filipino American artists, designers and small businesses in the SOMA Pilipinas Filipino Heritage District. It has also dispersed grants to individual artists. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Kultivate Labs will work on repurposing the Balay Kreative space on Mission Street for Republika, an artisan marketplace and art gallery, which is fully funded, Danganan said.\u003c/p>\n\u003cfigure id=\"attachment_13972582\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13972582 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Balay-Open-Studios-27-800x449.jpg\" alt=\"An audience of people sit, gathered at an open studio at Balay Kreative in San Francisco. \" width=\"800\" height=\"449\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Balay-Open-Studios-27-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Balay-Open-Studios-27-1020x572.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Balay-Open-Studios-27-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Balay-Open-Studios-27-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Balay-Open-Studios-27-1536x862.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Balay-Open-Studios-27-2048x1149.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Balay-Open-Studios-27-1920x1078.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An audience of people gather at an open studio at Balay Kreative in San Francisco. \u003ccite>(Courtesy of Balay Kreative)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Danganan explained that future funding for Balay Kreative has been jeopardized by the NEA’s \u003ca href=\"https://www.kqed.org/arts/13971749/nea-arts-funding-canceled-dei-trump\">cancellation of the Challenge America grant\u003c/a>, and its announcement to \u003ca href=\"https://www.kqed.org/arts/13971749/nea-arts-funding-canceled-dei-trump\">no longer support organizations grounded in diversity, equity and inclusion\u003c/a>. In the \u003ca href=\"https://www.kqed.org/arts/13970297/nea-grants-list-of-sf-bay-area-organizations-receiving-grants-in-2025\">latest round of NEA grants\u003c/a>, Balay Kreative received $15,000 to support the Balay Kreative Growth Masterclass Series.\u003c/p>\n\u003cp>Over the phone Danganan called the NEA announcement “salt in the wound,” and illustrative of the federal government’s priorities as a whole. “They want to dismantle anything that is for marginalized communities,” Danganan said of the current administration. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Locally, in San Francisco, he sees a systematic problem in which the city is promoting itself as an arts and culture hub but not providing enough resources.\u003c/p>\n\u003cp>“We were one of those organizations that they highlighted,” Danganan said of the city. He noted that Kultivate Labs has a few “arms,” which allows the organization to generate revenue for programs like Kapwa Gardens and Undiscovered SF. “We were the ones doing really well,” said Danganan, “and we’re still getting a 60% cut.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/grants-for-the-arts\">Grants for the Arts\u003c/a>, funded by a hotel tax, has seen reduced revenue in the wake of the COVID pandemic and a “doom loop” narrative about San Francisco, both of which have kept tourists away from the city. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>While the city has been \u003ca href=\"https://www.kqed.org/arts/13967182/svane-family-foundation-culture-forward-grant\">encouraging artists and organizations to move back downtown\u003c/a>, Danganan has seen several recent closures on his organization’s block in SoMa.\u003c/p>\n\u003cp>“There \u003cem>was\u003c/em> a restaurant next to us,” he said. “SF Pizza closed. The T-Mobile store on our block closed.” He adds to the list the upcoming closure of department store Bloomingdales, across the street from Balay Kreative, and a recently closed Starbucks at the end of the block (another Starbucks, directly across the street from it, remains open).\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Are they going to have to bring in arts and culture from the outside,” Danganan said, “instead of incubating the arts and culture that we have here?”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "SF's Mestiza Returns With 13-Inch Lumpia and Vegan Filipino Bites",
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"content": "\u003cp>\u003cstrong>\u003ca href=\"https://www.kqed.org/hellahungry\">\u003ci>¡Hella Hungry!\u003c/i>\u003c/a>\u003ci> is a series of interviews with Bay Area foodmakers exploring the region’s culinary innovations through the mouth of a first-generation local.\u003c/i>\u003c/strong>\u003c/p>\n\u003cp>[dropcap]O[/dropcap]perating a restaurant in San Francisco isn’t for the faint-hearted.\u003c/p>\n\u003cp>In a \u003ci>San Francisco Chronicle\u003c/i> column published earlier this year, former restaurant \u003ca href=\"https://www.sfchronicle.com/opinion/article/san-francisco-restaurant-small-business-18494773.php\">critic Soleil Ho outlined the debilitating costs of running a food business in a city\u003c/a> where even the most heralded institutions straddle a precarious tightrope “between stability and destitution.” In Ho’s eyes, the American notion of getting rewarded for hard work is merely a “fairy tale” — and that’s especially apparent in \u003ca href=\"https://www.sfchronicle.com/food/restaurants/article/sales-revenue-san-francisco-18659409.php\">the local restaurant industry’s recent struggles\u003c/a>.\u003c/p>\n\u003cp>Don’t tell Deanna Sison, though. As a savvy Filipina American hustler who operates a chicken-and-waffles spot (\u003ca href=\"https://www.instagram.com/littleskilletsf/?hl=en\">Little Skillet\u003c/a>) inside a cocktail bar (\u003ca href=\"https://www.instagram.com/victoryhallsf/?hl=en\">Victory Hall\u003c/a>) in Frisco’s SoMa district, Sison is far from feeble-spirited.\u003c/p>\n\u003cp>Now, she’s doubling — tripling? — down on her vision by re-launching Mestiza, the fast-casual Filipino noshery she opened in 2016. After the restaurant shuttered in 2020 due to the pandemic, most people would have just walked away. Not Sison.\u003c/p>\n\u003cfigure id=\"attachment_13961825\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13961825\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-07-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-07-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-07-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-07-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-07-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-07-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-07-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-07-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Deanna Sison poses for a portrait at her restaurant Mestiza, which reopened at a new location in SoMa in April 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Open since April, Mestiza blooms again in a fresh, open-air venue with a vegetarian-friendly twist that isn’t usually at the forefront of Filipino cuisine. The revamped menu features a 13-inch lumpia roll stuffed with sweet potato, shaved Brussels sprouts and water chestnuts, served with pineapple-chili dipping sauce; flamed kofta skewers made from mashed chickpeas; crunchy quinoa-and-mint salad tossed with spicy mango-jalapeño slaw and tamarind vinaigrette; and for those with a sweet tooth, oat milk vanilla soft-serve doused with chili crisps.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The restaurant additionally offers a bold kamayan dinner meant to be eaten with one’s bare hands: an island-style platter for large groups served on giant banana leaves piled high with fish, fruit, vegetables and lumpia.\u003c/p>\n\u003cp>The vegan-leaning offerings are at once succulent, tropical and abundant — a reflection of both Sison’s health-conscious dietary shifts and chef Syl Mislang’s heritage as a Filipina Mexican. There’s also a hefty dose of savory proteins like pork adobo, grilled shrimp and cured pork belly.\u003c/p>\n\u003cp>When I visited Sison at the new location, I could see why she refused to let it all go. A sense of place (there’s a vibrant \u003ca href=\"https://www.instagram.com/indiangiver\">Cheyenne Randall\u003c/a> mural on the back wall) and family (Sison’s mother regularly visits to water the patio plants) was palpable.\u003c/p>\n\u003cp>For Sison, who has worked in SoMa since arriving in the Bay Area from Florida in 1999, Mestiza is about more than her culinary ambitions. It’s also a reflection of everything she has risked in pursuit of a fuller identity. She came to the Bay Area as a film student eager to build community, particularly among Pinoys, a group she admits was scarce in the American South of the ’80s. Decades later, in Sison’s homebase of San Francisco’s Filipino Cultural District, she hasn’t backed down from her original intentions.\u003c/p>\n\u003cfigure id=\"attachment_13961823\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13961823\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-02-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-02-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-02-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-02-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-02-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-02-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-02-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-02-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A mural by artist Cheyenne Randall titled ‘Vanilla Sky’ covers the back wall of the restaurant. The mural depicts the Filipina singer Grace Nono. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In its most elemental nature, Mestiza reminds us that, no matter the setbacks, our hunger should never go unattended — especially when that hunger feeds a sense of self.\u003c/p>\n\u003cp>\u003ci>This interview has been edited for length and clarity.\u003c/i>\u003c/p>\n\u003cp style=\"text-align: center\">********\u003c/p>\n\u003cp>\u003cb>Alan Chazaro: What’s your connection to SoMa? I know you’re proud of your roots here.\u003c/b>\u003c/p>\n\u003cp>\u003cb>Deanna Sison:\u003c/b> I was born in Florida, then moved to Germany when I was 10. I moved back to the U.S. when I went to college in Florida, but was always drawn to San Francisco. When I finished school, my one focus was to make it west: to go to San Francisco. The appeal was mainly around the diversity, but also the food culture. I came here in 1999 after college and have been here ever since. My first job was on Natoma Street. I had a Bachelor of Arts in film, and this neighborhood was a hub for independent filmmakers.\u003c/p>\n\u003cp>\u003cb>Whoa, I was not expecting that. What have been the biggest changes in the area since then?\u003c/b>\u003c/p>\n\u003cp>I’ve seen the whole neighborhood evolve and go through multiple changes. There are still some remnants from that time, but there was something about SoMa that used to feel very industrial and creative, filled with artists, working-class people. It had an edginess. Through the years it has turned into mostly a tech neighborhood with echoes of that gritty, innovative atmosphere.\u003c/p>\n\u003cp>To be here and have my own roots feels just as important because of Filipino Americans and their history in this neighborhood. I came to this city to connect with my Filipino roots. When the neighborhood was designated as the Filipino Cultural District in 2017, it was a reawakening for me. It actually coincided with the opening of the previous Mestiza. I had been open for a year and a half before that. It was a big moment of discovery, a journey to reconnect with what it meant to be Filipino American. To be in this neighborhood. To continue that legacy that preceded my time here. It was important for me to stay in this neighborhood for those cultural and practical reasons.\u003c/p>\n\u003cfigure id=\"attachment_13961824\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13961824\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-04-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-04-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-04-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-04-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-04-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-04-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-04-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-04-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Sison sits with her mother, who is a frequent presence at the restaurant. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>I imagine Filipinos in Florida weren’t extremely visible back then. Or were they?\u003c/b>\u003c/p>\n\u003cp>It didn’t feel huge. In my younger years, the Filipinos would sometimes get together. It didn’t feel like I was hanging out with Filipinos a lot though. Only during family gatherings in the community. Maybe once a month at a local park. For important celebrations. But in my school there were only one or two others. It didn’t feel as prevalent [as it does in the Bay Area].\u003c/p>\n\u003cp>\u003cb>Your mom was watering the plants when I visited. She told me she grew up in the Philippines as one out of nine children. What’s her connection to this area?\u003c/b>\u003c/p>\n\u003cp>My mom was born in San Francisco and moved back to the Philippines and was raised there. But she came back to San Francisco eventually. There was just something in the ether about coming back here. It’s the only place I would choose to live anywhere in the country. Not LA. Not New York City. I actually did New York for a while. San Francisco is geographically my home.\u003c/p>\n\u003cp>\u003cb>Have you ever been to the Philippines? \u003c/b>\u003c/p>\n\u003cp>I’ve only been twice in my life. The first time I was seven years old. It was eye-opening. The role that food plays in everyday life is extremely important. It’s the connector between everyone. There was never a table that didn’t have food on it. As a kid, being at my aunt’s house, they’d go out and kill a chicken to put on the table that night. They made fresh coconut milk. All of the activities of making food: preparing it, serving it, enjoying it. Food is just such a big part of your daily experience. When I went back in my 20s, I basically went from one meal to the next. Big tables laden with food. Maybe coffee in between. Food is just a magnet to come and gather and connect. I remember that clearly. Memories are captured in the taste, flavors, smells of food. Sometimes no one even had to speak. We had food.\u003c/p>\n\u003cp>\u003cb>What’s your background in the culinary world? When did you get into the food industry?\u003c/b>\u003c/p>\n\u003cp>I always had second and third jobs in food service throughout my life. My first job was at Burger King. I worked in fast food, cocktailing, bussing, baking. On and on. I’ve had every role in a restaurant. Even when I was taking up jobs in film, I had a second or third job at a restaurant or bar. I found the perfect job on Craigslist working for an indie production company that created cooking shows. It was a PBS show. That was my favorite. I just wanted to watch those PBS cooking shows as a kid (laughs). Not cartoons.\u003c/p>\n\u003cp>The producer was at KQED, and she started \u003ca href=\"https://www.kqed.org/jacquespepin\">Jacques Pépin\u003c/a> and a few other series. They branched off to producing their own shows and distribution. They needed a production assistant. I ended up getting the job, and she was amazed at what I knew about cooking shows. I was there for five, six years. That was eye-opening for not just food and restaurants, but food culture. In that role I was able to go and read cookbooks, meet authors, professors, teachers. Cooking techniques. We were filming, but we had to prep a lot of food that would be aired on segments. I learned a lot that way.\u003c/p>\n\u003cfigure id=\"attachment_13961829\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13961829\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-16-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-16-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-16-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-16-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-16-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-16-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-16-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-16-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Chef Syl Mislang prepares an order of calabasa coconut curry. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>How has the concept of Mestiza evolved over time, especially since closing in 2020? You took four years to re-open it.\u003c/b>\u003c/p>\n\u003cp>When I first opened, the space I took over was a taqueria that I knew from my time working in SoMa. I wanted to preserve that concept of a taqueria. Having experienced it in the neighborhood, I felt it was an important thing. But I wanted to bring my own heritage to the mix. That was the original Mestiza. It was a celebration of the Mexican and Filipino connection. There was a trade route for 200 years between Manila and Mexico, and we were both colonized by the Spaniards. We share a lot of cultural aspects. Catholicism. Holidays. Our names. Ingredients. So we made the menu around that fusion. Then we closed in 2020 because of the pandemic. We flirted with staying partially open, but it just didn’t work.\u003c/p>\n\u003cp>Until about 2022, I had been thinking about it but not really planning on reopening it. Some developers approached me to bring the concept to certain locations. It never felt right. Then, this spot around the corner from Little Skillet and Victory Hall opened up. I remember it from my 20s, a little Caribbean lunch spot with sangrias all day long that I enjoyed. It felt like it could be the perfect place for a new iteration of Mestiza.\u003c/p>\n\u003cp>\u003cb>Where did the idea of doing more plant-forward dishes originate? What are the joys and challenges with that — especially since Filipino food can be very meat-heavy?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13938479,arts_13959765,arts_13956683']\u003c/span>That was a long process. COVID definitely was the only opportunity that I had to really evaluate my habits, our behaviors as a society. What do we put into our bodies? How important is our health? My dad had gout and high cholesterol and died of a heart attack. I have cousins with diabetes. So many of our illnesses are related to our diets. During COVID I experimented with all kinds of diets. Gluten-free. Plant-only. Plant-forward. Exercising. It had a profound impact on how I felt, my energy. Knowing I felt healthier during that scary time of sickness made me realize we should be healthier and better to ourselves. That informed my decision.\u003c/p>\n\u003cp>I thought about doing fully plant-based, but I felt, personally, that my body needs different kinds of protein. It doesn’t have to be such a drastic change in your diet. It can be incremental. It’s healthy for us, and the planet, to have choices. Being plant-forward means focusing on plants and minimizing the amount of meats we use, but it doesn’t completely exclude meat. I don’t know that going strictly plant based is 100% healthy for everyone’s body. But it’s lighter, easier to digest, and even more nurturing in some ways, with other nutritious vitamins and minerals.\u003c/p>\n\u003cfigure id=\"attachment_13961831\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13961831\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-29-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-29-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-29-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-29-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-29-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-29-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-29-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-29-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">An abundant spread of pulled pork adobo and shrimp gambas. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Who else is doing plant-based Filipino cuisine around here?\u003c/b>\u003c/p>\n\u003cp>Reina [Montenegro] helped me in the beginning to go plant-based. \u003ca href=\"https://www.instagram.com/chef.reina/?hl=en\">Chef Reina\u003c/a> has a spot in Brisbane. It’s vegan Filipino. She helped me a lot in my exploration of that idea. Just trying to extract the best flavors and texture from Filipino food. Shout out Chef Reina.\u003c/p>\n\u003cp>\u003cb>What are your favorite places to get Filipino food in the Bay?\u003c/b>\u003c/p>\n\u003cp>There is a strong community of Filipino and Filipino Americans doing work right now in the Bay Area. We’re all pretty tight and encourage each other. Sarap Shop. Ox and Tiger. Abaca. That’s top-notch fine dining Filipino. It’s kind of its own genre. Chef Harold Villarosa helped me out; he has spots all over the country. Tselogs, a super solid restaurant with great food. I’m just impressed by the community we have in general. Everyone is super dope. [Chef Alex Retodo from] Lumpia Company has partnered with E-40, I love them. [They] bring so much of that Bay Area culture, and I respect them as business owners. Señor Sisig, with chefs Evan and Gil. Oh, and there was this one kamayan restaurant in SoMa. About six years ago, we took our whole staff there and it was a great experience that we still talk about.\u003c/p>\n\u003cp>\u003cb>Can you tell me more about the kamayan feast you host?\u003c/b>\u003c/p>\n\u003cp>Kamayan feast is offered any night of the week for a minimum reservation of four people or more. We used to only do it twice a week, but it’s so heavily requested now. It comes from the idea of hands, eating with your hands. The experience incorporates all of your senses. Seeing something gorgeous, touching it, tasting it, smelling it. It’s tactile. It’s communal and meant to be shared with others. It’s similar to sitting at my grandmother’s table. There’s something fulfilling when you share an experience full of joy with others. That creates memories, and it becomes an indelible memory when you use all of your sense. That’s what resonates. We love seeing people’s reactions when we bring a board to the table. We’re here in service of our community.\u003c/p>\n\u003cfigure id=\"attachment_13961827\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13961827\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-14-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-14-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-14-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-14-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-14-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-14-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-14-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-14-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The lumpia at Mestiza measure 13 inches long. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Very important question: How long is the lumpia at Mestiza? I’ve honestly never seen one that length. What’s your secret?\u003c/b>\u003c/p>\n\u003cp>Ummmm (laughs). I think it’s 13 inches. We just leave our ends open. I like those crispy ends. You have to get the filling to a right consistency so it doesn’t fall out. Roll it open ended. Frozen. And fried. I love it.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/mestizasf/?hl=en\">\u003ci>Mestiza\u003c/i>\u003c/a>\u003ci> (214 Townsend St., San Francisco) is open Tues. through Sat. from 11:30 a.m. to 7:30 p.m.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>\u003ca href=\"https://www.kqed.org/hellahungry\">\u003ci>¡Hella Hungry!\u003c/i>\u003c/a>\u003ci> is a series of interviews with Bay Area foodmakers exploring the region’s culinary innovations through the mouth of a first-generation local.\u003c/i>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">O\u003c/span>\u003c/p>\u003cp>perating a restaurant in San Francisco isn’t for the faint-hearted.\u003c/p>\n\u003cp>In a \u003ci>San Francisco Chronicle\u003c/i> column published earlier this year, former restaurant \u003ca href=\"https://www.sfchronicle.com/opinion/article/san-francisco-restaurant-small-business-18494773.php\">critic Soleil Ho outlined the debilitating costs of running a food business in a city\u003c/a> where even the most heralded institutions straddle a precarious tightrope “between stability and destitution.” In Ho’s eyes, the American notion of getting rewarded for hard work is merely a “fairy tale” — and that’s especially apparent in \u003ca href=\"https://www.sfchronicle.com/food/restaurants/article/sales-revenue-san-francisco-18659409.php\">the local restaurant industry’s recent struggles\u003c/a>.\u003c/p>\n\u003cp>Don’t tell Deanna Sison, though. As a savvy Filipina American hustler who operates a chicken-and-waffles spot (\u003ca href=\"https://www.instagram.com/littleskilletsf/?hl=en\">Little Skillet\u003c/a>) inside a cocktail bar (\u003ca href=\"https://www.instagram.com/victoryhallsf/?hl=en\">Victory Hall\u003c/a>) in Frisco’s SoMa district, Sison is far from feeble-spirited.\u003c/p>\n\u003cp>Now, she’s doubling — tripling? — down on her vision by re-launching Mestiza, the fast-casual Filipino noshery she opened in 2016. After the restaurant shuttered in 2020 due to the pandemic, most people would have just walked away. Not Sison.\u003c/p>\n\u003cfigure id=\"attachment_13961825\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13961825\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-07-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-07-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-07-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-07-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-07-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-07-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-07-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-07-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Deanna Sison poses for a portrait at her restaurant Mestiza, which reopened at a new location in SoMa in April 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Open since April, Mestiza blooms again in a fresh, open-air venue with a vegetarian-friendly twist that isn’t usually at the forefront of Filipino cuisine. The revamped menu features a 13-inch lumpia roll stuffed with sweet potato, shaved Brussels sprouts and water chestnuts, served with pineapple-chili dipping sauce; flamed kofta skewers made from mashed chickpeas; crunchy quinoa-and-mint salad tossed with spicy mango-jalapeño slaw and tamarind vinaigrette; and for those with a sweet tooth, oat milk vanilla soft-serve doused with chili crisps.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The restaurant additionally offers a bold kamayan dinner meant to be eaten with one’s bare hands: an island-style platter for large groups served on giant banana leaves piled high with fish, fruit, vegetables and lumpia.\u003c/p>\n\u003cp>The vegan-leaning offerings are at once succulent, tropical and abundant — a reflection of both Sison’s health-conscious dietary shifts and chef Syl Mislang’s heritage as a Filipina Mexican. There’s also a hefty dose of savory proteins like pork adobo, grilled shrimp and cured pork belly.\u003c/p>\n\u003cp>When I visited Sison at the new location, I could see why she refused to let it all go. A sense of place (there’s a vibrant \u003ca href=\"https://www.instagram.com/indiangiver\">Cheyenne Randall\u003c/a> mural on the back wall) and family (Sison’s mother regularly visits to water the patio plants) was palpable.\u003c/p>\n\u003cp>For Sison, who has worked in SoMa since arriving in the Bay Area from Florida in 1999, Mestiza is about more than her culinary ambitions. It’s also a reflection of everything she has risked in pursuit of a fuller identity. She came to the Bay Area as a film student eager to build community, particularly among Pinoys, a group she admits was scarce in the American South of the ’80s. Decades later, in Sison’s homebase of San Francisco’s Filipino Cultural District, she hasn’t backed down from her original intentions.\u003c/p>\n\u003cfigure id=\"attachment_13961823\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13961823\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-02-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-02-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-02-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-02-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-02-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-02-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-02-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-02-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A mural by artist Cheyenne Randall titled ‘Vanilla Sky’ covers the back wall of the restaurant. The mural depicts the Filipina singer Grace Nono. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In its most elemental nature, Mestiza reminds us that, no matter the setbacks, our hunger should never go unattended — especially when that hunger feeds a sense of self.\u003c/p>\n\u003cp>\u003ci>This interview has been edited for length and clarity.\u003c/i>\u003c/p>\n\u003cp style=\"text-align: center\">********\u003c/p>\n\u003cp>\u003cb>Alan Chazaro: What’s your connection to SoMa? I know you’re proud of your roots here.\u003c/b>\u003c/p>\n\u003cp>\u003cb>Deanna Sison:\u003c/b> I was born in Florida, then moved to Germany when I was 10. I moved back to the U.S. when I went to college in Florida, but was always drawn to San Francisco. When I finished school, my one focus was to make it west: to go to San Francisco. The appeal was mainly around the diversity, but also the food culture. I came here in 1999 after college and have been here ever since. My first job was on Natoma Street. I had a Bachelor of Arts in film, and this neighborhood was a hub for independent filmmakers.\u003c/p>\n\u003cp>\u003cb>Whoa, I was not expecting that. What have been the biggest changes in the area since then?\u003c/b>\u003c/p>\n\u003cp>I’ve seen the whole neighborhood evolve and go through multiple changes. There are still some remnants from that time, but there was something about SoMa that used to feel very industrial and creative, filled with artists, working-class people. It had an edginess. Through the years it has turned into mostly a tech neighborhood with echoes of that gritty, innovative atmosphere.\u003c/p>\n\u003cp>To be here and have my own roots feels just as important because of Filipino Americans and their history in this neighborhood. I came to this city to connect with my Filipino roots. When the neighborhood was designated as the Filipino Cultural District in 2017, it was a reawakening for me. It actually coincided with the opening of the previous Mestiza. I had been open for a year and a half before that. It was a big moment of discovery, a journey to reconnect with what it meant to be Filipino American. To be in this neighborhood. To continue that legacy that preceded my time here. It was important for me to stay in this neighborhood for those cultural and practical reasons.\u003c/p>\n\u003cfigure id=\"attachment_13961824\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13961824\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-04-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-04-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-04-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-04-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-04-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-04-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-04-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-04-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Sison sits with her mother, who is a frequent presence at the restaurant. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>I imagine Filipinos in Florida weren’t extremely visible back then. Or were they?\u003c/b>\u003c/p>\n\u003cp>It didn’t feel huge. In my younger years, the Filipinos would sometimes get together. It didn’t feel like I was hanging out with Filipinos a lot though. Only during family gatherings in the community. Maybe once a month at a local park. For important celebrations. But in my school there were only one or two others. It didn’t feel as prevalent [as it does in the Bay Area].\u003c/p>\n\u003cp>\u003cb>Your mom was watering the plants when I visited. She told me she grew up in the Philippines as one out of nine children. What’s her connection to this area?\u003c/b>\u003c/p>\n\u003cp>My mom was born in San Francisco and moved back to the Philippines and was raised there. But she came back to San Francisco eventually. There was just something in the ether about coming back here. It’s the only place I would choose to live anywhere in the country. Not LA. Not New York City. I actually did New York for a while. San Francisco is geographically my home.\u003c/p>\n\u003cp>\u003cb>Have you ever been to the Philippines? \u003c/b>\u003c/p>\n\u003cp>I’ve only been twice in my life. The first time I was seven years old. It was eye-opening. The role that food plays in everyday life is extremely important. It’s the connector between everyone. There was never a table that didn’t have food on it. As a kid, being at my aunt’s house, they’d go out and kill a chicken to put on the table that night. They made fresh coconut milk. All of the activities of making food: preparing it, serving it, enjoying it. Food is just such a big part of your daily experience. When I went back in my 20s, I basically went from one meal to the next. Big tables laden with food. Maybe coffee in between. Food is just a magnet to come and gather and connect. I remember that clearly. Memories are captured in the taste, flavors, smells of food. Sometimes no one even had to speak. We had food.\u003c/p>\n\u003cp>\u003cb>What’s your background in the culinary world? When did you get into the food industry?\u003c/b>\u003c/p>\n\u003cp>I always had second and third jobs in food service throughout my life. My first job was at Burger King. I worked in fast food, cocktailing, bussing, baking. On and on. I’ve had every role in a restaurant. Even when I was taking up jobs in film, I had a second or third job at a restaurant or bar. I found the perfect job on Craigslist working for an indie production company that created cooking shows. It was a PBS show. That was my favorite. I just wanted to watch those PBS cooking shows as a kid (laughs). Not cartoons.\u003c/p>\n\u003cp>The producer was at KQED, and she started \u003ca href=\"https://www.kqed.org/jacquespepin\">Jacques Pépin\u003c/a> and a few other series. They branched off to producing their own shows and distribution. They needed a production assistant. I ended up getting the job, and she was amazed at what I knew about cooking shows. I was there for five, six years. That was eye-opening for not just food and restaurants, but food culture. In that role I was able to go and read cookbooks, meet authors, professors, teachers. Cooking techniques. We were filming, but we had to prep a lot of food that would be aired on segments. I learned a lot that way.\u003c/p>\n\u003cfigure id=\"attachment_13961829\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13961829\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-16-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-16-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-16-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-16-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-16-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-16-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-16-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-16-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Chef Syl Mislang prepares an order of calabasa coconut curry. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>How has the concept of Mestiza evolved over time, especially since closing in 2020? You took four years to re-open it.\u003c/b>\u003c/p>\n\u003cp>When I first opened, the space I took over was a taqueria that I knew from my time working in SoMa. I wanted to preserve that concept of a taqueria. Having experienced it in the neighborhood, I felt it was an important thing. But I wanted to bring my own heritage to the mix. That was the original Mestiza. It was a celebration of the Mexican and Filipino connection. There was a trade route for 200 years between Manila and Mexico, and we were both colonized by the Spaniards. We share a lot of cultural aspects. Catholicism. Holidays. Our names. Ingredients. So we made the menu around that fusion. Then we closed in 2020 because of the pandemic. We flirted with staying partially open, but it just didn’t work.\u003c/p>\n\u003cp>Until about 2022, I had been thinking about it but not really planning on reopening it. Some developers approached me to bring the concept to certain locations. It never felt right. Then, this spot around the corner from Little Skillet and Victory Hall opened up. I remember it from my 20s, a little Caribbean lunch spot with sangrias all day long that I enjoyed. It felt like it could be the perfect place for a new iteration of Mestiza.\u003c/p>\n\u003cp>\u003cb>Where did the idea of doing more plant-forward dishes originate? What are the joys and challenges with that — especially since Filipino food can be very meat-heavy?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>That was a long process. COVID definitely was the only opportunity that I had to really evaluate my habits, our behaviors as a society. What do we put into our bodies? How important is our health? My dad had gout and high cholesterol and died of a heart attack. I have cousins with diabetes. So many of our illnesses are related to our diets. During COVID I experimented with all kinds of diets. Gluten-free. Plant-only. Plant-forward. Exercising. It had a profound impact on how I felt, my energy. Knowing I felt healthier during that scary time of sickness made me realize we should be healthier and better to ourselves. That informed my decision.\u003c/p>\n\u003cp>I thought about doing fully plant-based, but I felt, personally, that my body needs different kinds of protein. It doesn’t have to be such a drastic change in your diet. It can be incremental. It’s healthy for us, and the planet, to have choices. Being plant-forward means focusing on plants and minimizing the amount of meats we use, but it doesn’t completely exclude meat. I don’t know that going strictly plant based is 100% healthy for everyone’s body. But it’s lighter, easier to digest, and even more nurturing in some ways, with other nutritious vitamins and minerals.\u003c/p>\n\u003cfigure id=\"attachment_13961831\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13961831\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-29-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-29-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-29-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-29-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-29-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-29-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-29-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-29-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">An abundant spread of pulled pork adobo and shrimp gambas. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Who else is doing plant-based Filipino cuisine around here?\u003c/b>\u003c/p>\n\u003cp>Reina [Montenegro] helped me in the beginning to go plant-based. \u003ca href=\"https://www.instagram.com/chef.reina/?hl=en\">Chef Reina\u003c/a> has a spot in Brisbane. It’s vegan Filipino. She helped me a lot in my exploration of that idea. Just trying to extract the best flavors and texture from Filipino food. Shout out Chef Reina.\u003c/p>\n\u003cp>\u003cb>What are your favorite places to get Filipino food in the Bay?\u003c/b>\u003c/p>\n\u003cp>There is a strong community of Filipino and Filipino Americans doing work right now in the Bay Area. We’re all pretty tight and encourage each other. Sarap Shop. Ox and Tiger. Abaca. That’s top-notch fine dining Filipino. It’s kind of its own genre. Chef Harold Villarosa helped me out; he has spots all over the country. Tselogs, a super solid restaurant with great food. I’m just impressed by the community we have in general. Everyone is super dope. [Chef Alex Retodo from] Lumpia Company has partnered with E-40, I love them. [They] bring so much of that Bay Area culture, and I respect them as business owners. Señor Sisig, with chefs Evan and Gil. Oh, and there was this one kamayan restaurant in SoMa. About six years ago, we took our whole staff there and it was a great experience that we still talk about.\u003c/p>\n\u003cp>\u003cb>Can you tell me more about the kamayan feast you host?\u003c/b>\u003c/p>\n\u003cp>Kamayan feast is offered any night of the week for a minimum reservation of four people or more. We used to only do it twice a week, but it’s so heavily requested now. It comes from the idea of hands, eating with your hands. The experience incorporates all of your senses. Seeing something gorgeous, touching it, tasting it, smelling it. It’s tactile. It’s communal and meant to be shared with others. It’s similar to sitting at my grandmother’s table. There’s something fulfilling when you share an experience full of joy with others. That creates memories, and it becomes an indelible memory when you use all of your sense. That’s what resonates. We love seeing people’s reactions when we bring a board to the table. We’re here in service of our community.\u003c/p>\n\u003cfigure id=\"attachment_13961827\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13961827\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-14-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-14-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-14-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-14-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-14-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-14-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-14-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240730-MESTIZA-14-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The lumpia at Mestiza measure 13 inches long. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Very important question: How long is the lumpia at Mestiza? I’ve honestly never seen one that length. What’s your secret?\u003c/b>\u003c/p>\n\u003cp>Ummmm (laughs). I think it’s 13 inches. We just leave our ends open. I like those crispy ends. You have to get the filling to a right consistency so it doesn’t fall out. Roll it open ended. Frozen. And fried. I love it.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/mestizasf/?hl=en\">\u003ci>Mestiza\u003c/i>\u003c/a>\u003ci> (214 Townsend St., San Francisco) is open Tues. through Sat. from 11:30 a.m. to 7:30 p.m.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "ube-fest-2024-filipino-food-san-francisco-district-six",
"title": "This Year’s Ube Fest Will Be More Ube-licious Than Ever",
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"content": "\u003cp>Two years ago, my food writing colleague Luke Tsai noticed \u003ca href=\"https://www.kqed.org/arts/13912001/ube-festival-filipino-kapwa-gardens-yum-yams-san-francisco-marleys-treats\">a significant rise in ube-related events\u003c/a> happening during in the spring. He predicted a delectable future: “We might as well go ahead and designate April as National Ube Month.”\u003c/p>\n\u003cp>Well, he’s right. On Sunday, April 7, San Francisco’s District Six will host their largest ever \u003ca href=\"https://www.eventbrite.com/e/the-ube-festival-tickets-821207883887\">Ube Fest\u003c/a>.\u003c/p>\n\u003cp>Certainly you’ve either heard of or eaten ube at this point. The sweet, starchy and iconically purple yam from the Philippines has had the Bay Area’s most creative foodmakers under a lavender spell for years. But it’s something that has always held weight in the Filipino American community. And at the outdoor market of Ube Fest, a squad of over 20 local vendors will showcase their favorite ingredient’s delicious versatility. \u003c/p>\n\u003cfigure id=\"attachment_13912051\" class=\"wp-caption alignnone\" style=\"max-width: 1242px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13912051\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/MarleysTreats.jpeg\" alt=\"Two ube cupcakes, ube pandesals and ube flan cheesecakes, against a white background.\" width=\"1242\" height=\"1235\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/MarleysTreats.jpeg 1242w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/MarleysTreats-800x795.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/MarleysTreats-1020x1014.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/MarleysTreats-160x159.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/MarleysTreats-768x764.jpeg 768w\" sizes=\"(max-width: 1242px) 100vw, 1242px\">\u003cfigcaption class=\"wp-caption-text\">Ube cupcakes, ‘flandesals’ and ube flan cheesecakes — all from Hayward-based Marley’s Treats, where the ube desserts are by far the most popular items. \u003ccite>(Marley's Treats)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’m excited that everyone is catching on because it deserves the spotlight,” says Joseph Alcasabas, co-owner of \u003ca href=\"https://www.kqed.org/arts/13898436/uncle-tito-filipino-comfort-food-soma-opening\">SoMa’s cool Filipino American eatery Uncle Tito\u003c/a>, who will be serving two varieties of ube at the festival. “It’s just eye catching out of the gate, right? The bold purple has you wondering what it tastes like. That builds curiosity within foodie culture. And then the taste delivers.”\u003c/p>\n\u003cp>Uncle Tito’s head chef Vincent Dayao will prepare a rice bowl with the rice seasoned using ube and coconut milk to give the white grains a natural purple dye.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And that’s not even the tip of the purple iceberg.\u003c/p>\n\u003cp>Ube salsa on tacos. Ube dessert bars. Ube lemonade. Ube cookies. Ube kettle corn. Ube musubi. Ube pies. Ube nachos? (That last one isn’t actually a thing yet, but it should be — and rest assured that Uncle Tito will be serving their “bistek chistek nachos,” which is a play on a Philly cheesesteak and Filipino bistek in the glorious form of Mexican tortilla chips.)\u003c/p>\n\u003cp>Food vendors will include other San Francisco and East Bay favorites like \u003ca href=\"https://www.instagram.com/senorsisig/?hl=en\">Señor Sisig\u003c/a>, \u003ca href=\"https://www.instagram.com/alpastorpapi415/?hl=en\">Al Pastor Papi\u003c/a> and \u003ca href=\"https://www.instagram.com/marleystreats/?hl=en\">Marley’s Treats\u003c/a>. There will also be DJs, local nonprofits, pop-up clothing and botanical shops, and even a booth to learn more about baseball in the Philippines. \u003c/p>\n\u003cfigure id=\"attachment_13898461\" class=\"wp-caption alignnone\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13898461\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_Valerios-scaled.jpg\" alt=\"Ube buns and Milo banana creme lumpia on a white plate, dusted with powdered sugar.\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_Valerios-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_Valerios-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_Valerios-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_Valerios-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_Valerios-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_Valerios-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_Valerios-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_Valerios-1920x2880.jpg 1920w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">The ube buns are a collaboration with Valerio’s Tropical Bakeshop, a staple of the local Filipino community. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Recently returned from a lengthy stay in the Philippines, the event’s organizer, Anthony Schlander of \u003ca href=\"https://www.instagram.com/anthonypresents/\">Anthony Presents\u003c/a>, is eager to share his renewed connection to his parents’ homeland with Bay Area eaters and hypebeasts alike.\u003c/p>\n\u003cp>“I took a mental break last year, but I’m going to put my efforts back into food and community events [in the Bay Area] this year,” Schlander says. “[This year’s Ube Festival] will actually be our busiest one ever. Ube is purple gold.”\u003c/p>\n\u003cp>For him, ube is a gateway into learning more about what the Philippines have to offer. It just happens to be a flavorful starting point.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The Ube Festival will take place at \u003ca href=\"https://www.instagram.com/districtsixsf/?hl=en\">District Six\u003c/a> (428 11th St., San Francisco) on Sunday, April 7 from 12–5 p.m. \u003ca href=\"https://www.eventbrite.com/e/the-ube-festival-tickets-821207883887\">Tickets are available here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Two years ago, my food writing colleague Luke Tsai noticed \u003ca href=\"https://www.kqed.org/arts/13912001/ube-festival-filipino-kapwa-gardens-yum-yams-san-francisco-marleys-treats\">a significant rise in ube-related events\u003c/a> happening during in the spring. He predicted a delectable future: “We might as well go ahead and designate April as National Ube Month.”\u003c/p>\n\u003cp>Well, he’s right. On Sunday, April 7, San Francisco’s District Six will host their largest ever \u003ca href=\"https://www.eventbrite.com/e/the-ube-festival-tickets-821207883887\">Ube Fest\u003c/a>.\u003c/p>\n\u003cp>Certainly you’ve either heard of or eaten ube at this point. The sweet, starchy and iconically purple yam from the Philippines has had the Bay Area’s most creative foodmakers under a lavender spell for years. But it’s something that has always held weight in the Filipino American community. And at the outdoor market of Ube Fest, a squad of over 20 local vendors will showcase their favorite ingredient’s delicious versatility. \u003c/p>\n\u003cfigure id=\"attachment_13912051\" class=\"wp-caption alignnone\" style=\"max-width: 1242px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13912051\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/MarleysTreats.jpeg\" alt=\"Two ube cupcakes, ube pandesals and ube flan cheesecakes, against a white background.\" width=\"1242\" height=\"1235\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/MarleysTreats.jpeg 1242w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/MarleysTreats-800x795.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/MarleysTreats-1020x1014.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/MarleysTreats-160x159.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/MarleysTreats-768x764.jpeg 768w\" sizes=\"(max-width: 1242px) 100vw, 1242px\">\u003cfigcaption class=\"wp-caption-text\">Ube cupcakes, ‘flandesals’ and ube flan cheesecakes — all from Hayward-based Marley’s Treats, where the ube desserts are by far the most popular items. \u003ccite>(Marley's Treats)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’m excited that everyone is catching on because it deserves the spotlight,” says Joseph Alcasabas, co-owner of \u003ca href=\"https://www.kqed.org/arts/13898436/uncle-tito-filipino-comfort-food-soma-opening\">SoMa’s cool Filipino American eatery Uncle Tito\u003c/a>, who will be serving two varieties of ube at the festival. “It’s just eye catching out of the gate, right? The bold purple has you wondering what it tastes like. That builds curiosity within foodie culture. And then the taste delivers.”\u003c/p>\n\u003cp>Uncle Tito’s head chef Vincent Dayao will prepare a rice bowl with the rice seasoned using ube and coconut milk to give the white grains a natural purple dye.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And that’s not even the tip of the purple iceberg.\u003c/p>\n\u003cp>Ube salsa on tacos. Ube dessert bars. Ube lemonade. Ube cookies. Ube kettle corn. Ube musubi. Ube pies. Ube nachos? (That last one isn’t actually a thing yet, but it should be — and rest assured that Uncle Tito will be serving their “bistek chistek nachos,” which is a play on a Philly cheesesteak and Filipino bistek in the glorious form of Mexican tortilla chips.)\u003c/p>\n\u003cp>Food vendors will include other San Francisco and East Bay favorites like \u003ca href=\"https://www.instagram.com/senorsisig/?hl=en\">Señor Sisig\u003c/a>, \u003ca href=\"https://www.instagram.com/alpastorpapi415/?hl=en\">Al Pastor Papi\u003c/a> and \u003ca href=\"https://www.instagram.com/marleystreats/?hl=en\">Marley’s Treats\u003c/a>. There will also be DJs, local nonprofits, pop-up clothing and botanical shops, and even a booth to learn more about baseball in the Philippines. \u003c/p>\n\u003cfigure id=\"attachment_13898461\" class=\"wp-caption alignnone\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13898461\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_Valerios-scaled.jpg\" alt=\"Ube buns and Milo banana creme lumpia on a white plate, dusted with powdered sugar.\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_Valerios-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_Valerios-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_Valerios-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_Valerios-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_Valerios-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_Valerios-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_Valerios-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_Valerios-1920x2880.jpg 1920w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">The ube buns are a collaboration with Valerio’s Tropical Bakeshop, a staple of the local Filipino community. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Recently returned from a lengthy stay in the Philippines, the event’s organizer, Anthony Schlander of \u003ca href=\"https://www.instagram.com/anthonypresents/\">Anthony Presents\u003c/a>, is eager to share his renewed connection to his parents’ homeland with Bay Area eaters and hypebeasts alike.\u003c/p>\n\u003cp>“I took a mental break last year, but I’m going to put my efforts back into food and community events [in the Bay Area] this year,” Schlander says. “[This year’s Ube Festival] will actually be our busiest one ever. Ube is purple gold.”\u003c/p>\n\u003cp>For him, ube is a gateway into learning more about what the Philippines have to offer. It just happens to be a flavorful starting point.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The Ube Festival will take place at \u003ca href=\"https://www.instagram.com/districtsixsf/?hl=en\">District Six\u003c/a> (428 11th St., San Francisco) on Sunday, April 7 from 12–5 p.m. \u003ca href=\"https://www.eventbrite.com/e/the-ube-festival-tickets-821207883887\">Tickets are available here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "SFMOMA’s Free Family Day on Jan. 14: A Last Chance to See Two Great Shows",
"headTitle": "SFMOMA’s Free Family Day on Jan. 14: A Last Chance to See Two Great Shows | KQED",
"content": "\u003cp>Museum tickets (like most things) have gotten more and more expensive, which is why it’s become altogether necessary to keep track of \u003ca href=\"https://www.kqed.org/news/11943906/how-to-find-free-museum-tickets-in-the-bay-area\">various local institutions’ free days\u003c/a>. In a perfect world, museum collections, part of our region’s cultural fabric, would be freely accessible — but until that day comes, we have to cling tightly to opportunities like SFMOMA’s upcoming Free Family Day. [aside postID='news_11943906']\u003c/p>\n\u003cp>While visitors 18 and under always receive free admission to the museum, on Sunday, Jan. 14, up to four adults accompanying a child or teen can also enjoy SFMOMA without stressing over a $30 ticket. And while there are plenty of current shows which might appeal to younger audiences (\u003ca href=\"https://www.sfmoma.org/exhibition/wolfgang-tillmans-to-look-without-fear/\">Wolfgang Tillmans\u003c/a> for the budding photographer, \u003ci>\u003ca href=\"https://www.kqed.org/arts/13933658/sitting-on-chrome-sfmoma-review\">Sitting on Chrome\u003c/a>\u003c/i> for those who love a bit of sparkle, \u003ci>\u003ca href=\"https://www.sfmoma.org/exhibition/ragnar-kjartansson-the-visitors/\">The Visitors\u003c/a>\u003c/i> for the musically inclined), Sunday will be one of the last opportunities to see two very important ones.\u003c/p>\n\u003cp>The first is the monumental installation of Diego Rivera’s \u003ci>\u003ca href=\"https://www.sfmoma.org/exhibition/pan-american-unity/\">Pan American Unity\u003c/a>\u003c/i> mural, which has been on display in the Roberts Family Gallery since June 2021. If you haven’t seen it yet, I’m not sure what you’ve been doing, but this dense, truly awe-inspiring fresco leaves public view after Jan. 21. Given the ongoing legal dispute between SFMOMA and City College of San Francisco over expenses related to the mural’s relocation and storage, combined with the fact that the building it’s meant to live in has yet to be built, I’m not sure when we’ll next get a chance to bask in its presence.\u003c/p>\n\u003cfigure id=\"attachment_13825831\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/PanamericanUnity.jpg\" alt=\"Pan American Unity mural by Diego Rivera\" width=\"2048\" height=\"611\" class=\"size-full wp-image-13825831\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/PanamericanUnity.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/PanamericanUnity-160x48.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/PanamericanUnity-800x239.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/PanamericanUnity-768x229.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/PanamericanUnity-1020x304.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/PanamericanUnity-1920x573.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/PanamericanUnity-1180x352.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/PanamericanUnity-960x286.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/PanamericanUnity-240x72.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/PanamericanUnity-375x112.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/PanamericanUnity-520x155.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Diego Rivera, ‘Pan American Unity,’ 1940. \u003ccite>(Courtesy of City College of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The second show is \u003ci>\u003ca href=\"https://www.kqed.org/arts/13936714/pacita-abad-sfmoma-review\">Pacita Abad\u003c/a>\u003c/i>, closing Jan. 28. Do not miss this beautiful retrospective of the Philippines-born artist who drew materials and methods from her international travels, which allowed her to fully absorb the traditional craft practices she met along the way. There is nothing stuffy about this exhibition — painted textiles hang from the ceiling, the walls zing with bright shades of paint and Abad’s thrilling combinations of color and texture show the process of their making.\u003c/p>\n\u003cp>In that spirit, Sunday’s family day will have a number of opportunities for hands-on art making in the museum’s fourth floor “white box,” and a partnership with SOMA Pilipinas will bring performances and a scavenger hunt to the museum. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>SFMOMA’s \u003ca href=\"https://www.sfmoma.org/visit/free-family-day-faq/\">Free Family Day\u003c/a> is Jan. 14, 10 a.m.–6 p.m. You can \u003ca href=\"https://tickets.sfmoma.org/tickets/type=all\">reserve tickets\u003c/a> in advance.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Museum tickets (like most things) have gotten more and more expensive, which is why it’s become altogether necessary to keep track of \u003ca href=\"https://www.kqed.org/news/11943906/how-to-find-free-museum-tickets-in-the-bay-area\">various local institutions’ free days\u003c/a>. In a perfect world, museum collections, part of our region’s cultural fabric, would be freely accessible — but until that day comes, we have to cling tightly to opportunities like SFMOMA’s upcoming Free Family Day. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>While visitors 18 and under always receive free admission to the museum, on Sunday, Jan. 14, up to four adults accompanying a child or teen can also enjoy SFMOMA without stressing over a $30 ticket. And while there are plenty of current shows which might appeal to younger audiences (\u003ca href=\"https://www.sfmoma.org/exhibition/wolfgang-tillmans-to-look-without-fear/\">Wolfgang Tillmans\u003c/a> for the budding photographer, \u003ci>\u003ca href=\"https://www.kqed.org/arts/13933658/sitting-on-chrome-sfmoma-review\">Sitting on Chrome\u003c/a>\u003c/i> for those who love a bit of sparkle, \u003ci>\u003ca href=\"https://www.sfmoma.org/exhibition/ragnar-kjartansson-the-visitors/\">The Visitors\u003c/a>\u003c/i> for the musically inclined), Sunday will be one of the last opportunities to see two very important ones.\u003c/p>\n\u003cp>The first is the monumental installation of Diego Rivera’s \u003ci>\u003ca href=\"https://www.sfmoma.org/exhibition/pan-american-unity/\">Pan American Unity\u003c/a>\u003c/i> mural, which has been on display in the Roberts Family Gallery since June 2021. If you haven’t seen it yet, I’m not sure what you’ve been doing, but this dense, truly awe-inspiring fresco leaves public view after Jan. 21. Given the ongoing legal dispute between SFMOMA and City College of San Francisco over expenses related to the mural’s relocation and storage, combined with the fact that the building it’s meant to live in has yet to be built, I’m not sure when we’ll next get a chance to bask in its presence.\u003c/p>\n\u003cfigure id=\"attachment_13825831\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/PanamericanUnity.jpg\" alt=\"Pan American Unity mural by Diego Rivera\" width=\"2048\" height=\"611\" class=\"size-full wp-image-13825831\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/PanamericanUnity.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/PanamericanUnity-160x48.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/PanamericanUnity-800x239.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/PanamericanUnity-768x229.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/PanamericanUnity-1020x304.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/PanamericanUnity-1920x573.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/PanamericanUnity-1180x352.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/PanamericanUnity-960x286.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/PanamericanUnity-240x72.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/PanamericanUnity-375x112.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/PanamericanUnity-520x155.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Diego Rivera, ‘Pan American Unity,’ 1940. \u003ccite>(Courtesy of City College of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The second show is \u003ci>\u003ca href=\"https://www.kqed.org/arts/13936714/pacita-abad-sfmoma-review\">Pacita Abad\u003c/a>\u003c/i>, closing Jan. 28. Do not miss this beautiful retrospective of the Philippines-born artist who drew materials and methods from her international travels, which allowed her to fully absorb the traditional craft practices she met along the way. There is nothing stuffy about this exhibition — painted textiles hang from the ceiling, the walls zing with bright shades of paint and Abad’s thrilling combinations of color and texture show the process of their making.\u003c/p>\n\u003cp>In that spirit, Sunday’s family day will have a number of opportunities for hands-on art making in the museum’s fourth floor “white box,” and a partnership with SOMA Pilipinas will bring performances and a scavenger hunt to the museum. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>SFMOMA’s \u003ca href=\"https://www.sfmoma.org/visit/free-family-day-faq/\">Free Family Day\u003c/a> is Jan. 14, 10 a.m.–6 p.m. You can \u003ca href=\"https://tickets.sfmoma.org/tickets/type=all\">reserve tickets\u003c/a> in advance.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_13933792\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/ToroYMoi.Jeepney.Andre_.FULL_-scaled.jpg\" alt=\"Two men in a decorated car, with a fisheye lens effect on the photo\" width=\"2560\" height=\"2560\" class=\"size-full wp-image-13933792\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/ToroYMoi.Jeepney.Andre_.FULL_-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/ToroYMoi.Jeepney.Andre_.FULL_-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/ToroYMoi.Jeepney.Andre_.FULL_-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/ToroYMoi.Jeepney.Andre_.FULL_-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/ToroYMoi.Jeepney.Andre_.FULL_-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/ToroYMoi.Jeepney.Andre_.FULL_-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/ToroYMoi.Jeepney.Andre_.FULL_-2048x2048.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/ToroYMoi.Jeepney.Andre_.FULL_-1920x1920.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Toro Y Moi, a.k.a. Chaz Bear, and Eric Andre ride in Bear’s jeepney. The jeepney is being donated to the Filipino Cultural District in San Francisco. \u003ccite>(Philips Shum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Earlier this month, musical artist Toro y Moi handed over the keys to his car in front of Westfield Mall in San Francisco. But it wasn’t just any car: It was the jeepney that graces the cover of his 2022 album \u003cem>Mahal\u003c/em>, and which became a recognizable symbol of his music.\u003c/p>\n\u003cp>“It was pretty emotional,” Bear said. “But I think this is the start of something that can leave a lasting impact on the city and hopefully inspire others.”\u003c/p>\n\u003cp>In August, the Oakland singer and songwriter — real name Chaz Bear — donated his festively adorned jeepney to San Francisco’s Filipino Cultural District, where it will become a mini tour bus, says SOMA Pilipinas Director Raquel Redondiez.\u003c/p>\n\u003cp>[aside postID='arts_13926503']“For me, the jeepney represents the community, and SOMA will carry that torch really well,” he said.\u003c/p>\n\u003cp>Outside the mall, Filipinos jumped out of their cars and crowded the sidewalk to take pictures on Mission Street, said Redondiez, recalling the celebratory handoff.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Jeepneys are probably one of the most iconic cultural symbols for Filipinos as relics of American colonial occupation that’s been transformed into mass transit,” Redondiez said. “They’re really colorful and personalized, and representative of Filipino creativity.”\u003c/p>\n\u003cfigure id=\"attachment_13933789\" class=\"wp-caption aligncenter\" style=\"max-width: 1698px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Jeepney.Inside-scaled.jpg\" alt=\"\" width=\"1698\" height=\"2560\" class=\"size-full wp-image-13933789\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Jeepney.Inside-scaled.jpg 1698w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Jeepney.Inside-800x1206.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Jeepney.Inside-1020x1538.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Jeepney.Inside-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Jeepney.Inside-768x1158.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Jeepney.Inside-1019x1536.jpg 1019w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Jeepney.Inside-1358x2048.jpg 1358w\" sizes=\"(max-width: 1698px) 100vw, 1698px\">\u003cfigcaption class=\"wp-caption-text\">Inside Toro Y Moi’s jeepney, which is being donated to the Filipino Cultural District. \u003ccite>(Paulina Zepeda)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A relic turned cultural icon\u003c/h2>\n\u003cp>In a short film for \u003cem>Mahal\u003c/em> starring Bear and comedian Eric Andre, an opening shot shows the sun rising over the Transamerica Pyramid as Bear listens to “Jeepney Rock” radio. When Bear’s gull-wing Tesla runs out of battery, Andre comes to the rescue via the jeepney, cackling maniacally as the car swerves and screeches to a halt like a Looney Tunes cartoon. (“You smell like my ex-wife,” Andre says in true, out-of-pocket form.)\u003c/p>\n\u003cp>Bear says the broken-down Tesla was a bit of cheeky commentary.\u003c/p>\n\u003cp>“With San Francisco being a tech-centric city, the jeepney — this old relic that’s been through World Wars — symbolizes how culture can live throughout technology and surpass it,” he explained.\u003c/p>\n\u003cp>In the film, Bear and Andre’s pursuit of Andre’s lost pug becomes a psychedelic adventure as Bear narrates a brief history of the jeepney. “Each vehicle was customized to reflect the personal identity of the driver and handed down from generation to generation,” he says.\u003c/p>\n\u003cp>The cultural district is interested in converting the Jeepney to an electric vehicle, Redondiez said, but will retain its unique design.\u003c/p>\n\u003cfigure id=\"attachment_13933790\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Jeepney.Closeup-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1707\" class=\"size-full wp-image-13933790\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Jeepney.Closeup-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Jeepney.Closeup-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Jeepney.Closeup-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Jeepney.Closeup-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Jeepney.Closeup-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Jeepney.Closeup-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Jeepney.Closeup-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Jeepney.Closeup-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">A close-up on the decor utilized in Toro Y Moi’s jeepney. \u003ccite>(Ginger Fierstein)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jeepneys are known for being ornate and distinctive, and SOMA’s new jeepney is no exception — it’s downright gorgeous. Its cobalt blue exterior is accented with elaborate geometric and organic patterns. Bear hit up Bay Area jeweler Gretchen Carvajal for laser-cut Filipino suns and diamonds inscribed with “mahal” that now dangle like jewels along the perimeter of the car’s roof. The co-mingling of contemporary flourishes with the car’s original features, like its 1942 engine, makes for a spectacular melding of time periods and cultures.\u003c/p>\n\u003cp>For Bear, the jeepney’s cultural hybridity runs parallel with his own identity as a Black and Filipino American.\u003c/p>\n\u003cp>“There is a lot of \u003ca href=\"https://www.kqed.org/arts/13905208/a-new-generation-of-filipino-hip-hop-builds-on-a-deep-bay-area-legacy\">hip-hop in the Filipino community\u003c/a>,” he said. “And before there were cars with rims and crazy sound systems, jeepneys were some of the first forms of expressional vehicles.”\u003c/p>\n\u003cfigure id=\"attachment_13933791\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/ToroYMoi.Mahal_.Cover_.Jeepney-scaled.jpg\" alt=\"Toro Y Moi with the jeepney, in a cover photo from his 2022 album 'Mahal.'\" width=\"2560\" height=\"2560\" class=\"size-full wp-image-13933791\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/ToroYMoi.Mahal_.Cover_.Jeepney-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/ToroYMoi.Mahal_.Cover_.Jeepney-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/ToroYMoi.Mahal_.Cover_.Jeepney-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/ToroYMoi.Mahal_.Cover_.Jeepney-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/ToroYMoi.Mahal_.Cover_.Jeepney-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/ToroYMoi.Mahal_.Cover_.Jeepney-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/ToroYMoi.Mahal_.Cover_.Jeepney-2048x2048.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/ToroYMoi.Mahal_.Cover_.Jeepney-1920x1920.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Toro Y Moi with the jeepney, in a cover photo from his 2022 album ‘Mahal.’ \u003ccite>(Chris Maggio)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A vehicle for the culture, literally\u003c/h2>\n\u003cp>When Bear found the jeepney on eBay in 2021, it became a “pandemic-friendly” vehicle for \u003ca href=\"https://www.kqed.org/arts/13912444/toro-y-moi-new-album-mahal-bay-area-filipino\">pop-up performances of \u003cem>Mahal\u003c/em>\u003c/a>, which Bear has characterized as an Americana album for its subliminal reflections on life in the States.\u003c/p>\n\u003cp>Meanwhile, the Filipino Cultural District had been looking for a jeepney for several years. Redondiez even visited Sarao Motors, the “premier jeepney manufacturer” in Manila, to look for one, but came up empty-handed.\u003c/p>\n\u003cp>“It’s really because of the waves of displacement that so many Filipinos are spread across SOMA, so it’s been really hard to cover our landmarks on a walking tour,” she said. “The hope was to use a jeepney for our cultural tour.”\u003c/p>\n\u003cp>When SOMA Pilipinas heard Toro y Moi had one, the organization reached out and asked if he’d ever be interested in selling it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It was kind of a surprise that he would just be donating it to us,” Redondiez said. “Every time we would go to check out the jeepney, I could tell how much Chaz loves it. Even as we were towing it away, you could see how much joy it gave him.”\u003c/p>\n\n",
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"excerpt": "Jeepneys are an iconic feature of the Philippines. Now, thanks to Oakland artist Toro y Moi, you might be able to take a tour in one.\r\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“For me, the jeepney represents the community, and SOMA will carry that torch really well,” he said.\u003c/p>\n\u003cp>Outside the mall, Filipinos jumped out of their cars and crowded the sidewalk to take pictures on Mission Street, said Redondiez, recalling the celebratory handoff.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Jeepneys are probably one of the most iconic cultural symbols for Filipinos as relics of American colonial occupation that’s been transformed into mass transit,” Redondiez said. “They’re really colorful and personalized, and representative of Filipino creativity.”\u003c/p>\n\u003cfigure id=\"attachment_13933789\" class=\"wp-caption aligncenter\" style=\"max-width: 1698px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Jeepney.Inside-scaled.jpg\" alt=\"\" width=\"1698\" height=\"2560\" class=\"size-full wp-image-13933789\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Jeepney.Inside-scaled.jpg 1698w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Jeepney.Inside-800x1206.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Jeepney.Inside-1020x1538.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Jeepney.Inside-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Jeepney.Inside-768x1158.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Jeepney.Inside-1019x1536.jpg 1019w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Jeepney.Inside-1358x2048.jpg 1358w\" sizes=\"(max-width: 1698px) 100vw, 1698px\">\u003cfigcaption class=\"wp-caption-text\">Inside Toro Y Moi’s jeepney, which is being donated to the Filipino Cultural District. \u003ccite>(Paulina Zepeda)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A relic turned cultural icon\u003c/h2>\n\u003cp>In a short film for \u003cem>Mahal\u003c/em> starring Bear and comedian Eric Andre, an opening shot shows the sun rising over the Transamerica Pyramid as Bear listens to “Jeepney Rock” radio. When Bear’s gull-wing Tesla runs out of battery, Andre comes to the rescue via the jeepney, cackling maniacally as the car swerves and screeches to a halt like a Looney Tunes cartoon. (“You smell like my ex-wife,” Andre says in true, out-of-pocket form.)\u003c/p>\n\u003cp>Bear says the broken-down Tesla was a bit of cheeky commentary.\u003c/p>\n\u003cp>“With San Francisco being a tech-centric city, the jeepney — this old relic that’s been through World Wars — symbolizes how culture can live throughout technology and surpass it,” he explained.\u003c/p>\n\u003cp>In the film, Bear and Andre’s pursuit of Andre’s lost pug becomes a psychedelic adventure as Bear narrates a brief history of the jeepney. “Each vehicle was customized to reflect the personal identity of the driver and handed down from generation to generation,” he says.\u003c/p>\n\u003cp>The cultural district is interested in converting the Jeepney to an electric vehicle, Redondiez said, but will retain its unique design.\u003c/p>\n\u003cfigure id=\"attachment_13933790\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Jeepney.Closeup-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1707\" class=\"size-full wp-image-13933790\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Jeepney.Closeup-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Jeepney.Closeup-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Jeepney.Closeup-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Jeepney.Closeup-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Jeepney.Closeup-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Jeepney.Closeup-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Jeepney.Closeup-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Jeepney.Closeup-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">A close-up on the decor utilized in Toro Y Moi’s jeepney. \u003ccite>(Ginger Fierstein)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jeepneys are known for being ornate and distinctive, and SOMA’s new jeepney is no exception — it’s downright gorgeous. Its cobalt blue exterior is accented with elaborate geometric and organic patterns. Bear hit up Bay Area jeweler Gretchen Carvajal for laser-cut Filipino suns and diamonds inscribed with “mahal” that now dangle like jewels along the perimeter of the car’s roof. The co-mingling of contemporary flourishes with the car’s original features, like its 1942 engine, makes for a spectacular melding of time periods and cultures.\u003c/p>\n\u003cp>For Bear, the jeepney’s cultural hybridity runs parallel with his own identity as a Black and Filipino American.\u003c/p>\n\u003cp>“There is a lot of \u003ca href=\"https://www.kqed.org/arts/13905208/a-new-generation-of-filipino-hip-hop-builds-on-a-deep-bay-area-legacy\">hip-hop in the Filipino community\u003c/a>,” he said. “And before there were cars with rims and crazy sound systems, jeepneys were some of the first forms of expressional vehicles.”\u003c/p>\n\u003cfigure id=\"attachment_13933791\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/ToroYMoi.Mahal_.Cover_.Jeepney-scaled.jpg\" alt=\"Toro Y Moi with the jeepney, in a cover photo from his 2022 album 'Mahal.'\" width=\"2560\" height=\"2560\" class=\"size-full wp-image-13933791\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/ToroYMoi.Mahal_.Cover_.Jeepney-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/ToroYMoi.Mahal_.Cover_.Jeepney-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/ToroYMoi.Mahal_.Cover_.Jeepney-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/ToroYMoi.Mahal_.Cover_.Jeepney-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/ToroYMoi.Mahal_.Cover_.Jeepney-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/ToroYMoi.Mahal_.Cover_.Jeepney-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/ToroYMoi.Mahal_.Cover_.Jeepney-2048x2048.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/ToroYMoi.Mahal_.Cover_.Jeepney-1920x1920.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Toro Y Moi with the jeepney, in a cover photo from his 2022 album ‘Mahal.’ \u003ccite>(Chris Maggio)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A vehicle for the culture, literally\u003c/h2>\n\u003cp>When Bear found the jeepney on eBay in 2021, it became a “pandemic-friendly” vehicle for \u003ca href=\"https://www.kqed.org/arts/13912444/toro-y-moi-new-album-mahal-bay-area-filipino\">pop-up performances of \u003cem>Mahal\u003c/em>\u003c/a>, which Bear has characterized as an Americana album for its subliminal reflections on life in the States.\u003c/p>\n\u003cp>Meanwhile, the Filipino Cultural District had been looking for a jeepney for several years. Redondiez even visited Sarao Motors, the “premier jeepney manufacturer” in Manila, to look for one, but came up empty-handed.\u003c/p>\n\u003cp>“It’s really because of the waves of displacement that so many Filipinos are spread across SOMA, so it’s been really hard to cover our landmarks on a walking tour,” she said. “The hope was to use a jeepney for our cultural tour.”\u003c/p>\n\u003cp>When SOMA Pilipinas heard Toro y Moi had one, the organization reached out and asked if he’d ever be interested in selling it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It was kind of a surprise that he would just be donating it to us,” Redondiez said. “Every time we would go to check out the jeepney, I could tell how much Chaz loves it. Even as we were towing it away, you could see how much joy it gave him.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Your Favorite Filipino American Chef Was Probably a DJ or B-Boy Back in the Day",
"headTitle": "Your Favorite Filipino American Chef Was Probably a DJ or B-Boy Back in the Day | KQED",
"content": "\u003cp>You can’t tell the story of \u003ca href=\"https://www.kqed.org/bayareahiphop\">Bay Area hip-hop\u003c/a> without a tip of the cap to all of the Filipino Americans who helped shape the scene — from the legion of \u003ca href=\"https://www.kqed.org/arts/13812554/how-daly-citys-filipino-mobile-dj-scene-changed-hip-hop-forever\">mobile DJ crews\u003c/a> and B-boys/B-girls to the influential \u003ca href=\"https://www.kqed.org/arts/13905208/a-new-generation-of-filipino-hip-hop-builds-on-a-deep-bay-area-legacy\">emcees\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13924042/nump-hyphy-i-gott-grapes-interview\">producers\u003c/a> and graffiti artists. It makes sense, then, that the 2023 edition of \u003ca href=\"https://www.undiscoveredsf.com/\">Undiscovered SF\u003c/a>, San Francisco’s preeminent Filipino American culture fest, is framed as a months-long celebration of hip-hop. This year is \u003ca href=\"https://www.kqed.org/arts/13932076/bay-area-hip-hop-50th-anniversary-celebrations\">hip-hop’s 50th anniversary\u003c/a>, after all.\u003c/p>\n\u003cp>Still, when the block party kicks off in the SoMa Pilipinas cultural district on Aug. 19, one of the biggest draws will be the same thing that attracts a crowd to any big Filipino gathering: the food.\u003c/p>\n\u003cp>And as Desi Danganan — executive director of \u003ca href=\"https://www.kultivatelabs.org/\">Kultivate Labs\u003c/a>, the nonprofit that organizes the event — explains it, the Bay Area’s vibrant Fil-Am food scene today is itself deeply rooted in the community’s ties to hip-hop. Back in the ’80s, among Filipino Americans in the Bay, “everyone and their mom was a DJ,” Danganan recalls. Then there was a stretch of time when it seemed like everyone became a club promoter. Danganan remembers when he was in his twenties, the promotion crews running the nightclubs in SoMa were 90% Filipino.\u003c/p>\n\u003cp>These days? Those same folks are operating some of the region’s most popular food trucks and pop-up restaurants.\u003c/p>\n\u003cp>“All of a sudden, the new DJ was the chef,” Danganan says. “Chefs started popping up, rave-style, in places that weren’t necessarily kitchens.” He describes something akin to a DJ/dancer/club promoter to chef pipeline: Alex Retodo was a club promoter before he started rolling lumpia at \u003ca href=\"https://www.thelumpiacompany.com/\">the Lumpia Company\u003c/a>, which he co-owns with E-40. Evan Kidera was a rapper before he co-founded \u003ca href=\"https://www.instagram.com/senorsisig\">Señor Sisig\u003c/a> — arguably the single \u003ca href=\"https://sf.eater.com/2019/11/4/20946482/senor-sisig-filipino-open-mission-sf\">most famous Bay Area food truck\u003c/a>. The couple behind Filipino-Japanese pop-up \u003ca href=\"https://www.instagram.com/oxandtiger/\">Ox and Tiger\u003c/a> were dancers before they were chefs. So were the co-founders of the Chase Center food stall \u003ca href=\"http://www.instagram.com/thesarapshop\">Sarap Shop\u003c/a>. And Undiscovered SF booked Rod Reyes, of the San Jose–based food truck \u003ca href=\"https://www.instagram.com/baryakitchen\">Barya Kitchen\u003c/a>, as a DJ for one of the festival’s earliest incarnations, before he’d even started his food business.\u003c/p>\n\u003cfigure id=\"attachment_13933294\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933294\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/KultivateLabs_Undscvrd_food.jpg\" alt=\"Pork sisig served with a slice of lemon and a mound of white rice.\" width=\"1920\" height=\"2511\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/KultivateLabs_Undscvrd_food.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/KultivateLabs_Undscvrd_food-800x1046.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/KultivateLabs_Undscvrd_food-1020x1334.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/KultivateLabs_Undscvrd_food-160x209.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/KultivateLabs_Undscvrd_food-768x1004.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/KultivateLabs_Undscvrd_food-1174x1536.jpg 1174w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/KultivateLabs_Undscvrd_food-1566x2048.jpg 1566w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A plate of pork sisig from a previous edition of Undiscovered SF. The annual festival has always celebrated the Bay Area’s Filipino street food scene. \u003ccite>(Courtesy of Kultivate Labs)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The kind of trajectory that Danganan describes isn’t uniquely Filipino, of course. Some of it is rooted in the \u003ca href=\"https://www.kqed.org/arts/13907726/e-40-goon-with-the-spoon-bay-area-rappers-food-entrepreneurs-hustle\">entrepreneurial spirit and hustle culture\u003c/a> that undergirds the whole Bay Area hip-hop scene. And if the Bay Area’s Filipino American community produced some of the most \u003ca href=\"https://www.kqed.org/arts/10777508/top-5-tracks-born-from-the-bay-areas-filipino-mobile-dj-scene\">legendary DJs in hip-hop history\u003c/a>, it’s only natural that that kind of creativity would also translate into other artistic endeavors. “They’re really gifted at taking ingredients and \u003ca href=\"https://www.kqed.org/arts/13898436/uncle-tito-filipino-comfort-food-soma-opening\">remixing them\u003c/a> to create something new,” Danganan explains — say, a bacon cheeseburger lumpia or a sisig burrito. The only difference? “Now they’re not beats. They’re flavors.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13907726,arts_13905208,arts_13923127']\u003c/span>All of the aforementioned DJ- or dancer-turned-chefs — and many more — will be on hand to sling food for at least one iteration of this year’s Undiscovered SF block party. Organizers decided hip-hop’s big birthday was too monumental to limit to a single afternoon, so it’ll host three separate parties over the course of the next three months. Each one will have a specific theme: Aug. 19 will be “Classics and Throwbacks.” Sept. 16 will focus on “The Future.” And Oct. 21 will be “The Present.”\u003c/p>\n\u003cp>Food highlights at \u003ca href=\"https://www.undiscoveredsf.com/\">Aug. 19’s kickoff event\u003c/a> will include Señor Sisig and \u003ca href=\"https://www.kqed.org/arts/13926749/tasty-tings-jamaican-beef-patties-sf-oakland\">Tasty Tings\u003c/a>, whose Jamaican-Filipina-Chinese-Creole owner incorporates Filipino ingredients like longaniza pork into her Jamaican patties. The September and October lineups will include Barya Kitchen and a special collaboration between Ox and Tiger, Sarap Shop and lechon specialist \u003ca href=\"https://www.instagram.com/jeepneyguy/\">Jeepney Guy\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13933297\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933297\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Turontastic_photo-from-Kultivate-Labs.jpg\" alt=\"A paper tray of turon (banana lumpia) topped with ube ice cream and sprinkled with ube crumbles.\" width=\"1920\" height=\"1279\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Turontastic_photo-from-Kultivate-Labs.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Turontastic_photo-from-Kultivate-Labs-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Turontastic_photo-from-Kultivate-Labs-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Turontastic_photo-from-Kultivate-Labs-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Turontastic_photo-from-Kultivate-Labs-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Turontastic_photo-from-Kultivate-Labs-1536x1023.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Turontastic’s take on turon, or banana lumpia, topped with ube ice cream. \u003ccite>(Courtesy of Kultivate Labs)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>According to Danganan, one of the local Filipino food scene’s newest trends is the proliferation of sweets shops and bakery pop-ups, many of which cropped up during the pandemic. This, too, will be reflected at Undiscovered SF: There will be plenty of ube treats to be had.\u003c/p>\n\u003cp>Most of the offerings will come from small local purveyors, with one notable exception. In a classic case of knowing your audience, representatives from SPAM HQ will be on hand to pass out free samples of the brand’s new flavor — maple-flavored Spam — to the assembled crowd of \u003ca href=\"https://www.theatlantic.com/podcasts/archive/2022/03/spam-wwii-history-hormel-canned-meat/629416/\">noted canned meat lovers\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.undiscoveredsf.com/\">\u003ci>Undiscovered SF\u003c/i>\u003c/a>\u003ci> will host block parties in the SoMa Pilipinas cultural district, at and around The Parks @5M (44 Mary St., San Francisco) on Aug. 19, Sep. 16 and Oct. 21, from noon to 6 p.m.. The all-ages event is free and open to the public, but you can reserve a free ticket (and commemorative pin) \u003c/i>\u003ca href=\"https://www.undiscoveredsf.com/store/undiscovered-block-party-pin-2023\">\u003ci>online\u003c/i>\u003c/a>\u003ci>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>You can’t tell the story of \u003ca href=\"https://www.kqed.org/bayareahiphop\">Bay Area hip-hop\u003c/a> without a tip of the cap to all of the Filipino Americans who helped shape the scene — from the legion of \u003ca href=\"https://www.kqed.org/arts/13812554/how-daly-citys-filipino-mobile-dj-scene-changed-hip-hop-forever\">mobile DJ crews\u003c/a> and B-boys/B-girls to the influential \u003ca href=\"https://www.kqed.org/arts/13905208/a-new-generation-of-filipino-hip-hop-builds-on-a-deep-bay-area-legacy\">emcees\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13924042/nump-hyphy-i-gott-grapes-interview\">producers\u003c/a> and graffiti artists. It makes sense, then, that the 2023 edition of \u003ca href=\"https://www.undiscoveredsf.com/\">Undiscovered SF\u003c/a>, San Francisco’s preeminent Filipino American culture fest, is framed as a months-long celebration of hip-hop. This year is \u003ca href=\"https://www.kqed.org/arts/13932076/bay-area-hip-hop-50th-anniversary-celebrations\">hip-hop’s 50th anniversary\u003c/a>, after all.\u003c/p>\n\u003cp>Still, when the block party kicks off in the SoMa Pilipinas cultural district on Aug. 19, one of the biggest draws will be the same thing that attracts a crowd to any big Filipino gathering: the food.\u003c/p>\n\u003cp>And as Desi Danganan — executive director of \u003ca href=\"https://www.kultivatelabs.org/\">Kultivate Labs\u003c/a>, the nonprofit that organizes the event — explains it, the Bay Area’s vibrant Fil-Am food scene today is itself deeply rooted in the community’s ties to hip-hop. Back in the ’80s, among Filipino Americans in the Bay, “everyone and their mom was a DJ,” Danganan recalls. Then there was a stretch of time when it seemed like everyone became a club promoter. Danganan remembers when he was in his twenties, the promotion crews running the nightclubs in SoMa were 90% Filipino.\u003c/p>\n\u003cp>These days? Those same folks are operating some of the region’s most popular food trucks and pop-up restaurants.\u003c/p>\n\u003cp>“All of a sudden, the new DJ was the chef,” Danganan says. “Chefs started popping up, rave-style, in places that weren’t necessarily kitchens.” He describes something akin to a DJ/dancer/club promoter to chef pipeline: Alex Retodo was a club promoter before he started rolling lumpia at \u003ca href=\"https://www.thelumpiacompany.com/\">the Lumpia Company\u003c/a>, which he co-owns with E-40. Evan Kidera was a rapper before he co-founded \u003ca href=\"https://www.instagram.com/senorsisig\">Señor Sisig\u003c/a> — arguably the single \u003ca href=\"https://sf.eater.com/2019/11/4/20946482/senor-sisig-filipino-open-mission-sf\">most famous Bay Area food truck\u003c/a>. The couple behind Filipino-Japanese pop-up \u003ca href=\"https://www.instagram.com/oxandtiger/\">Ox and Tiger\u003c/a> were dancers before they were chefs. So were the co-founders of the Chase Center food stall \u003ca href=\"http://www.instagram.com/thesarapshop\">Sarap Shop\u003c/a>. And Undiscovered SF booked Rod Reyes, of the San Jose–based food truck \u003ca href=\"https://www.instagram.com/baryakitchen\">Barya Kitchen\u003c/a>, as a DJ for one of the festival’s earliest incarnations, before he’d even started his food business.\u003c/p>\n\u003cfigure id=\"attachment_13933294\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933294\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/KultivateLabs_Undscvrd_food.jpg\" alt=\"Pork sisig served with a slice of lemon and a mound of white rice.\" width=\"1920\" height=\"2511\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/KultivateLabs_Undscvrd_food.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/KultivateLabs_Undscvrd_food-800x1046.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/KultivateLabs_Undscvrd_food-1020x1334.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/KultivateLabs_Undscvrd_food-160x209.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/KultivateLabs_Undscvrd_food-768x1004.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/KultivateLabs_Undscvrd_food-1174x1536.jpg 1174w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/KultivateLabs_Undscvrd_food-1566x2048.jpg 1566w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A plate of pork sisig from a previous edition of Undiscovered SF. The annual festival has always celebrated the Bay Area’s Filipino street food scene. \u003ccite>(Courtesy of Kultivate Labs)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The kind of trajectory that Danganan describes isn’t uniquely Filipino, of course. Some of it is rooted in the \u003ca href=\"https://www.kqed.org/arts/13907726/e-40-goon-with-the-spoon-bay-area-rappers-food-entrepreneurs-hustle\">entrepreneurial spirit and hustle culture\u003c/a> that undergirds the whole Bay Area hip-hop scene. And if the Bay Area’s Filipino American community produced some of the most \u003ca href=\"https://www.kqed.org/arts/10777508/top-5-tracks-born-from-the-bay-areas-filipino-mobile-dj-scene\">legendary DJs in hip-hop history\u003c/a>, it’s only natural that that kind of creativity would also translate into other artistic endeavors. “They’re really gifted at taking ingredients and \u003ca href=\"https://www.kqed.org/arts/13898436/uncle-tito-filipino-comfort-food-soma-opening\">remixing them\u003c/a> to create something new,” Danganan explains — say, a bacon cheeseburger lumpia or a sisig burrito. The only difference? “Now they’re not beats. They’re flavors.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>All of the aforementioned DJ- or dancer-turned-chefs — and many more — will be on hand to sling food for at least one iteration of this year’s Undiscovered SF block party. Organizers decided hip-hop’s big birthday was too monumental to limit to a single afternoon, so it’ll host three separate parties over the course of the next three months. Each one will have a specific theme: Aug. 19 will be “Classics and Throwbacks.” Sept. 16 will focus on “The Future.” And Oct. 21 will be “The Present.”\u003c/p>\n\u003cp>Food highlights at \u003ca href=\"https://www.undiscoveredsf.com/\">Aug. 19’s kickoff event\u003c/a> will include Señor Sisig and \u003ca href=\"https://www.kqed.org/arts/13926749/tasty-tings-jamaican-beef-patties-sf-oakland\">Tasty Tings\u003c/a>, whose Jamaican-Filipina-Chinese-Creole owner incorporates Filipino ingredients like longaniza pork into her Jamaican patties. The September and October lineups will include Barya Kitchen and a special collaboration between Ox and Tiger, Sarap Shop and lechon specialist \u003ca href=\"https://www.instagram.com/jeepneyguy/\">Jeepney Guy\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13933297\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933297\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Turontastic_photo-from-Kultivate-Labs.jpg\" alt=\"A paper tray of turon (banana lumpia) topped with ube ice cream and sprinkled with ube crumbles.\" width=\"1920\" height=\"1279\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Turontastic_photo-from-Kultivate-Labs.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Turontastic_photo-from-Kultivate-Labs-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Turontastic_photo-from-Kultivate-Labs-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Turontastic_photo-from-Kultivate-Labs-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Turontastic_photo-from-Kultivate-Labs-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Turontastic_photo-from-Kultivate-Labs-1536x1023.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Turontastic’s take on turon, or banana lumpia, topped with ube ice cream. \u003ccite>(Courtesy of Kultivate Labs)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>According to Danganan, one of the local Filipino food scene’s newest trends is the proliferation of sweets shops and bakery pop-ups, many of which cropped up during the pandemic. This, too, will be reflected at Undiscovered SF: There will be plenty of ube treats to be had.\u003c/p>\n\u003cp>Most of the offerings will come from small local purveyors, with one notable exception. In a classic case of knowing your audience, representatives from SPAM HQ will be on hand to pass out free samples of the brand’s new flavor — maple-flavored Spam — to the assembled crowd of \u003ca href=\"https://www.theatlantic.com/podcasts/archive/2022/03/spam-wwii-history-hormel-canned-meat/629416/\">noted canned meat lovers\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.undiscoveredsf.com/\">\u003ci>Undiscovered SF\u003c/i>\u003c/a>\u003ci> will host block parties in the SoMa Pilipinas cultural district, at and around The Parks @5M (44 Mary St., San Francisco) on Aug. 19, Sep. 16 and Oct. 21, from noon to 6 p.m.. The all-ages event is free and open to the public, but you can reserve a free ticket (and commemorative pin) \u003c/i>\u003ca href=\"https://www.undiscoveredsf.com/store/undiscovered-block-party-pin-2023\">\u003ci>online\u003c/i>\u003c/a>\u003ci>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Hip-Hop's 50th Anniversary: Where to Celebrate in the Bay Area",
"headTitle": "Hip-Hop’s 50th Anniversary: Where to Celebrate in the Bay Area | KQED",
"content": "\u003cp>On Friday, Aug. 11, the world will gather around turntables, giant speakers and open dancefloors for a collective celebration of hip-hop’s 50th anniversary.\u003c/p>\n\u003cp>The date marks the night in 1973 when Cindy Campbell and her brother Clive, aka DJ Kool Herc, combined forces for a back-to-school party in the Bronx that would change the world. The dance was soundtracked by early forms of breakbeat DJing and MCing, and is widely referred to as the first legit hip-hop event.\u003c/p>\n\u003cp>Five decades later, we’re still partying. Here’s a list of August events around the Bay Area in celebration of hip-hop’s golden jubilee.\u003c/p>\n\u003cp>[aside postID='arts_13923938']\u003c/p>\n\u003ch2>\u003ca href=\"https://museumca.org/event/friday-nights-at-omca-the-roots-of-culture/\">The Roots of Hip-Hop Culture: Friday Nights at OMCA\u003c/a>\u003c/h2>\n\u003cp>\u003cstrong>\u003cem>Aug. 4, 11, 18 and 25\u003cbr>\nOakland Museum of California\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The Oakland Museum of California holds it down every Friday of the month as host \u003ca href=\"https://www.kqed.org/arts/13929183/at-the-bay-area-hip-hop-archives-leaving-a-legacy-is-an-art\">Jahi\u003c/a> leads attendees through the roots of the culture. Diamano Coura West African Dance Company performs on Aug. 4; Aug. 11 features an induction ceremony for the \u003ca href=\"https://www.kqed.org/arts/13929183/at-the-bay-area-hip-hop-archives-leaving-a-legacy-is-an-art\">Bay Area Hip-Hop Archives\u003c/a>, DJs Davey D and Jahi, a turf dancing class with Telice Summerfield, and a meet-and-greet with stock-car racer Cameron “Cam-Man” Carraway. Destiny Muhammad plays Bay Area hip-hop on jazz harp and Aimee Rose leads a TropiCali Dancehall Class on Aug. 18; programming concludes Aug. 25 with an evening of aerosol art with Refa One and hands-on beat making activities led by Seti X of June Jordan School for Equity. KQED’s \u003cem>If Cities Could Dance\u003c/em> series will screen Aug. 4 and 11, and its series \u003cem>What’s Pimpin’\u003c/em> will screen Aug. 18 and 25. \u003ca href=\"https://museumca.org/event/friday-nights-at-omca-the-roots-of-culture/\">More here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13932671\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-482124030.jpg\" alt=\"\" width=\"1024\" height=\"765\" class=\"size-full wp-image-13932671\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-482124030.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-482124030-800x598.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-482124030-1020x762.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-482124030-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-482124030-768x574.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Big Daddy Kane pictured in 2015. The New York rap legend headlines at San Jose Jazz Summer Fest’s Hip-Hop 50th Anniversary celebration on Friday, Aug. 11. \u003ccite>(Donna Ward/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://summerfest.sanjosejazz.org/\">Big Daddy Kane at San Jose Jazz Summer Fest’s Hip-Hop 50 Celebration\u003c/a>\u003c/h2>\n\u003cp>\u003cstrong>\u003cem>Aug. 11\u003cbr>\nPlaza de César Chávez, San Jose\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>New York legend Big Daddy Kane performs with a full band on the main stage at San Jose Jazz Summer Fest. A second stage hosts a hip-hop 50th celebration with headliner Murs; Needle To The Groove DJs Allen Johnson, Dave Ma & Michael Basura; \u003ca href=\"https://www.kqed.org/arts/13932887/turf-dancing-oakland-street-dance\">turf dance\u003c/a> crew Playboyz Inc. featuring NastyRay, Scarface & Johnny 5, and live graffiti by Gwen Mercado Reyes and Joey Reyes. The stage’s host will be San Jose emcee DEM ONE. \u003ca href=\"https://summerfest.sanjosejazz.org/\">More here\u003c/a>.\u003c/p>\n\u003ch2>\u003ca href=\"https://www.theblackexcellenceband.com/event-details-registration/hip-hop-50th-anniversary-celebration\">Hip-Hop 50th Anniversary Celebration: Honoring the Culture\u003c/a>\u003c/h2>\n\u003cp>\u003cem>\u003cstrong>Friday, Aug. 11\u003cbr>\nContinental Club, Oakland\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>A live graffiti exhibition and breakdance session, with performances by DJ Truth & Lax The Monk and a live set from the Black Excellence Band. \u003ca href=\"https://www.theblackexcellenceband.com/event-details-registration/hip-hop-50th-anniversary-celebration\">More here\u003c/a>.\u003c/p>\n\u003cp>[aside postID='arts_13928550']\u003c/p>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/vibe-vandals-presents-a-tribute-to-50-years-of-hip-hop-culture-tickets-669133174337?aff=ebdssbdestsearch&from=ff7d6b7a315811eebf099a3000f21aef\">Vibe Vandals’ Tribute to 50 years of Hip-Hop Culture\u003c/a>\u003c/h2>\n\u003cp>\u003cem>\u003cstrong>Aug. 11\u003cbr>\nNeck of the Woods, San Francisco\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>The Richmond District’s best dive club celebrates hip-hop with performances by Z-Man, True Justice, Vocab Slick, The Watershed, On Tilt, Outsiders Syndicate and JUJUGXLLERY.\u003c/p>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/a-life-in-hip-hop-talk-show-tickets-670900069167?aff=oddtdtcreator\">A Life in Hip-Hop: Talk Show\u003c/a>\u003c/h2>\n\u003cp>\u003cstrong>\u003cem>Aug. 12\u003cbr>\nKinfolx Cafe, Oakland\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Writer and creative \u003ca href=\"https://www.kqed.org/arts/13861253/rightnowish-mike-nicholls-and-umber-magazine\">Mike Nicholls\u003c/a> shares his personal story within hip-hop culture, in an event that features artists Eddou XL, Grand Nationxl’s Mani Draper, and DJ Nina Sol. \u003ca href=\"https://www.eventbrite.com/e/a-life-in-hip-hop-talk-show-tickets-670900069167?aff=oddtdtcreator\">More here\u003c/a>.\u003c/p>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/united-4-hope-benefit-ft-rodney-o-dj-joe-cooley-commemorate-hip-hop-50-tickets-665037654527?aff=ebdsoporgprofile\">United 4 Hope Benefit With Rodney O and Joe Cooley\u003c/a>\u003c/h2>\n\u003cp>\u003cem>\u003cstrong>Aug. 12\u003cbr>\nExecutive Order, San Francisco\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>The L.A. old-school legends Rodney O and Joe Cooley join DJs Rick Lee, Scotty Fox and Icy Ice at a benefit for Bay Area nonprofit Beats 4 Hope. \u003ca href=\"https://www.eventbrite.com/e/united-4-hope-benefit-ft-rodney-o-dj-joe-cooley-commemorate-hip-hop-50-tickets-665037654527?aff=ebdsoporgprofile\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13894666\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/rockyrivera-snakeskin-vivianchen-164final.jpg\" alt=\"\" width=\"2048\" height=\"1367\" class=\"size-full wp-image-13894666\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/rockyrivera-snakeskin-vivianchen-164final.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/rockyrivera-snakeskin-vivianchen-164final-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/rockyrivera-snakeskin-vivianchen-164final-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/rockyrivera-snakeskin-vivianchen-164final-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/rockyrivera-snakeskin-vivianchen-164final-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/rockyrivera-snakeskin-vivianchen-164final-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/rockyrivera-snakeskin-vivianchen-164final-1920x1282.jpg 1920w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Rocky Rivera and DJ Roza. \u003ccite>(Vivian Chen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.undiscoveredsf.com/#event-info\">SOMA Pilipinas’ UNDISCOVERED Block Party\u003c/a>\u003c/h2>\n\u003cp>\u003cem>\u003cstrong>Aug. 19\u003cbr>\nVarious venues in SOMA, San Francisco\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>Hip-hop’s 50th anniversary coincides with the seventh season of the Filipino creative market UNDISCOVERED, and they celebrate both with a series of three block parties. The first event is Saturday, Aug. 19, in the heart of SOMA Pilipinas with food, art, crafts, live music and dance. Performers include Rocky Rivera, Neil Armstrong, DJ Icy Ice and others; check \u003ca href=\"https://www.undiscoveredsf.com/#event-info\" target=\"_blank\" rel=\"noopener\">here for updates\u003c/a>.\u003c/p>\n\u003ch2>\u003ca href=\"https://oaklandlibrary.bibliocommons.com/list/share/1972854421_opl_rebecca/2320108909_hip_hop_turns_50\">Oakland Public Library: Hip-Hop Turns 50 Reading List\u003c/a>\u003c/h2>\n\u003cp>\u003c/p>\n\u003cp>If you’re more interested in staying inside and celebrating hip-hop on your own, check out the Oakland Public Library’s list of suggested reading material, which includes books on Tupac Shakur, Notorious B.I.G., Questlove, the Wu-Tang Clan, A Tribe Called Quest and more. Find \u003ca href=\"https://oaklandlibrary.bibliocommons.com/list/share/1972854421_opl_rebecca/2320108909_hip_hop_turns_50\" target=\"_blank\" rel=\"noopener\">the list here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Friday, Aug. 11, the world will gather around turntables, giant speakers and open dancefloors for a collective celebration of hip-hop’s 50th anniversary.\u003c/p>\n\u003cp>The date marks the night in 1973 when Cindy Campbell and her brother Clive, aka DJ Kool Herc, combined forces for a back-to-school party in the Bronx that would change the world. The dance was soundtracked by early forms of breakbeat DJing and MCing, and is widely referred to as the first legit hip-hop event.\u003c/p>\n\u003cp>Five decades later, we’re still partying. Here’s a list of August events around the Bay Area in celebration of hip-hop’s golden jubilee.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch2>\u003ca href=\"https://museumca.org/event/friday-nights-at-omca-the-roots-of-culture/\">The Roots of Hip-Hop Culture: Friday Nights at OMCA\u003c/a>\u003c/h2>\n\u003cp>\u003cstrong>\u003cem>Aug. 4, 11, 18 and 25\u003cbr>\nOakland Museum of California\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Oakland Museum of California holds it down every Friday of the month as host \u003ca href=\"https://www.kqed.org/arts/13929183/at-the-bay-area-hip-hop-archives-leaving-a-legacy-is-an-art\">Jahi\u003c/a> leads attendees through the roots of the culture. Diamano Coura West African Dance Company performs on Aug. 4; Aug. 11 features an induction ceremony for the \u003ca href=\"https://www.kqed.org/arts/13929183/at-the-bay-area-hip-hop-archives-leaving-a-legacy-is-an-art\">Bay Area Hip-Hop Archives\u003c/a>, DJs Davey D and Jahi, a turf dancing class with Telice Summerfield, and a meet-and-greet with stock-car racer Cameron “Cam-Man” Carraway. Destiny Muhammad plays Bay Area hip-hop on jazz harp and Aimee Rose leads a TropiCali Dancehall Class on Aug. 18; programming concludes Aug. 25 with an evening of aerosol art with Refa One and hands-on beat making activities led by Seti X of June Jordan School for Equity. KQED’s \u003cem>If Cities Could Dance\u003c/em> series will screen Aug. 4 and 11, and its series \u003cem>What’s Pimpin’\u003c/em> will screen Aug. 18 and 25. \u003ca href=\"https://museumca.org/event/friday-nights-at-omca-the-roots-of-culture/\">More here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13932671\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-482124030.jpg\" alt=\"\" width=\"1024\" height=\"765\" class=\"size-full wp-image-13932671\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-482124030.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-482124030-800x598.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-482124030-1020x762.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-482124030-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-482124030-768x574.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Big Daddy Kane pictured in 2015. The New York rap legend headlines at San Jose Jazz Summer Fest’s Hip-Hop 50th Anniversary celebration on Friday, Aug. 11. \u003ccite>(Donna Ward/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://summerfest.sanjosejazz.org/\">Big Daddy Kane at San Jose Jazz Summer Fest’s Hip-Hop 50 Celebration\u003c/a>\u003c/h2>\n\u003cp>\u003cstrong>\u003cem>Aug. 11\u003cbr>\nPlaza de César Chávez, San Jose\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>New York legend Big Daddy Kane performs with a full band on the main stage at San Jose Jazz Summer Fest. A second stage hosts a hip-hop 50th celebration with headliner Murs; Needle To The Groove DJs Allen Johnson, Dave Ma & Michael Basura; \u003ca href=\"https://www.kqed.org/arts/13932887/turf-dancing-oakland-street-dance\">turf dance\u003c/a> crew Playboyz Inc. featuring NastyRay, Scarface & Johnny 5, and live graffiti by Gwen Mercado Reyes and Joey Reyes. The stage’s host will be San Jose emcee DEM ONE. \u003ca href=\"https://summerfest.sanjosejazz.org/\">More here\u003c/a>.\u003c/p>\n\u003ch2>\u003ca href=\"https://www.theblackexcellenceband.com/event-details-registration/hip-hop-50th-anniversary-celebration\">Hip-Hop 50th Anniversary Celebration: Honoring the Culture\u003c/a>\u003c/h2>\n\u003cp>\u003cem>\u003cstrong>Friday, Aug. 11\u003cbr>\nContinental Club, Oakland\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>A live graffiti exhibition and breakdance session, with performances by DJ Truth & Lax The Monk and a live set from the Black Excellence Band. \u003ca href=\"https://www.theblackexcellenceband.com/event-details-registration/hip-hop-50th-anniversary-celebration\">More here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/vibe-vandals-presents-a-tribute-to-50-years-of-hip-hop-culture-tickets-669133174337?aff=ebdssbdestsearch&from=ff7d6b7a315811eebf099a3000f21aef\">Vibe Vandals’ Tribute to 50 years of Hip-Hop Culture\u003c/a>\u003c/h2>\n\u003cp>\u003cem>\u003cstrong>Aug. 11\u003cbr>\nNeck of the Woods, San Francisco\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>The Richmond District’s best dive club celebrates hip-hop with performances by Z-Man, True Justice, Vocab Slick, The Watershed, On Tilt, Outsiders Syndicate and JUJUGXLLERY.\u003c/p>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/a-life-in-hip-hop-talk-show-tickets-670900069167?aff=oddtdtcreator\">A Life in Hip-Hop: Talk Show\u003c/a>\u003c/h2>\n\u003cp>\u003cstrong>\u003cem>Aug. 12\u003cbr>\nKinfolx Cafe, Oakland\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Writer and creative \u003ca href=\"https://www.kqed.org/arts/13861253/rightnowish-mike-nicholls-and-umber-magazine\">Mike Nicholls\u003c/a> shares his personal story within hip-hop culture, in an event that features artists Eddou XL, Grand Nationxl’s Mani Draper, and DJ Nina Sol. \u003ca href=\"https://www.eventbrite.com/e/a-life-in-hip-hop-talk-show-tickets-670900069167?aff=oddtdtcreator\">More here\u003c/a>.\u003c/p>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/united-4-hope-benefit-ft-rodney-o-dj-joe-cooley-commemorate-hip-hop-50-tickets-665037654527?aff=ebdsoporgprofile\">United 4 Hope Benefit With Rodney O and Joe Cooley\u003c/a>\u003c/h2>\n\u003cp>\u003cem>\u003cstrong>Aug. 12\u003cbr>\nExecutive Order, San Francisco\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>The L.A. old-school legends Rodney O and Joe Cooley join DJs Rick Lee, Scotty Fox and Icy Ice at a benefit for Bay Area nonprofit Beats 4 Hope. \u003ca href=\"https://www.eventbrite.com/e/united-4-hope-benefit-ft-rodney-o-dj-joe-cooley-commemorate-hip-hop-50-tickets-665037654527?aff=ebdsoporgprofile\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13894666\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/rockyrivera-snakeskin-vivianchen-164final.jpg\" alt=\"\" width=\"2048\" height=\"1367\" class=\"size-full wp-image-13894666\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/rockyrivera-snakeskin-vivianchen-164final.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/rockyrivera-snakeskin-vivianchen-164final-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/rockyrivera-snakeskin-vivianchen-164final-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/rockyrivera-snakeskin-vivianchen-164final-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/rockyrivera-snakeskin-vivianchen-164final-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/rockyrivera-snakeskin-vivianchen-164final-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/rockyrivera-snakeskin-vivianchen-164final-1920x1282.jpg 1920w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Rocky Rivera and DJ Roza. \u003ccite>(Vivian Chen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.undiscoveredsf.com/#event-info\">SOMA Pilipinas’ UNDISCOVERED Block Party\u003c/a>\u003c/h2>\n\u003cp>\u003cem>\u003cstrong>Aug. 19\u003cbr>\nVarious venues in SOMA, San Francisco\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>Hip-hop’s 50th anniversary coincides with the seventh season of the Filipino creative market UNDISCOVERED, and they celebrate both with a series of three block parties. The first event is Saturday, Aug. 19, in the heart of SOMA Pilipinas with food, art, crafts, live music and dance. Performers include Rocky Rivera, Neil Armstrong, DJ Icy Ice and others; check \u003ca href=\"https://www.undiscoveredsf.com/#event-info\" target=\"_blank\" rel=\"noopener\">here for updates\u003c/a>.\u003c/p>\n\u003ch2>\u003ca href=\"https://oaklandlibrary.bibliocommons.com/list/share/1972854421_opl_rebecca/2320108909_hip_hop_turns_50\">Oakland Public Library: Hip-Hop Turns 50 Reading List\u003c/a>\u003c/h2>\n\u003cp>\u003c/p>\n\u003cp>If you’re more interested in staying inside and celebrating hip-hop on your own, check out the Oakland Public Library’s list of suggested reading material, which includes books on Tupac Shakur, Notorious B.I.G., Questlove, the Wu-Tang Clan, A Tribe Called Quest and more. Find \u003ca href=\"https://oaklandlibrary.bibliocommons.com/list/share/1972854421_opl_rebecca/2320108909_hip_hop_turns_50\" target=\"_blank\" rel=\"noopener\">the list here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Kapwa Gardens’ ‘Ancestor Altars’ Brings Healing for All Souls Day",
"headTitle": "Kapwa Gardens’ ‘Ancestor Altars’ Brings Healing for All Souls Day | KQED",
"content": "\u003cp>In early 2019, a tiny parking lot sat idly on 967 Mission St. By the fall, \u003ca href=\"https://www.kultivatelabs.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Kultivate Labs\u003c/a> — an economic development nonprofit and arts organization working to bolster San Francisco’s \u003ca href=\"https://www.somapilipinas.org/\" target=\"_blank\" rel=\"noopener noreferrer\">SOMA Pilipinas\u003c/a> district — had transformed the space into a colorful, lush paradise for gathering and healing. They named it \u003ca href=\"https://www.kapwagardens.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Kapwa Gardens\u003c/a>, revitalizing the once lonely environment with the Filipino belief of kapwa, or interconnectedness. On Sunday Oct. 30, Balay Kreative — an artist support program under Kultivate Labs — will launch the \u003cem>Ancestor Altars\u003c/em> art installation at an All Souls Day event to honor deceased loved ones. [aside postid='arts_13913947']\u003c/p>\n\u003cp>In Filipino culture, All Souls Day provides a window of time to reunite with the dead and to commemorate their memory with joy. “Oftentimes when people think about going to the cemetery, it’s a somber, dark time,” says Nicole Maxali, Balay Kreative program manager and \u003cem>Ancestor Altars\u003c/em> organizer. “But for Filipinos, it’s more of a celebration of the afterlife.” At the height of the pandemic, Maxali was impacted by personal and collective grief — loss was everywhere and the usual means of processing these feelings were severed.\u003c/p>\n\u003cp>“That lack of physical connection during mourning was very devastating for a lot of folks,” says Maxali. “And so my idea was, ‘Why don’t we have an event at Kapwa Gardens so that people can come together with their families — with the community — and celebrate those that have passed on during the pandemic?’”\u003c/p>\n\u003cfigure id=\"attachment_13921023\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921023\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/Cece-edited--800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Cece-edited--800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Cece-edited--1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Cece-edited--160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Cece-edited--768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Cece-edited--1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Cece-edited--2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Cece-edited--1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Muralist Cece Carpio sets up the portraits for ‘Ancestor Altars.’ \u003ccite>(Kristie Song)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The installation features six large, framed portraits of deceased ancestors by muralist \u003ca href=\"https://www.instagram.com/cececarpio\" target=\"_blank\" rel=\"noopener noreferrer\">Cece Carpio\u003c/a> that lead into tiered altars that hold various offerings and symbols decorated by artist \u003ca href=\"https://www.instagram.com/titty_boy\" target=\"_blank\" rel=\"noopener noreferrer\">TITTY\u003c/a>. Each tier represents a step to heaven and highlights different remnants important to the dead, including framed photos, candles, flowers and food offerings like rice. Local community members are encouraged to visit the space now, though a more communal celebration with live musical performances will occur at the All Souls Day event on Sunday, Oct. 30.\u003c/p>\n\u003cp>\u003cem>Ancestor Altars\u003c/em> and its accompanying celebration marks Kultivate Labs’ and Balay Kreative’s first effort in uniting the community for All Souls Day at Kapwa Gardens. By illuminating portraits and creating spaces where people can grieve together after a long period of isolation, Maxali hopes to promote generational healing. Through acknowledging and carrying on legacies in new ways, the act of moving forward can be both expansive and restorative.\u003c/p>\n\u003cfigure id=\"attachment_13921024\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921024\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/ancestor-altars-edited-1--800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/ancestor-altars-edited-1--800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/ancestor-altars-edited-1--1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/ancestor-altars-edited-1--160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/ancestor-altars-edited-1--768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/ancestor-altars-edited-1--1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/ancestor-altars-edited-1--2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/ancestor-altars-edited-1--1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Portraits by Cece Carpio from ‘Ancestor Altars.’ \u003ccite>(Kristie Song)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I think what’s beautiful about \u003cem>Ancestor Altars\u003c/em> is that it not only is an event to honor our ancestors and those that come before us,” says Maxali. “But it’s also a great way for the next generation to understand that they come from such powerful people — that they, in turn, can move forward and bring so much power and beauty to their descendants.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>All Souls Day: An Afterlife Celebration\u003cem> takes place Sunday, Oct. 30 from 1-6 p.m. at Kapwa Gardens. Admission is free. Ancestor Altars will be on view until Oct. 30. \u003ca href=\"https://www.kapwagardens.com/events/undas\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In Filipino culture, All Souls Day provides a window of time to reunite with the dead and to commemorate their memory with joy. “Oftentimes when people think about going to the cemetery, it’s a somber, dark time,” says Nicole Maxali, Balay Kreative program manager and \u003cem>Ancestor Altars\u003c/em> organizer. “But for Filipinos, it’s more of a celebration of the afterlife.” At the height of the pandemic, Maxali was impacted by personal and collective grief — loss was everywhere and the usual means of processing these feelings were severed.\u003c/p>\n\u003cp>“That lack of physical connection during mourning was very devastating for a lot of folks,” says Maxali. “And so my idea was, ‘Why don’t we have an event at Kapwa Gardens so that people can come together with their families — with the community — and celebrate those that have passed on during the pandemic?’”\u003c/p>\n\u003cfigure id=\"attachment_13921023\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921023\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/Cece-edited--800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Cece-edited--800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Cece-edited--1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Cece-edited--160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Cece-edited--768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Cece-edited--1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Cece-edited--2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Cece-edited--1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Muralist Cece Carpio sets up the portraits for ‘Ancestor Altars.’ \u003ccite>(Kristie Song)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The installation features six large, framed portraits of deceased ancestors by muralist \u003ca href=\"https://www.instagram.com/cececarpio\" target=\"_blank\" rel=\"noopener noreferrer\">Cece Carpio\u003c/a> that lead into tiered altars that hold various offerings and symbols decorated by artist \u003ca href=\"https://www.instagram.com/titty_boy\" target=\"_blank\" rel=\"noopener noreferrer\">TITTY\u003c/a>. Each tier represents a step to heaven and highlights different remnants important to the dead, including framed photos, candles, flowers and food offerings like rice. Local community members are encouraged to visit the space now, though a more communal celebration with live musical performances will occur at the All Souls Day event on Sunday, Oct. 30.\u003c/p>\n\u003cp>\u003cem>Ancestor Altars\u003c/em> and its accompanying celebration marks Kultivate Labs’ and Balay Kreative’s first effort in uniting the community for All Souls Day at Kapwa Gardens. By illuminating portraits and creating spaces where people can grieve together after a long period of isolation, Maxali hopes to promote generational healing. Through acknowledging and carrying on legacies in new ways, the act of moving forward can be both expansive and restorative.\u003c/p>\n\u003cfigure id=\"attachment_13921024\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921024\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/ancestor-altars-edited-1--800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/ancestor-altars-edited-1--800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/ancestor-altars-edited-1--1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/ancestor-altars-edited-1--160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/ancestor-altars-edited-1--768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/ancestor-altars-edited-1--1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/ancestor-altars-edited-1--2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/ancestor-altars-edited-1--1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Portraits by Cece Carpio from ‘Ancestor Altars.’ \u003ccite>(Kristie Song)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I think what’s beautiful about \u003cem>Ancestor Altars\u003c/em> is that it not only is an event to honor our ancestors and those that come before us,” says Maxali. “But it’s also a great way for the next generation to understand that they come from such powerful people — that they, in turn, can move forward and bring so much power and beauty to their descendants.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>All Souls Day: An Afterlife Celebration\u003cem> takes place Sunday, Oct. 30 from 1-6 p.m. at Kapwa Gardens. Admission is free. Ancestor Altars will be on view until Oct. 30. \u003ca href=\"https://www.kapwagardens.com/events/undas\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Aklasan Fest, The Only Filipino Punk Festival in the U.S., Celebrates Its Return",
"headTitle": "Aklasan Fest, The Only Filipino Punk Festival in the U.S., Celebrates Its Return | KQED",
"content": "\u003cp>While the San Francisco Bay area was focused on the larger Outside Lands festival, where mainstream punk band Green Day took the main stage earlier this month, 3 miles south, in the city’s South of Market neighborhood, a smaller minority of predominantly POC and queer folks gathered at Bindlestiff Studios to enjoy the seventh annual Aklasan Fest. The punk scene as we know it is usually a space dominated by cis white men, but in true punk fashion, Aklasan Fest prioritized the often unheard and unseen voices of punk, creating an inclusive space that was not only educating attendees about Filpino oppression but also highlighting the struggles of marginalized identities through the lens of Filipinos and Filipino Americans.\u003c/p>\n\u003cp>Rupert Estanisalo, who founded the event in 2014, says Aklasan Fest is “the only Filipino punk festival or event like this.” He says he wanted to “create a space just for Filipino punks that looked like me and cared about the issues I cared about that are anti-imperialist, activist and pro-people of color.” In Tagalog, Aklasan means “Rise Up,” and after a two-year pandemic-induced hiatus, it returned, featuring 15 bands from across the country.\u003c/p>\n\u003cfigure id=\"attachment_13917915\" class=\"wp-caption alignnone\" style=\"max-width: 2600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13917915 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/08052022-aklasan-343_custom-43ebba8432337dc5b83507d7902c7283fe1b8ec8-s2600-c85-1.png\" alt=\"\" width=\"2600\" height=\"1731\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-343_custom-43ebba8432337dc5b83507d7902c7283fe1b8ec8-s2600-c85-1.png 2600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-343_custom-43ebba8432337dc5b83507d7902c7283fe1b8ec8-s2600-c85-1-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-343_custom-43ebba8432337dc5b83507d7902c7283fe1b8ec8-s2600-c85-1-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-343_custom-43ebba8432337dc5b83507d7902c7283fe1b8ec8-s2600-c85-1-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-343_custom-43ebba8432337dc5b83507d7902c7283fe1b8ec8-s2600-c85-1-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-343_custom-43ebba8432337dc5b83507d7902c7283fe1b8ec8-s2600-c85-1-1536x1023.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-343_custom-43ebba8432337dc5b83507d7902c7283fe1b8ec8-s2600-c85-1-2048x1363.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-343_custom-43ebba8432337dc5b83507d7902c7283fe1b8ec8-s2600-c85-1-1920x1278.png 1920w\" sizes=\"(max-width: 2600px) 100vw, 2600px\">\u003cfigcaption class=\"wp-caption-text\">Attendees headbang and dance to the music at the seventh annual Aklasan Festival in San Francisco on Aug. 5, 2022. \u003ccite>(Justin Katigbak for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a Filipino-American photographer, Aklasan is important because it creates a space for us to gather, as a community, to express ourselves and tell our stories artistically. Being the only Filipino punk show in the nation in itself is special. The festival is carving its path and place in the punk scene, surrounded by a robust and tight-knit community who cares about the music and the people.\u003c/p>\n\u003cfigure id=\"attachment_13917916\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13917916 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/jk9_custom-0ec71ece9026d42f64310ada91013098fbc7b599-s2600-c85-2-scaled.jpg\" alt=\"\" width=\"2560\" height=\"859\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk9_custom-0ec71ece9026d42f64310ada91013098fbc7b599-s2600-c85-2-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk9_custom-0ec71ece9026d42f64310ada91013098fbc7b599-s2600-c85-2-800x268.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk9_custom-0ec71ece9026d42f64310ada91013098fbc7b599-s2600-c85-2-1020x342.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk9_custom-0ec71ece9026d42f64310ada91013098fbc7b599-s2600-c85-2-160x54.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk9_custom-0ec71ece9026d42f64310ada91013098fbc7b599-s2600-c85-2-768x258.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk9_custom-0ec71ece9026d42f64310ada91013098fbc7b599-s2600-c85-2-1536x515.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk9_custom-0ec71ece9026d42f64310ada91013098fbc7b599-s2600-c85-2-2048x687.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk9_custom-0ec71ece9026d42f64310ada91013098fbc7b599-s2600-c85-2-1920x644.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Juan Salazar, the lead vocalist for Bomb PE, (left) and Brenton Aragon, a vocalist with Moxiebeat, (right) perform at the seventh annual Aklasan Festival in San Francisco on Aug. 5, 2022 (\u003cspan class=\"credit\" aria-label=\"Image credit\">Justin Katigbak for NPR)\u003c/span> \u003ccite>(Justin Katigbak for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917919\" class=\"wp-caption alignnone\" style=\"max-width: 2600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13917919 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/08062022-aklasan-169-2_custom-2faa6ff56126e0a621be6ba4f84f266182481015-s2600-c85.png\" alt=\"\" width=\"2600\" height=\"1913\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-169-2_custom-2faa6ff56126e0a621be6ba4f84f266182481015-s2600-c85.png 2600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-169-2_custom-2faa6ff56126e0a621be6ba4f84f266182481015-s2600-c85-800x589.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-169-2_custom-2faa6ff56126e0a621be6ba4f84f266182481015-s2600-c85-1020x750.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-169-2_custom-2faa6ff56126e0a621be6ba4f84f266182481015-s2600-c85-160x118.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-169-2_custom-2faa6ff56126e0a621be6ba4f84f266182481015-s2600-c85-768x565.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-169-2_custom-2faa6ff56126e0a621be6ba4f84f266182481015-s2600-c85-1536x1130.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-169-2_custom-2faa6ff56126e0a621be6ba4f84f266182481015-s2600-c85-2048x1507.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-169-2_custom-2faa6ff56126e0a621be6ba4f84f266182481015-s2600-c85-1920x1413.png 1920w\" sizes=\"(max-width: 2600px) 100vw, 2600px\">\u003cfigcaption class=\"wp-caption-text\">Rupert Estanislao, the lead vocalist for Toxic Culture and Bolo, performs at the seventh annual Aklasan Festival in San Francisco on Aug. 5, 2022. \u003ccite>(Justin Katigbak for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the dark setting of Bindlestiff, you find yourself surrounded by straight-edge, immigrant, tatted, vegan, working class, Filipino and Filipino-American hardcore punks as well as fans who range in ages, races and genders, moshing to music in both Tagalog and English. Romeo Reyes-Pagdilao, the lead singer of Silakbo, says, “You got bands like us (Silakbo) or our friends like Material Support and Moxiebeat. They got songs talking about our experiences, being Filipino, working people, and growing up in the bell of the beast, the United States.”\u003c/p>\n\u003cfigure id=\"attachment_13917920\" class=\"wp-caption alignnone\" style=\"max-width: 2600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13917920\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/08052022-aklasan-106_custom-f6631cc9dc426c5574e078b34e4f2912f1be11b5-s2600-c85.png\" alt=\"\" width=\"2600\" height=\"1731\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-106_custom-f6631cc9dc426c5574e078b34e4f2912f1be11b5-s2600-c85.png 2600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-106_custom-f6631cc9dc426c5574e078b34e4f2912f1be11b5-s2600-c85-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-106_custom-f6631cc9dc426c5574e078b34e4f2912f1be11b5-s2600-c85-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-106_custom-f6631cc9dc426c5574e078b34e4f2912f1be11b5-s2600-c85-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-106_custom-f6631cc9dc426c5574e078b34e4f2912f1be11b5-s2600-c85-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-106_custom-f6631cc9dc426c5574e078b34e4f2912f1be11b5-s2600-c85-1536x1023.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-106_custom-f6631cc9dc426c5574e078b34e4f2912f1be11b5-s2600-c85-2048x1363.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-106_custom-f6631cc9dc426c5574e078b34e4f2912f1be11b5-s2600-c85-1920x1278.png 1920w\" sizes=\"(max-width: 2600px) 100vw, 2600px\">\u003cfigcaption class=\"wp-caption-text\">JJ Weber, of Obsolete Sun, performs at the seventh annual Aklasan Festival in San Francisco on Aug. 5, 2022. \u003ccite>(Justin Katigbak for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917921\" class=\"wp-caption alignnone\" style=\"max-width: 2600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13917921\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/08062022-aklasan-412_custom-7d811384aa00dde53dd40d5da71ec1f31ee31ffc-s2600-c85.png\" alt=\"\" width=\"2600\" height=\"1731\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-412_custom-7d811384aa00dde53dd40d5da71ec1f31ee31ffc-s2600-c85.png 2600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-412_custom-7d811384aa00dde53dd40d5da71ec1f31ee31ffc-s2600-c85-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-412_custom-7d811384aa00dde53dd40d5da71ec1f31ee31ffc-s2600-c85-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-412_custom-7d811384aa00dde53dd40d5da71ec1f31ee31ffc-s2600-c85-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-412_custom-7d811384aa00dde53dd40d5da71ec1f31ee31ffc-s2600-c85-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-412_custom-7d811384aa00dde53dd40d5da71ec1f31ee31ffc-s2600-c85-1536x1023.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-412_custom-7d811384aa00dde53dd40d5da71ec1f31ee31ffc-s2600-c85-2048x1363.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-412_custom-7d811384aa00dde53dd40d5da71ec1f31ee31ffc-s2600-c85-1920x1278.png 1920w\" sizes=\"(max-width: 2600px) 100vw, 2600px\">\u003cfigcaption class=\"wp-caption-text\">Jackie Maegan, the lead vocalist for Material Support, performs at the the seventh annual Aklasan Festival in San Francisco on Aug. 5, 2022. \u003ccite>(Justin Katigbak for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Material Support performed “Cost of Living,” written to highlight how difficult it is for working-class people to afford basic housing or food for their families in America. One of the most memorable moments of the festival was when Jackie Mariano, Material Support’s lead singer, gutturally sang out “racialized mass graves” to punctuate the end of the song. “When we wrote it,” Mariano says, “I was thinking of the concept of how we’re forced to navigate the world by class and race. My dad, who died in 2016, is buried in a nice Catholic cemetery in Queens (NY) in a conservative, white, middle-class neighborhood, and with that being our only ‘real estate,’ I still felt like we were out of place, didn’t belong there. What a different juxtaposition for my Filipino immigrant dad to be laid to rest in a nice place, versus many other people who die in war, occupation and are dumped in mass graves. When COVID happened, it’s like the concept of racialized mass graves was made real on Potter’s Field — people constantly forgotten because they were marginalized in life and in death.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Like Material Support, most of the bands featured at the festival highlighted the social and economic issues faced by thousands of Filipinos and Filipino-Americans here in the United States and in the Philippines. About the song “World of Death,” Reyes-Pagdilo tells me: “It’s about the world around me and how it can seem very bleak — from climate change (to) living in San Francisco, (the city) with the highest homeless population (where) drug abuse is really rampant — meanwhile, we don’t make enough to eat and (we) work ourselves to the bone.”\u003c/p>\n\u003cfigure id=\"attachment_13917922\" class=\"wp-caption alignnone\" style=\"max-width: 2600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13917922\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/08052022-aklasan-296_custom-5562ddf32c1e72801069217a6a4660d05a1dc4c4-s2600-c85.png\" alt=\"\" width=\"2600\" height=\"1731\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-296_custom-5562ddf32c1e72801069217a6a4660d05a1dc4c4-s2600-c85.png 2600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-296_custom-5562ddf32c1e72801069217a6a4660d05a1dc4c4-s2600-c85-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-296_custom-5562ddf32c1e72801069217a6a4660d05a1dc4c4-s2600-c85-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-296_custom-5562ddf32c1e72801069217a6a4660d05a1dc4c4-s2600-c85-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-296_custom-5562ddf32c1e72801069217a6a4660d05a1dc4c4-s2600-c85-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-296_custom-5562ddf32c1e72801069217a6a4660d05a1dc4c4-s2600-c85-1536x1023.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-296_custom-5562ddf32c1e72801069217a6a4660d05a1dc4c4-s2600-c85-2048x1363.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-296_custom-5562ddf32c1e72801069217a6a4660d05a1dc4c4-s2600-c85-1920x1278.png 1920w\" sizes=\"(max-width: 2600px) 100vw, 2600px\">\u003cfigcaption class=\"wp-caption-text\">Mango, of Mirrored Fatality, performs at the seventh annual Aklasan Festival in San Francisco on Aug. 5, 2022. \u003ccite>(Justin Katigbak for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917923\" class=\"wp-caption alignnone\" style=\"max-width: 2600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13917923 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/08052022-aklasan-313_custom-57d8aa559957a3f5493c3ab66759b95549c8e052-s2600-c85.png\" alt=\"\" width=\"2600\" height=\"1731\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-313_custom-57d8aa559957a3f5493c3ab66759b95549c8e052-s2600-c85.png 2600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-313_custom-57d8aa559957a3f5493c3ab66759b95549c8e052-s2600-c85-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-313_custom-57d8aa559957a3f5493c3ab66759b95549c8e052-s2600-c85-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-313_custom-57d8aa559957a3f5493c3ab66759b95549c8e052-s2600-c85-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-313_custom-57d8aa559957a3f5493c3ab66759b95549c8e052-s2600-c85-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-313_custom-57d8aa559957a3f5493c3ab66759b95549c8e052-s2600-c85-1536x1023.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-313_custom-57d8aa559957a3f5493c3ab66759b95549c8e052-s2600-c85-2048x1363.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-313_custom-57d8aa559957a3f5493c3ab66759b95549c8e052-s2600-c85-1920x1278.png 1920w\" sizes=\"(max-width: 2600px) 100vw, 2600px\">\u003cfigcaption class=\"wp-caption-text\">Mango and Samar, of Mirrored Fatality, perform at the seventh annual Aklasan Festival in San Francisco on Aug. 5, 2022. \u003ccite>(Justin Katigbak for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Aklasan Fest is like no other, but it’s also become a place of community for many of those who played and attended. AJ Santos, of Material Support and a Filipino immigrant, says the festival is “one of the most important punk fests in the entire world … because it’s one of the festivals that feels like a genuine community — because most of the punk fests that I have been in don’t have the feeling of community.” Aklasan has created a space that centers the voices of Filipinos and Filipino-Americans to agitate, organize and mobilize their community to fight for genuine freedom in the Philippines.\u003c/p>\n\u003cfigure id=\"attachment_13917924\" class=\"wp-caption alignnone\" style=\"max-width: 2600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13917924\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/08052022-aklasan-319_custom-5d2663f96e09a101f89c01aeedd46d24d3f96677-s2600-c85.png\" alt=\"\" width=\"2600\" height=\"1727\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-319_custom-5d2663f96e09a101f89c01aeedd46d24d3f96677-s2600-c85.png 2600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-319_custom-5d2663f96e09a101f89c01aeedd46d24d3f96677-s2600-c85-800x531.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-319_custom-5d2663f96e09a101f89c01aeedd46d24d3f96677-s2600-c85-1020x678.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-319_custom-5d2663f96e09a101f89c01aeedd46d24d3f96677-s2600-c85-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-319_custom-5d2663f96e09a101f89c01aeedd46d24d3f96677-s2600-c85-768x510.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-319_custom-5d2663f96e09a101f89c01aeedd46d24d3f96677-s2600-c85-1536x1020.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-319_custom-5d2663f96e09a101f89c01aeedd46d24d3f96677-s2600-c85-2048x1360.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-319_custom-5d2663f96e09a101f89c01aeedd46d24d3f96677-s2600-c85-1920x1275.png 1920w\" sizes=\"(max-width: 2600px) 100vw, 2600px\">\u003cfigcaption class=\"wp-caption-text\">Frankie Ortanez, the lead vocalist for Kanta Kanta, performs at the seventh annual Aklasan Festival in San Francisco on Aug. 5, 2022. \u003ccite>(Justin Katigbak for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917925\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13917925\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/jk6_custom-25252d8ba7bf3202e28ae297f75ad8ce20c231ee-s2600-c85-scaled.jpg\" alt=\"\" width=\"2560\" height=\"850\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk6_custom-25252d8ba7bf3202e28ae297f75ad8ce20c231ee-s2600-c85-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk6_custom-25252d8ba7bf3202e28ae297f75ad8ce20c231ee-s2600-c85-800x266.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk6_custom-25252d8ba7bf3202e28ae297f75ad8ce20c231ee-s2600-c85-1020x339.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk6_custom-25252d8ba7bf3202e28ae297f75ad8ce20c231ee-s2600-c85-160x53.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk6_custom-25252d8ba7bf3202e28ae297f75ad8ce20c231ee-s2600-c85-768x255.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk6_custom-25252d8ba7bf3202e28ae297f75ad8ce20c231ee-s2600-c85-1536x510.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk6_custom-25252d8ba7bf3202e28ae297f75ad8ce20c231ee-s2600-c85-2048x680.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk6_custom-25252d8ba7bf3202e28ae297f75ad8ce20c231ee-s2600-c85-1920x637.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Romeo Reyes-Pagdilao, the lead vocalist for Silakbo, performs (left) as attendees headbang and dance to the music (right) at the seventh annual Aklasan Festival in San Francisco on Aug. 5, 2022.\u003c/figcaption>\u003c/figure>\n\u003cp>As someone new to punk music and who’s only been to a few shows, I felt connected to the people there through their music and how they showed up for each other. As in any gathering of Filipinos, you’re greeted by everyone, taken care of and walk away well fed. At the festival, people in the crowd were handing out water, socializing in between sets and picking up people who’d fallen down during the mosh pit. Bands let other bands borrow their instruments and then stuck around to watch the others play their sets in a show of support. At times, it felt more like I was spending time with family than at a festival.\u003c/p>\n\u003cp>Closing out the night’s lineup, after the last notes from Material Support, Rupert led the crowd in a chant of “Makibaka! Huwag matakot!,” which translates to “Fight! Do not be afraid!”, reminding fans that this festival is bigger than just the beats, screams and guitar riffs: More importantly, it’s about community and our fight for freedom.\u003c/p>\n\u003cfigure id=\"attachment_13917926\" class=\"wp-caption alignnone\" style=\"max-width: 2600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13917926\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/08062022-aklasan-404_custom-9f61f1ab6d3474c8edcfca6272500b24dbd4fce6-s2600-c85.png\" alt=\"\" width=\"2600\" height=\"1731\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-404_custom-9f61f1ab6d3474c8edcfca6272500b24dbd4fce6-s2600-c85.png 2600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-404_custom-9f61f1ab6d3474c8edcfca6272500b24dbd4fce6-s2600-c85-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-404_custom-9f61f1ab6d3474c8edcfca6272500b24dbd4fce6-s2600-c85-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-404_custom-9f61f1ab6d3474c8edcfca6272500b24dbd4fce6-s2600-c85-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-404_custom-9f61f1ab6d3474c8edcfca6272500b24dbd4fce6-s2600-c85-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-404_custom-9f61f1ab6d3474c8edcfca6272500b24dbd4fce6-s2600-c85-1536x1023.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-404_custom-9f61f1ab6d3474c8edcfca6272500b24dbd4fce6-s2600-c85-2048x1363.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-404_custom-9f61f1ab6d3474c8edcfca6272500b24dbd4fce6-s2600-c85-1920x1278.png 1920w\" sizes=\"(max-width: 2600px) 100vw, 2600px\">\u003cfigcaption class=\"wp-caption-text\">Attendees dance to the music at the seventh annual Aklasan Festival in San Francisco on Aug. 5, 2022. \u003ccite>(Justin Katigbak for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917927\" class=\"wp-caption alignnone\" style=\"max-width: 2600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13917927\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/08052022-aklasan-100_custom-7a15dc8ce0911500ee6d8fa6d4a4c18d945f89fe-s2600-c85.png\" alt=\"\" width=\"2600\" height=\"1731\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-100_custom-7a15dc8ce0911500ee6d8fa6d4a4c18d945f89fe-s2600-c85.png 2600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-100_custom-7a15dc8ce0911500ee6d8fa6d4a4c18d945f89fe-s2600-c85-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-100_custom-7a15dc8ce0911500ee6d8fa6d4a4c18d945f89fe-s2600-c85-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-100_custom-7a15dc8ce0911500ee6d8fa6d4a4c18d945f89fe-s2600-c85-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-100_custom-7a15dc8ce0911500ee6d8fa6d4a4c18d945f89fe-s2600-c85-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-100_custom-7a15dc8ce0911500ee6d8fa6d4a4c18d945f89fe-s2600-c85-1536x1023.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-100_custom-7a15dc8ce0911500ee6d8fa6d4a4c18d945f89fe-s2600-c85-2048x1363.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-100_custom-7a15dc8ce0911500ee6d8fa6d4a4c18d945f89fe-s2600-c85-1920x1278.png 1920w\" sizes=\"(max-width: 2600px) 100vw, 2600px\">\u003cfigcaption class=\"wp-caption-text\">JJ Weber, of Obsolete Sun, performs at the seventh annual Aklasan Festival in San Francisco on Aug. 5, 2022. \u003ccite>(Justin Katigbak for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917928\" class=\"wp-caption alignnone\" style=\"max-width: 2600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13917928\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/08052022-aklasan-279_custom-374f7ae0763cfee4c38aa04ba99845dae569fa09-s2600-c85.png\" alt=\"\" width=\"2600\" height=\"1731\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-279_custom-374f7ae0763cfee4c38aa04ba99845dae569fa09-s2600-c85.png 2600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-279_custom-374f7ae0763cfee4c38aa04ba99845dae569fa09-s2600-c85-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-279_custom-374f7ae0763cfee4c38aa04ba99845dae569fa09-s2600-c85-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-279_custom-374f7ae0763cfee4c38aa04ba99845dae569fa09-s2600-c85-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-279_custom-374f7ae0763cfee4c38aa04ba99845dae569fa09-s2600-c85-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-279_custom-374f7ae0763cfee4c38aa04ba99845dae569fa09-s2600-c85-1536x1023.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-279_custom-374f7ae0763cfee4c38aa04ba99845dae569fa09-s2600-c85-2048x1363.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-279_custom-374f7ae0763cfee4c38aa04ba99845dae569fa09-s2600-c85-1920x1278.png 1920w\" sizes=\"(max-width: 2600px) 100vw, 2600px\">\u003cfigcaption class=\"wp-caption-text\">Mango, of Mirrored Fatality, performs at the seventh annual Aklasan Festival in San Francisco on Aug. 5, 2022. \u003ccite>(Justin Katigbak for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Justin Katigbak is a Filipino-American documentary photographer and videographer. See more of Justin Katigbak’s work on his website, \u003c/em>\u003ca href=\"http://www.justinkatigbak.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>justinkatigbak.com\u003c/em>\u003c/a>\u003cem>, or on Instagram, at \u003c/em>\u003ca href=\"https://www.instagram.com/justin.katigbak/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>@justin.katigbak\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\n\u003cp>\u003cb>\u003ci>Copyright 2022 NPR. To see more, \u003c/i>\u003c/b>\u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cb>\u003ci>visit NPR\u003c/i>\u003c/b>\u003c/a>.\u003c/p>\n\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>While the San Francisco Bay area was focused on the larger Outside Lands festival, where mainstream punk band Green Day took the main stage earlier this month, 3 miles south, in the city’s South of Market neighborhood, a smaller minority of predominantly POC and queer folks gathered at Bindlestiff Studios to enjoy the seventh annual Aklasan Fest. The punk scene as we know it is usually a space dominated by cis white men, but in true punk fashion, Aklasan Fest prioritized the often unheard and unseen voices of punk, creating an inclusive space that was not only educating attendees about Filpino oppression but also highlighting the struggles of marginalized identities through the lens of Filipinos and Filipino Americans.\u003c/p>\n\u003cp>Rupert Estanisalo, who founded the event in 2014, says Aklasan Fest is “the only Filipino punk festival or event like this.” He says he wanted to “create a space just for Filipino punks that looked like me and cared about the issues I cared about that are anti-imperialist, activist and pro-people of color.” In Tagalog, Aklasan means “Rise Up,” and after a two-year pandemic-induced hiatus, it returned, featuring 15 bands from across the country.\u003c/p>\n\u003cfigure id=\"attachment_13917915\" class=\"wp-caption alignnone\" style=\"max-width: 2600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13917915 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/08052022-aklasan-343_custom-43ebba8432337dc5b83507d7902c7283fe1b8ec8-s2600-c85-1.png\" alt=\"\" width=\"2600\" height=\"1731\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-343_custom-43ebba8432337dc5b83507d7902c7283fe1b8ec8-s2600-c85-1.png 2600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-343_custom-43ebba8432337dc5b83507d7902c7283fe1b8ec8-s2600-c85-1-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-343_custom-43ebba8432337dc5b83507d7902c7283fe1b8ec8-s2600-c85-1-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-343_custom-43ebba8432337dc5b83507d7902c7283fe1b8ec8-s2600-c85-1-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-343_custom-43ebba8432337dc5b83507d7902c7283fe1b8ec8-s2600-c85-1-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-343_custom-43ebba8432337dc5b83507d7902c7283fe1b8ec8-s2600-c85-1-1536x1023.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-343_custom-43ebba8432337dc5b83507d7902c7283fe1b8ec8-s2600-c85-1-2048x1363.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-343_custom-43ebba8432337dc5b83507d7902c7283fe1b8ec8-s2600-c85-1-1920x1278.png 1920w\" sizes=\"(max-width: 2600px) 100vw, 2600px\">\u003cfigcaption class=\"wp-caption-text\">Attendees headbang and dance to the music at the seventh annual Aklasan Festival in San Francisco on Aug. 5, 2022. \u003ccite>(Justin Katigbak for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a Filipino-American photographer, Aklasan is important because it creates a space for us to gather, as a community, to express ourselves and tell our stories artistically. Being the only Filipino punk show in the nation in itself is special. The festival is carving its path and place in the punk scene, surrounded by a robust and tight-knit community who cares about the music and the people.\u003c/p>\n\u003cfigure id=\"attachment_13917916\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13917916 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/jk9_custom-0ec71ece9026d42f64310ada91013098fbc7b599-s2600-c85-2-scaled.jpg\" alt=\"\" width=\"2560\" height=\"859\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk9_custom-0ec71ece9026d42f64310ada91013098fbc7b599-s2600-c85-2-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk9_custom-0ec71ece9026d42f64310ada91013098fbc7b599-s2600-c85-2-800x268.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk9_custom-0ec71ece9026d42f64310ada91013098fbc7b599-s2600-c85-2-1020x342.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk9_custom-0ec71ece9026d42f64310ada91013098fbc7b599-s2600-c85-2-160x54.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk9_custom-0ec71ece9026d42f64310ada91013098fbc7b599-s2600-c85-2-768x258.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk9_custom-0ec71ece9026d42f64310ada91013098fbc7b599-s2600-c85-2-1536x515.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk9_custom-0ec71ece9026d42f64310ada91013098fbc7b599-s2600-c85-2-2048x687.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk9_custom-0ec71ece9026d42f64310ada91013098fbc7b599-s2600-c85-2-1920x644.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Juan Salazar, the lead vocalist for Bomb PE, (left) and Brenton Aragon, a vocalist with Moxiebeat, (right) perform at the seventh annual Aklasan Festival in San Francisco on Aug. 5, 2022 (\u003cspan class=\"credit\" aria-label=\"Image credit\">Justin Katigbak for NPR)\u003c/span> \u003ccite>(Justin Katigbak for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917919\" class=\"wp-caption alignnone\" style=\"max-width: 2600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13917919 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/08062022-aklasan-169-2_custom-2faa6ff56126e0a621be6ba4f84f266182481015-s2600-c85.png\" alt=\"\" width=\"2600\" height=\"1913\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-169-2_custom-2faa6ff56126e0a621be6ba4f84f266182481015-s2600-c85.png 2600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-169-2_custom-2faa6ff56126e0a621be6ba4f84f266182481015-s2600-c85-800x589.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-169-2_custom-2faa6ff56126e0a621be6ba4f84f266182481015-s2600-c85-1020x750.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-169-2_custom-2faa6ff56126e0a621be6ba4f84f266182481015-s2600-c85-160x118.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-169-2_custom-2faa6ff56126e0a621be6ba4f84f266182481015-s2600-c85-768x565.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-169-2_custom-2faa6ff56126e0a621be6ba4f84f266182481015-s2600-c85-1536x1130.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-169-2_custom-2faa6ff56126e0a621be6ba4f84f266182481015-s2600-c85-2048x1507.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-169-2_custom-2faa6ff56126e0a621be6ba4f84f266182481015-s2600-c85-1920x1413.png 1920w\" sizes=\"(max-width: 2600px) 100vw, 2600px\">\u003cfigcaption class=\"wp-caption-text\">Rupert Estanislao, the lead vocalist for Toxic Culture and Bolo, performs at the seventh annual Aklasan Festival in San Francisco on Aug. 5, 2022. \u003ccite>(Justin Katigbak for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the dark setting of Bindlestiff, you find yourself surrounded by straight-edge, immigrant, tatted, vegan, working class, Filipino and Filipino-American hardcore punks as well as fans who range in ages, races and genders, moshing to music in both Tagalog and English. Romeo Reyes-Pagdilao, the lead singer of Silakbo, says, “You got bands like us (Silakbo) or our friends like Material Support and Moxiebeat. They got songs talking about our experiences, being Filipino, working people, and growing up in the bell of the beast, the United States.”\u003c/p>\n\u003cfigure id=\"attachment_13917920\" class=\"wp-caption alignnone\" style=\"max-width: 2600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13917920\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/08052022-aklasan-106_custom-f6631cc9dc426c5574e078b34e4f2912f1be11b5-s2600-c85.png\" alt=\"\" width=\"2600\" height=\"1731\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-106_custom-f6631cc9dc426c5574e078b34e4f2912f1be11b5-s2600-c85.png 2600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-106_custom-f6631cc9dc426c5574e078b34e4f2912f1be11b5-s2600-c85-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-106_custom-f6631cc9dc426c5574e078b34e4f2912f1be11b5-s2600-c85-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-106_custom-f6631cc9dc426c5574e078b34e4f2912f1be11b5-s2600-c85-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-106_custom-f6631cc9dc426c5574e078b34e4f2912f1be11b5-s2600-c85-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-106_custom-f6631cc9dc426c5574e078b34e4f2912f1be11b5-s2600-c85-1536x1023.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-106_custom-f6631cc9dc426c5574e078b34e4f2912f1be11b5-s2600-c85-2048x1363.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-106_custom-f6631cc9dc426c5574e078b34e4f2912f1be11b5-s2600-c85-1920x1278.png 1920w\" sizes=\"(max-width: 2600px) 100vw, 2600px\">\u003cfigcaption class=\"wp-caption-text\">JJ Weber, of Obsolete Sun, performs at the seventh annual Aklasan Festival in San Francisco on Aug. 5, 2022. \u003ccite>(Justin Katigbak for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917921\" class=\"wp-caption alignnone\" style=\"max-width: 2600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13917921\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/08062022-aklasan-412_custom-7d811384aa00dde53dd40d5da71ec1f31ee31ffc-s2600-c85.png\" alt=\"\" width=\"2600\" height=\"1731\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-412_custom-7d811384aa00dde53dd40d5da71ec1f31ee31ffc-s2600-c85.png 2600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-412_custom-7d811384aa00dde53dd40d5da71ec1f31ee31ffc-s2600-c85-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-412_custom-7d811384aa00dde53dd40d5da71ec1f31ee31ffc-s2600-c85-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-412_custom-7d811384aa00dde53dd40d5da71ec1f31ee31ffc-s2600-c85-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-412_custom-7d811384aa00dde53dd40d5da71ec1f31ee31ffc-s2600-c85-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-412_custom-7d811384aa00dde53dd40d5da71ec1f31ee31ffc-s2600-c85-1536x1023.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-412_custom-7d811384aa00dde53dd40d5da71ec1f31ee31ffc-s2600-c85-2048x1363.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-412_custom-7d811384aa00dde53dd40d5da71ec1f31ee31ffc-s2600-c85-1920x1278.png 1920w\" sizes=\"(max-width: 2600px) 100vw, 2600px\">\u003cfigcaption class=\"wp-caption-text\">Jackie Maegan, the lead vocalist for Material Support, performs at the the seventh annual Aklasan Festival in San Francisco on Aug. 5, 2022. \u003ccite>(Justin Katigbak for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Material Support performed “Cost of Living,” written to highlight how difficult it is for working-class people to afford basic housing or food for their families in America. One of the most memorable moments of the festival was when Jackie Mariano, Material Support’s lead singer, gutturally sang out “racialized mass graves” to punctuate the end of the song. “When we wrote it,” Mariano says, “I was thinking of the concept of how we’re forced to navigate the world by class and race. My dad, who died in 2016, is buried in a nice Catholic cemetery in Queens (NY) in a conservative, white, middle-class neighborhood, and with that being our only ‘real estate,’ I still felt like we were out of place, didn’t belong there. What a different juxtaposition for my Filipino immigrant dad to be laid to rest in a nice place, versus many other people who die in war, occupation and are dumped in mass graves. When COVID happened, it’s like the concept of racialized mass graves was made real on Potter’s Field — people constantly forgotten because they were marginalized in life and in death.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Like Material Support, most of the bands featured at the festival highlighted the social and economic issues faced by thousands of Filipinos and Filipino-Americans here in the United States and in the Philippines. About the song “World of Death,” Reyes-Pagdilo tells me: “It’s about the world around me and how it can seem very bleak — from climate change (to) living in San Francisco, (the city) with the highest homeless population (where) drug abuse is really rampant — meanwhile, we don’t make enough to eat and (we) work ourselves to the bone.”\u003c/p>\n\u003cfigure id=\"attachment_13917922\" class=\"wp-caption alignnone\" style=\"max-width: 2600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13917922\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/08052022-aklasan-296_custom-5562ddf32c1e72801069217a6a4660d05a1dc4c4-s2600-c85.png\" alt=\"\" width=\"2600\" height=\"1731\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-296_custom-5562ddf32c1e72801069217a6a4660d05a1dc4c4-s2600-c85.png 2600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-296_custom-5562ddf32c1e72801069217a6a4660d05a1dc4c4-s2600-c85-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-296_custom-5562ddf32c1e72801069217a6a4660d05a1dc4c4-s2600-c85-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-296_custom-5562ddf32c1e72801069217a6a4660d05a1dc4c4-s2600-c85-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-296_custom-5562ddf32c1e72801069217a6a4660d05a1dc4c4-s2600-c85-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-296_custom-5562ddf32c1e72801069217a6a4660d05a1dc4c4-s2600-c85-1536x1023.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-296_custom-5562ddf32c1e72801069217a6a4660d05a1dc4c4-s2600-c85-2048x1363.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-296_custom-5562ddf32c1e72801069217a6a4660d05a1dc4c4-s2600-c85-1920x1278.png 1920w\" sizes=\"(max-width: 2600px) 100vw, 2600px\">\u003cfigcaption class=\"wp-caption-text\">Mango, of Mirrored Fatality, performs at the seventh annual Aklasan Festival in San Francisco on Aug. 5, 2022. \u003ccite>(Justin Katigbak for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917923\" class=\"wp-caption alignnone\" style=\"max-width: 2600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13917923 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/08052022-aklasan-313_custom-57d8aa559957a3f5493c3ab66759b95549c8e052-s2600-c85.png\" alt=\"\" width=\"2600\" height=\"1731\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-313_custom-57d8aa559957a3f5493c3ab66759b95549c8e052-s2600-c85.png 2600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-313_custom-57d8aa559957a3f5493c3ab66759b95549c8e052-s2600-c85-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-313_custom-57d8aa559957a3f5493c3ab66759b95549c8e052-s2600-c85-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-313_custom-57d8aa559957a3f5493c3ab66759b95549c8e052-s2600-c85-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-313_custom-57d8aa559957a3f5493c3ab66759b95549c8e052-s2600-c85-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-313_custom-57d8aa559957a3f5493c3ab66759b95549c8e052-s2600-c85-1536x1023.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-313_custom-57d8aa559957a3f5493c3ab66759b95549c8e052-s2600-c85-2048x1363.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-313_custom-57d8aa559957a3f5493c3ab66759b95549c8e052-s2600-c85-1920x1278.png 1920w\" sizes=\"(max-width: 2600px) 100vw, 2600px\">\u003cfigcaption class=\"wp-caption-text\">Mango and Samar, of Mirrored Fatality, perform at the seventh annual Aklasan Festival in San Francisco on Aug. 5, 2022. \u003ccite>(Justin Katigbak for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Aklasan Fest is like no other, but it’s also become a place of community for many of those who played and attended. AJ Santos, of Material Support and a Filipino immigrant, says the festival is “one of the most important punk fests in the entire world … because it’s one of the festivals that feels like a genuine community — because most of the punk fests that I have been in don’t have the feeling of community.” Aklasan has created a space that centers the voices of Filipinos and Filipino-Americans to agitate, organize and mobilize their community to fight for genuine freedom in the Philippines.\u003c/p>\n\u003cfigure id=\"attachment_13917924\" class=\"wp-caption alignnone\" style=\"max-width: 2600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13917924\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/08052022-aklasan-319_custom-5d2663f96e09a101f89c01aeedd46d24d3f96677-s2600-c85.png\" alt=\"\" width=\"2600\" height=\"1727\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-319_custom-5d2663f96e09a101f89c01aeedd46d24d3f96677-s2600-c85.png 2600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-319_custom-5d2663f96e09a101f89c01aeedd46d24d3f96677-s2600-c85-800x531.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-319_custom-5d2663f96e09a101f89c01aeedd46d24d3f96677-s2600-c85-1020x678.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-319_custom-5d2663f96e09a101f89c01aeedd46d24d3f96677-s2600-c85-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-319_custom-5d2663f96e09a101f89c01aeedd46d24d3f96677-s2600-c85-768x510.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-319_custom-5d2663f96e09a101f89c01aeedd46d24d3f96677-s2600-c85-1536x1020.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-319_custom-5d2663f96e09a101f89c01aeedd46d24d3f96677-s2600-c85-2048x1360.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-319_custom-5d2663f96e09a101f89c01aeedd46d24d3f96677-s2600-c85-1920x1275.png 1920w\" sizes=\"(max-width: 2600px) 100vw, 2600px\">\u003cfigcaption class=\"wp-caption-text\">Frankie Ortanez, the lead vocalist for Kanta Kanta, performs at the seventh annual Aklasan Festival in San Francisco on Aug. 5, 2022. \u003ccite>(Justin Katigbak for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917925\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13917925\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/jk6_custom-25252d8ba7bf3202e28ae297f75ad8ce20c231ee-s2600-c85-scaled.jpg\" alt=\"\" width=\"2560\" height=\"850\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk6_custom-25252d8ba7bf3202e28ae297f75ad8ce20c231ee-s2600-c85-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk6_custom-25252d8ba7bf3202e28ae297f75ad8ce20c231ee-s2600-c85-800x266.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk6_custom-25252d8ba7bf3202e28ae297f75ad8ce20c231ee-s2600-c85-1020x339.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk6_custom-25252d8ba7bf3202e28ae297f75ad8ce20c231ee-s2600-c85-160x53.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk6_custom-25252d8ba7bf3202e28ae297f75ad8ce20c231ee-s2600-c85-768x255.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk6_custom-25252d8ba7bf3202e28ae297f75ad8ce20c231ee-s2600-c85-1536x510.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk6_custom-25252d8ba7bf3202e28ae297f75ad8ce20c231ee-s2600-c85-2048x680.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk6_custom-25252d8ba7bf3202e28ae297f75ad8ce20c231ee-s2600-c85-1920x637.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Romeo Reyes-Pagdilao, the lead vocalist for Silakbo, performs (left) as attendees headbang and dance to the music (right) at the seventh annual Aklasan Festival in San Francisco on Aug. 5, 2022.\u003c/figcaption>\u003c/figure>\n\u003cp>As someone new to punk music and who’s only been to a few shows, I felt connected to the people there through their music and how they showed up for each other. As in any gathering of Filipinos, you’re greeted by everyone, taken care of and walk away well fed. At the festival, people in the crowd were handing out water, socializing in between sets and picking up people who’d fallen down during the mosh pit. Bands let other bands borrow their instruments and then stuck around to watch the others play their sets in a show of support. At times, it felt more like I was spending time with family than at a festival.\u003c/p>\n\u003cp>Closing out the night’s lineup, after the last notes from Material Support, Rupert led the crowd in a chant of “Makibaka! Huwag matakot!,” which translates to “Fight! Do not be afraid!”, reminding fans that this festival is bigger than just the beats, screams and guitar riffs: More importantly, it’s about community and our fight for freedom.\u003c/p>\n\u003cfigure id=\"attachment_13917926\" class=\"wp-caption alignnone\" style=\"max-width: 2600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13917926\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/08062022-aklasan-404_custom-9f61f1ab6d3474c8edcfca6272500b24dbd4fce6-s2600-c85.png\" alt=\"\" width=\"2600\" height=\"1731\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-404_custom-9f61f1ab6d3474c8edcfca6272500b24dbd4fce6-s2600-c85.png 2600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-404_custom-9f61f1ab6d3474c8edcfca6272500b24dbd4fce6-s2600-c85-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-404_custom-9f61f1ab6d3474c8edcfca6272500b24dbd4fce6-s2600-c85-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-404_custom-9f61f1ab6d3474c8edcfca6272500b24dbd4fce6-s2600-c85-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-404_custom-9f61f1ab6d3474c8edcfca6272500b24dbd4fce6-s2600-c85-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-404_custom-9f61f1ab6d3474c8edcfca6272500b24dbd4fce6-s2600-c85-1536x1023.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-404_custom-9f61f1ab6d3474c8edcfca6272500b24dbd4fce6-s2600-c85-2048x1363.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-404_custom-9f61f1ab6d3474c8edcfca6272500b24dbd4fce6-s2600-c85-1920x1278.png 1920w\" sizes=\"(max-width: 2600px) 100vw, 2600px\">\u003cfigcaption class=\"wp-caption-text\">Attendees dance to the music at the seventh annual Aklasan Festival in San Francisco on Aug. 5, 2022. \u003ccite>(Justin Katigbak for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917927\" class=\"wp-caption alignnone\" style=\"max-width: 2600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13917927\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/08052022-aklasan-100_custom-7a15dc8ce0911500ee6d8fa6d4a4c18d945f89fe-s2600-c85.png\" alt=\"\" width=\"2600\" height=\"1731\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-100_custom-7a15dc8ce0911500ee6d8fa6d4a4c18d945f89fe-s2600-c85.png 2600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-100_custom-7a15dc8ce0911500ee6d8fa6d4a4c18d945f89fe-s2600-c85-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-100_custom-7a15dc8ce0911500ee6d8fa6d4a4c18d945f89fe-s2600-c85-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-100_custom-7a15dc8ce0911500ee6d8fa6d4a4c18d945f89fe-s2600-c85-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-100_custom-7a15dc8ce0911500ee6d8fa6d4a4c18d945f89fe-s2600-c85-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-100_custom-7a15dc8ce0911500ee6d8fa6d4a4c18d945f89fe-s2600-c85-1536x1023.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-100_custom-7a15dc8ce0911500ee6d8fa6d4a4c18d945f89fe-s2600-c85-2048x1363.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-100_custom-7a15dc8ce0911500ee6d8fa6d4a4c18d945f89fe-s2600-c85-1920x1278.png 1920w\" sizes=\"(max-width: 2600px) 100vw, 2600px\">\u003cfigcaption class=\"wp-caption-text\">JJ Weber, of Obsolete Sun, performs at the seventh annual Aklasan Festival in San Francisco on Aug. 5, 2022. \u003ccite>(Justin Katigbak for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917928\" class=\"wp-caption alignnone\" style=\"max-width: 2600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13917928\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/08052022-aklasan-279_custom-374f7ae0763cfee4c38aa04ba99845dae569fa09-s2600-c85.png\" alt=\"\" width=\"2600\" height=\"1731\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-279_custom-374f7ae0763cfee4c38aa04ba99845dae569fa09-s2600-c85.png 2600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-279_custom-374f7ae0763cfee4c38aa04ba99845dae569fa09-s2600-c85-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-279_custom-374f7ae0763cfee4c38aa04ba99845dae569fa09-s2600-c85-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-279_custom-374f7ae0763cfee4c38aa04ba99845dae569fa09-s2600-c85-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-279_custom-374f7ae0763cfee4c38aa04ba99845dae569fa09-s2600-c85-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-279_custom-374f7ae0763cfee4c38aa04ba99845dae569fa09-s2600-c85-1536x1023.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-279_custom-374f7ae0763cfee4c38aa04ba99845dae569fa09-s2600-c85-2048x1363.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-279_custom-374f7ae0763cfee4c38aa04ba99845dae569fa09-s2600-c85-1920x1278.png 1920w\" sizes=\"(max-width: 2600px) 100vw, 2600px\">\u003cfigcaption class=\"wp-caption-text\">Mango, of Mirrored Fatality, performs at the seventh annual Aklasan Festival in San Francisco on Aug. 5, 2022. \u003ccite>(Justin Katigbak for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Justin Katigbak is a Filipino-American documentary photographer and videographer. See more of Justin Katigbak’s work on his website, \u003c/em>\u003ca href=\"http://www.justinkatigbak.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>justinkatigbak.com\u003c/em>\u003c/a>\u003cem>, or on Instagram, at \u003c/em>\u003ca href=\"https://www.instagram.com/justin.katigbak/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>@justin.katigbak\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\n\u003cp>\u003cb>\u003ci>Copyright 2022 NPR. To see more, \u003c/i>\u003c/b>\u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cb>\u003ci>visit NPR\u003c/i>\u003c/b>\u003c/a>.\u003c/p>\n\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "A New Filipino American Play Asks: Is There Such a Thing as Too Much Lechon?",
"headTitle": "A New Filipino American Play Asks: Is There Such a Thing as Too Much Lechon? | KQED",
"content": "\u003cp>Oliver Saria knows about the glory of a lechon—the crunch and crackle when you cut into the pig’s fat-rendered skin, the juicy succulence of its slow-roasted flesh. The San Francisco-based playwright grew up eating enormous portions of whole pig lechon at big Filipino family gatherings, and he says the dish came to symbolize all of the joy and abundance of Filipino food culture.\u003c/p>\n\u003cp>“Nothing says fiesta like lechon,” says Saria, the managing director at San Francisco’s \u003ca href=\"https://www.bindlestiffstudio.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Bindlestiff Studio\u003c/a>, which touts itself as the only black box theater in the United States dedicated to showcasing Filipino American performing arts. “There was not a full celebration if you didn’t have a lechon.”\u003c/p>\n\u003cp>But the last few years caused Saria to rethink his relationship to Filipino food, especially as several members of the local Filipino American artistic community died young due to complications from diabetes and heart disease. Then the pandemic happened, and people who were laid off from their jobs were left with no safety net. Saria had to drive one Bindlestiff staff member to the emergency room because he had lost his health insurance and was rationing his diabetes medication. “He likely could have died that night,” Saria recalls.\u003c/p>\n\u003cfigure id=\"attachment_13914755\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13914755\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/1.Bindlestiff_Inay-Dalisay_Playwright-scaled.jpg\" alt=\"Playwright Oliver Saria posing for a headshot wearing a red and black checkered shirt.\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/1.Bindlestiff_Inay-Dalisay_Playwright-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/1.Bindlestiff_Inay-Dalisay_Playwright-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/1.Bindlestiff_Inay-Dalisay_Playwright-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/1.Bindlestiff_Inay-Dalisay_Playwright-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/1.Bindlestiff_Inay-Dalisay_Playwright-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/1.Bindlestiff_Inay-Dalisay_Playwright-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/1.Bindlestiff_Inay-Dalisay_Playwright-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/1.Bindlestiff_Inay-Dalisay_Playwright-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Playwright Oliver Saria wrote ‘Inay Dalisay’ as a way for Filipino Americans to start a conversation about their foodways. \u003ccite>(Paciano Triunfo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Saria looked at data showing that Filipino Americans have some of the highest rates of diabetes, hypertension and heart disease. “Growing up as a Filipino American, I realized a lot of that was rooted in the food we ate,” he says. “It’s a lot of meat and rice.” \u003c/p>\n\u003cp>Is there such a thing, then, as \u003ci>too much\u003c/i> lechon? Saria’s new play, \u003ca href=\"https://www.bindlestiffstudio.org/inay-dalisay\" target=\"_blanl\" rel=\"noopener noreferrer\">\u003ci>Inay Dalisay’s World Famous Lechon\u003c/i>\u003c/a>, takes on that question. Directed by Aureen Almario, the play will make its world debut this week at Bindlestiff, in the heart of the SoMa neighborhood’s Filipino cultural district, with a two-weekend run June 16–25. It’s the theater’s first full-length stage production since before the pandemic.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The play is set in the Labis family’s “dirty kitchen,” a fully decked out backyard kitchen where the characters gather together for a series of big family meals—and where they dive into some of these broader questions about health, diet and traditional Filipino foodways. It’s all meant to be handled with a light touch. (\u003ci>Inay Dalisay\u003c/i> is being marketed as a “raucous comedy,” after all.)\u003c/p>\n\u003cp>“The play isn’t about denigrating Filipino food or only talking about how unhealthy it is,” Saria stresses. “But it is trying to bring up the topic in the community.”\u003c/p>\n\u003cp>Inay Dalisay is the mother of one of the characters in the play, and her legendary lechon recipe serves as one of the play’s recurring motifs. But a vegan, fake-meat lechon also makes an appearance—a nod, in part, to the large number of Filipino vegans that Bindlestiff itself has on staff. \u003c/p>\n\u003cp>Meanwhile, vegan Filipino chefs like the Bay Area’s own \u003ca href=\"https://sf.eater.com/2020/10/26/21531184/nicks-on-mission-nicks-on-grand-closed-vegan-filipino-chef-reina-montenegro\" target=\"_blank\" rel=\"noopener noreferrer\">Reina Montenegro\u003c/a>, who was a consultant on the play, have faced pushback from Filipino Americans who question the authenticity of their food. It’s a complicated issue, Saria acknowledges—one that isn’t as simple as saying that Filipinos just need to stop eating meat. \u003c/p>\n\u003cp>“You can’t really replace the taste of lechon,” he says. “I say it in the play: It’s like the purest expression of pork. Vegan food cannot be an ersatz substitute if the exact flavor is what you’re looking for.” \u003c/p>\n\u003cp>[aside postID='arts_13913828,arts_13912001']For Saria, part of the answer lies in really embracing the healthy dishes and fresh ingredients that already exist in Filipino cuisine. “Vegetables are not often thought of as celebratory food. The play makes a case for celebrating those often-ignored ingredients,” he says.\u003c/p>\n\u003cp>What \u003ci>Inay Dalisay’s World Famous Lechon\u003c/i> attempts to do, then, is straddle a tricky line—to ask audience members to reexamine their own foodways, but to do it in a culturally appropriate way. And it’s not something that only applies to Filipino Americans. Many Black, Latinx and Indigenous communities are also dealing with similar health crises, Saria points out.\u003c/p>\n\u003cp>“How do we adopt new customs without losing our identity?” Saria says.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Inay Dalisay’s World Famous Lechon’ is playing at Bindlestiff Studio on Thursdays and Saturdays at 8pm, June 16–25, with an additional 4pm matinee on Saturday, June 18. Tickets are $30 ($20 for students and seniors). \u003ca href=\"https://www.bindlestiffstudio.org/inay-dalisay\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Oliver Saria knows about the glory of a lechon—the crunch and crackle when you cut into the pig’s fat-rendered skin, the juicy succulence of its slow-roasted flesh. The San Francisco-based playwright grew up eating enormous portions of whole pig lechon at big Filipino family gatherings, and he says the dish came to symbolize all of the joy and abundance of Filipino food culture.\u003c/p>\n\u003cp>“Nothing says fiesta like lechon,” says Saria, the managing director at San Francisco’s \u003ca href=\"https://www.bindlestiffstudio.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Bindlestiff Studio\u003c/a>, which touts itself as the only black box theater in the United States dedicated to showcasing Filipino American performing arts. “There was not a full celebration if you didn’t have a lechon.”\u003c/p>\n\u003cp>But the last few years caused Saria to rethink his relationship to Filipino food, especially as several members of the local Filipino American artistic community died young due to complications from diabetes and heart disease. Then the pandemic happened, and people who were laid off from their jobs were left with no safety net. Saria had to drive one Bindlestiff staff member to the emergency room because he had lost his health insurance and was rationing his diabetes medication. “He likely could have died that night,” Saria recalls.\u003c/p>\n\u003cfigure id=\"attachment_13914755\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13914755\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/1.Bindlestiff_Inay-Dalisay_Playwright-scaled.jpg\" alt=\"Playwright Oliver Saria posing for a headshot wearing a red and black checkered shirt.\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/1.Bindlestiff_Inay-Dalisay_Playwright-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/1.Bindlestiff_Inay-Dalisay_Playwright-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/1.Bindlestiff_Inay-Dalisay_Playwright-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/1.Bindlestiff_Inay-Dalisay_Playwright-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/1.Bindlestiff_Inay-Dalisay_Playwright-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/1.Bindlestiff_Inay-Dalisay_Playwright-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/1.Bindlestiff_Inay-Dalisay_Playwright-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/1.Bindlestiff_Inay-Dalisay_Playwright-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Playwright Oliver Saria wrote ‘Inay Dalisay’ as a way for Filipino Americans to start a conversation about their foodways. \u003ccite>(Paciano Triunfo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Saria looked at data showing that Filipino Americans have some of the highest rates of diabetes, hypertension and heart disease. “Growing up as a Filipino American, I realized a lot of that was rooted in the food we ate,” he says. “It’s a lot of meat and rice.” \u003c/p>\n\u003cp>Is there such a thing, then, as \u003ci>too much\u003c/i> lechon? Saria’s new play, \u003ca href=\"https://www.bindlestiffstudio.org/inay-dalisay\" target=\"_blanl\" rel=\"noopener noreferrer\">\u003ci>Inay Dalisay’s World Famous Lechon\u003c/i>\u003c/a>, takes on that question. Directed by Aureen Almario, the play will make its world debut this week at Bindlestiff, in the heart of the SoMa neighborhood’s Filipino cultural district, with a two-weekend run June 16–25. It’s the theater’s first full-length stage production since before the pandemic.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The play is set in the Labis family’s “dirty kitchen,” a fully decked out backyard kitchen where the characters gather together for a series of big family meals—and where they dive into some of these broader questions about health, diet and traditional Filipino foodways. It’s all meant to be handled with a light touch. (\u003ci>Inay Dalisay\u003c/i> is being marketed as a “raucous comedy,” after all.)\u003c/p>\n\u003cp>“The play isn’t about denigrating Filipino food or only talking about how unhealthy it is,” Saria stresses. “But it is trying to bring up the topic in the community.”\u003c/p>\n\u003cp>Inay Dalisay is the mother of one of the characters in the play, and her legendary lechon recipe serves as one of the play’s recurring motifs. But a vegan, fake-meat lechon also makes an appearance—a nod, in part, to the large number of Filipino vegans that Bindlestiff itself has on staff. \u003c/p>\n\u003cp>Meanwhile, vegan Filipino chefs like the Bay Area’s own \u003ca href=\"https://sf.eater.com/2020/10/26/21531184/nicks-on-mission-nicks-on-grand-closed-vegan-filipino-chef-reina-montenegro\" target=\"_blank\" rel=\"noopener noreferrer\">Reina Montenegro\u003c/a>, who was a consultant on the play, have faced pushback from Filipino Americans who question the authenticity of their food. It’s a complicated issue, Saria acknowledges—one that isn’t as simple as saying that Filipinos just need to stop eating meat. \u003c/p>\n\u003cp>“You can’t really replace the taste of lechon,” he says. “I say it in the play: It’s like the purest expression of pork. Vegan food cannot be an ersatz substitute if the exact flavor is what you’re looking for.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>For Saria, part of the answer lies in really embracing the healthy dishes and fresh ingredients that already exist in Filipino cuisine. “Vegetables are not often thought of as celebratory food. The play makes a case for celebrating those often-ignored ingredients,” he says.\u003c/p>\n\u003cp>What \u003ci>Inay Dalisay’s World Famous Lechon\u003c/i> attempts to do, then, is straddle a tricky line—to ask audience members to reexamine their own foodways, but to do it in a culturally appropriate way. And it’s not something that only applies to Filipino Americans. Many Black, Latinx and Indigenous communities are also dealing with similar health crises, Saria points out.\u003c/p>\n\u003cp>“How do we adopt new customs without losing our identity?” Saria says.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Inay Dalisay’s World Famous Lechon’ is playing at Bindlestiff Studio on Thursdays and Saturdays at 8pm, June 16–25, with an additional 4pm matinee on Saturday, June 18. Tickets are $30 ($20 for students and seniors). \u003ca href=\"https://www.bindlestiffstudio.org/inay-dalisay\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"id": "city-arts",
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"id": "code-switch-life-kit",
"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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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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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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"id": "forum",
"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.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"meta": {
"site": "radio",
"source": "WNYC"
},
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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",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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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": {
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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"
},
"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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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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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. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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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. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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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/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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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"
},
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"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"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",
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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",
"meta": {
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"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
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"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
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"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
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"officialWebsiteLink": "/perspectives/",
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
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