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"content": "\u003cp>When \u003ca href=\"https://www.kqed.org/arts/tag/boots-riley\">Boots Riley\u003c/a> looks back at his debut feature, \u003ca href=\"https://www.kqed.org/arts/13836455/in-sorry-to-bother-you-an-alternate-universe-oakland-is-still-true-and-familiar\">\u003cem>Sorry to Bother You\u003c/em>\u003c/a>, it’s not the rave reviews, near-perfect Rotten Tomatoes score or $18 million in box office revenue that stand out. It’s the messages he got from labor organizers. Dozens wrote to tell him they swayed their colleagues to form unions or authorize strikes after showing them his film, about a call center worker who discovers a shady corporate conspiracy to turn people into literal workhorses.\u003c/p>\n\u003cp>“There was a story of a guy in Baltimore who told me that there was going to be a 60-person show of hands on whether they want to make a union,” Riley tells KQED. “It was going to be kind of a nail-biter. … [Then] somebody yelled, ‘Equasapiens! Let’s be out!’ And then the whole crowd erupted in laughter, and every single person raised their hands.”\u003c/p>\n\u003cp>Set in the Bay Area, Riley’s sophomore film \u003cem>I Love Boosters\u003c/em> follows Corvette (Keke Palmer), Mariah (Taylour Paige) and Sade (Naomi Ackie) as they steal high-end designer clothes and resell them at discount prices. In their eyes, they’re doing fashion-forward (f)ilanthropy while keeping themselves financially afloat.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Before long, their cartoonish heists get them caught up in a rivalry with the elitist fashion mogul Christie Smith (Demi Moore), whose lofty diatribes about her art cloak a conservative, tough-on-crime political agenda. The Velvet Gang, as the boosters are known, join forces with retail worker Violeta (Eiza González) and Chinese garment worker Jianhu (Poppy Liu) to take down Smith through a surreal scheme that unspools reality and unveils a heinous secret.\u003c/p>\n\u003cp>Using art to fuel a mass working-class movement has been an ambition of Riley’s since he got his start as a rapper in the early ’90s with his group, The Coup. With \u003cem>I Love Boosters\u003c/em>, the 55-year-old activist-turned-director arrives at a new height of his career: His first wide-release feature, with a star-studded cast, backing from prestige production company NEON and a $20 million budget, all to create a technicolor, eye-popping ode to the power of collective organizing.\u003c/p>\n\u003cfigure id=\"attachment_13988896\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988896\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/I-LOVE-BOOSTERS_Still_03_Cropped_Courtesy-of-NEON-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1125\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/I-LOVE-BOOSTERS_Still_03_Cropped_Courtesy-of-NEON-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/I-LOVE-BOOSTERS_Still_03_Cropped_Courtesy-of-NEON-2000x879.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/I-LOVE-BOOSTERS_Still_03_Cropped_Courtesy-of-NEON-160x70.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/I-LOVE-BOOSTERS_Still_03_Cropped_Courtesy-of-NEON-768x338.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/I-LOVE-BOOSTERS_Still_03_Cropped_Courtesy-of-NEON-1536x675.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/I-LOVE-BOOSTERS_Still_03_Cropped_Courtesy-of-NEON-2048x900.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Naomi Ackie, Keke Palmer, Poppy Liu and Taylour Paige in ‘I Love Boosters.’ \u003ccite>(Courtesy of NEON)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Riley has spent years \u003ca href=\"https://www.youtube.com/watch?v=IcrYJALWWLE&t=1s\">giving talks\u003c/a> about how, a century ago, labor strikes forced politicians to create basic social welfare programs that helped lift working people out of poverty. He wants to bring that back. “We need a mass, militant, radical labor movement that uses the withholding of labor as a tactic and strategy to affect policy change,” he says. With today’s income inequality \u003ca href=\"https://robertreich.substack.com/p/from-the-robber-barons-to-elon-musk\">drawing comparisons to the Gilded Age\u003c/a>, \u003cem>I Love Boosters\u003c/em> is Riley’s bet on whether he can make the revolution sexy, and whether he can use the ultra-capitalist Hollywood system for his decidedly anti-capitalist ends.\u003c/p>\n\u003cp>“What gets people to get involved in things is not anger or fear,” Riley says. “It’s optimism that there’s something that they can do. And so that’s what my writing normally is, is pointing to what actually can be done.”\u003c/p>\n\u003ch2>Boots on the ground\u003c/h2>\n\u003cp>Long before he touched the microphone or picked up a camera, Riley was a community organizer. Born in Chicago and raised in Oakland by activist parents (his father, civil rights lawyer \u003ca href=\"https://www.sfchronicle.com/lift-every-voice/article/Walter-Riley-16219770.php\">Walter Riley\u003c/a>, fought segregation in the South and later participated in San Francisco State University’s Third World Liberation strikes), Riley was 14 years old when neighborhood organizers recruited him and other youth to support Watsonville Cannery workers. He passed out flyers and helped organize rallies as the workers waged an \u003ca href=\"https://unityarchiveproject.org/wp-content/uploads/Victoria.pdf\">18-month strike\u003c/a> that became one of the biggest organized labor victories of the 1980s.\u003c/p>\n\u003cp>Riley’s activism didn’t stop, even as The Coup inked a major record deal and made their debut with the funky yet militant album \u003cem>Kill My Landlord\u003c/em> in 1993. In the mid ’90s, Riley helped lead a group called the Young Comrades to \u003ca href=\"https://www.youtube.com/watch?v=J1-k03bE8DY\">protest an anti-cruising law\u003c/a> that effectively criminalized Black youth hanging out at Lake Merritt. (A 1996 \u003cem>Oakland Tribune\u003c/em> op-ed chastised them for “rudely and repeatedly” interrupting city council meetings.)\u003c/p>\n\u003cfigure id=\"attachment_13988894\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988894\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/I-LOVE-BOOSTERS_BTS_02_Courtesy-of-NEON-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/I-LOVE-BOOSTERS_BTS_02_Courtesy-of-NEON-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/I-LOVE-BOOSTERS_BTS_02_Courtesy-of-NEON-2000x1334.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/I-LOVE-BOOSTERS_BTS_02_Courtesy-of-NEON-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/I-LOVE-BOOSTERS_BTS_02_Courtesy-of-NEON-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/I-LOVE-BOOSTERS_BTS_02_Courtesy-of-NEON-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/I-LOVE-BOOSTERS_BTS_02_Courtesy-of-NEON-2048x1366.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Boots Riley on the set of ‘I Love Boosters.’ \u003ccite>(Courtesy of NEON)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>His frontline work continued in the 2000s, when he organized guerrilla hip-hop concerts to protest a state law that increased criminal penalties for juvenile offenders. In 2011, during Occupy Oakland, he helped coordinate tens of thousands of people in a general strike that shut down the Port of Oakland. And in the years since, even as his star rose in Hollywood, he’s taken to the streets at \u003ca href=\"https://www.kqed.org/arts/13851697/boots-riley-spoke-at-the-oakland-teachers-strike-heres-what-he-said\">teachers strikes\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13933709/oakland-filmmaker-boots-riley-on-hollywood-strikes-radicalizing-creative-class\">the Hollywood writers strike\u003c/a> and anti-ICE protests.\u003c/p>\n\u003cp>“The idea then was the same as my idea now,” Riley says of his evolution, “which is to get the working class involved in class struggle.”\u003c/p>\n\u003ch2>The absurdity of the rat race\u003c/h2>\n\u003cp>In \u003cem>I Love Boosters, \u003c/em>Riley operates in a different mode than the political theorist version of himself that gives erudite speeches at rallies and in \u003cem>Democracy Now\u003c/em> interviews. As a screenwriter and director, he’s weirder and looser, submerging viewers in a candy-colored world where he amplifies every indignity of life as a low-wage worker. The effect is hilarious, yet maddening enough to make viewers want to join the characters on the picket line.\u003c/p>\n\u003cp>When Corvette and the Velvet Gang get jobs at Christie Smith’s fast-fashion chain, 30-second lunch breaks that start like track-and-field races leave them panting; their paychecks amount to chump change because they’re forced to buy designer outfits to wear on the job. Later, when we meet Jianhu, we find out the Chinese factory workers are sick because Smith orders them to distress denim by sandblasting it with absurdly large amounts of industrial chemicals.\u003c/p>\n\u003cfigure id=\"attachment_13989010\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13989010 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260428-iloveboostersredcarpet00644_TV_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260428-iloveboostersredcarpet00644_TV_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260428-iloveboostersredcarpet00644_TV_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260428-iloveboostersredcarpet00644_TV_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260428-iloveboostersredcarpet00644_TV_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Actress Eiza González (left), Boots Riley (center), director of the movie “I Love Boosters,” and actress Poppy Liu (right) pose at a red carpet event for the movie ‘I Love Boosters’ near the Grand Lake Theatre in Oakland on April 28, 2026. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“This is part of Boots’ genius in that he wields satire as a genre really expertly,” says Poppy Liu, whose sharp-tongued Jianhu is an unexpected moral center of the film.\u003c/p>\n\u003cp>Corvette loses her housing and is squatting in an abandoned fast-food restaurant, unable to see the bigger picture of class solidarity because her mounting financial problems pose the more immediate threat. Her fixation on Smith feels personal, tinged with admiration and jealousy. It’s Jianhu who realizes that joining Corvette in her vendetta can lead to massive gains for exploited laborers.\u003c/p>\n\u003cp>The two characters’ dynamic embodies a lesson about coalition-building that Riley learned in his organizing days. “People start making sacrifices for each other because they start understanding how intertwined things are,” he says. “It starts with understanding that a situation in which people have solidarity is helping your own personal interests as well. And from that grows a different kind of consciousness.”\u003c/p>\n\u003cp>“Honestly, those themes were the biggest thing that got me excited about the movie,” Liu says.\u003c/p>\n\u003ch2>Making class solidarity accessible\u003c/h2>\n\u003cp>Other cast members had different entry points into the sometimes heady political ideas in \u003cem>I Love Boosters\u003c/em>. For Eiza González, it was personal conversations with Riley about her family in Mexico; she shared that her mom was one of eight children from a humble family that couldn’t afford basic necessities like healthcare.\u003c/p>\n\u003cp>González’s cool-girl Violeta is a secret wonk who delivers a passionate monologue about the Marxist concept of dialectical materialism at a crucial turning point in the film. She mustered the fire for her role as conversations on set turned to how, across cultures and borders, working people struggle to get by as the 1% makes record profits from their labor.\u003c/p>\n\u003cfigure id=\"attachment_13989008\" class=\"wp-caption aligncenter\" style=\"max-width: 1999px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13989008 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260428-iloveboostersredcarpet00277_TV_qed.jpg\" alt=\"\" width=\"1999\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260428-iloveboostersredcarpet00277_TV_qed.jpg 1999w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260428-iloveboostersredcarpet00277_TV_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260428-iloveboostersredcarpet00277_TV_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260428-iloveboostersredcarpet00277_TV_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1999px) 100vw, 1999px\">\u003cfigcaption class=\"wp-caption-text\">Actress Eiza González poses at a red carpet event for the movie, ‘I Love Boosters,’ near the Grand Lake Theatre in Oakland on April 28, 2026. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He weirdly built the characters with us without us realizing, if that makes sense, which was amazing,” González says. “It was a different experience, but once you were in the character, you were believing it at its core.”\u003c/p>\n\u003cp>While LaKeith Stanfield, who starred in \u003cem>Sorry to Bother You\u003c/em>, shares many of Riley’s viewpoints on class inequality, he brings a wackiness and levity to \u003cem>I Love Boosters\u003c/em> that helps make the film accessible and entertaining.\u003c/p>\n\u003cfigure id=\"attachment_13989011\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13989011 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260428-iloveboostersredcarpet00222_TV_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260428-iloveboostersredcarpet00222_TV_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260428-iloveboostersredcarpet00222_TV_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260428-iloveboostersredcarpet00222_TV_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260428-iloveboostersredcarpet00222_TV_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Actor LaKeith Stanfield poses at a red carpet event for the movie ‘I Love Boosters’ near the Grand Lake Theatre in Oakland on April 28, 2026. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Anytime I can just be a part of a Boots Riley movie, I mean, even if I’m playing someone’s toe, I’m glad to be there,” Stanfield says.\u003c/p>\n\u003cp>His character is a supernatural being who uses his oral sex skills for nefarious ends, and he brings much-needed hilarity to a story that’s largely about labor.\u003c/p>\n\u003cp>“I hope that people can be entertained and have a good laugh and gawk at the spectacle,” Stanfield says, “but also maybe look into some of our industry and … what effects we have on the global market and global labor. And also maybe take a look at, hopefully, the importance of us being a unit and being together.”\u003c/p>\n\u003ch2>Thorny questions around Hollywood money\u003c/h2>\n\u003cp>Making a wide-release feature film with a not-so-secret socialist agenda has its challenges — chiefly, getting it funded.\u003c/p>\n\u003cp>For all who are eager to praise Riley’s activist bona fides (“He’s always been an anti-capitalist baddie,” Liu says), some observers on social media have criticized his willingness to take money from the film’s executive producer, Annapurna Pictures founder and Oracle heiress Megan Ellison.\u003c/p>\n\u003cfigure id=\"attachment_13988897\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13988897 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/I-LOVE-BOOSTERS_Still_01_Cropped_Courtesy-of-NEON-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/I-LOVE-BOOSTERS_Still_01_Cropped_Courtesy-of-NEON-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/I-LOVE-BOOSTERS_Still_01_Cropped_Courtesy-of-NEON-2000x974.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/I-LOVE-BOOSTERS_Still_01_Cropped_Courtesy-of-NEON-160x78.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/I-LOVE-BOOSTERS_Still_01_Cropped_Courtesy-of-NEON-768x374.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/I-LOVE-BOOSTERS_Still_01_Cropped_Courtesy-of-NEON-1536x748.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/I-LOVE-BOOSTERS_Still_01_Cropped_Courtesy-of-NEON-2048x998.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Naomi Ackie, Taylour Paige and Keke Palmer star in ‘I Love Boosters.’ \u003ccite>(Courtesy of NEON)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ellison hasn’t donated to political campaigns and \u003ca href=\"https://www.hollywoodreporter.com/movies/movie-features/megan-ellison-second-coming-nimona-1235842667/\">tends to finance left-leaning prestige cinema\u003c/a>. But her father, the \u003ca href=\"https://www.npr.org/2025/10/06/nx-s1-5560216/who-is-larry-ellison-the-billionaire-trump-friend-whos-part-of-the-tiktok-takeover\">far-right billionaire Larry Ellison\u003c/a>, and her brother, David, head a media empire that controls a massive swath of television, film and social media, including Paramount, TikTok and, if a pending deal goes through, Warner Brothers Discovery. The senior Ellison has been accused of \u003ca href=\"https://www.latimes.com/entertainment-arts/business/story/2026-05-08/press-freedom-groups-allege-larry-ellison-has-promised-to-fire-cnn-anchors\">wielding his power to silence President Donald Trump’s critics\u003c/a>. So the source of Megan Ellison’s wealth has \u003ca href=\"https://brokeassstuart.com/p/wait-they-re-trying-to-cancel-boots-riley-now\">drawn scrutiny from some would-be supporters of Riley’s work\u003c/a>.\u003c/p>\n\u003cp>Has Riley ever felt tension around using the Hollywood system to tell his anti-capitalist stories? He says no.\u003c/p>\n\u003cp>“I’m not trying to be like, ‘Oh, I’ve got a pure way for you to take in your entertainment,’” he says.[aside postID=arts_13989013 hero='https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260428-iloveboostersredcarpet00657_TV_qed.jpg']“From the theater chains to the streamers, to the studios and funders big enough to do something that’s big enough for millions of people to see — you’re there,” he continues. “You’re mixed up in everything.”\u003c/p>\n\u003cp>While \u003cem>Sorry to Bother You\u003c/em> started its theatrical run in only 100 theaters, \u003cem>I Love Boosters\u003c/em> will hit 2,500 screens Memorial Day weekend. After its world premiere at South By Southwest, Riley has been building word-of-mouth hype by throwing small screenings on college campuses, where he’s shown up to talk to students personally. But grassroots campaigning alone can’t create the magnitude of impact he’s aiming for, he says.\u003c/p>\n\u003cp>“If you don’t have a goal of revolution, then it’s easier to say, ‘Hey, I just need to have my hands clean of this, and let me make a commune in the woods,’” he says.\u003c/p>\n\u003cp>Riley is hopeful that the kind of radical social change he’s spent his life advocating for will come. He points to the post-pandemic strike wave, during which the U.S. saw a \u003ca href=\"https://www.epi.org/publication/major-strike-activity-in-2023/\">280% increase in strikes in 2023 from the year before\u003c/a>. More recently, in January of this year, \u003ca href=\"https://www.motherjones.com/politics/2026/02/minneapolis-minnesotas-general-strike-ice-border-patrol-trump/\">Minnesota unions and activists mounted a one-day general strike\u003c/a> to protest ICE abuses in their city, inspiring similar actions across the nation. For Riley, it’s only the beginning. With \u003cem>I Love Boosters, \u003c/em>he wants to remind viewers of their ability to stand together and tip the scales of power.\u003c/p>\n\u003cp>“I want the result of millions of people getting involved in class struggle, joining organizations, all of that,” he says, “because that is the only thing that can actually change the situation.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "With his stylish new satire, the Oakland director places a bet that art can fuel a mass labor movement. \r\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When \u003ca href=\"https://www.kqed.org/arts/tag/boots-riley\">Boots Riley\u003c/a> looks back at his debut feature, \u003ca href=\"https://www.kqed.org/arts/13836455/in-sorry-to-bother-you-an-alternate-universe-oakland-is-still-true-and-familiar\">\u003cem>Sorry to Bother You\u003c/em>\u003c/a>, it’s not the rave reviews, near-perfect Rotten Tomatoes score or $18 million in box office revenue that stand out. It’s the messages he got from labor organizers. Dozens wrote to tell him they swayed their colleagues to form unions or authorize strikes after showing them his film, about a call center worker who discovers a shady corporate conspiracy to turn people into literal workhorses.\u003c/p>\n\u003cp>“There was a story of a guy in Baltimore who told me that there was going to be a 60-person show of hands on whether they want to make a union,” Riley tells KQED. “It was going to be kind of a nail-biter. … [Then] somebody yelled, ‘Equasapiens! Let’s be out!’ And then the whole crowd erupted in laughter, and every single person raised their hands.”\u003c/p>\n\u003cp>Set in the Bay Area, Riley’s sophomore film \u003cem>I Love Boosters\u003c/em> follows Corvette (Keke Palmer), Mariah (Taylour Paige) and Sade (Naomi Ackie) as they steal high-end designer clothes and resell them at discount prices. In their eyes, they’re doing fashion-forward (f)ilanthropy while keeping themselves financially afloat.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Before long, their cartoonish heists get them caught up in a rivalry with the elitist fashion mogul Christie Smith (Demi Moore), whose lofty diatribes about her art cloak a conservative, tough-on-crime political agenda. The Velvet Gang, as the boosters are known, join forces with retail worker Violeta (Eiza González) and Chinese garment worker Jianhu (Poppy Liu) to take down Smith through a surreal scheme that unspools reality and unveils a heinous secret.\u003c/p>\n\u003cp>Using art to fuel a mass working-class movement has been an ambition of Riley’s since he got his start as a rapper in the early ’90s with his group, The Coup. With \u003cem>I Love Boosters\u003c/em>, the 55-year-old activist-turned-director arrives at a new height of his career: His first wide-release feature, with a star-studded cast, backing from prestige production company NEON and a $20 million budget, all to create a technicolor, eye-popping ode to the power of collective organizing.\u003c/p>\n\u003cfigure id=\"attachment_13988896\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988896\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/I-LOVE-BOOSTERS_Still_03_Cropped_Courtesy-of-NEON-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1125\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/I-LOVE-BOOSTERS_Still_03_Cropped_Courtesy-of-NEON-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/I-LOVE-BOOSTERS_Still_03_Cropped_Courtesy-of-NEON-2000x879.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/I-LOVE-BOOSTERS_Still_03_Cropped_Courtesy-of-NEON-160x70.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/I-LOVE-BOOSTERS_Still_03_Cropped_Courtesy-of-NEON-768x338.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/I-LOVE-BOOSTERS_Still_03_Cropped_Courtesy-of-NEON-1536x675.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/I-LOVE-BOOSTERS_Still_03_Cropped_Courtesy-of-NEON-2048x900.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Naomi Ackie, Keke Palmer, Poppy Liu and Taylour Paige in ‘I Love Boosters.’ \u003ccite>(Courtesy of NEON)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Riley has spent years \u003ca href=\"https://www.youtube.com/watch?v=IcrYJALWWLE&t=1s\">giving talks\u003c/a> about how, a century ago, labor strikes forced politicians to create basic social welfare programs that helped lift working people out of poverty. He wants to bring that back. “We need a mass, militant, radical labor movement that uses the withholding of labor as a tactic and strategy to affect policy change,” he says. With today’s income inequality \u003ca href=\"https://robertreich.substack.com/p/from-the-robber-barons-to-elon-musk\">drawing comparisons to the Gilded Age\u003c/a>, \u003cem>I Love Boosters\u003c/em> is Riley’s bet on whether he can make the revolution sexy, and whether he can use the ultra-capitalist Hollywood system for his decidedly anti-capitalist ends.\u003c/p>\n\u003cp>“What gets people to get involved in things is not anger or fear,” Riley says. “It’s optimism that there’s something that they can do. And so that’s what my writing normally is, is pointing to what actually can be done.”\u003c/p>\n\u003ch2>Boots on the ground\u003c/h2>\n\u003cp>Long before he touched the microphone or picked up a camera, Riley was a community organizer. Born in Chicago and raised in Oakland by activist parents (his father, civil rights lawyer \u003ca href=\"https://www.sfchronicle.com/lift-every-voice/article/Walter-Riley-16219770.php\">Walter Riley\u003c/a>, fought segregation in the South and later participated in San Francisco State University’s Third World Liberation strikes), Riley was 14 years old when neighborhood organizers recruited him and other youth to support Watsonville Cannery workers. He passed out flyers and helped organize rallies as the workers waged an \u003ca href=\"https://unityarchiveproject.org/wp-content/uploads/Victoria.pdf\">18-month strike\u003c/a> that became one of the biggest organized labor victories of the 1980s.\u003c/p>\n\u003cp>Riley’s activism didn’t stop, even as The Coup inked a major record deal and made their debut with the funky yet militant album \u003cem>Kill My Landlord\u003c/em> in 1993. In the mid ’90s, Riley helped lead a group called the Young Comrades to \u003ca href=\"https://www.youtube.com/watch?v=J1-k03bE8DY\">protest an anti-cruising law\u003c/a> that effectively criminalized Black youth hanging out at Lake Merritt. (A 1996 \u003cem>Oakland Tribune\u003c/em> op-ed chastised them for “rudely and repeatedly” interrupting city council meetings.)\u003c/p>\n\u003cfigure id=\"attachment_13988894\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988894\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/I-LOVE-BOOSTERS_BTS_02_Courtesy-of-NEON-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/I-LOVE-BOOSTERS_BTS_02_Courtesy-of-NEON-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/I-LOVE-BOOSTERS_BTS_02_Courtesy-of-NEON-2000x1334.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/I-LOVE-BOOSTERS_BTS_02_Courtesy-of-NEON-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/I-LOVE-BOOSTERS_BTS_02_Courtesy-of-NEON-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/I-LOVE-BOOSTERS_BTS_02_Courtesy-of-NEON-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/I-LOVE-BOOSTERS_BTS_02_Courtesy-of-NEON-2048x1366.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Boots Riley on the set of ‘I Love Boosters.’ \u003ccite>(Courtesy of NEON)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>His frontline work continued in the 2000s, when he organized guerrilla hip-hop concerts to protest a state law that increased criminal penalties for juvenile offenders. In 2011, during Occupy Oakland, he helped coordinate tens of thousands of people in a general strike that shut down the Port of Oakland. And in the years since, even as his star rose in Hollywood, he’s taken to the streets at \u003ca href=\"https://www.kqed.org/arts/13851697/boots-riley-spoke-at-the-oakland-teachers-strike-heres-what-he-said\">teachers strikes\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13933709/oakland-filmmaker-boots-riley-on-hollywood-strikes-radicalizing-creative-class\">the Hollywood writers strike\u003c/a> and anti-ICE protests.\u003c/p>\n\u003cp>“The idea then was the same as my idea now,” Riley says of his evolution, “which is to get the working class involved in class struggle.”\u003c/p>\n\u003ch2>The absurdity of the rat race\u003c/h2>\n\u003cp>In \u003cem>I Love Boosters, \u003c/em>Riley operates in a different mode than the political theorist version of himself that gives erudite speeches at rallies and in \u003cem>Democracy Now\u003c/em> interviews. As a screenwriter and director, he’s weirder and looser, submerging viewers in a candy-colored world where he amplifies every indignity of life as a low-wage worker. The effect is hilarious, yet maddening enough to make viewers want to join the characters on the picket line.\u003c/p>\n\u003cp>When Corvette and the Velvet Gang get jobs at Christie Smith’s fast-fashion chain, 30-second lunch breaks that start like track-and-field races leave them panting; their paychecks amount to chump change because they’re forced to buy designer outfits to wear on the job. Later, when we meet Jianhu, we find out the Chinese factory workers are sick because Smith orders them to distress denim by sandblasting it with absurdly large amounts of industrial chemicals.\u003c/p>\n\u003cfigure id=\"attachment_13989010\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13989010 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260428-iloveboostersredcarpet00644_TV_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260428-iloveboostersredcarpet00644_TV_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260428-iloveboostersredcarpet00644_TV_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260428-iloveboostersredcarpet00644_TV_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260428-iloveboostersredcarpet00644_TV_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Actress Eiza González (left), Boots Riley (center), director of the movie “I Love Boosters,” and actress Poppy Liu (right) pose at a red carpet event for the movie ‘I Love Boosters’ near the Grand Lake Theatre in Oakland on April 28, 2026. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“This is part of Boots’ genius in that he wields satire as a genre really expertly,” says Poppy Liu, whose sharp-tongued Jianhu is an unexpected moral center of the film.\u003c/p>\n\u003cp>Corvette loses her housing and is squatting in an abandoned fast-food restaurant, unable to see the bigger picture of class solidarity because her mounting financial problems pose the more immediate threat. Her fixation on Smith feels personal, tinged with admiration and jealousy. It’s Jianhu who realizes that joining Corvette in her vendetta can lead to massive gains for exploited laborers.\u003c/p>\n\u003cp>The two characters’ dynamic embodies a lesson about coalition-building that Riley learned in his organizing days. “People start making sacrifices for each other because they start understanding how intertwined things are,” he says. “It starts with understanding that a situation in which people have solidarity is helping your own personal interests as well. And from that grows a different kind of consciousness.”\u003c/p>\n\u003cp>“Honestly, those themes were the biggest thing that got me excited about the movie,” Liu says.\u003c/p>\n\u003ch2>Making class solidarity accessible\u003c/h2>\n\u003cp>Other cast members had different entry points into the sometimes heady political ideas in \u003cem>I Love Boosters\u003c/em>. For Eiza González, it was personal conversations with Riley about her family in Mexico; she shared that her mom was one of eight children from a humble family that couldn’t afford basic necessities like healthcare.\u003c/p>\n\u003cp>González’s cool-girl Violeta is a secret wonk who delivers a passionate monologue about the Marxist concept of dialectical materialism at a crucial turning point in the film. She mustered the fire for her role as conversations on set turned to how, across cultures and borders, working people struggle to get by as the 1% makes record profits from their labor.\u003c/p>\n\u003cfigure id=\"attachment_13989008\" class=\"wp-caption aligncenter\" style=\"max-width: 1999px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13989008 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260428-iloveboostersredcarpet00277_TV_qed.jpg\" alt=\"\" width=\"1999\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260428-iloveboostersredcarpet00277_TV_qed.jpg 1999w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260428-iloveboostersredcarpet00277_TV_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260428-iloveboostersredcarpet00277_TV_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260428-iloveboostersredcarpet00277_TV_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1999px) 100vw, 1999px\">\u003cfigcaption class=\"wp-caption-text\">Actress Eiza González poses at a red carpet event for the movie, ‘I Love Boosters,’ near the Grand Lake Theatre in Oakland on April 28, 2026. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He weirdly built the characters with us without us realizing, if that makes sense, which was amazing,” González says. “It was a different experience, but once you were in the character, you were believing it at its core.”\u003c/p>\n\u003cp>While LaKeith Stanfield, who starred in \u003cem>Sorry to Bother You\u003c/em>, shares many of Riley’s viewpoints on class inequality, he brings a wackiness and levity to \u003cem>I Love Boosters\u003c/em> that helps make the film accessible and entertaining.\u003c/p>\n\u003cfigure id=\"attachment_13989011\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13989011 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260428-iloveboostersredcarpet00222_TV_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260428-iloveboostersredcarpet00222_TV_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260428-iloveboostersredcarpet00222_TV_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260428-iloveboostersredcarpet00222_TV_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260428-iloveboostersredcarpet00222_TV_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Actor LaKeith Stanfield poses at a red carpet event for the movie ‘I Love Boosters’ near the Grand Lake Theatre in Oakland on April 28, 2026. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Anytime I can just be a part of a Boots Riley movie, I mean, even if I’m playing someone’s toe, I’m glad to be there,” Stanfield says.\u003c/p>\n\u003cp>His character is a supernatural being who uses his oral sex skills for nefarious ends, and he brings much-needed hilarity to a story that’s largely about labor.\u003c/p>\n\u003cp>“I hope that people can be entertained and have a good laugh and gawk at the spectacle,” Stanfield says, “but also maybe look into some of our industry and … what effects we have on the global market and global labor. And also maybe take a look at, hopefully, the importance of us being a unit and being together.”\u003c/p>\n\u003ch2>Thorny questions around Hollywood money\u003c/h2>\n\u003cp>Making a wide-release feature film with a not-so-secret socialist agenda has its challenges — chiefly, getting it funded.\u003c/p>\n\u003cp>For all who are eager to praise Riley’s activist bona fides (“He’s always been an anti-capitalist baddie,” Liu says), some observers on social media have criticized his willingness to take money from the film’s executive producer, Annapurna Pictures founder and Oracle heiress Megan Ellison.\u003c/p>\n\u003cfigure id=\"attachment_13988897\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13988897 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/I-LOVE-BOOSTERS_Still_01_Cropped_Courtesy-of-NEON-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/I-LOVE-BOOSTERS_Still_01_Cropped_Courtesy-of-NEON-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/I-LOVE-BOOSTERS_Still_01_Cropped_Courtesy-of-NEON-2000x974.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/I-LOVE-BOOSTERS_Still_01_Cropped_Courtesy-of-NEON-160x78.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/I-LOVE-BOOSTERS_Still_01_Cropped_Courtesy-of-NEON-768x374.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/I-LOVE-BOOSTERS_Still_01_Cropped_Courtesy-of-NEON-1536x748.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/I-LOVE-BOOSTERS_Still_01_Cropped_Courtesy-of-NEON-2048x998.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Naomi Ackie, Taylour Paige and Keke Palmer star in ‘I Love Boosters.’ \u003ccite>(Courtesy of NEON)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ellison hasn’t donated to political campaigns and \u003ca href=\"https://www.hollywoodreporter.com/movies/movie-features/megan-ellison-second-coming-nimona-1235842667/\">tends to finance left-leaning prestige cinema\u003c/a>. But her father, the \u003ca href=\"https://www.npr.org/2025/10/06/nx-s1-5560216/who-is-larry-ellison-the-billionaire-trump-friend-whos-part-of-the-tiktok-takeover\">far-right billionaire Larry Ellison\u003c/a>, and her brother, David, head a media empire that controls a massive swath of television, film and social media, including Paramount, TikTok and, if a pending deal goes through, Warner Brothers Discovery. The senior Ellison has been accused of \u003ca href=\"https://www.latimes.com/entertainment-arts/business/story/2026-05-08/press-freedom-groups-allege-larry-ellison-has-promised-to-fire-cnn-anchors\">wielding his power to silence President Donald Trump’s critics\u003c/a>. So the source of Megan Ellison’s wealth has \u003ca href=\"https://brokeassstuart.com/p/wait-they-re-trying-to-cancel-boots-riley-now\">drawn scrutiny from some would-be supporters of Riley’s work\u003c/a>.\u003c/p>\n\u003cp>Has Riley ever felt tension around using the Hollywood system to tell his anti-capitalist stories? He says no.\u003c/p>\n\u003cp>“I’m not trying to be like, ‘Oh, I’ve got a pure way for you to take in your entertainment,’” he says.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“From the theater chains to the streamers, to the studios and funders big enough to do something that’s big enough for millions of people to see — you’re there,” he continues. “You’re mixed up in everything.”\u003c/p>\n\u003cp>While \u003cem>Sorry to Bother You\u003c/em> started its theatrical run in only 100 theaters, \u003cem>I Love Boosters\u003c/em> will hit 2,500 screens Memorial Day weekend. After its world premiere at South By Southwest, Riley has been building word-of-mouth hype by throwing small screenings on college campuses, where he’s shown up to talk to students personally. But grassroots campaigning alone can’t create the magnitude of impact he’s aiming for, he says.\u003c/p>\n\u003cp>“If you don’t have a goal of revolution, then it’s easier to say, ‘Hey, I just need to have my hands clean of this, and let me make a commune in the woods,’” he says.\u003c/p>\n\u003cp>Riley is hopeful that the kind of radical social change he’s spent his life advocating for will come. He points to the post-pandemic strike wave, during which the U.S. saw a \u003ca href=\"https://www.epi.org/publication/major-strike-activity-in-2023/\">280% increase in strikes in 2023 from the year before\u003c/a>. More recently, in January of this year, \u003ca href=\"https://www.motherjones.com/politics/2026/02/minneapolis-minnesotas-general-strike-ice-border-patrol-trump/\">Minnesota unions and activists mounted a one-day general strike\u003c/a> to protest ICE abuses in their city, inspiring similar actions across the nation. For Riley, it’s only the beginning. With \u003cem>I Love Boosters, \u003c/em>he wants to remind viewers of their ability to stand together and tip the scales of power.\u003c/p>\n\u003cp>“I want the result of millions of people getting involved in class struggle, joining organizations, all of that,” he says, “because that is the only thing that can actually change the situation.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco-symphony\">San Francisco Symphony\u003c/a> has appointed Elim Chan as its new music director. The 39-year-old conductor born in Hong Kong has signed a six-year contract, the Symphony announced on Thursday.\u003c/p>\n\n\n\n\u003cp>The appointment is a historic one. Chan will be the first woman to lead the San Francisco Symphony in its 115-year history. She is also the first woman to be hired as music director by one of the so-called “Big 7” symphony orchestras in the United States, encompassing New York, Boston, Cleveland, Los Angeles, Chicago, San Francisco and Philadelphia.\u003c/p>\n\n\n\n\u003cp>Chan, who recently served as principal conductor for the Antwerp Symphony Orchestra in Belgium, is lesser-known than her two predecessors in San Francisco: \u003ca href=\"https://www.kqed.org/arts/tag/michael-tilson-thomas\">Michael Tilson Thomas\u003c/a>, who led the orchestra for 25 years and died earlier this month, and \u003ca href=\"https://www.kqed.org/arts/13954083/esa-pekka-salonen-steps-down-sf-symphony\">Esa-Pekka Salonen\u003c/a>, who stepped down in 2024.\u003c/p>\n\n\n\n\n\n\u003cp>But Chan is a much-talked-about rising star in the classical world, serving as principal guest conductor of the Royal Scottish National Orchestra, and guest conducting the major orchestras in New York, Los Angeles, Chicago and Boston to effusive reviews. She made her debut at the San Francisco Symphony in 2023, and has since returned twice, drawing acclaim from audiences, musicians and critics.\u003c/p>\n\n\n\n\u003cp>In an interview with KQED Thursday at Davies Symphony Hall, Chan emphasized that one of her goals in San Francisco is to change the public’s perception of the symphony.\u003c/p>\n\n\n\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“A big thing of mine is how to get people who have never listened to classical music, who think that they are not educated enough, or they feel they’re not comfortable enough,” Chan said. “All sorts of reasons, right? We are going to take all those reasons \u003cem>out\u003c/em>. Because coming to the symphony is so cool.”\u003c/p>\n\n\n\n\u003ch2 class=\"wp-block-heading\">She can ‘bring out the best’\u003c/h2>\n\n\n\n\u003cp>After her 2023 debut at Davies, the \u003cem>San Francisco Chronicle\u003c/em> hailed Chan as “a promising podium talent, one who combines lithe physical command with a wealth of artistic resources.” Last year, after an all-Tchaikovsky program, the \u003cem>San Francisco Classical Voice\u003c/em> enthused that “it’s clear by now that conductor \u003ca href=\"https://datebook.sfchronicle.com/classical/review-sf-symphony-elim-chan-holst-18436788\">Elim Chan\u003c/a> can bring out the best in a top-rank orchestra.”\u003c/p>\n\n\n\n\u003cp>The Symphony is betting that it can offer Chan a sizable enough platform to propel her further upward. Already, she is slated to conduct a program of Berlioz, Debussy and Wagner at Davies on June 5 and 6. Her first full season as music director begins in 2027.\u003c/p>\n\n\n\n\u003cp>The appointment also marks a victory for San Francisco in its sometime rivalry with Los Angeles. While the Symphony’s selection process for a music director is a highly guarded one, Chan had been one of the names whispered amongst pundits as a contender in San Francisco. Chan had also conducted regularly for the L.A. Philharmonic, and was viewed as a potential successor there to Gustavo Dudamel, whose namesake fellowship she was awarded in 2017.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\">\u003cdiv class=\"wp-block-embed__wrapper\">\nhttps://youtu.be/fvMRqU1EU_U?si=Pxqu07JY5octt3cu\n\u003c/div>\u003c/figure>\n\n\n\n\u003cp>As a conductor, Chan’s style may best be described as outsized. Praised for her energy and rhythm, and noted for bringing precision and verve to nominally calm, flowing musical passages, Chan transcends her diminutive height. Often, she arcs forward, as if charging after the music. (Along with conducting, Chan also trains on the side with a boxing coach.)\u003c/p>\n\n\n\n\u003cp>On Thursday, Chan told KQED that the first time she witnessed Michael Tilson Thomas on the podium, he was conducting his Maverick Series, focusing on new works. She lists off new composers she’s especially excited about: Gabriela Smith, Anthony Cheung, Elizabeth Ogonek, Noriko Koide. \u003cbr>\u003cbr>On Thursday night, during a reception at City Hall hosted by mayor Daniel Lurie, Chan told the crowd in her casual, charismatic way of speaking that “I love the old classics. But I also love the friggin’ new things! The wacky things!”\u003c/p>\n\n\n\n\u003cp>Chan has a track record of balancing the old and the new. She has also studied with traditionalists like Bernard Haitink, who, among other enduring lessons, instilled in Chan a respect for Anton Bruckner. (On Thursday, she said she trusts the San Francisco orchestra enough to finally tackle conducting Bruckner’s music.)\u003c/p>\n\n\n\n\u003ch2 class=\"wp-block-heading\">Breaking a glass ceiling — and transcending labels\u003c/h2>\n\n\n\n\u003cp>For many years, an open question has persisted about when major symphony orchestras would embrace women as music directors or full-time principal conductors. Despite high-profile figures like Marin Alsop and Nathalie Stutzmann, no woman had been appointed at one of the top seven U.S. orchestras until now.\u003c/p>\n\n\n\n\u003cp>In 2014, still in her 20s, Chan became the first woman to win the esteemed Donatella Flick Conducting Competition in England, bringing her global attention. Two years later, writing for \u003cem>The Guardian\u003c/em>, she called for a de-emphasis on her gender.\u003c/p>\n\n\n\n\u003cp>“I have felt there to be at times an imbalance of focus on my gender over my whole identity as a musician. I do not want to be given any special treatment because I am a woman,” she wrote. “I am proud of being a woman conductor, but I want to take the next step and go beyond any tags and be seen and valued as the same as my male colleagues.”\u003c/p>\n\n\n\n\u003cp>On the morning of her announcement, however, Chan said she was able to take a moment to realize the historic importance of the occasion.\u003c/p>\n\n\n\n\u003cp>“Before I walked into the hall to meet the musicians, I told myself, actually, yeah … it \u003cem>is\u003c/em> a big deal,” Chan said. \u003c/p>\n\n\n\n\u003cp>Chan has also received attention as an Asian, making the Bay Area a natural fit; the region is home to one of the highest percentages of Asian Americans in the continental United States, and Eun Sun Kim, another Asian woman, leads the orchestra at San Francisco Opera. In the 2016 \u003cem>Guardian\u003c/em> piece, Chan expressed a regard for talent over ethnic identity.\u003c/p>\n\n\n\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“My core priorities have always been and will always be the music and the audience, and I think audiences over the past two years have come to see me simply as Elim, rather than under the labels ‘Asian’ or ‘female conductor.’”\u003cbr>\u003cbr>Chan’s first concerts with the Symphony since being hired — a program of Wagner, Berlioz and Debussy — take place June 5 and 6 at Davies Symphony Hall.\u003c/p>\n\n",
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"innerHTML": "\n\u003cp>Chan, who recently served as principal conductor for the Antwerp Symphony Orchestra in Belgium, is lesser-known than her two predecessors in San Francisco: \u003ca href=\"https://www.kqed.org/arts/tag/michael-tilson-thomas\">Michael Tilson Thomas\u003c/a>, who led the orchestra for 25 years and died earlier this month, and \u003ca href=\"https://www.kqed.org/arts/13954083/esa-pekka-salonen-steps-down-sf-symphony\">Esa-Pekka Salonen\u003c/a>, who stepped down in 2024.\u003c/p>\n",
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"innerHTML": "\n\u003cp>But Chan is a much-talked-about rising star in the classical world, serving as principal guest conductor of the Royal Scottish National Orchestra, and guest conducting the major orchestras in New York, Los Angeles, Chicago and Boston to effusive reviews. She made her debut at the San Francisco Symphony in 2023, and has since returned twice, drawing acclaim from audiences, musicians and critics.\u003c/p>\n",
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"innerHTML": "\n\u003cp>“A big thing of mine is how to get people who have never listened to classical music, who think that they are not educated enough, or they feel they’re not comfortable enough,” Chan said. “All sorts of reasons, right? We are going to take all those reasons \u003cem>out\u003c/em>. Because coming to the symphony is so cool.”\u003c/p>\n",
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"innerHTML": "\n\u003cp>As a conductor, Chan’s style may best be described as outsized. Praised for her energy and rhythm, and noted for bringing precision and verve to nominally calm, flowing musical passages, Chan transcends her diminutive height. Often, she arcs forward, as if charging after the music. (Along with conducting, Chan also trains on the side with a boxing coach.)\u003c/p>\n",
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"innerHTML": "\n\u003cp>On Thursday, Chan told KQED that the first time she witnessed Michael Tilson Thomas on the podium, he was conducting his Maverick Series, focusing on new works. She lists off new composers she’s especially excited about: Gabriela Smith, Anthony Cheung, Elizabeth Ogonek, Noriko Koide. \u003cbr>\u003cbr>On Thursday night, during a reception at City Hall hosted by mayor Daniel Lurie, Chan told the crowd in her casual, charismatic way of speaking that “I love the old classics. But I also love the friggin’ new things! The wacky things!”\u003c/p>\n",
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"innerHTML": "\n\u003cp>For many years, an open question has persisted about when major symphony orchestras would embrace women as music directors or full-time principal conductors. Despite high-profile figures like Marin Alsop and Nathalie Stutzmann, no woman had been appointed at one of the top seven U.S. orchestras until now.\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco-symphony\">San Francisco Symphony\u003c/a> has appointed Elim Chan as its new music director. The 39-year-old conductor born in Hong Kong has signed a six-year contract, the Symphony announced on Thursday.\u003c/p>\n\n\n\n\u003cp>The appointment is a historic one. Chan will be the first woman to lead the San Francisco Symphony in its 115-year history. She is also the first woman to be hired as music director by one of the so-called “Big 7” symphony orchestras in the United States, encompassing New York, Boston, Cleveland, Los Angeles, Chicago, San Francisco and Philadelphia.\u003c/p>\n\n\n\n\u003cp>Chan, who recently served as principal conductor for the Antwerp Symphony Orchestra in Belgium, is lesser-known than her two predecessors in San Francisco: \u003ca href=\"https://www.kqed.org/arts/tag/michael-tilson-thomas\">Michael Tilson Thomas\u003c/a>, who led the orchestra for 25 years and died earlier this month, and \u003ca href=\"https://www.kqed.org/arts/13954083/esa-pekka-salonen-steps-down-sf-symphony\">Esa-Pekka Salonen\u003c/a>, who stepped down in 2024.\u003c/p>\n\n\n\n\n\n\u003cp>But Chan is a much-talked-about rising star in the classical world, serving as principal guest conductor of the Royal Scottish National Orchestra, and guest conducting the major orchestras in New York, Los Angeles, Chicago and Boston to effusive reviews. She made her debut at the San Francisco Symphony in 2023, and has since returned twice, drawing acclaim from audiences, musicians and critics.\u003c/p>\n\n\n\n\u003cp>In an interview with KQED Thursday at Davies Symphony Hall, Chan emphasized that one of her goals in San Francisco is to change the public’s perception of the symphony.\u003c/p>\n\n\n\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“A big thing of mine is how to get people who have never listened to classical music, who think that they are not educated enough, or they feel they’re not comfortable enough,” Chan said. “All sorts of reasons, right? We are going to take all those reasons \u003cem>out\u003c/em>. Because coming to the symphony is so cool.”\u003c/p>\n\n\n\n\u003ch2 class=\"wp-block-heading\">She can ‘bring out the best’\u003c/h2>\n\n\n\n\u003cp>After her 2023 debut at Davies, the \u003cem>San Francisco Chronicle\u003c/em> hailed Chan as “a promising podium talent, one who combines lithe physical command with a wealth of artistic resources.” Last year, after an all-Tchaikovsky program, the \u003cem>San Francisco Classical Voice\u003c/em> enthused that “it’s clear by now that conductor \u003ca href=\"https://datebook.sfchronicle.com/classical/review-sf-symphony-elim-chan-holst-18436788\">Elim Chan\u003c/a> can bring out the best in a top-rank orchestra.”\u003c/p>\n\n\n\n\u003cp>The Symphony is betting that it can offer Chan a sizable enough platform to propel her further upward. Already, she is slated to conduct a program of Berlioz, Debussy and Wagner at Davies on June 5 and 6. Her first full season as music director begins in 2027.\u003c/p>\n\n\n\n\u003cp>The appointment also marks a victory for San Francisco in its sometime rivalry with Los Angeles. While the Symphony’s selection process for a music director is a highly guarded one, Chan had been one of the names whispered amongst pundits as a contender in San Francisco. Chan had also conducted regularly for the L.A. Philharmonic, and was viewed as a potential successor there to Gustavo Dudamel, whose namesake fellowship she was awarded in 2017.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\">\u003cdiv class=\"wp-block-embed__wrapper\">\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/fvMRqU1EU_U'\n title='//www.youtube.com/embed/fvMRqU1EU_U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/div>\u003c/figure>\n\n\n\n\u003cp>As a conductor, Chan’s style may best be described as outsized. Praised for her energy and rhythm, and noted for bringing precision and verve to nominally calm, flowing musical passages, Chan transcends her diminutive height. Often, she arcs forward, as if charging after the music. (Along with conducting, Chan also trains on the side with a boxing coach.)\u003c/p>\n\n\n\n\u003cp>On Thursday, Chan told KQED that the first time she witnessed Michael Tilson Thomas on the podium, he was conducting his Maverick Series, focusing on new works. She lists off new composers she’s especially excited about: Gabriela Smith, Anthony Cheung, Elizabeth Ogonek, Noriko Koide. \u003cbr>\u003cbr>On Thursday night, during a reception at City Hall hosted by mayor Daniel Lurie, Chan told the crowd in her casual, charismatic way of speaking that “I love the old classics. But I also love the friggin’ new things! The wacky things!”\u003c/p>\n\n\n\n\u003cp>Chan has a track record of balancing the old and the new. She has also studied with traditionalists like Bernard Haitink, who, among other enduring lessons, instilled in Chan a respect for Anton Bruckner. (On Thursday, she said she trusts the San Francisco orchestra enough to finally tackle conducting Bruckner’s music.)\u003c/p>\n\n\n\n\u003ch2 class=\"wp-block-heading\">Breaking a glass ceiling — and transcending labels\u003c/h2>\n\n\n\n\u003cp>For many years, an open question has persisted about when major symphony orchestras would embrace women as music directors or full-time principal conductors. Despite high-profile figures like Marin Alsop and Nathalie Stutzmann, no woman had been appointed at one of the top seven U.S. orchestras until now.\u003c/p>\n\n\n\n\u003cp>In 2014, still in her 20s, Chan became the first woman to win the esteemed Donatella Flick Conducting Competition in England, bringing her global attention. Two years later, writing for \u003cem>The Guardian\u003c/em>, she called for a de-emphasis on her gender.\u003c/p>\n\n\n\n\u003cp>“I have felt there to be at times an imbalance of focus on my gender over my whole identity as a musician. I do not want to be given any special treatment because I am a woman,” she wrote. “I am proud of being a woman conductor, but I want to take the next step and go beyond any tags and be seen and valued as the same as my male colleagues.”\u003c/p>\n\n\n\n\u003cp>On the morning of her announcement, however, Chan said she was able to take a moment to realize the historic importance of the occasion.\u003c/p>\n\n\n\n\u003cp>“Before I walked into the hall to meet the musicians, I told myself, actually, yeah … it \u003cem>is\u003c/em> a big deal,” Chan said. \u003c/p>\n\n\n\n\u003cp>Chan has also received attention as an Asian, making the Bay Area a natural fit; the region is home to one of the highest percentages of Asian Americans in the continental United States, and Eun Sun Kim, another Asian woman, leads the orchestra at San Francisco Opera. In the 2016 \u003cem>Guardian\u003c/em> piece, Chan expressed a regard for talent over ethnic identity.\u003c/p>\n\n\n\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“My core priorities have always been and will always be the music and the audience, and I think audiences over the past two years have come to see me simply as Elim, rather than under the labels ‘Asian’ or ‘female conductor.’”\u003cbr>\u003cbr>Chan’s first concerts with the Symphony since being hired — a program of Wagner, Berlioz and Debussy — take place June 5 and 6 at Davies Symphony Hall.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "artist-housing-advocates-eye-a-once-in-100-year-opportunity",
"title": "Artist Housing Advocates Eye a ‘Once-in-100-Year’ Opportunity",
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"content": "\u003cp>\u003cem>This story is part of \u003c/em>\u003ca href=\"https://www.kqed.org/affordability\">\u003cem>How We Get By\u003c/em>\u003c/a>\u003cem>, a KQED series exploring how people are coping with rising costs in the Bay Area and California. Find the \u003c/em>\u003ca href=\"https://www.kqed.org/affordability\">\u003cem>full series here\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cp>Jaelynn Walls thought it would take years of saving before they could buy their own \u003ca href=\"https://www.kqed.org/housing\">home\u003c/a> in \u003ca href=\"https://www.kqed.org/arts/tag/oakland\">Oakland\u003c/a>. But after seeing an Instagram post from \u003ca href=\"https://www.artistspacetrust.org/\">Artist Space Trust\u003c/a>, home ownership went from dream to reality for the 27-year-old fiction writer, curator and visual artist.\u003c/p>\n\u003cp>Artist Space Trust, a new Bay Area organization that helps artists secure affordable housing, helped Walls secure $168,000 in downpayment assistance from CalHOME, a state program for first-time homebuyers. After a whirlwind three months of compiling financial paperwork and spending their free time at open houses, Walls and their wife got the keys to a cozy East Oakland three-bedroom.\u003c/p>\n\u003cp>“Just having a place to land, and not feeling like I could have the rug pulled out from under me at any moment by the greater powers that be, such as a landlord or a housing company, is very assuring,” Walls said during a video call from their fabric- and plant-filled home studio.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Walls used to live in a cramped Tenderloin studio apartment where most of their income went to rent. Now, a much smaller portion of their paycheck goes to their mortgage.\u003c/p>\n\u003cp>They have more space to focus on their next young-adult novel and quilting projects, and can even set aside some savings. Walls’ wife has a music studio where friends collaborate. Out-of-town artists sometimes crash with the couple when they’re in the Bay Area for gigs.\u003c/p>\n\u003cp>“This is pretty much the greatest thing that has ever happened to me in terms of my creative practice,” Walls said.\u003c/p>\n\u003cfigure id=\"attachment_13989670\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989670\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260511_ARTISTHOUSING_GC-11-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260511_ARTISTHOUSING_GC-11-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260511_ARTISTHOUSING_GC-11-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260511_ARTISTHOUSING_GC-11-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260511_ARTISTHOUSING_GC-11-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jaelynn Walls, fiction writer and artist, holds their book “The Queer Girl is Going to be Okay” at their home in Oakland on May 11, 2026. \u003ccite>(Gina Castro for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bay Area artists have always been resilient, but in recent years, economic upheaval, the worldwide pandemic and federal funding cuts have put a financial strain on artists, and forced some to leave the region altogether.\u003c/p>\n\u003cp>As housing costs continue to rise, artists, policymakers and nonprofit leaders are testing new models to make sure the people who give the Bay Area its creative identity can afford to stay. Artist Space Trust uses a community land trust model to take homes off the for-profit real estate market and make them permanently affordable for artists. It’s part of a larger movement to create artist housing throughout the Bay Area, including projects underway in San Francisco, Berkeley and Oakland.\u003c/p>\n\u003cfigure id=\"attachment_13989671\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989671\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260511_ARTISTHOUSING_GC-17-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260511_ARTISTHOUSING_GC-17-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260511_ARTISTHOUSING_GC-17-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260511_ARTISTHOUSING_GC-17-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260511_ARTISTHOUSING_GC-17-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jaelynn Walls’ handmade quilt at their home in Oakland on May 11, 2026. \u003ccite>(Gina Castro for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Walls sees the Bay Area as their long-term home, and they’re relieved they can remain here. “I’m surrounded by artists who have unstable housing, who are not sure of \u003cem>where\u003c/em> they’re going to create, or \u003cem>how\u003c/em> they’re gonna create their work,” Walls said, “and even beyond that, where they’re going to live.”\u003c/p>\n\u003cp>Meg Shiffler, the director of Artist Space Trust, said her organization is looking generations ahead.\u003c/p>\n\u003cp>“If you lift up and look down at the Bay Area, 10, 20, 50, 100 years from now, there are gonna be artists permanently embedded all over the Bay Area,” Shiffler said.\u003c/p>\n\u003ch2>The Great Wealth Transfer creates an opening for artist housing\u003c/h2>\n\u003cp>While there isn’t enough recent data available to paint a complete picture of Bay Area artists as a workforce, it’s safe to say they’re struggling to get by.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.kqed.org/arts/10960748/survey-confirms-market-forces-pushing-artists-out-of-san-francisco\">last large-scale survey of artists in San Francisco\u003c/a>, from 2015, found that 70% had been or were being displaced from their home, workspace or both. A \u003ca href=\"https://berkeleyca.gov/sites/default/files/2022-02/Berkeley%20Affordable%20Housing%20for%20Artists.pdf\">2021 survey of artists in Berkeley\u003c/a> found that the majority were low-income, and 77% were either “rent burdened” or “severely rent burdened.”\u003c/p>\n\u003cfigure id=\"attachment_13989668\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989668\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260514_ARTISTHOUSING_GC-19-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1354\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260514_ARTISTHOUSING_GC-19-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260514_ARTISTHOUSING_GC-19-KQED-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260514_ARTISTHOUSING_GC-19-KQED-768x520.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260514_ARTISTHOUSING_GC-19-KQED-1536x1040.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">From left, Artist Space Trust team, Qiana Ellis, Programs Manager, and Meg Shiffler, Director, pose for a photo in Berkeley on May 14, 2026. \u003ccite>(Gina Castro for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the past decade, Bay Area artists have faced setback after setback. In 2016, the \u003ca href=\"https://www.kqed.org/ghostshipmemorial\">Ghost Ship fire\u003c/a> at a live-work artist warehouse in Oakland, during which 36 people died, prompted a wave of evictions from makeshift dwellings where artists lived because they couldn’t afford anything else.\u003c/p>\n\u003cp>Then came the 2020 pandemic shutdowns, which cut off performance income, and another wave of displacement when state and city governments lifted eviction moratoriums. In more recent years, surging gas, food and rent prices have kept artists and other workers stuck in financial precarity.[aside postID=arts_13989622 hero='https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/260512-FREE-PARKING-AT-MUSIC-VENUES-MD-03-KQED.jpg']Advocates say that securing permanently affordable housing for artists is key to ensuring that the Bay Area can remain a cultural hub. Qiana Ellis, Artist Space Trust’s programs manager, sees a rare opportunity for artists to secure a permanent place in the region. “They’re calling it the Great Wealth Transfer,” she said.\u003c/p>\n\u003cp>Over the next two decades, an estimated $124 trillion will change hands nationally as Baby Boomers and members of the Silent Generation die and pass on their assets, according to the consulting firm Cerulli Associates. “We’re really in this point that may not happen for another 100 years,” Ellis said.\u003c/p>\n\u003cp>It’s mostly members of these generations who are bequeathing their homes to Artist Space Trust. Some of them are artists and most aren’t wealthy themselves; they bought their homes decades ago, when \u003ca href=\"https://www.kqed.org/news/12078615/how-skyrocketing-housing-costs-and-policy-choices-reshaped-the-bay-area\">houses in the Bay Area went for around $23,000\u003c/a>. Today’s average home price is over $700,000 in Oakland and over $1.3 million in San Francisco.\u003c/p>\n\u003cp>“They’re looking back on their lives and saying, ‘Wow, I see how difficult it’s gotten for artists,’” Ellis said. “‘I’m in conversation with younger generations, and I know that they cannot make their work in the same way that I could and be able to afford housing anymore.’”\u003c/p>\n\u003ch2>Assessing artists’ needs\u003c/h2>\n\u003cp>Artist Space Trust is the first organization in the nation to use a community land trust model to create permanently affordable housing specifically for artists.\u003c/p>\n\u003cp>The Berkeley nonprofit takes properties off the for-profit real-estate market and sells them well below market rate. Prices are set so that an individual making 60% to 80% of the area median income — roughly $65,000 to $87,000 — would spend no more than 30% of their monthly income on housing expenses. The organization is also working to create other home ownership opportunities, such as tiny homes and condos, for artists making below 60% of the area’s median income.\u003c/p>\n\u003cfigure id=\"attachment_13989663\" class=\"wp-caption alignleft\" style=\"max-width: 1333px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989663\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260511_ARTISTHOUSING_GC-2-KQED.jpg\" alt=\"\" width=\"1333\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260511_ARTISTHOUSING_GC-2-KQED.jpg 1333w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260511_ARTISTHOUSING_GC-2-KQED-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260511_ARTISTHOUSING_GC-2-KQED-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260511_ARTISTHOUSING_GC-2-KQED-1024x1536.jpg 1024w\" sizes=\"auto, (max-width: 1333px) 100vw, 1333px\">\u003cfigcaption class=\"wp-caption-text\">Sharmi Basu, Vital Arts director, poses for a portrait in downtown Oakland on May 11, 2026. \u003ccite>(Gina Castro for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Artist Space Trust has $15 million in properties that have either been donated or will be in the coming years. Some are single-family homes while others are more unconventional, including a property with a house, a warehouse and enough room to build another unit. So far, in partnership with the Northern California Land Trust (NCLT), the organization has helped artists purchase homes by helping them take advantage of the CalHOME downpayment-assistance program. This year, Artist Space Trust will sell the first property from its own portfolio: a duplex in San Francisco’s Mission District that will go to two artist households.\u003c/p>\n\u003cp>The nonprofit is currently doing outreach at community events to educate local artists on different pathways to affordable housing; their \u003ca href=\"https://www.eventbrite.com/e/holding-ground-models-for-artist-housing-in-a-time-of-displacement-tickets-1987660345600\">next resource fair\u003c/a> is on May 19. “The idea is that we start to get individuals, families and cooperatives ready for the opportunities that are coming,” Shiffler said.\u003c/p>\n\u003cp>Artist Space Trust is a partnership of NCLT and Vital Arts, an economic justice organization for artists that formed after the Ghost Ship fire. Vital Arts Director Sharmi Basu lost over a dozen friends in the tragedy; in the aftermath, they poured themself into organizing mutual aid for survivors.\u003c/p>\n\u003cp>Today, Vital Arts tackles affordability at several different levels. The organization helps artists cover basic living expenses through its \u003ca href=\"https://www.vitalarts.org/adpg\">Artist Displacement Prevention Grant\u003c/a>, which gives out $3,000 in emergency assistance to artists facing eviction, homelessness and sudden rent increases. At its free \u003ca href=\"https://www.vitalarts.org/alc\">Artist Legal Cafe\u003c/a>, next happening on May 19, lawyers advise artists on tenants’ rights and other issues.\u003c/p>\n\u003cp>For Basu, helping artists get permanent housing through Artist Space Trust is a crucial part of the solution. While Artist Space Trust helps artists navigate the complicated financial logistics, Vital Arts will come in when it’s time to select potential homeowners for each housing opportunity.\u003c/p>\n\u003cp>There are the features of the property to consider — ceramicists will be prioritized for a home with a pottery studio, for example — but Basu also sees this as an opportunity to address inequality. They want to make sure these housing opportunities don’t just reach people from well-off backgrounds, but go to people from Black and brown communities who have historically been locked out of homeownership because of redlining and other racist policies.\u003c/p>\n\u003cp>“[We’re] making sure that equity is built from the foundation up in that selection process,” Basu said.\u003c/p>\n\u003ch2>A movement for artist housing grows\u003c/h2>\n\u003cp>The need for artist housing is inspiring efforts across the Bay Area.\u003c/p>\n\u003cp>Artists Hub on Market and Mercy Housing of California, two nonprofits, will soon begin construction on an 100% affordable \u003ca href=\"https://www.kqed.org/arts/13957645/100-million-gift-affordable-artist-housing-mcroskey-mattress-san-francisco\">San Francisco apartment building for artists\u003c/a> that will include nearly 100 units, plus workspaces, a community center and a theater. Another nonprofit, Unity Council, has plans to develop the former Ghost Ship site in East Oakland into affordable housing, with 10% of the units set aside for artists.\u003c/p>\n\u003cfigure id=\"attachment_13989667\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989667\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260514_ARTISTHOUSING_GC-18-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1307\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260514_ARTISTHOUSING_GC-18-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260514_ARTISTHOUSING_GC-18-KQED-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260514_ARTISTHOUSING_GC-18-KQED-768x502.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260514_ARTISTHOUSING_GC-18-KQED-1536x1004.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Rashida Chase, board chair of Vital Arts and cultural strategist for the city of Oakland, poses for a portrait in downtown Oakland on May 11, 2026. \u003ccite>(Gina Castro for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Artists Hub on Market is slated for completion in 2028, and the Unity Council building is projected to begin construction that year. But building from the ground up is a lengthy process, so arts advocates are also exploring how to create affordable artist housing in existing properties.\u003c/p>\n\u003cp>Rashida Chase, board chair of Vital Arts, is a cultural strategist in Oakland City Councilmember Carroll Fife’s office. Chase lobbied the state to designate downtown Oakland’s Black Arts Movement and Business District as a California Cultural District, which opens up more housing opportunities.\u003c/p>\n\u003cp>Thanks to the 2023 state law AB 812, city governments can set aside 10% of locally required affordable housing units for artists within and around state-designated cultural districts, as well as within local cultural districts.[aside postID=arts_13988685 hero='https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/jewelry-making-1536x1024.jpg']The \u003ca href=\"https://www.kqed.org/news/12016292/berkeley-wants-to-create-cultural-district-where-artists-afford-to-live\">city of Berkeley is using AB 812\u003c/a> to pursue similar strategies. Artist Space Trust is currently advising multiple housing developers building in cultural districts, with the goal of holding the master lease for the units designated for artists.\u003c/p>\n\u003cp>This summer, Chase is spearheading a survey to find out whether there are city-owned properties, foreclosed homes or vacant lots that could be converted into affordable housing.\u003c/p>\n\u003cp>Chase, who grew up in West Oakland, namechecks born-and-raised Oaklanders Ryan Coogler, Zendaya and Alysa Liu when she talks about the importance of creating policy that makes it easier for artists to stay in Oakland. “Culture is our main export,” she said.\u003c/p>\n\u003cp>“We can hope [the Bay Area] won’t keep skyrocketing, but prices typically don’t come down,” Chase said. “And so we just wanna make sure that there’s enough housing available for the artists who are still here, but also artists who wanna come back.”\u003c/p>\n\u003chr>\n\u003cp>\u003cem>Experts from Artist Space Trust and other nonprofits are hosting \u003c/em>\u003ca href=\"https://www.eventbrite.com/e/holding-ground-models-for-artist-housing-in-a-time-of-displacement-tickets-1987660345600\">\u003cem>Holding Ground\u003c/em>\u003c/a>\u003cem>, a panel discussion and resource fair, on May 19 at 6:30 p.m. at Root Division (1131 Mission St., San Francisco). Also on May 19, Vital Arts has its free \u003c/em>\u003ca href=\"https://www.theselc.org/legalcafe_20260519\">\u003cem>Artist Legal Cafe\u003c/em>\u003c/a>\u003cem> from 3:30-5:30 p.m. at Bandaloop Studios (1601 18th St., Oakland).\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This story is part of \u003c/em>\u003ca href=\"https://www.kqed.org/affordability\">\u003cem>How We Get By\u003c/em>\u003c/a>\u003cem>, a KQED series exploring how people are coping with rising costs in the Bay Area and California. Find the \u003c/em>\u003ca href=\"https://www.kqed.org/affordability\">\u003cem>full series here\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cp>Jaelynn Walls thought it would take years of saving before they could buy their own \u003ca href=\"https://www.kqed.org/housing\">home\u003c/a> in \u003ca href=\"https://www.kqed.org/arts/tag/oakland\">Oakland\u003c/a>. But after seeing an Instagram post from \u003ca href=\"https://www.artistspacetrust.org/\">Artist Space Trust\u003c/a>, home ownership went from dream to reality for the 27-year-old fiction writer, curator and visual artist.\u003c/p>\n\u003cp>Artist Space Trust, a new Bay Area organization that helps artists secure affordable housing, helped Walls secure $168,000 in downpayment assistance from CalHOME, a state program for first-time homebuyers. After a whirlwind three months of compiling financial paperwork and spending their free time at open houses, Walls and their wife got the keys to a cozy East Oakland three-bedroom.\u003c/p>\n\u003cp>“Just having a place to land, and not feeling like I could have the rug pulled out from under me at any moment by the greater powers that be, such as a landlord or a housing company, is very assuring,” Walls said during a video call from their fabric- and plant-filled home studio.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Walls used to live in a cramped Tenderloin studio apartment where most of their income went to rent. Now, a much smaller portion of their paycheck goes to their mortgage.\u003c/p>\n\u003cp>They have more space to focus on their next young-adult novel and quilting projects, and can even set aside some savings. Walls’ wife has a music studio where friends collaborate. Out-of-town artists sometimes crash with the couple when they’re in the Bay Area for gigs.\u003c/p>\n\u003cp>“This is pretty much the greatest thing that has ever happened to me in terms of my creative practice,” Walls said.\u003c/p>\n\u003cfigure id=\"attachment_13989670\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989670\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260511_ARTISTHOUSING_GC-11-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260511_ARTISTHOUSING_GC-11-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260511_ARTISTHOUSING_GC-11-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260511_ARTISTHOUSING_GC-11-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260511_ARTISTHOUSING_GC-11-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jaelynn Walls, fiction writer and artist, holds their book “The Queer Girl is Going to be Okay” at their home in Oakland on May 11, 2026. \u003ccite>(Gina Castro for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bay Area artists have always been resilient, but in recent years, economic upheaval, the worldwide pandemic and federal funding cuts have put a financial strain on artists, and forced some to leave the region altogether.\u003c/p>\n\u003cp>As housing costs continue to rise, artists, policymakers and nonprofit leaders are testing new models to make sure the people who give the Bay Area its creative identity can afford to stay. Artist Space Trust uses a community land trust model to take homes off the for-profit real estate market and make them permanently affordable for artists. It’s part of a larger movement to create artist housing throughout the Bay Area, including projects underway in San Francisco, Berkeley and Oakland.\u003c/p>\n\u003cfigure id=\"attachment_13989671\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989671\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260511_ARTISTHOUSING_GC-17-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260511_ARTISTHOUSING_GC-17-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260511_ARTISTHOUSING_GC-17-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260511_ARTISTHOUSING_GC-17-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260511_ARTISTHOUSING_GC-17-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jaelynn Walls’ handmade quilt at their home in Oakland on May 11, 2026. \u003ccite>(Gina Castro for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Walls sees the Bay Area as their long-term home, and they’re relieved they can remain here. “I’m surrounded by artists who have unstable housing, who are not sure of \u003cem>where\u003c/em> they’re going to create, or \u003cem>how\u003c/em> they’re gonna create their work,” Walls said, “and even beyond that, where they’re going to live.”\u003c/p>\n\u003cp>Meg Shiffler, the director of Artist Space Trust, said her organization is looking generations ahead.\u003c/p>\n\u003cp>“If you lift up and look down at the Bay Area, 10, 20, 50, 100 years from now, there are gonna be artists permanently embedded all over the Bay Area,” Shiffler said.\u003c/p>\n\u003ch2>The Great Wealth Transfer creates an opening for artist housing\u003c/h2>\n\u003cp>While there isn’t enough recent data available to paint a complete picture of Bay Area artists as a workforce, it’s safe to say they’re struggling to get by.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.kqed.org/arts/10960748/survey-confirms-market-forces-pushing-artists-out-of-san-francisco\">last large-scale survey of artists in San Francisco\u003c/a>, from 2015, found that 70% had been or were being displaced from their home, workspace or both. A \u003ca href=\"https://berkeleyca.gov/sites/default/files/2022-02/Berkeley%20Affordable%20Housing%20for%20Artists.pdf\">2021 survey of artists in Berkeley\u003c/a> found that the majority were low-income, and 77% were either “rent burdened” or “severely rent burdened.”\u003c/p>\n\u003cfigure id=\"attachment_13989668\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989668\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260514_ARTISTHOUSING_GC-19-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1354\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260514_ARTISTHOUSING_GC-19-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260514_ARTISTHOUSING_GC-19-KQED-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260514_ARTISTHOUSING_GC-19-KQED-768x520.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260514_ARTISTHOUSING_GC-19-KQED-1536x1040.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">From left, Artist Space Trust team, Qiana Ellis, Programs Manager, and Meg Shiffler, Director, pose for a photo in Berkeley on May 14, 2026. \u003ccite>(Gina Castro for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the past decade, Bay Area artists have faced setback after setback. In 2016, the \u003ca href=\"https://www.kqed.org/ghostshipmemorial\">Ghost Ship fire\u003c/a> at a live-work artist warehouse in Oakland, during which 36 people died, prompted a wave of evictions from makeshift dwellings where artists lived because they couldn’t afford anything else.\u003c/p>\n\u003cp>Then came the 2020 pandemic shutdowns, which cut off performance income, and another wave of displacement when state and city governments lifted eviction moratoriums. In more recent years, surging gas, food and rent prices have kept artists and other workers stuck in financial precarity.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Advocates say that securing permanently affordable housing for artists is key to ensuring that the Bay Area can remain a cultural hub. Qiana Ellis, Artist Space Trust’s programs manager, sees a rare opportunity for artists to secure a permanent place in the region. “They’re calling it the Great Wealth Transfer,” she said.\u003c/p>\n\u003cp>Over the next two decades, an estimated $124 trillion will change hands nationally as Baby Boomers and members of the Silent Generation die and pass on their assets, according to the consulting firm Cerulli Associates. “We’re really in this point that may not happen for another 100 years,” Ellis said.\u003c/p>\n\u003cp>It’s mostly members of these generations who are bequeathing their homes to Artist Space Trust. Some of them are artists and most aren’t wealthy themselves; they bought their homes decades ago, when \u003ca href=\"https://www.kqed.org/news/12078615/how-skyrocketing-housing-costs-and-policy-choices-reshaped-the-bay-area\">houses in the Bay Area went for around $23,000\u003c/a>. Today’s average home price is over $700,000 in Oakland and over $1.3 million in San Francisco.\u003c/p>\n\u003cp>“They’re looking back on their lives and saying, ‘Wow, I see how difficult it’s gotten for artists,’” Ellis said. “‘I’m in conversation with younger generations, and I know that they cannot make their work in the same way that I could and be able to afford housing anymore.’”\u003c/p>\n\u003ch2>Assessing artists’ needs\u003c/h2>\n\u003cp>Artist Space Trust is the first organization in the nation to use a community land trust model to create permanently affordable housing specifically for artists.\u003c/p>\n\u003cp>The Berkeley nonprofit takes properties off the for-profit real-estate market and sells them well below market rate. Prices are set so that an individual making 60% to 80% of the area median income — roughly $65,000 to $87,000 — would spend no more than 30% of their monthly income on housing expenses. The organization is also working to create other home ownership opportunities, such as tiny homes and condos, for artists making below 60% of the area’s median income.\u003c/p>\n\u003cfigure id=\"attachment_13989663\" class=\"wp-caption alignleft\" style=\"max-width: 1333px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989663\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260511_ARTISTHOUSING_GC-2-KQED.jpg\" alt=\"\" width=\"1333\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260511_ARTISTHOUSING_GC-2-KQED.jpg 1333w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260511_ARTISTHOUSING_GC-2-KQED-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260511_ARTISTHOUSING_GC-2-KQED-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260511_ARTISTHOUSING_GC-2-KQED-1024x1536.jpg 1024w\" sizes=\"auto, (max-width: 1333px) 100vw, 1333px\">\u003cfigcaption class=\"wp-caption-text\">Sharmi Basu, Vital Arts director, poses for a portrait in downtown Oakland on May 11, 2026. \u003ccite>(Gina Castro for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Artist Space Trust has $15 million in properties that have either been donated or will be in the coming years. Some are single-family homes while others are more unconventional, including a property with a house, a warehouse and enough room to build another unit. So far, in partnership with the Northern California Land Trust (NCLT), the organization has helped artists purchase homes by helping them take advantage of the CalHOME downpayment-assistance program. This year, Artist Space Trust will sell the first property from its own portfolio: a duplex in San Francisco’s Mission District that will go to two artist households.\u003c/p>\n\u003cp>The nonprofit is currently doing outreach at community events to educate local artists on different pathways to affordable housing; their \u003ca href=\"https://www.eventbrite.com/e/holding-ground-models-for-artist-housing-in-a-time-of-displacement-tickets-1987660345600\">next resource fair\u003c/a> is on May 19. “The idea is that we start to get individuals, families and cooperatives ready for the opportunities that are coming,” Shiffler said.\u003c/p>\n\u003cp>Artist Space Trust is a partnership of NCLT and Vital Arts, an economic justice organization for artists that formed after the Ghost Ship fire. Vital Arts Director Sharmi Basu lost over a dozen friends in the tragedy; in the aftermath, they poured themself into organizing mutual aid for survivors.\u003c/p>\n\u003cp>Today, Vital Arts tackles affordability at several different levels. The organization helps artists cover basic living expenses through its \u003ca href=\"https://www.vitalarts.org/adpg\">Artist Displacement Prevention Grant\u003c/a>, which gives out $3,000 in emergency assistance to artists facing eviction, homelessness and sudden rent increases. At its free \u003ca href=\"https://www.vitalarts.org/alc\">Artist Legal Cafe\u003c/a>, next happening on May 19, lawyers advise artists on tenants’ rights and other issues.\u003c/p>\n\u003cp>For Basu, helping artists get permanent housing through Artist Space Trust is a crucial part of the solution. While Artist Space Trust helps artists navigate the complicated financial logistics, Vital Arts will come in when it’s time to select potential homeowners for each housing opportunity.\u003c/p>\n\u003cp>There are the features of the property to consider — ceramicists will be prioritized for a home with a pottery studio, for example — but Basu also sees this as an opportunity to address inequality. They want to make sure these housing opportunities don’t just reach people from well-off backgrounds, but go to people from Black and brown communities who have historically been locked out of homeownership because of redlining and other racist policies.\u003c/p>\n\u003cp>“[We’re] making sure that equity is built from the foundation up in that selection process,” Basu said.\u003c/p>\n\u003ch2>A movement for artist housing grows\u003c/h2>\n\u003cp>The need for artist housing is inspiring efforts across the Bay Area.\u003c/p>\n\u003cp>Artists Hub on Market and Mercy Housing of California, two nonprofits, will soon begin construction on an 100% affordable \u003ca href=\"https://www.kqed.org/arts/13957645/100-million-gift-affordable-artist-housing-mcroskey-mattress-san-francisco\">San Francisco apartment building for artists\u003c/a> that will include nearly 100 units, plus workspaces, a community center and a theater. Another nonprofit, Unity Council, has plans to develop the former Ghost Ship site in East Oakland into affordable housing, with 10% of the units set aside for artists.\u003c/p>\n\u003cfigure id=\"attachment_13989667\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989667\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260514_ARTISTHOUSING_GC-18-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1307\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260514_ARTISTHOUSING_GC-18-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260514_ARTISTHOUSING_GC-18-KQED-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260514_ARTISTHOUSING_GC-18-KQED-768x502.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260514_ARTISTHOUSING_GC-18-KQED-1536x1004.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Rashida Chase, board chair of Vital Arts and cultural strategist for the city of Oakland, poses for a portrait in downtown Oakland on May 11, 2026. \u003ccite>(Gina Castro for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Artists Hub on Market is slated for completion in 2028, and the Unity Council building is projected to begin construction that year. But building from the ground up is a lengthy process, so arts advocates are also exploring how to create affordable artist housing in existing properties.\u003c/p>\n\u003cp>Rashida Chase, board chair of Vital Arts, is a cultural strategist in Oakland City Councilmember Carroll Fife’s office. Chase lobbied the state to designate downtown Oakland’s Black Arts Movement and Business District as a California Cultural District, which opens up more housing opportunities.\u003c/p>\n\u003cp>Thanks to the 2023 state law AB 812, city governments can set aside 10% of locally required affordable housing units for artists within and around state-designated cultural districts, as well as within local cultural districts.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The \u003ca href=\"https://www.kqed.org/news/12016292/berkeley-wants-to-create-cultural-district-where-artists-afford-to-live\">city of Berkeley is using AB 812\u003c/a> to pursue similar strategies. Artist Space Trust is currently advising multiple housing developers building in cultural districts, with the goal of holding the master lease for the units designated for artists.\u003c/p>\n\u003cp>This summer, Chase is spearheading a survey to find out whether there are city-owned properties, foreclosed homes or vacant lots that could be converted into affordable housing.\u003c/p>\n\u003cp>Chase, who grew up in West Oakland, namechecks born-and-raised Oaklanders Ryan Coogler, Zendaya and Alysa Liu when she talks about the importance of creating policy that makes it easier for artists to stay in Oakland. “Culture is our main export,” she said.\u003c/p>\n\u003cp>“We can hope [the Bay Area] won’t keep skyrocketing, but prices typically don’t come down,” Chase said. “And so we just wanna make sure that there’s enough housing available for the artists who are still here, but also artists who wanna come back.”\u003c/p>\n\u003chr>\n\u003cp>\u003cem>Experts from Artist Space Trust and other nonprofits are hosting \u003c/em>\u003ca href=\"https://www.eventbrite.com/e/holding-ground-models-for-artist-housing-in-a-time-of-displacement-tickets-1987660345600\">\u003cem>Holding Ground\u003c/em>\u003c/a>\u003cem>, a panel discussion and resource fair, on May 19 at 6:30 p.m. at Root Division (1131 Mission St., San Francisco). Also on May 19, Vital Arts has its free \u003c/em>\u003ca href=\"https://www.theselc.org/legalcafe_20260519\">\u003cem>Artist Legal Cafe\u003c/em>\u003c/a>\u003cem> from 3:30-5:30 p.m. at Bandaloop Studios (1601 18th St., Oakland).\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "oakland-boxing-thomas-mcelroy-lightnings-gym-documentary",
"title": "With His Mother’s Support, A Young Oakland Boxer Carries on The Town's Deep Legacy",
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"headTitle": "With His Mother’s Support, A Young Oakland Boxer Carries on The Town’s Deep Legacy | KQED",
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"content": "\u003cp>After \u003ca href=\"https://www.nbcbayarea.com/news/local/oakland-lightning-boxing-car-crash/4006888/\">a car smashed through the front doors\u003c/a> of Lightning’s Boxing Club in East Oakland this past New Year’s Eve, the young fighters who’d found sanctuary at the facility went looking for a new home.\u003c/p>\n\u003cp>That explains why there’s currently a boxing ring inside downtown Oakland’s landmark nightclub \u003ca href=\"https://geoffreyslive.com/\">Geoffery’s Inner Circle\u003c/a>.\u003c/p>\n\u003cp>Up two flights of stairs, past framed images of superstars who’ve performed on the Geoffrey’s stage, there’s all the amenities of a boxing gym. Punching bags suspended from the ceiling. Weights stacked near a bench press.\u003c/p>\n\u003cp>During a recent visit, a boxer jumps rope in the mirror on the far side, while another gets lessons from the gym’s owner, coach Kris “Lightning” Lopez. In the center of the room is a traditional boxing ring, and shadowboxing in the middle of it is a determined young man named Thomas McElroy Jr.\u003c/p>\n\u003cfigure id=\"attachment_13989346\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13989346 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/DSC01189.jpg\" alt=\"A young African American man shadowboxing in a boxing ring. \" width=\"2000\" height=\"1337\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/DSC01189.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/DSC01189-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/DSC01189-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/DSC01189-1536x1027.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Thomas McElroy Jr. and his friends train daily in downtown Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A nationally top-ranked amateur fighter with medal-wining bouts behind him and miles of potential in front of him, McElroy Jr. and his circle of boxing friends represent the next wave of boxers carrying the baton for the Bay.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>His story, along with other rising fighters, is illuminated in the new four-part documentary series \u003cem>\u003ca href=\"https://www.sonsofthesweetscience.com/\">Sons of the Sweet Science\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>“There’s a lot of great fighters from this gym, and all around Oakland,” McElroy Jr. tells me. At 19 years old, he’s fully aware of the legacy of this soil.\u003c/p>\n\u003cp>Retired Olympic gold medalist \u003ca href=\"https://boxrec.com/en/box-pro/281958\">Andre Ward\u003c/a> and current World Boxing Organization welterweight champion \u003ca href=\"https://boxrec.com/en/box-pro/741718\">Devin Haney\u003c/a> both started in the Town. Notable fighters like \u003ca href=\"https://boxrec.com/en/box-pro/100759\">Bilal Mahasin\u003c/a>, \u003ca href=\"https://boxrec.com/en/box-pro/873678\">Amari Jones\u003c/a> and \u003ca href=\"https://boxrec.com/en/box-pro/853206\">Anthony Garnica\u003c/a> learned the ropes here, as did \u003ca href=\"https://boxrec.com/en/box-pro/048243\">Nonito “The Filipino Flash” Donaire\u003c/a> and \u003ca href=\"https://boxrec.com/en/box-pro/25178\">Juaquin “Killer” Gallardo\u003c/a>, a 1996 U.S. Olympic team alternate.\u003c/p>\n\u003cp>The first African American fighter to win the Light Heavyweight title, \u003ca href=\"https://www.britishvintageboxing.com/blogs/news/john-henry-lewis-sensationally-humble\">John Henry Lewis\u003c/a>, spent his adult years in the East Bay, running a gym with his brothers. (He was also the father of \u003ca href=\"https://www.illustrationhistory.org/artists/joan-tarika-lewis\">Joan Tarika Lewis\u003c/a>, the first woman to join the Black Panther Party.)\u003c/p>\n\u003cp>Reflecting on the Town’s lineage, McElroy says, “I’m just adding the cherry on top.”\u003c/p>\n\u003cfigure id=\"attachment_13989368\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13989368 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/image1.jpg\" alt=\"A black and white image of a young African American man wearing multiple medals around his neck. \" width=\"2000\" height=\"1303\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/image1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/image1-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/image1-768x500.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/image1-1536x1001.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Thomas McElroy Jr. has accomplished a lot as an amateur fighter. Now, he’s looking to turn pro. \u003ccite>(Renée Moncada-McElroy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Formerly ranked No. 2 in the nation in the 143-pound weight class, McElroy recently moved up to the 154-pound division, where he’s ranked No. 6. Fresh from winning an exhibition fight by unanimous decision in Las Vegas this past weekend, McElroy Jr. is preparing for the Junior Olympics in June — which he predicts will be his last tournament before turning pro.\u003c/p>\n\u003cp>And with that, he’ll start the next chapter of a story he started as a baby.\u003c/p>\n\u003cp>“I have a picture of him with his big old boxing gloves on,” says \u003ca href=\"https://www.instagram.com/renee_electronika/\">Renée Moncada-McElroy\u003c/a>. “He’s literally been doing this all his life.”\u003c/p>\n\u003cfigure id=\"attachment_13989355\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13989355 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_3738.jpg\" alt=\"An African American toddler wearing boxing gloves and kicking a punching bag. \" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_3738.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_3738-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_3738-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_3738-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">As a toddler, Thomas McElroy Jr. put on his first pair of boxing gloves — and he hasn’t stopped fighting since. \u003ccite>(Renée Moncada-McElroy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘It’s not just about boxing’\u003c/h2>\n\u003cp>Moncada-McElroy, McElroy Jr.’s mother, is also the creator of the documentary series \u003cem>Sons of the Sweet Science\u003c/em>; the latest production credit on her already stacked résumé.\u003c/p>\n\u003cp>She’s worked as a producer for the reality show \u003cem>Big Freedia: Queen of Bounce\u003c/em> and the nature show \u003cem>Man vs. Fish\u003c/em>. She also directed on the series \u003cem>Chain Gang Girls\u003c/em> and was the force behind a documentary about Oakland rap legend Too Short, \u003cem>Life Is: The Life and Times of Todd Shaw\u003c/em>.\u003c/p>\n\u003cp>But this one is different.\u003c/p>\n\u003cp>“It’s not just about boxing,” says Moncada-McElroy, explaining her goal to show the ring as a rite of passage. “Coming of age under pressure,” as she calls it, “\u003cem>and\u003c/em> it’s connected to real-world stakes.”\u003c/p>\n\u003cfigure id=\"attachment_13989364\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13989364 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/DSC01242.jpg\" alt=\"A young African American man wears boxing gloves as he poses for a photo next to his mother and father. \" width=\"2000\" height=\"1337\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/DSC01242.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/DSC01242-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/DSC01242-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/DSC01242-1536x1027.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Thomas McElroy Jr. and his parents, Renée Moncada-McElroy and Thomas McElroy.\u003c/figcaption>\u003c/figure>\n\u003cp>The series was filmed around 2021, in the wake of the police killing of George Floyd and numerous other high-profile extrajudicial murders of Black people. “The gym was a safe space for them during that time,” says the filmmaker, recognizing the pressure that her son and his friends faced as teenage Black men in America.\u003c/p>\n\u003cp>She credits coaches Kris Lopez and Abe Morones for creating a place for young people to fully express themselves. “The gyms are social service agencies,” asserts Moncada-McElroy. “They’re an alternative to the streets for a lot of these boys.”\u003c/p>\n\u003cp>But even in finding a bit of escape, the influence of the Town isn’t far behind.\u003c/p>\n\u003cp>“The Oakland style of boxing,” says coach Kris Lopez, “is an intellectual style of boxing.” The best fighters from the region, he says, have a great understanding of distance, and of keeping their front guard hand up at a 45-degree angle. They also make tremendous use of the jab.\u003c/p>\n\u003cp>It’s a balanced style that doesn’t rely on power punching, but instead focuses on rhythm, good fundamentals, sharp lines and timing.\u003c/p>\n\u003cp>“You’re not going to catch an Oakland fighter sitting in the shell too long,” says Lopez. “They’re going to dictate the fight with the jab and be more like a sniper, landing clean shots.”\u003c/p>\n\u003cfigure id=\"attachment_13989365\" class=\"wp-caption aligncenter\" style=\"max-width: 1616px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13989365 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/DSC01183.jpg\" alt=\"A coach and young boxer secure gloves and get ready to train. \" width=\"1616\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/DSC01183.jpg 1616w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/DSC01183-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/DSC01183-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/DSC01183-1536x1027.jpg 1536w\" sizes=\"auto, (max-width: 1616px) 100vw, 1616px\">\u003cfigcaption class=\"wp-caption-text\">Coach Kris “Lightning” Lopez secures the gloves on a young boxer’s hands before a training session. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to the technical aspects of the sport, the community safety net and coming-of-age experience, the series centers fatherhood.\u003c/p>\n\u003cp>Rattling off a list of great boxers, male and female, Moncada-McElroy notes how deeply their fathers (or father figures) were involved in their upbringing. Thomas McElroy Jr. is no different.\u003c/p>\n\u003ch2>A mother’s love, a father’s guidance\u003c/h2>\n\u003cp>“I love that my son is achieving all that he wants to achieve so far in boxing,” says the elder Thomas McElroy. “There’s so much you can learn from boxing that doesn’t have anything to do with punching and not getting punched.”\u003c/p>\n\u003cp>McElroy, as one half of the acclaimed music production team \u003ca href=\"https://www.allmusic.com/artist/thomas-mcelroy-mn0000488357#songs\">Foster and McElroy\u003c/a>, has produced hits for legendary groups En Vogue and Tony! Toni! Toné!, as well as Timex Social Club and Club Nouveau.\u003c/p>\n\u003cp>He’s also a longtime Muay Thai kickboxer.\u003c/p>\n\u003cfigure id=\"attachment_13989372\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13989372 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_3733.jpg\" alt=\"A boy stands in a boxing ring, as his father stands outside of the ring looking on in admiration. \" width=\"2000\" height=\"2507\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_3733.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_3733-160x201.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_3733-768x963.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_3733-1225x1536.jpg 1225w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_3733-1634x2048.jpg 1634w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Thomas McElroy Jr. has been training with his father all his life. \u003ccite>(Renée Moncada-McElroy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Boxing is a beautiful art, it’s a craft,” says McElroy, describing the lessons his son is gleaning in the ring.\u003c/p>\n\u003cp>It takes a certain type of person to want to become a boxer, McElroy says. Most folks avoid conflict. “They don’t want to get in the ring and fight, they’d rather run,” he says. “And then some people run toward the flame, you know? They don’t mind getting burned. They don’t mind getting heated up.”\u003c/p>\n\u003cp>McElroy says, “They just add to the flame when they get there.”\u003c/p>\n\u003cp>McElroy Jr. maintains a healthy relationship with his father, somebody he says he can talk to any time. “He’s a very cool dude,” adds the young boxer, referring to him as a coach, trainer and an all-around person in his corner.\u003c/p>\n\u003cp>“I look at my dad,” McElroy Jr. says, “as more than just a father.”\u003c/p>\n\u003ch2>Oakland boxing is different\u003c/h2>\n\u003cp>The importance of family support, the intricate mindset of a young boxer and the texture of the Town are all prominent in the first episode of \u003cem>Sons of the Sweet Science\u003c/em>.\u003c/p>\n\u003cp>In one scene, fathers deescalate a potentially bad situation where a boxer doesn’t have proper equipment. In another brief clip, Moncada-McElroy holds her son close as he processes emotions after a rough fight. And in yet another scene, McElroy Jr. and his friends smile wide as they jump into a swimming pool, evidence that they retain their childlike joy in the midst of constantly training for battle.\u003c/p>\n\u003cfigure id=\"attachment_13989370\" class=\"wp-caption aligncenter\" style=\"max-width: 1616px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13989370 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/DSC01220.jpg\" alt=\"A silhouette of a boxer swinging at a suspended weight bag.\" width=\"1616\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/DSC01220.jpg 1616w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/DSC01220-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/DSC01220-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/DSC01220-1536x1027.jpg 1536w\" sizes=\"auto, (max-width: 1616px) 100vw, 1616px\">\u003cfigcaption class=\"wp-caption-text\">In addition to boxing, Thomas McElroy Jr. is a visual artist, musician and craftsman. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By fusing narrative storytelling with a very intentional soundtrack, Moncada-McElroy guides the viewers through the emotions that come with fighting — both inside and outside the ring. In the end, for an activity that involves getting punched in the face, she creates a language that expresses the \u003cem>poetry\u003c/em> of the sport.\u003c/p>\n\u003cp>“It’s strategy, it’s precision, timing and control,” she says. “And so I wanted to make sure that I used certain tools or certain formats to communicate the language that boxing has.”\u003c/p>\n\u003cp>Moncada-McElroy breaks that language down into a bit of a paradox, one that parallels the knotty nature of Oakland.\u003c/p>\n\u003cp>“It’s complicated,” she says, comparing the Town to the sport. “You have opportunities, but you also have limitations. There’s community, but there’s also isolation.”\u003c/p>\n\u003cp>Within Oakland’s style of boxing, she sees a deeper dichotomy: “There’s a sort of lightheartedness,” Moncada-McElroy says of the boxers she watches, “but they do take care of business when they get in the ring … They may not start it, but they’re gonna finish it.”\u003c/p>\n\u003cp>Even the existential questions that the boxing gym currently faces illustrate a duality. It’s unfortunate that a stolen car busted through the gym’s front wall six months ago. It’s also truly beautiful that a storied nightclub and cultural hub would open up its space and allow its young athletes to continue to grow.\u003c/p>\n\u003cp>It turns out that the secrets to being an incredible city and a respected fighter are one and the same: support from community, a bit of conflict, and a confident jab. And balance — always maintain your balance.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>The first episode of ‘Sons of the Sweet Science’ is available to watch now. \u003ca href=\"https://www.sonsofthesweetscience.com/\">Check the series site for upcoming episodes and more information\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After \u003ca href=\"https://www.nbcbayarea.com/news/local/oakland-lightning-boxing-car-crash/4006888/\">a car smashed through the front doors\u003c/a> of Lightning’s Boxing Club in East Oakland this past New Year’s Eve, the young fighters who’d found sanctuary at the facility went looking for a new home.\u003c/p>\n\u003cp>That explains why there’s currently a boxing ring inside downtown Oakland’s landmark nightclub \u003ca href=\"https://geoffreyslive.com/\">Geoffery’s Inner Circle\u003c/a>.\u003c/p>\n\u003cp>Up two flights of stairs, past framed images of superstars who’ve performed on the Geoffrey’s stage, there’s all the amenities of a boxing gym. Punching bags suspended from the ceiling. Weights stacked near a bench press.\u003c/p>\n\u003cp>During a recent visit, a boxer jumps rope in the mirror on the far side, while another gets lessons from the gym’s owner, coach Kris “Lightning” Lopez. In the center of the room is a traditional boxing ring, and shadowboxing in the middle of it is a determined young man named Thomas McElroy Jr.\u003c/p>\n\u003cfigure id=\"attachment_13989346\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13989346 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/DSC01189.jpg\" alt=\"A young African American man shadowboxing in a boxing ring. \" width=\"2000\" height=\"1337\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/DSC01189.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/DSC01189-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/DSC01189-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/DSC01189-1536x1027.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Thomas McElroy Jr. and his friends train daily in downtown Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A nationally top-ranked amateur fighter with medal-wining bouts behind him and miles of potential in front of him, McElroy Jr. and his circle of boxing friends represent the next wave of boxers carrying the baton for the Bay.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>His story, along with other rising fighters, is illuminated in the new four-part documentary series \u003cem>\u003ca href=\"https://www.sonsofthesweetscience.com/\">Sons of the Sweet Science\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>“There’s a lot of great fighters from this gym, and all around Oakland,” McElroy Jr. tells me. At 19 years old, he’s fully aware of the legacy of this soil.\u003c/p>\n\u003cp>Retired Olympic gold medalist \u003ca href=\"https://boxrec.com/en/box-pro/281958\">Andre Ward\u003c/a> and current World Boxing Organization welterweight champion \u003ca href=\"https://boxrec.com/en/box-pro/741718\">Devin Haney\u003c/a> both started in the Town. Notable fighters like \u003ca href=\"https://boxrec.com/en/box-pro/100759\">Bilal Mahasin\u003c/a>, \u003ca href=\"https://boxrec.com/en/box-pro/873678\">Amari Jones\u003c/a> and \u003ca href=\"https://boxrec.com/en/box-pro/853206\">Anthony Garnica\u003c/a> learned the ropes here, as did \u003ca href=\"https://boxrec.com/en/box-pro/048243\">Nonito “The Filipino Flash” Donaire\u003c/a> and \u003ca href=\"https://boxrec.com/en/box-pro/25178\">Juaquin “Killer” Gallardo\u003c/a>, a 1996 U.S. Olympic team alternate.\u003c/p>\n\u003cp>The first African American fighter to win the Light Heavyweight title, \u003ca href=\"https://www.britishvintageboxing.com/blogs/news/john-henry-lewis-sensationally-humble\">John Henry Lewis\u003c/a>, spent his adult years in the East Bay, running a gym with his brothers. (He was also the father of \u003ca href=\"https://www.illustrationhistory.org/artists/joan-tarika-lewis\">Joan Tarika Lewis\u003c/a>, the first woman to join the Black Panther Party.)\u003c/p>\n\u003cp>Reflecting on the Town’s lineage, McElroy says, “I’m just adding the cherry on top.”\u003c/p>\n\u003cfigure id=\"attachment_13989368\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13989368 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/image1.jpg\" alt=\"A black and white image of a young African American man wearing multiple medals around his neck. \" width=\"2000\" height=\"1303\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/image1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/image1-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/image1-768x500.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/image1-1536x1001.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Thomas McElroy Jr. has accomplished a lot as an amateur fighter. Now, he’s looking to turn pro. \u003ccite>(Renée Moncada-McElroy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Formerly ranked No. 2 in the nation in the 143-pound weight class, McElroy recently moved up to the 154-pound division, where he’s ranked No. 6. Fresh from winning an exhibition fight by unanimous decision in Las Vegas this past weekend, McElroy Jr. is preparing for the Junior Olympics in June — which he predicts will be his last tournament before turning pro.\u003c/p>\n\u003cp>And with that, he’ll start the next chapter of a story he started as a baby.\u003c/p>\n\u003cp>“I have a picture of him with his big old boxing gloves on,” says \u003ca href=\"https://www.instagram.com/renee_electronika/\">Renée Moncada-McElroy\u003c/a>. “He’s literally been doing this all his life.”\u003c/p>\n\u003cfigure id=\"attachment_13989355\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13989355 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_3738.jpg\" alt=\"An African American toddler wearing boxing gloves and kicking a punching bag. \" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_3738.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_3738-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_3738-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_3738-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">As a toddler, Thomas McElroy Jr. put on his first pair of boxing gloves — and he hasn’t stopped fighting since. \u003ccite>(Renée Moncada-McElroy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘It’s not just about boxing’\u003c/h2>\n\u003cp>Moncada-McElroy, McElroy Jr.’s mother, is also the creator of the documentary series \u003cem>Sons of the Sweet Science\u003c/em>; the latest production credit on her already stacked résumé.\u003c/p>\n\u003cp>She’s worked as a producer for the reality show \u003cem>Big Freedia: Queen of Bounce\u003c/em> and the nature show \u003cem>Man vs. Fish\u003c/em>. She also directed on the series \u003cem>Chain Gang Girls\u003c/em> and was the force behind a documentary about Oakland rap legend Too Short, \u003cem>Life Is: The Life and Times of Todd Shaw\u003c/em>.\u003c/p>\n\u003cp>But this one is different.\u003c/p>\n\u003cp>“It’s not just about boxing,” says Moncada-McElroy, explaining her goal to show the ring as a rite of passage. “Coming of age under pressure,” as she calls it, “\u003cem>and\u003c/em> it’s connected to real-world stakes.”\u003c/p>\n\u003cfigure id=\"attachment_13989364\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13989364 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/DSC01242.jpg\" alt=\"A young African American man wears boxing gloves as he poses for a photo next to his mother and father. \" width=\"2000\" height=\"1337\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/DSC01242.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/DSC01242-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/DSC01242-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/DSC01242-1536x1027.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Thomas McElroy Jr. and his parents, Renée Moncada-McElroy and Thomas McElroy.\u003c/figcaption>\u003c/figure>\n\u003cp>The series was filmed around 2021, in the wake of the police killing of George Floyd and numerous other high-profile extrajudicial murders of Black people. “The gym was a safe space for them during that time,” says the filmmaker, recognizing the pressure that her son and his friends faced as teenage Black men in America.\u003c/p>\n\u003cp>She credits coaches Kris Lopez and Abe Morones for creating a place for young people to fully express themselves. “The gyms are social service agencies,” asserts Moncada-McElroy. “They’re an alternative to the streets for a lot of these boys.”\u003c/p>\n\u003cp>But even in finding a bit of escape, the influence of the Town isn’t far behind.\u003c/p>\n\u003cp>“The Oakland style of boxing,” says coach Kris Lopez, “is an intellectual style of boxing.” The best fighters from the region, he says, have a great understanding of distance, and of keeping their front guard hand up at a 45-degree angle. They also make tremendous use of the jab.\u003c/p>\n\u003cp>It’s a balanced style that doesn’t rely on power punching, but instead focuses on rhythm, good fundamentals, sharp lines and timing.\u003c/p>\n\u003cp>“You’re not going to catch an Oakland fighter sitting in the shell too long,” says Lopez. “They’re going to dictate the fight with the jab and be more like a sniper, landing clean shots.”\u003c/p>\n\u003cfigure id=\"attachment_13989365\" class=\"wp-caption aligncenter\" style=\"max-width: 1616px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13989365 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/DSC01183.jpg\" alt=\"A coach and young boxer secure gloves and get ready to train. \" width=\"1616\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/DSC01183.jpg 1616w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/DSC01183-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/DSC01183-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/DSC01183-1536x1027.jpg 1536w\" sizes=\"auto, (max-width: 1616px) 100vw, 1616px\">\u003cfigcaption class=\"wp-caption-text\">Coach Kris “Lightning” Lopez secures the gloves on a young boxer’s hands before a training session. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to the technical aspects of the sport, the community safety net and coming-of-age experience, the series centers fatherhood.\u003c/p>\n\u003cp>Rattling off a list of great boxers, male and female, Moncada-McElroy notes how deeply their fathers (or father figures) were involved in their upbringing. Thomas McElroy Jr. is no different.\u003c/p>\n\u003ch2>A mother’s love, a father’s guidance\u003c/h2>\n\u003cp>“I love that my son is achieving all that he wants to achieve so far in boxing,” says the elder Thomas McElroy. “There’s so much you can learn from boxing that doesn’t have anything to do with punching and not getting punched.”\u003c/p>\n\u003cp>McElroy, as one half of the acclaimed music production team \u003ca href=\"https://www.allmusic.com/artist/thomas-mcelroy-mn0000488357#songs\">Foster and McElroy\u003c/a>, has produced hits for legendary groups En Vogue and Tony! Toni! Toné!, as well as Timex Social Club and Club Nouveau.\u003c/p>\n\u003cp>He’s also a longtime Muay Thai kickboxer.\u003c/p>\n\u003cfigure id=\"attachment_13989372\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13989372 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_3733.jpg\" alt=\"A boy stands in a boxing ring, as his father stands outside of the ring looking on in admiration. \" width=\"2000\" height=\"2507\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_3733.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_3733-160x201.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_3733-768x963.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_3733-1225x1536.jpg 1225w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_3733-1634x2048.jpg 1634w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Thomas McElroy Jr. has been training with his father all his life. \u003ccite>(Renée Moncada-McElroy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Boxing is a beautiful art, it’s a craft,” says McElroy, describing the lessons his son is gleaning in the ring.\u003c/p>\n\u003cp>It takes a certain type of person to want to become a boxer, McElroy says. Most folks avoid conflict. “They don’t want to get in the ring and fight, they’d rather run,” he says. “And then some people run toward the flame, you know? They don’t mind getting burned. They don’t mind getting heated up.”\u003c/p>\n\u003cp>McElroy says, “They just add to the flame when they get there.”\u003c/p>\n\u003cp>McElroy Jr. maintains a healthy relationship with his father, somebody he says he can talk to any time. “He’s a very cool dude,” adds the young boxer, referring to him as a coach, trainer and an all-around person in his corner.\u003c/p>\n\u003cp>“I look at my dad,” McElroy Jr. says, “as more than just a father.”\u003c/p>\n\u003ch2>Oakland boxing is different\u003c/h2>\n\u003cp>The importance of family support, the intricate mindset of a young boxer and the texture of the Town are all prominent in the first episode of \u003cem>Sons of the Sweet Science\u003c/em>.\u003c/p>\n\u003cp>In one scene, fathers deescalate a potentially bad situation where a boxer doesn’t have proper equipment. In another brief clip, Moncada-McElroy holds her son close as he processes emotions after a rough fight. And in yet another scene, McElroy Jr. and his friends smile wide as they jump into a swimming pool, evidence that they retain their childlike joy in the midst of constantly training for battle.\u003c/p>\n\u003cfigure id=\"attachment_13989370\" class=\"wp-caption aligncenter\" style=\"max-width: 1616px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13989370 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/DSC01220.jpg\" alt=\"A silhouette of a boxer swinging at a suspended weight bag.\" width=\"1616\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/DSC01220.jpg 1616w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/DSC01220-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/DSC01220-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/DSC01220-1536x1027.jpg 1536w\" sizes=\"auto, (max-width: 1616px) 100vw, 1616px\">\u003cfigcaption class=\"wp-caption-text\">In addition to boxing, Thomas McElroy Jr. is a visual artist, musician and craftsman. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By fusing narrative storytelling with a very intentional soundtrack, Moncada-McElroy guides the viewers through the emotions that come with fighting — both inside and outside the ring. In the end, for an activity that involves getting punched in the face, she creates a language that expresses the \u003cem>poetry\u003c/em> of the sport.\u003c/p>\n\u003cp>“It’s strategy, it’s precision, timing and control,” she says. “And so I wanted to make sure that I used certain tools or certain formats to communicate the language that boxing has.”\u003c/p>\n\u003cp>Moncada-McElroy breaks that language down into a bit of a paradox, one that parallels the knotty nature of Oakland.\u003c/p>\n\u003cp>“It’s complicated,” she says, comparing the Town to the sport. “You have opportunities, but you also have limitations. There’s community, but there’s also isolation.”\u003c/p>\n\u003cp>Within Oakland’s style of boxing, she sees a deeper dichotomy: “There’s a sort of lightheartedness,” Moncada-McElroy says of the boxers she watches, “but they do take care of business when they get in the ring … They may not start it, but they’re gonna finish it.”\u003c/p>\n\u003cp>Even the existential questions that the boxing gym currently faces illustrate a duality. It’s unfortunate that a stolen car busted through the gym’s front wall six months ago. It’s also truly beautiful that a storied nightclub and cultural hub would open up its space and allow its young athletes to continue to grow.\u003c/p>\n\u003cp>It turns out that the secrets to being an incredible city and a respected fighter are one and the same: support from community, a bit of conflict, and a confident jab. And balance — always maintain your balance.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The first episode of ‘Sons of the Sweet Science’ is available to watch now. \u003ca href=\"https://www.sonsofthesweetscience.com/\">Check the series site for upcoming episodes and more information\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "best-cheap-affordable-restaurant-meals-bay-area-oakland-sf",
"title": "25 Great Bay Area Meals for $12 or Less",
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"headTitle": "25 Great Bay Area Meals for $12 or Less | KQED",
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"content": "\u003cp>\u003ci>This story is part of \u003ca href=\"https://www.kqed.org/affordability\">How We Get By\u003c/a>, a KQED series exploring how people are coping with rising costs in the Bay Area and California. Find the \u003ca href=\"https://www.kqed.org/affordability\">full series here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>You don’t need to sit down at one of the Bay Area’s posh and trendy temples of fine dining to know that eating out in the year 2026 is too damn expensive. These days, even the most generic fast food might cost $50 or $60 to feed a family of four, and buying groceries to cook at home is an increasingly fraught and overwhelming expense.\u003c/p>\n\u003cp>Thankfully, the high-end California cuisine restaurant isn’t the \u003ci>only\u003c/i> hallmark of the Bay Area food scene — there’s also the neighborhood taco truck, noodle counter, bánh mì shop and casual takeout dim sum deli. In every city in the Bay, these essential restaurants are still feeding the people, often at a shockingly inexpensive price point. You just need to know which ones are actually delicious.\u003c/p>\n\u003cp>Here, then, is my guide to eating well on a budget: 25 of my favorite affordable Bay Area restaurants where you can get a full, satisfying meal for $12 or less.\u003c/p>\n\u003cp>\u003cstrong>Jump straight to:\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>\u003cstrong>\u003ca href=\"#CheapEatsinSanFrancisco\">Cheap eats in San Francisco\u003c/a>\u003c/strong>\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"#CheapEatsintheSouthBayandPeninsula\">Cheap eats in the South Bay and Peninsula\u003c/a>\u003c/strong>\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"#CheapEatsintheNorthBay\">Cheap eats in the North Bay\u003c/a>\u003c/strong>\u003c/li>\n\u003c/ul>\n\u003ch1>\u003cb>EAST BAY\u003c/b>\u003c/h1>\n\u003cfigure id=\"attachment_13989352\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989352\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/universal-bakery-pan-con-todo.jpg\" alt=\"Breakfast sandwich with sausage, scrambled egg and queso fresco.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/universal-bakery-pan-con-todo.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/universal-bakery-pan-con-todo-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/universal-bakery-pan-con-todo-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/universal-bakery-pan-con-todo-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The pan con todo with Guatemalan sausage at Universal Bakery, which has locations in San Pablo, San Francisco and Daly City. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Universal Bakery\u003c/h2>\n\u003cp>\u003cem>1946 23rd St., San Pablo\u003c/em>\u003c/p>\n\u003cp>This bustling Guatemalan bakery is the king of the delicious, inexpensive breakfast sandwich, serving at least seven different varieties of its pan con todo. The baseline sandwich ($6.55) comes with fluffy scrambled eggs, refried beans, crema and a wedge of fresh cheese — the staples of a traditional Guatemalan breakfast, all piled onto a good, crusty French roll. My favorite version adds well-charred longaniza (Guatemalan pork sausage) to the mix; others feature sweet plantains or carne asada. The bakery has additional locations in \u003ca href=\"https://www.google.com/maps/place/Universal+Bakery+on+Mission/@37.741405,-122.4228077,3291m/data=!3m1!1e3!4m6!3m5!1s0x808f7e5d405c2f8b:0xb24e30761070f266!8m2!3d37.741405!4d-122.4228077!16s%2Fg%2F1vlqqfmk?entry=ttu&g_ep=EgoyMDI2MDQyOS4wIKXMDSoASAFQAw%3D%3D\">San Francisco’s Mission District\u003c/a> and in \u003ca href=\"https://www.google.com/maps/place/Universal+Bakery+on+Geneva/@37.7070028,-122.4146378,17z/data=!3m1!4b1!4m6!3m5!1s0x808f7ec563977c09:0x63c23ad1f3300324!8m2!3d37.7070028!4d-122.4146378!16s%2Fg%2F11bx9t7vrz?entry=ttu&g_ep=EgoyMDI1MDMyNS4wIKXMDSoASAFQAw%3D%3D\">Daly City\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cfigure id=\"attachment_13989373\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989373\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/aqua-terra_branzino_credit-luketsai.jpg\" alt=\"Seared fish fillet on a bed of noodles, with grilled vegetables on the side.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/aqua-terra_branzino_credit-luketsai.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/aqua-terra_branzino_credit-luketsai-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/aqua-terra_branzino_credit-luketsai-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/aqua-terra_branzino_credit-luketsai-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Even the most expensive items on the menu at Aqua Terra, like this seared branzino, only cost $16. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Aqua Terra Grill at Contra Costa College\u003c/h2>\n\u003cp>\u003cem>2600 Mission Bell Dr. SAB-130, San Pablo\u003c/em>\u003c/p>\n\u003cp>Located on the Contra Costa College campus, \u003ca href=\"https://linktr.ee/ccc_order?fbclid=IwY2xjawRlx6JleHRuA2FlbQIxMABicmlkETFEWHBmMlhCam1JYk1ZTjdRc3J0YwZhcHBfaWQQMjIyMDM5MTc4ODIwMDg5MgABHkJtQLftRhaphc9HVpBM1Pr9EdNirfRNdN9VR35XQrQKyp3Rsl1ce1jrD45w_aem_5GeBZRKVmdFI7Kideqc3EA\">Aqua Terra\u003c/a> functions as a training facility for students in the school’s \u003ca href=\"https://www.instagram.com/ccc_culinaryacademy\">culinary academy\u003c/a>, but it it’s also fully open to the public for lunch service, three days a week (Tuesday–Thursday). The bonus with getting a meal prepared and served by students still learning their trade is that it’s an extraordinary value — say, a cool $9 for braised beef shank ravioli or a portobello focaccia sandwich with fries. (It’s just $16 to splurge on grilled branzino with garlic noodles.) The food can be a little uneven, with a throwback-to-’90s-New-American vibe. But it’s a solid meal — slightly fancy, even! — with sweet, earnest service for fast food prices. Note: the restaurant follows the school calendar, which means it’s already wrapping up for the semester. The last hurrah is a big Mother’s Day buffet on May 12–13; \u003ca href=\"https://forms.office.com/pages/responsepage.aspx?id=SmlUw-XMn0iyo6Kp0m4MP3XtfkM2ShJPnQ6gSMwaMQJUNE5WMTdVR05WQldHUTJDNEFWUEFKM1M2MC4u&route=shorturl\">reservations\u003c/a> are highly recommended.\u003c/p>\n\u003cfigure id=\"attachment_13989374\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989374\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/la-selva_credit-luketsai_2.jpg\" alt=\"Whole grilled chicken in a takeout container, with rice, refried beans and various salsas on the side.\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/la-selva_credit-luketsai_2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/la-selva_credit-luketsai_2-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/la-selva_credit-luketsai_2-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/la-selva_credit-luketsai_2-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The whole chicken meal at Richmond’s La Selva is an affordable way to feed the whole family. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>La Selva Taqueria\u003c/h2>\n\u003cp>\u003cem>1049 23rd St., Richmond\u003c/em>\u003c/p>\n\u003cp>The house specialty at this rainforest-themed taqueria near the end of \u003ca href=\"https://eastbayexpress.com/a-richmond-taco-crawl-2-1/\">Richmond’s 23rd Street taco corridor\u003c/a> is pollo al carbon — whole spatchcocked chickens slow-grilled over charcoal until the skin is deeply charred and the flesh is smoky, tender and delicious. You can get your chicken either on tacos or in a burrito, but my preference is the $30 family meal, which comes with a whole bird, tortillas, rice, refried beans, chips and as many tubs of salsa as you want from the restaurant’s excellent serve-yourself salsa bar. It’s enough to feed my family of four with leftovers — just $7.50 per person.\u003c/p>\n\u003ch2>Grand Cafe\u003c/h2>\n\u003cp>\u003cem>4250 Macdonald Ave., Richmond\u003c/em>\u003c/p>\n\u003cp>This under-the-radar Hong Kong cafe tucked inside a Target shopping plaza isn’t notable for any single standout dish, but instead for its overall dedication to affordability: \u003ca href=\"https://www.kqed.org/arts/13986256/cheap-cantonese-restaurant-richmond-east-bay-grand-cafe-dim-sum-claypot-rice\">Nothing on the menu costs more than $10.75\u003c/a>, and most dishes come with free soy milk and a bowl of hot soup on the side. My favorite is the claypot rice with spare ribs and preserved sausage.\u003c/p>\n\u003cfigure id=\"attachment_13923368\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13923368\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/antojitos-exterior.jpg\" alt=\"Exterior of the Antojitos Guatemaltecos restaurant with a yellow facade and a handful of outdoor tables on the sidewalk.\" width=\"1920\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/antojitos-exterior.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/antojitos-exterior-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/antojitos-exterior-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/antojitos-exterior-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/antojitos-exterior-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/antojitos-exterior-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Tamales are the staple dish at Antojitos Guatemaltecos in El Cerrito. \u003ccite>(Luke Tsai)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Antojitos Guatemaltecos\u003c/h2>\n\u003cp>\u003cem>11252 San Pablo Ave., El Cerrito\u003c/em>\u003c/p>\n\u003cp>Tamales are the staple dish at this \u003ca href=\"https://www.kqed.org/arts/13923359/antojitos-guatemaltecos-guatemalan-restaurant-el-cerrito-tamales-pollo-campero\">homestyle Guatemalan restaurant\u003c/a> — and at $5 a pop, they’re also its most affordable offering. Two of these, mixed and matched between about a half-dozen available varieties, make for a hearty breakfast, lunch or dinner. I especially love the wonderfully jiggly and custard-like Guatemalan-style corn-masa tamales and the harder-to-find \u003ca href=\"https://www.kqed.org/arts/13913355/guatemalan-rice-tamales-antojitos-guatemaltecos-richmond\">rice tamales\u003c/a>, which are like a soupy Central American cousin to Chinese zongzi. The restaurant has a great deal on its extraordinarily flavorful \u003ca href=\"https://www.latimes.com/california/story/2021-04-14/pollo-campero-central-america-los-angeles\">Pollo Campero–style\u003c/a> fried chicken — a whole leg, fries and a handmade tortilla for $11.95.\u003c/p>\n\u003ch2>Top Dog\u003c/h2>\n\u003cp>\u003cem>2534 Durant Ave., Berkeley\u003c/em>\u003c/p>\n\u003cp>The original, and only remaining, location of Top Dog is a Berkeley \u003ca href=\"https://www.kqed.org/arts/13954597/top-dog-late-night-hot-dogs-berkeley-midnight-diners\">late-night institution\u003c/a> for good reason. The hot dogs, served on the shop’s signature toasty French rolls, are simply the best. One of them makes for a solid lunch (the garlic frankfurter is my favorite); two in one sitting feels like a downright feast. Note well: Most of the dogs are priced at $4.75, but the shop has a $5 credit card minimum. If you don’t feel like buying a soda, the mild, creamy potato salad is a nice add-on.\u003c/p>\n\u003cfigure id=\"attachment_13989377\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989377\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/alems-coffee-shihan-ful_credit-luketsai.jpg\" alt=\"Dark red fava bean stew, with two crusty rolls on the side.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/alems-coffee-shihan-ful_credit-luketsai.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/alems-coffee-shihan-ful_credit-luketsai-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/alems-coffee-shihan-ful_credit-luketsai-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/alems-coffee-shihan-ful_credit-luketsai-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The shihan ful at Alem’s Coffee in Oakland. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Alem’s Coffee\u003c/h2>\n\u003cp>\u003cem>5353 Claremont Ave., Oakland\u003c/em>\u003c/p>\n\u003cp>Strictly speaking, my favorite dishes at this classic Eritrean cafe are \u003ci>just \u003c/i>above this roundup’s $12 threshold — the oniony egg frittata ($12.50) and the spice-redolent fava bean stew known as shihan ful ($13), both served with excellent crusty bread for dipping. On a hot day, though, it’s tough to beat the value on the $9 umbotito, a quirky, refreshing potato sandwich of sorts — slices of cold, al dente boiled potato topped with lettuce, tomatoes and onions in a light vinaigrette. The cafe’s location, across from the Oakland DMV parking lot, has made it the one bright spot in many otherwise dreary mornings.\u003c/p>\n\u003cfigure id=\"attachment_13989378\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989378\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/souk-savanh_rice-plate_credit-luketsai.jpg\" alt=\"Sticky rice, sausage balls and fried egg on a metal tray.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/souk-savanh_rice-plate_credit-luketsai.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/souk-savanh_rice-plate_credit-luketsai-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/souk-savanh_rice-plate_credit-luketsai-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/souk-savanh_rice-plate_credit-luketsai-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The $10 Lao sausage rice plate at the newly opened Souk Savanh 2.0 in Oakland. The fried egg is a $2 add-on. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Soukh Savanh 2.0\u003c/h2>\n\u003cp>\u003cem>1707 Telegraph Ave., Oakland\u003c/em>\u003c/p>\n\u003cp>Recently reborn in a prime Uptown location, the new, counter-service incarnation of this \u003ca href=\"https://eastbayexpress.com/paradise-deferred-2-1/\">much-loved Lao-Thai restaurant\u003c/a> has one of the most affordable menus in the neighborhood. The headliner is the selection of $10 rice plates, which are available all day long. I especially love the fermented Lao sausage, which Souk Savanh serves as crisp-edged meatballs — absurdly delicious when dunked in a runny-yolked fried egg (a $2 add-on); dipped in funky-sweet jeow som; and then scooped up, Lao-style, with a clump of sticky rice. Pro tip: For a near-perfect meal, two diners can split one rice plate and an order of nam khao (crispy rice ball salad) — one of the best versions in the Bay — for about $12 a person. \u003cem>\u003cstrong>Editor’s note: Souk Savanh is now \u003ca href=\"https://www.instagram.com/p/DYN4ropPhGb/\">closed indefinitely\u003c/a>.\u003c/strong>\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13989379\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989379\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/banh-mi-ba-le_credit-luketsai_1.jpg\" alt=\"Hand holding what's left of a banh mi sandwich with ground pork and egg.\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/banh-mi-ba-le_credit-luketsai_1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/banh-mi-ba-le_credit-luketsai_1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/banh-mi-ba-le_credit-luketsai_1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/banh-mi-ba-le_credit-luketsai_1-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A view of a half-eaten #13 meatball and egg bánh mì from Banh Mi Ba Le. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Banh Mi Ba Le\u003c/h2>\n\u003cp>\u003cem>1909 International Blvd., Oakland\u003c/em>\u003c/p>\n\u003cp>Ba Le’s #13 meatball-and-egg bánh mì shot to the top of my bánh mì rankings the first time I tried it, some 15 years ago — just an exquisite combination of juicy, peppery ground pork; a jammy-yolked fried egg; a big smear of buttery Vietnamese mayo; and both fresh and pickled vegetables. It’s still my favorite to this day. The only things that have changed is that the shop now keeps super-limited hours (Friday–Sunday only) and no longer has a dine-in area. The prices have crept up too, but at $6.30 a pop for most sandwiches on the menu ($7.25 for the #13), it’s still as good a bang for your buck as you can find in the East Bay.\u003c/p>\n\u003cfigure id=\"attachment_13989380\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989380\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/taqueria-el-paisa_credit-luketsai.jpg\" alt=\"Two tacos, radishes, grilled onions and nopales on a paper plate.\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/taqueria-el-paisa_credit-luketsai.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/taqueria-el-paisa_credit-luketsai-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/taqueria-el-paisa_credit-luketsai-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/taqueria-el-paisa_credit-luketsai-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A two-taco plate at Taqueria El Paisa in Oakland’s Fruitvale District. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Taqueria El Paisa\u003c/h2>\n\u003cp>\u003cem>4610 International Blvd., Oakland\u003c/em>\u003c/p>\n\u003cp>The beauty of Fruitvale is that you can get amazing, inexpensive tacos up and down International Boulevard, but this no-frills taqueria is the \u003ca href=\"https://eastbayexpress.com/taqueria-el-paisa-at-com-serves-the-best-tacos-in-town-2-1/\">best of the best\u003c/a>. Favorites include the decadent tripa (a divine combination of soft, squishy and crunchy textures) and the exquisitely tender, juicy suadero. These days, El Paisa tacos will run you $4.50 a pop — by no means the cheapest in the neighborhood — but they’re so rich and meaty that a two-taco lunch is usually all I want. A three-taco lunch? That’s cause for celebration (and maybe a short nap).\u003c/p>\n\u003cp> \u003c/p>\n\u003ch1>\u003ca id=\"CheapEatsinSanFrancisco\">\u003c/a>\u003cb>SAN FRANCISCO\u003c/b>\u003c/h1>\n\u003ch2>Freddie’s Sandwiches\u003c/h2>\n\u003cp>\u003cem>300 Francisco St., San Francisco\u003c/em>\u003c/p>\n\u003cp>Freddie’s is the very definition of the low-key neighborhood deli that’s always there when you need it. I got lunch here at least once a week when I worked near North Beach, alternating between the Italian combo and the egg salad, both excellent, always on Dutch Crunch. Most sandwiches are priced at $10.95 for the small (but generously stuffed) 6-inch size — I never wanted anything bigger.\u003c/p>\n\u003cfigure id=\"attachment_13989385\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989385\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/lung-fung_credit-luketsai_2.jpg\" alt=\"The interior of a Chinese bakery, with a fully stocked display case and old-fashioned signage visible.\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/lung-fung_credit-luketsai_2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/lung-fung_credit-luketsai_2-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/lung-fung_credit-luketsai_2-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/lung-fung_credit-luketsai_2-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Lung Fung Bakery serves some of the best baked pork buns and egg custard tarts in San Francisco. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Lung Fung Bakery\u003c/h2>\n\u003cp>\u003cem>1823 Clement St., San Francisco\u003c/em>\u003c/p>\n\u003cp>Chinese bakeries are some of the best places to cobble together an S-tier struggle meal — to, for instance, drop $5 on a couple of barbecue pork buns and fill your daily meat and carb allowance. At Lung Fung in the Outer Richmond, the baked char siu buns aren’t just inexpensive, at $2.50 apiece; they’re also my very favorite version of this treat — beautifully golden-brown with a super-lush and meaty filling. If you’ve got a couple bucks to spare on dessert, Lung Fung’s egg custard tarts ($2.38) are also some of the best around. Cash only.\u003c/p>\n\u003cfigure id=\"attachment_13989390\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989390\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/yo-yo_credit-luketsai_2.jpg\" alt=\"Takeout containers of soba and curry chicken against a concrete backdrop.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/yo-yo_credit-luketsai_2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/yo-yo_credit-luketsai_2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/yo-yo_credit-luketsai_2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/yo-yo_credit-luketsai_2-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The curry chicken special and a half order of cold soba from Yo Yo’s. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Yo Yo’s\u003c/h2>\n\u003cp>\u003cem>318 Pacific Ave., San Francisco\u003c/em>\u003c/p>\n\u003cp>This tiny, utterly unpretentious Japanese takeout shop feels like a miracle in the Financial District. Udon for $9? Six-piece unagi rolls for $3.25? Almost everything on the menu available as a (still-substantial) half portion? All in all, I’m hard-pressed to think of a more affordable lunch in the city. On days when I’m particularly cash-strapped, my go-to is the half order of cold soba ($5), which comes loaded with spinach, tofu puffs and crispy puffed rice, plus a refreshing hit of wasabi by request. But it’s hard to pass up on the curry chicken special ($12) when it’s available: two tender chicken legs, a hard-boiled egg and big chunks of carrot and potato in a spicy-sweet sauce that tastes more like home-cooked Thai massaman curry than your standard Japanese roux. It’s delicious, and enough food to stretch the leftovers into another meal. Cash only.\u003c/p>\n\u003cfigure id=\"attachment_13989251\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989251\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/050526BEST-MEALS-UNDER-10_GH_002-KQED.jpg\" alt=\"Siu mai dumplings in a metal steamer.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/050526BEST-MEALS-UNDER-10_GH_002-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/050526BEST-MEALS-UNDER-10_GH_002-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/050526BEST-MEALS-UNDER-10_GH_002-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/050526BEST-MEALS-UNDER-10_GH_002-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Beef siu mai dumplings at Good Mong Kok. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Good Mong Kok\u003c/h2>\n\u003cp>\u003cem>1039 Stockton St., San Francisco\u003c/em>\u003c/p>\n\u003cp>It’s easy to understand why this popular takeout dim sum spot draws some of the longest lines in Chinatown: The shop sells a huge assortment of extremely tasty, conveniently portable buns and dumplings for bargain-basement prices. Most items are between $2 and $4, perfect for sampling a good mix. The steamed buns here are especially great: uncommonly juicy and savory pork-and-vegetable buns (three for $3.80) and, my favorite, the truly enormous big (or “combination”) chicken bun ($2.80), which comes jam-packed with thigh meat, shiitakes, preserved sausage and hard-boiled egg — a whole meal unto itself. Cash only.\u003c/p>\n\u003cfigure id=\"attachment_13989392\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989392\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/yamo-2.jpg\" alt=\"A bowl of beef noodles with Burmese tea leaf salad on the side.\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/yamo-2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/yamo-2-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/yamo-2-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/yamo-2-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Yuma’s beef noodles with an order of tea leaf salad on the side. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Yamo\u003c/h2>\n\u003cp>\u003cem>3406 18th St., San Francisco\u003c/em>\u003c/p>\n\u003cp>This narrow, eight-seat Burmese noodle counter in the heart of the Mission seems almost too charming to be real, with its older proprietress working three hot woks at a time while her daughter greets the shop’s diverse cast of twenty- and thirtysomething regular customers by name. Oh, and every single item on the menu costs $9 or less. The headliner here is the house noodles ($9), a simple and satisfying oil-slicked stir-fry topped with crispy garlic and your protein of choice. But everything I’ve tried has been tasty: the blazing-hot, shatteringly crispy potato samusas ($5) and the tea leaf salad ($9), which has a wonderful zip of heat that cuts through the funk of the fermented tea. Cash only.\u003c/p>\n\u003cfigure id=\"attachment_13989393\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989393\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/basa-seafood-shoyu-salmon-poke_credit-luketsai.jpg\" alt=\"A container of salmon poke and a side of white rice, shown on a park bench.\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/basa-seafood-shoyu-salmon-poke_credit-luketsai.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/basa-seafood-shoyu-salmon-poke_credit-luketsai-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/basa-seafood-shoyu-salmon-poke_credit-luketsai-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/basa-seafood-shoyu-salmon-poke_credit-luketsai-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">An order of shoyu salmon poke from Basa Seafood Express is best enjoyed on a nearby park bench. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Basa Seafood Express\u003c/h2>\n\u003cp>\u003cem>3064 24th St., San Francisco\u003c/em>\u003c/p>\n\u003cp>This bare-bones Mission District seafood counter is a neighborhood staple for affordable sushi rolls, sashimi and fried seafood dishes. My go-to lunch order is the shoyu salmon poke ($8.50) with a small side of rice — the combination of raw fish, seasoned soy sauce and hot rice is such a simple, exquisite pleasure in the middle of the workday. Also great: the impeccably fried, poboy-adjacent soft-shell crab burger ($11.50). There’s no dine-in seating, so you can bring your food home or find a park bench a couple blocks away for a nice al fresco meal.\u003c/p>\n\u003cp> \u003c/p>\n\u003ch1>\u003ca id=\"CheapEatsintheSouthBayandPeninsula\">\u003c/a>\u003cb>SOUTH BAY AND PENINSULA\u003c/b>\u003c/h1>\n\u003cfigure id=\"attachment_13989395\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989395\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/fil-am_credit-luketsai_2.jpg\" alt=\"To-go container of barbecue skewers over white rice.\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/fil-am_credit-luketsai_2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/fil-am_credit-luketsai_2-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/fil-am_credit-luketsai_2-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/fil-am_credit-luketsai_2-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Filipino BBQ skewers over rice from Fil-Am Cuisine in Daly City. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Fil-Am Cuisine\u003c/h2>\n\u003cp>\u003cem>66 School St., Daly City\u003c/em>\u003c/p>\n\u003cp>I don’t know if there’s such a thing as a perfect lunch, but two Filipino barbecue meat sticks over rice from Fil-Am Cuisine comes pretty close to my Platonic ideal — especially since it only costs $9.99. The sweet smell of the shop’s well-charred pork and chicken skewers ($3.75 each a la carte) is irresistible. Add a couple more to your order plus a large carton of pancit ($9), and you can feed the whole family. Cash only.\u003c/p>\n\u003cfigure id=\"attachment_13989396\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989396\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/keiths-chicken_credit-luketsai.jpg\" alt=\"A waffle and three chicken wings on a paper plate.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/keiths-chicken_credit-luketsai.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/keiths-chicken_credit-luketsai-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/keiths-chicken_credit-luketsai-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/keiths-chicken_credit-luketsai-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Three chicken wings and a Belgian waffle — one of the discounted daily specials at Keith’s Chicken & Waffles in Daly City. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Keith’s Chicken & Waffles\u003c/h2>\n\u003cp>\u003cem>270 San Pedro Rd., Daly City\u003c/em>\u003c/p>\n\u003cp>The best thing about Keith’s is that it sells some of the \u003ca href=\"https://www.kqed.org/arts/13979460/keiths-chicken-waffles-crunchiest-fried-chicken-daly-city-late-night\">crunchiest, most exceptionally well seasoned fried chicken\u003c/a> you can find in the Bay Area, along with several varieties of crisp-edged, airy-light waffles. The second-best thing? The prices are so reasonable that they put even fast food chicken chains like Popeyes and Raising Cane’s to shame. Combo meals, which come with a waffle or side dish, start at $12, and there’s always a daily special — say, three wings and a Belgian waffle — for around $10.\u003c/p>\n\u003cfigure id=\"attachment_13989261\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989261\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/050626BEST-MEALS-UNDER-10_GH_031-KQED.jpg\" alt=\"Hand holding a salmon musubi.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/050626BEST-MEALS-UNDER-10_GH_031-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/050626BEST-MEALS-UNDER-10_GH_031-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/050626BEST-MEALS-UNDER-10_GH_031-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/050626BEST-MEALS-UNDER-10_GH_031-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The luscious salmon musubi from Takahashi Market in San Mateo. The 120-year-old market’s musubis are one of the Bay Area’s best lunch deals. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Takahashi Market\u003c/h2>\n\u003cp>\u003cem>221 S. Claremont St., San Mateo\u003c/em>\u003c/p>\n\u003cp>The wonderfully varied assortment of musubis at this 120-year-old Japanese-Hawaiian market aren’t just one of the best lunch deals in town; they’re one of my favorite things to eat in the Bay Area, flat out. Just one of these hefty, seven-inch beauties will fill you up — the Spam musubi ($6.95) is a classic for good reason, but my personal favorite is the decadent, tobiko-topped salmon-and-crawfish musubi.\u003c/p>\n\u003ch2>Taiwan Porridge\u003c/h2>\n\u003cp>\u003cem>20956 Homestead Rd., Cupertino\u003c/em>\u003c/p>\n\u003cp>For Taiwanese immigrants, this strip mall spot’s format is deeply nostalgic: a dazzling array of hot and cold dishes all meant to accompany big tureens of velvety sweet potato congee. Value-wise, the highlight is the $12.83 three-item lunch special (available until 4 p.m.), which puts the average Chinese takeout joint’s combo plate to shame with cozy, home-style options like cold lotus root salad, twice-cooked pork belly, anchovies stir-fried with peanuts, and loofah with scrambled eggs. If budget allows, you should absolutely pay an extra $1.83 to upgrade from regular steamed rice to congee — or better yet, get the four-item combo ($15.58) and split it with a friend. Taiwan Porridge also has locations in Milpitas and Fremont.\u003c/p>\n\u003cfigure id=\"attachment_13989256\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989256\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/050526BEST-MEALS-UNDER-10_GH_015-KQED.jpg\" alt='An Indian supermarket lit up at night. The sign above reads, \"Apni Mandi.\"' width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/050526BEST-MEALS-UNDER-10_GH_015-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/050526BEST-MEALS-UNDER-10_GH_015-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/050526BEST-MEALS-UNDER-10_GH_015-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/050526BEST-MEALS-UNDER-10_GH_015-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The exterior of Apni Mandi in Sunnyvale. The Indian market sells hot food 24/7. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Apni Mandi\u003c/h2>\n\u003cp>\u003cem>1111 W. El Camino Real, Sunnyvale\u003c/em>\u003c/p>\n\u003cp>Not only is the hot food counter at Sunnyvale’s \u003ca href=\"https://www.kqed.org/arts/13955884/sunnyvale-late-night-food-24-hour-indian-grocery-apni-mandi-apna-bazar\">24-hour Indian grocery store\u003c/a> open all day and night, its $8.99 vegetarian thali platter is one of best deals around — a three-compartment foil clamshell container crammed full of rice, onion salad and your choice of two curries (I especially love the paneer makhani and the fritter-studded kadhi pakora), with a couple rounds of chapati on the side.\u003c/p>\n\u003cfigure id=\"attachment_13989400\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989400\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/duc-huong_grilled-pork-egg_luketsai.jpg\" alt=\"Hand holding a small banh mi in a parking lot.\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/duc-huong_grilled-pork-egg_luketsai.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/duc-huong_grilled-pork-egg_luketsai-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/duc-huong_grilled-pork-egg_luketsai-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/duc-huong_grilled-pork-egg_luketsai-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The option to order a budget-friendly half-size bánh mì at Duc Huong also allows diners to try multiple varieties. Pictured here is the grilled pork and egg bánh mì. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Duc Huong\u003c/h2>\n\u003cp>\u003cem>1020 Story Rd. Ste. C, San José\u003c/em>\u003c/p>\n\u003cp>My favorite South Bay bánh mì mini-chain is especially good for budget-minded diners because it offers a half-size sandwich option ($4.50 for most varieties), allowing lighter eaters to save some money — and giving heartier eaters the chance to sample two different sandwiches for the price of one. I love the classic #2 cold-cut combo the best, but the #8 (grilled pork topped with a fluffy egg omelette) is also pretty great, especially on garlic bread. Why not get both? Apart from its very busy original Story Road location, Duc Huong has \u003ca href=\"https://duchuongsandwiches.com/#locations\">three other shops\u003c/a> around San José, plus one in Sacramento.\u003c/p>\n\u003cp> \u003c/p>\n\u003ch1>\u003ca id=\"CheapEatsintheNorthBay\">\u003c/a>\u003cb>NORTH BAY\u003c/b>\u003c/h1>\n\u003ch2>Guerneville Taco Truck\u003c/h2>\n\u003cp>\u003cem>16632 Main St., Guerneville\u003c/em>\u003c/p>\n\u003cp>Amidst all of Sonoma County’s frou-frou dining options, this taco truck — parked in a Safeway parking lot — is an oasis for locals and daytrippers looking for something more casual and inexpensive. Tacos are $3; the excellent (massive, totally shareable) breakfast burrito is $14. My favorite, the $12.50 fry-stuffed California burrito, has enough calories to keep you going all day. This is a must-stop for my family on our way to an Armstrong Woods hike, or on our way back from a day of Russian River Valley wine tasting.\u003c/p>\n\u003cfigure id=\"attachment_13907215\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13907215\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/WhataChicken.jpg\" alt=\"A man in a flannel and hat tends to chicken on a grill on an overcast day\" width=\"1920\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/WhataChicken.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/WhataChicken-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/WhataChicken-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/WhataChicken-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/WhataChicken-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/WhataChicken-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">What a Chicken’s outdoor grill, seen here at the Santa Rosa Flea Market. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>What a Chicken\u003c/h2>\n\u003cp>\u003cem>706 E. Washington St., Petaluma\u003c/em>\u003c/p>\n\u003cp>This gem of a pollo asado shop sits near the gateway to wine country, slinging hearty portions of its exceptionally juicy and crisp-skinned char-grilled chicken at a good value in one of the Bay Area’s most expensive regions. The prices especially work in your favor if you come with a crowd: My standard order is a half ($18.99) or whole chicken plate ($34.99), which comes with rice, salsa and piping-hot handmade tortillas — plenty of food to feed two or four adults, respectively, at under $10 per person. Pro tip: I always add one of the shop’s meaty, slow-cooked pork ribs ($4.99) to my order. It’s just as good as the chicken.\u003c/p>\n\u003cfigure id=\"attachment_13989401\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989401\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/pupuseria-blankita_credit-luketsai.jpg\" alt=\"A pupusa on a white plate, with a small tub of curtido and a bowl of salsa on the side.\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/pupuseria-blankita_credit-luketsai.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/pupuseria-blankita_credit-luketsai-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/pupuseria-blankita_credit-luketsai-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/pupuseria-blankita_credit-luketsai-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">One of Pupuseria Blankita’s toasty, well-griddled pupusas. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Pupuseria Blankita\u003c/h2>\n\u003cp>\u003cem>48 N. San Pedro Rd., San Rafael\u003c/em>\u003c/p>\n\u003cp>Two of Blankita’s toasty, well-griddled pupusas make for the ideal post–Marin Farmers Market lunch — say, the revuelta ($5.50), with its classic pork, bean and cheese filling, and maybe the green-flecked zucchini and cheese ($4.50), both topped with a generous heap of bright, crunchy curtido. To mix it up, sometimes I’ll order just one pupusa and add a gooey, sugar-dusted fried plantain empanada ($5) for dessert.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>This story is part of \u003ca href=\"https://www.kqed.org/affordability\">How We Get By\u003c/a>, a KQED series exploring how people are coping with rising costs in the Bay Area and California. Find the \u003ca href=\"https://www.kqed.org/affordability\">full series here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>You don’t need to sit down at one of the Bay Area’s posh and trendy temples of fine dining to know that eating out in the year 2026 is too damn expensive. These days, even the most generic fast food might cost $50 or $60 to feed a family of four, and buying groceries to cook at home is an increasingly fraught and overwhelming expense.\u003c/p>\n\u003cp>Thankfully, the high-end California cuisine restaurant isn’t the \u003ci>only\u003c/i> hallmark of the Bay Area food scene — there’s also the neighborhood taco truck, noodle counter, bánh mì shop and casual takeout dim sum deli. In every city in the Bay, these essential restaurants are still feeding the people, often at a shockingly inexpensive price point. You just need to know which ones are actually delicious.\u003c/p>\n\u003cp>Here, then, is my guide to eating well on a budget: 25 of my favorite affordable Bay Area restaurants where you can get a full, satisfying meal for $12 or less.\u003c/p>\n\u003cp>\u003cstrong>Jump straight to:\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>\u003cstrong>\u003ca href=\"#CheapEatsinSanFrancisco\">Cheap eats in San Francisco\u003c/a>\u003c/strong>\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"#CheapEatsintheSouthBayandPeninsula\">Cheap eats in the South Bay and Peninsula\u003c/a>\u003c/strong>\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"#CheapEatsintheNorthBay\">Cheap eats in the North Bay\u003c/a>\u003c/strong>\u003c/li>\n\u003c/ul>\n\u003ch1>\u003cb>EAST BAY\u003c/b>\u003c/h1>\n\u003cfigure id=\"attachment_13989352\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989352\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/universal-bakery-pan-con-todo.jpg\" alt=\"Breakfast sandwich with sausage, scrambled egg and queso fresco.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/universal-bakery-pan-con-todo.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/universal-bakery-pan-con-todo-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/universal-bakery-pan-con-todo-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/universal-bakery-pan-con-todo-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The pan con todo with Guatemalan sausage at Universal Bakery, which has locations in San Pablo, San Francisco and Daly City. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Universal Bakery\u003c/h2>\n\u003cp>\u003cem>1946 23rd St., San Pablo\u003c/em>\u003c/p>\n\u003cp>This bustling Guatemalan bakery is the king of the delicious, inexpensive breakfast sandwich, serving at least seven different varieties of its pan con todo. The baseline sandwich ($6.55) comes with fluffy scrambled eggs, refried beans, crema and a wedge of fresh cheese — the staples of a traditional Guatemalan breakfast, all piled onto a good, crusty French roll. My favorite version adds well-charred longaniza (Guatemalan pork sausage) to the mix; others feature sweet plantains or carne asada. The bakery has additional locations in \u003ca href=\"https://www.google.com/maps/place/Universal+Bakery+on+Mission/@37.741405,-122.4228077,3291m/data=!3m1!1e3!4m6!3m5!1s0x808f7e5d405c2f8b:0xb24e30761070f266!8m2!3d37.741405!4d-122.4228077!16s%2Fg%2F1vlqqfmk?entry=ttu&g_ep=EgoyMDI2MDQyOS4wIKXMDSoASAFQAw%3D%3D\">San Francisco’s Mission District\u003c/a> and in \u003ca href=\"https://www.google.com/maps/place/Universal+Bakery+on+Geneva/@37.7070028,-122.4146378,17z/data=!3m1!4b1!4m6!3m5!1s0x808f7ec563977c09:0x63c23ad1f3300324!8m2!3d37.7070028!4d-122.4146378!16s%2Fg%2F11bx9t7vrz?entry=ttu&g_ep=EgoyMDI1MDMyNS4wIKXMDSoASAFQAw%3D%3D\">Daly City\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cfigure id=\"attachment_13989373\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989373\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/aqua-terra_branzino_credit-luketsai.jpg\" alt=\"Seared fish fillet on a bed of noodles, with grilled vegetables on the side.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/aqua-terra_branzino_credit-luketsai.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/aqua-terra_branzino_credit-luketsai-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/aqua-terra_branzino_credit-luketsai-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/aqua-terra_branzino_credit-luketsai-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Even the most expensive items on the menu at Aqua Terra, like this seared branzino, only cost $16. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Aqua Terra Grill at Contra Costa College\u003c/h2>\n\u003cp>\u003cem>2600 Mission Bell Dr. SAB-130, San Pablo\u003c/em>\u003c/p>\n\u003cp>Located on the Contra Costa College campus, \u003ca href=\"https://linktr.ee/ccc_order?fbclid=IwY2xjawRlx6JleHRuA2FlbQIxMABicmlkETFEWHBmMlhCam1JYk1ZTjdRc3J0YwZhcHBfaWQQMjIyMDM5MTc4ODIwMDg5MgABHkJtQLftRhaphc9HVpBM1Pr9EdNirfRNdN9VR35XQrQKyp3Rsl1ce1jrD45w_aem_5GeBZRKVmdFI7Kideqc3EA\">Aqua Terra\u003c/a> functions as a training facility for students in the school’s \u003ca href=\"https://www.instagram.com/ccc_culinaryacademy\">culinary academy\u003c/a>, but it it’s also fully open to the public for lunch service, three days a week (Tuesday–Thursday). The bonus with getting a meal prepared and served by students still learning their trade is that it’s an extraordinary value — say, a cool $9 for braised beef shank ravioli or a portobello focaccia sandwich with fries. (It’s just $16 to splurge on grilled branzino with garlic noodles.) The food can be a little uneven, with a throwback-to-’90s-New-American vibe. But it’s a solid meal — slightly fancy, even! — with sweet, earnest service for fast food prices. Note: the restaurant follows the school calendar, which means it’s already wrapping up for the semester. The last hurrah is a big Mother’s Day buffet on May 12–13; \u003ca href=\"https://forms.office.com/pages/responsepage.aspx?id=SmlUw-XMn0iyo6Kp0m4MP3XtfkM2ShJPnQ6gSMwaMQJUNE5WMTdVR05WQldHUTJDNEFWUEFKM1M2MC4u&route=shorturl\">reservations\u003c/a> are highly recommended.\u003c/p>\n\u003cfigure id=\"attachment_13989374\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989374\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/la-selva_credit-luketsai_2.jpg\" alt=\"Whole grilled chicken in a takeout container, with rice, refried beans and various salsas on the side.\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/la-selva_credit-luketsai_2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/la-selva_credit-luketsai_2-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/la-selva_credit-luketsai_2-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/la-selva_credit-luketsai_2-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The whole chicken meal at Richmond’s La Selva is an affordable way to feed the whole family. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>La Selva Taqueria\u003c/h2>\n\u003cp>\u003cem>1049 23rd St., Richmond\u003c/em>\u003c/p>\n\u003cp>The house specialty at this rainforest-themed taqueria near the end of \u003ca href=\"https://eastbayexpress.com/a-richmond-taco-crawl-2-1/\">Richmond’s 23rd Street taco corridor\u003c/a> is pollo al carbon — whole spatchcocked chickens slow-grilled over charcoal until the skin is deeply charred and the flesh is smoky, tender and delicious. You can get your chicken either on tacos or in a burrito, but my preference is the $30 family meal, which comes with a whole bird, tortillas, rice, refried beans, chips and as many tubs of salsa as you want from the restaurant’s excellent serve-yourself salsa bar. It’s enough to feed my family of four with leftovers — just $7.50 per person.\u003c/p>\n\u003ch2>Grand Cafe\u003c/h2>\n\u003cp>\u003cem>4250 Macdonald Ave., Richmond\u003c/em>\u003c/p>\n\u003cp>This under-the-radar Hong Kong cafe tucked inside a Target shopping plaza isn’t notable for any single standout dish, but instead for its overall dedication to affordability: \u003ca href=\"https://www.kqed.org/arts/13986256/cheap-cantonese-restaurant-richmond-east-bay-grand-cafe-dim-sum-claypot-rice\">Nothing on the menu costs more than $10.75\u003c/a>, and most dishes come with free soy milk and a bowl of hot soup on the side. My favorite is the claypot rice with spare ribs and preserved sausage.\u003c/p>\n\u003cfigure id=\"attachment_13923368\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13923368\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/antojitos-exterior.jpg\" alt=\"Exterior of the Antojitos Guatemaltecos restaurant with a yellow facade and a handful of outdoor tables on the sidewalk.\" width=\"1920\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/antojitos-exterior.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/antojitos-exterior-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/antojitos-exterior-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/antojitos-exterior-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/antojitos-exterior-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/antojitos-exterior-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Tamales are the staple dish at Antojitos Guatemaltecos in El Cerrito. \u003ccite>(Luke Tsai)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Antojitos Guatemaltecos\u003c/h2>\n\u003cp>\u003cem>11252 San Pablo Ave., El Cerrito\u003c/em>\u003c/p>\n\u003cp>Tamales are the staple dish at this \u003ca href=\"https://www.kqed.org/arts/13923359/antojitos-guatemaltecos-guatemalan-restaurant-el-cerrito-tamales-pollo-campero\">homestyle Guatemalan restaurant\u003c/a> — and at $5 a pop, they’re also its most affordable offering. Two of these, mixed and matched between about a half-dozen available varieties, make for a hearty breakfast, lunch or dinner. I especially love the wonderfully jiggly and custard-like Guatemalan-style corn-masa tamales and the harder-to-find \u003ca href=\"https://www.kqed.org/arts/13913355/guatemalan-rice-tamales-antojitos-guatemaltecos-richmond\">rice tamales\u003c/a>, which are like a soupy Central American cousin to Chinese zongzi. The restaurant has a great deal on its extraordinarily flavorful \u003ca href=\"https://www.latimes.com/california/story/2021-04-14/pollo-campero-central-america-los-angeles\">Pollo Campero–style\u003c/a> fried chicken — a whole leg, fries and a handmade tortilla for $11.95.\u003c/p>\n\u003ch2>Top Dog\u003c/h2>\n\u003cp>\u003cem>2534 Durant Ave., Berkeley\u003c/em>\u003c/p>\n\u003cp>The original, and only remaining, location of Top Dog is a Berkeley \u003ca href=\"https://www.kqed.org/arts/13954597/top-dog-late-night-hot-dogs-berkeley-midnight-diners\">late-night institution\u003c/a> for good reason. The hot dogs, served on the shop’s signature toasty French rolls, are simply the best. One of them makes for a solid lunch (the garlic frankfurter is my favorite); two in one sitting feels like a downright feast. Note well: Most of the dogs are priced at $4.75, but the shop has a $5 credit card minimum. If you don’t feel like buying a soda, the mild, creamy potato salad is a nice add-on.\u003c/p>\n\u003cfigure id=\"attachment_13989377\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989377\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/alems-coffee-shihan-ful_credit-luketsai.jpg\" alt=\"Dark red fava bean stew, with two crusty rolls on the side.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/alems-coffee-shihan-ful_credit-luketsai.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/alems-coffee-shihan-ful_credit-luketsai-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/alems-coffee-shihan-ful_credit-luketsai-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/alems-coffee-shihan-ful_credit-luketsai-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The shihan ful at Alem’s Coffee in Oakland. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Alem’s Coffee\u003c/h2>\n\u003cp>\u003cem>5353 Claremont Ave., Oakland\u003c/em>\u003c/p>\n\u003cp>Strictly speaking, my favorite dishes at this classic Eritrean cafe are \u003ci>just \u003c/i>above this roundup’s $12 threshold — the oniony egg frittata ($12.50) and the spice-redolent fava bean stew known as shihan ful ($13), both served with excellent crusty bread for dipping. On a hot day, though, it’s tough to beat the value on the $9 umbotito, a quirky, refreshing potato sandwich of sorts — slices of cold, al dente boiled potato topped with lettuce, tomatoes and onions in a light vinaigrette. The cafe’s location, across from the Oakland DMV parking lot, has made it the one bright spot in many otherwise dreary mornings.\u003c/p>\n\u003cfigure id=\"attachment_13989378\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989378\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/souk-savanh_rice-plate_credit-luketsai.jpg\" alt=\"Sticky rice, sausage balls and fried egg on a metal tray.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/souk-savanh_rice-plate_credit-luketsai.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/souk-savanh_rice-plate_credit-luketsai-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/souk-savanh_rice-plate_credit-luketsai-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/souk-savanh_rice-plate_credit-luketsai-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The $10 Lao sausage rice plate at the newly opened Souk Savanh 2.0 in Oakland. The fried egg is a $2 add-on. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Soukh Savanh 2.0\u003c/h2>\n\u003cp>\u003cem>1707 Telegraph Ave., Oakland\u003c/em>\u003c/p>\n\u003cp>Recently reborn in a prime Uptown location, the new, counter-service incarnation of this \u003ca href=\"https://eastbayexpress.com/paradise-deferred-2-1/\">much-loved Lao-Thai restaurant\u003c/a> has one of the most affordable menus in the neighborhood. The headliner is the selection of $10 rice plates, which are available all day long. I especially love the fermented Lao sausage, which Souk Savanh serves as crisp-edged meatballs — absurdly delicious when dunked in a runny-yolked fried egg (a $2 add-on); dipped in funky-sweet jeow som; and then scooped up, Lao-style, with a clump of sticky rice. Pro tip: For a near-perfect meal, two diners can split one rice plate and an order of nam khao (crispy rice ball salad) — one of the best versions in the Bay — for about $12 a person. \u003cem>\u003cstrong>Editor’s note: Souk Savanh is now \u003ca href=\"https://www.instagram.com/p/DYN4ropPhGb/\">closed indefinitely\u003c/a>.\u003c/strong>\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13989379\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989379\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/banh-mi-ba-le_credit-luketsai_1.jpg\" alt=\"Hand holding what's left of a banh mi sandwich with ground pork and egg.\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/banh-mi-ba-le_credit-luketsai_1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/banh-mi-ba-le_credit-luketsai_1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/banh-mi-ba-le_credit-luketsai_1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/banh-mi-ba-le_credit-luketsai_1-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A view of a half-eaten #13 meatball and egg bánh mì from Banh Mi Ba Le. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Banh Mi Ba Le\u003c/h2>\n\u003cp>\u003cem>1909 International Blvd., Oakland\u003c/em>\u003c/p>\n\u003cp>Ba Le’s #13 meatball-and-egg bánh mì shot to the top of my bánh mì rankings the first time I tried it, some 15 years ago — just an exquisite combination of juicy, peppery ground pork; a jammy-yolked fried egg; a big smear of buttery Vietnamese mayo; and both fresh and pickled vegetables. It’s still my favorite to this day. The only things that have changed is that the shop now keeps super-limited hours (Friday–Sunday only) and no longer has a dine-in area. The prices have crept up too, but at $6.30 a pop for most sandwiches on the menu ($7.25 for the #13), it’s still as good a bang for your buck as you can find in the East Bay.\u003c/p>\n\u003cfigure id=\"attachment_13989380\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989380\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/taqueria-el-paisa_credit-luketsai.jpg\" alt=\"Two tacos, radishes, grilled onions and nopales on a paper plate.\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/taqueria-el-paisa_credit-luketsai.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/taqueria-el-paisa_credit-luketsai-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/taqueria-el-paisa_credit-luketsai-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/taqueria-el-paisa_credit-luketsai-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A two-taco plate at Taqueria El Paisa in Oakland’s Fruitvale District. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Taqueria El Paisa\u003c/h2>\n\u003cp>\u003cem>4610 International Blvd., Oakland\u003c/em>\u003c/p>\n\u003cp>The beauty of Fruitvale is that you can get amazing, inexpensive tacos up and down International Boulevard, but this no-frills taqueria is the \u003ca href=\"https://eastbayexpress.com/taqueria-el-paisa-at-com-serves-the-best-tacos-in-town-2-1/\">best of the best\u003c/a>. Favorites include the decadent tripa (a divine combination of soft, squishy and crunchy textures) and the exquisitely tender, juicy suadero. These days, El Paisa tacos will run you $4.50 a pop — by no means the cheapest in the neighborhood — but they’re so rich and meaty that a two-taco lunch is usually all I want. A three-taco lunch? That’s cause for celebration (and maybe a short nap).\u003c/p>\n\u003cp> \u003c/p>\n\u003ch1>\u003ca id=\"CheapEatsinSanFrancisco\">\u003c/a>\u003cb>SAN FRANCISCO\u003c/b>\u003c/h1>\n\u003ch2>Freddie’s Sandwiches\u003c/h2>\n\u003cp>\u003cem>300 Francisco St., San Francisco\u003c/em>\u003c/p>\n\u003cp>Freddie’s is the very definition of the low-key neighborhood deli that’s always there when you need it. I got lunch here at least once a week when I worked near North Beach, alternating between the Italian combo and the egg salad, both excellent, always on Dutch Crunch. Most sandwiches are priced at $10.95 for the small (but generously stuffed) 6-inch size — I never wanted anything bigger.\u003c/p>\n\u003cfigure id=\"attachment_13989385\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989385\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/lung-fung_credit-luketsai_2.jpg\" alt=\"The interior of a Chinese bakery, with a fully stocked display case and old-fashioned signage visible.\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/lung-fung_credit-luketsai_2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/lung-fung_credit-luketsai_2-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/lung-fung_credit-luketsai_2-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/lung-fung_credit-luketsai_2-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Lung Fung Bakery serves some of the best baked pork buns and egg custard tarts in San Francisco. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Lung Fung Bakery\u003c/h2>\n\u003cp>\u003cem>1823 Clement St., San Francisco\u003c/em>\u003c/p>\n\u003cp>Chinese bakeries are some of the best places to cobble together an S-tier struggle meal — to, for instance, drop $5 on a couple of barbecue pork buns and fill your daily meat and carb allowance. At Lung Fung in the Outer Richmond, the baked char siu buns aren’t just inexpensive, at $2.50 apiece; they’re also my very favorite version of this treat — beautifully golden-brown with a super-lush and meaty filling. If you’ve got a couple bucks to spare on dessert, Lung Fung’s egg custard tarts ($2.38) are also some of the best around. Cash only.\u003c/p>\n\u003cfigure id=\"attachment_13989390\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989390\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/yo-yo_credit-luketsai_2.jpg\" alt=\"Takeout containers of soba and curry chicken against a concrete backdrop.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/yo-yo_credit-luketsai_2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/yo-yo_credit-luketsai_2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/yo-yo_credit-luketsai_2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/yo-yo_credit-luketsai_2-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The curry chicken special and a half order of cold soba from Yo Yo’s. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Yo Yo’s\u003c/h2>\n\u003cp>\u003cem>318 Pacific Ave., San Francisco\u003c/em>\u003c/p>\n\u003cp>This tiny, utterly unpretentious Japanese takeout shop feels like a miracle in the Financial District. Udon for $9? Six-piece unagi rolls for $3.25? Almost everything on the menu available as a (still-substantial) half portion? All in all, I’m hard-pressed to think of a more affordable lunch in the city. On days when I’m particularly cash-strapped, my go-to is the half order of cold soba ($5), which comes loaded with spinach, tofu puffs and crispy puffed rice, plus a refreshing hit of wasabi by request. But it’s hard to pass up on the curry chicken special ($12) when it’s available: two tender chicken legs, a hard-boiled egg and big chunks of carrot and potato in a spicy-sweet sauce that tastes more like home-cooked Thai massaman curry than your standard Japanese roux. It’s delicious, and enough food to stretch the leftovers into another meal. Cash only.\u003c/p>\n\u003cfigure id=\"attachment_13989251\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989251\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/050526BEST-MEALS-UNDER-10_GH_002-KQED.jpg\" alt=\"Siu mai dumplings in a metal steamer.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/050526BEST-MEALS-UNDER-10_GH_002-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/050526BEST-MEALS-UNDER-10_GH_002-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/050526BEST-MEALS-UNDER-10_GH_002-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/050526BEST-MEALS-UNDER-10_GH_002-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Beef siu mai dumplings at Good Mong Kok. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Good Mong Kok\u003c/h2>\n\u003cp>\u003cem>1039 Stockton St., San Francisco\u003c/em>\u003c/p>\n\u003cp>It’s easy to understand why this popular takeout dim sum spot draws some of the longest lines in Chinatown: The shop sells a huge assortment of extremely tasty, conveniently portable buns and dumplings for bargain-basement prices. Most items are between $2 and $4, perfect for sampling a good mix. The steamed buns here are especially great: uncommonly juicy and savory pork-and-vegetable buns (three for $3.80) and, my favorite, the truly enormous big (or “combination”) chicken bun ($2.80), which comes jam-packed with thigh meat, shiitakes, preserved sausage and hard-boiled egg — a whole meal unto itself. Cash only.\u003c/p>\n\u003cfigure id=\"attachment_13989392\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989392\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/yamo-2.jpg\" alt=\"A bowl of beef noodles with Burmese tea leaf salad on the side.\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/yamo-2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/yamo-2-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/yamo-2-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/yamo-2-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Yuma’s beef noodles with an order of tea leaf salad on the side. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Yamo\u003c/h2>\n\u003cp>\u003cem>3406 18th St., San Francisco\u003c/em>\u003c/p>\n\u003cp>This narrow, eight-seat Burmese noodle counter in the heart of the Mission seems almost too charming to be real, with its older proprietress working three hot woks at a time while her daughter greets the shop’s diverse cast of twenty- and thirtysomething regular customers by name. Oh, and every single item on the menu costs $9 or less. The headliner here is the house noodles ($9), a simple and satisfying oil-slicked stir-fry topped with crispy garlic and your protein of choice. But everything I’ve tried has been tasty: the blazing-hot, shatteringly crispy potato samusas ($5) and the tea leaf salad ($9), which has a wonderful zip of heat that cuts through the funk of the fermented tea. Cash only.\u003c/p>\n\u003cfigure id=\"attachment_13989393\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989393\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/basa-seafood-shoyu-salmon-poke_credit-luketsai.jpg\" alt=\"A container of salmon poke and a side of white rice, shown on a park bench.\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/basa-seafood-shoyu-salmon-poke_credit-luketsai.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/basa-seafood-shoyu-salmon-poke_credit-luketsai-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/basa-seafood-shoyu-salmon-poke_credit-luketsai-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/basa-seafood-shoyu-salmon-poke_credit-luketsai-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">An order of shoyu salmon poke from Basa Seafood Express is best enjoyed on a nearby park bench. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Basa Seafood Express\u003c/h2>\n\u003cp>\u003cem>3064 24th St., San Francisco\u003c/em>\u003c/p>\n\u003cp>This bare-bones Mission District seafood counter is a neighborhood staple for affordable sushi rolls, sashimi and fried seafood dishes. My go-to lunch order is the shoyu salmon poke ($8.50) with a small side of rice — the combination of raw fish, seasoned soy sauce and hot rice is such a simple, exquisite pleasure in the middle of the workday. Also great: the impeccably fried, poboy-adjacent soft-shell crab burger ($11.50). There’s no dine-in seating, so you can bring your food home or find a park bench a couple blocks away for a nice al fresco meal.\u003c/p>\n\u003cp> \u003c/p>\n\u003ch1>\u003ca id=\"CheapEatsintheSouthBayandPeninsula\">\u003c/a>\u003cb>SOUTH BAY AND PENINSULA\u003c/b>\u003c/h1>\n\u003cfigure id=\"attachment_13989395\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989395\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/fil-am_credit-luketsai_2.jpg\" alt=\"To-go container of barbecue skewers over white rice.\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/fil-am_credit-luketsai_2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/fil-am_credit-luketsai_2-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/fil-am_credit-luketsai_2-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/fil-am_credit-luketsai_2-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Filipino BBQ skewers over rice from Fil-Am Cuisine in Daly City. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Fil-Am Cuisine\u003c/h2>\n\u003cp>\u003cem>66 School St., Daly City\u003c/em>\u003c/p>\n\u003cp>I don’t know if there’s such a thing as a perfect lunch, but two Filipino barbecue meat sticks over rice from Fil-Am Cuisine comes pretty close to my Platonic ideal — especially since it only costs $9.99. The sweet smell of the shop’s well-charred pork and chicken skewers ($3.75 each a la carte) is irresistible. Add a couple more to your order plus a large carton of pancit ($9), and you can feed the whole family. Cash only.\u003c/p>\n\u003cfigure id=\"attachment_13989396\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989396\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/keiths-chicken_credit-luketsai.jpg\" alt=\"A waffle and three chicken wings on a paper plate.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/keiths-chicken_credit-luketsai.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/keiths-chicken_credit-luketsai-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/keiths-chicken_credit-luketsai-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/keiths-chicken_credit-luketsai-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Three chicken wings and a Belgian waffle — one of the discounted daily specials at Keith’s Chicken & Waffles in Daly City. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Keith’s Chicken & Waffles\u003c/h2>\n\u003cp>\u003cem>270 San Pedro Rd., Daly City\u003c/em>\u003c/p>\n\u003cp>The best thing about Keith’s is that it sells some of the \u003ca href=\"https://www.kqed.org/arts/13979460/keiths-chicken-waffles-crunchiest-fried-chicken-daly-city-late-night\">crunchiest, most exceptionally well seasoned fried chicken\u003c/a> you can find in the Bay Area, along with several varieties of crisp-edged, airy-light waffles. The second-best thing? The prices are so reasonable that they put even fast food chicken chains like Popeyes and Raising Cane’s to shame. Combo meals, which come with a waffle or side dish, start at $12, and there’s always a daily special — say, three wings and a Belgian waffle — for around $10.\u003c/p>\n\u003cfigure id=\"attachment_13989261\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989261\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/050626BEST-MEALS-UNDER-10_GH_031-KQED.jpg\" alt=\"Hand holding a salmon musubi.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/050626BEST-MEALS-UNDER-10_GH_031-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/050626BEST-MEALS-UNDER-10_GH_031-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/050626BEST-MEALS-UNDER-10_GH_031-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/050626BEST-MEALS-UNDER-10_GH_031-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The luscious salmon musubi from Takahashi Market in San Mateo. The 120-year-old market’s musubis are one of the Bay Area’s best lunch deals. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Takahashi Market\u003c/h2>\n\u003cp>\u003cem>221 S. Claremont St., San Mateo\u003c/em>\u003c/p>\n\u003cp>The wonderfully varied assortment of musubis at this 120-year-old Japanese-Hawaiian market aren’t just one of the best lunch deals in town; they’re one of my favorite things to eat in the Bay Area, flat out. Just one of these hefty, seven-inch beauties will fill you up — the Spam musubi ($6.95) is a classic for good reason, but my personal favorite is the decadent, tobiko-topped salmon-and-crawfish musubi.\u003c/p>\n\u003ch2>Taiwan Porridge\u003c/h2>\n\u003cp>\u003cem>20956 Homestead Rd., Cupertino\u003c/em>\u003c/p>\n\u003cp>For Taiwanese immigrants, this strip mall spot’s format is deeply nostalgic: a dazzling array of hot and cold dishes all meant to accompany big tureens of velvety sweet potato congee. Value-wise, the highlight is the $12.83 three-item lunch special (available until 4 p.m.), which puts the average Chinese takeout joint’s combo plate to shame with cozy, home-style options like cold lotus root salad, twice-cooked pork belly, anchovies stir-fried with peanuts, and loofah with scrambled eggs. If budget allows, you should absolutely pay an extra $1.83 to upgrade from regular steamed rice to congee — or better yet, get the four-item combo ($15.58) and split it with a friend. Taiwan Porridge also has locations in Milpitas and Fremont.\u003c/p>\n\u003cfigure id=\"attachment_13989256\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989256\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/050526BEST-MEALS-UNDER-10_GH_015-KQED.jpg\" alt='An Indian supermarket lit up at night. The sign above reads, \"Apni Mandi.\"' width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/050526BEST-MEALS-UNDER-10_GH_015-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/050526BEST-MEALS-UNDER-10_GH_015-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/050526BEST-MEALS-UNDER-10_GH_015-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/050526BEST-MEALS-UNDER-10_GH_015-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The exterior of Apni Mandi in Sunnyvale. The Indian market sells hot food 24/7. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Apni Mandi\u003c/h2>\n\u003cp>\u003cem>1111 W. El Camino Real, Sunnyvale\u003c/em>\u003c/p>\n\u003cp>Not only is the hot food counter at Sunnyvale’s \u003ca href=\"https://www.kqed.org/arts/13955884/sunnyvale-late-night-food-24-hour-indian-grocery-apni-mandi-apna-bazar\">24-hour Indian grocery store\u003c/a> open all day and night, its $8.99 vegetarian thali platter is one of best deals around — a three-compartment foil clamshell container crammed full of rice, onion salad and your choice of two curries (I especially love the paneer makhani and the fritter-studded kadhi pakora), with a couple rounds of chapati on the side.\u003c/p>\n\u003cfigure id=\"attachment_13989400\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989400\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/duc-huong_grilled-pork-egg_luketsai.jpg\" alt=\"Hand holding a small banh mi in a parking lot.\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/duc-huong_grilled-pork-egg_luketsai.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/duc-huong_grilled-pork-egg_luketsai-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/duc-huong_grilled-pork-egg_luketsai-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/duc-huong_grilled-pork-egg_luketsai-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The option to order a budget-friendly half-size bánh mì at Duc Huong also allows diners to try multiple varieties. Pictured here is the grilled pork and egg bánh mì. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Duc Huong\u003c/h2>\n\u003cp>\u003cem>1020 Story Rd. Ste. C, San José\u003c/em>\u003c/p>\n\u003cp>My favorite South Bay bánh mì mini-chain is especially good for budget-minded diners because it offers a half-size sandwich option ($4.50 for most varieties), allowing lighter eaters to save some money — and giving heartier eaters the chance to sample two different sandwiches for the price of one. I love the classic #2 cold-cut combo the best, but the #8 (grilled pork topped with a fluffy egg omelette) is also pretty great, especially on garlic bread. Why not get both? Apart from its very busy original Story Road location, Duc Huong has \u003ca href=\"https://duchuongsandwiches.com/#locations\">three other shops\u003c/a> around San José, plus one in Sacramento.\u003c/p>\n\u003cp> \u003c/p>\n\u003ch1>\u003ca id=\"CheapEatsintheNorthBay\">\u003c/a>\u003cb>NORTH BAY\u003c/b>\u003c/h1>\n\u003ch2>Guerneville Taco Truck\u003c/h2>\n\u003cp>\u003cem>16632 Main St., Guerneville\u003c/em>\u003c/p>\n\u003cp>Amidst all of Sonoma County’s frou-frou dining options, this taco truck — parked in a Safeway parking lot — is an oasis for locals and daytrippers looking for something more casual and inexpensive. Tacos are $3; the excellent (massive, totally shareable) breakfast burrito is $14. My favorite, the $12.50 fry-stuffed California burrito, has enough calories to keep you going all day. This is a must-stop for my family on our way to an Armstrong Woods hike, or on our way back from a day of Russian River Valley wine tasting.\u003c/p>\n\u003cfigure id=\"attachment_13907215\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13907215\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/WhataChicken.jpg\" alt=\"A man in a flannel and hat tends to chicken on a grill on an overcast day\" width=\"1920\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/WhataChicken.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/WhataChicken-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/WhataChicken-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/WhataChicken-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/WhataChicken-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/WhataChicken-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">What a Chicken’s outdoor grill, seen here at the Santa Rosa Flea Market. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>What a Chicken\u003c/h2>\n\u003cp>\u003cem>706 E. Washington St., Petaluma\u003c/em>\u003c/p>\n\u003cp>This gem of a pollo asado shop sits near the gateway to wine country, slinging hearty portions of its exceptionally juicy and crisp-skinned char-grilled chicken at a good value in one of the Bay Area’s most expensive regions. The prices especially work in your favor if you come with a crowd: My standard order is a half ($18.99) or whole chicken plate ($34.99), which comes with rice, salsa and piping-hot handmade tortillas — plenty of food to feed two or four adults, respectively, at under $10 per person. Pro tip: I always add one of the shop’s meaty, slow-cooked pork ribs ($4.99) to my order. It’s just as good as the chicken.\u003c/p>\n\u003cfigure id=\"attachment_13989401\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989401\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/pupuseria-blankita_credit-luketsai.jpg\" alt=\"A pupusa on a white plate, with a small tub of curtido and a bowl of salsa on the side.\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/pupuseria-blankita_credit-luketsai.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/pupuseria-blankita_credit-luketsai-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/pupuseria-blankita_credit-luketsai-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/pupuseria-blankita_credit-luketsai-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">One of Pupuseria Blankita’s toasty, well-griddled pupusas. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Pupuseria Blankita\u003c/h2>\n\u003cp>\u003cem>48 N. San Pedro Rd., San Rafael\u003c/em>\u003c/p>\n\u003cp>Two of Blankita’s toasty, well-griddled pupusas make for the ideal post–Marin Farmers Market lunch — say, the revuelta ($5.50), with its classic pork, bean and cheese filling, and maybe the green-flecked zucchini and cheese ($4.50), both topped with a generous heap of bright, crunchy curtido. To mix it up, sometimes I’ll order just one pupusa and add a gooey, sugar-dusted fried plantain empanada ($5) for dessert.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Here’s a sports history fact: In 2005, Wheaties released their first-ever special-edition box that featured an \u003ca href=\"https://www.alamy.com/wheaties-cereal-has-issued-a-special-edition-commemorative-package-honoring-the-wnba-championship-sacramento-monarchs-following-their-victory-over-the-connecticut-sun-in-the-wnba-finals-in-minneapolis-on-november-5-2005-thjs-package-marks-the-first-wheaties-appearance-for-the-monarchs-and-the-second-time-wheaties-has-honored-wnba-players-in-the-leagues-nine-year-history-upi-photobggeneral-mills-image258290158.html\">entire women’s professional team\u003c/a>. The famous breakfast of champions cereal had established a reputation for celebrating Olympians like Muhammad Ali and Michael Jordan, but never a women’s team.\u003c/p>\n\u003cp>The athletes who finally made executives at General Mills change their minds? The Sacramento Monarchs of the WNBA.\u003c/p>\n\u003cp>The Monarchs — who played basketball in the state capital as one the league’s founding eight franchises, beginning in 1997 — won a national championship that year, and later went to the White House to meet the President. To date, the Monarchs are the only professional team from Sacramento in any sport to achieve such a feat.\u003c/p>\n\u003cfigure id=\"attachment_13989181\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/GettyImages-71779722.jpg\" alt=\"\" width=\"2000\" height=\"1364\" class=\"size-full wp-image-13989181\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/GettyImages-71779722.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/GettyImages-71779722-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/GettyImages-71779722-768x524.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/GettyImages-71779722-1536x1048.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Ticha Penicheiro of the Sacramento Monarchs throws a pass under the basket against Ruth Riley of the Detroit Shock during Game 3 of the 2006 WNBA Finals September 3, 2006 at ARCO Arena in Sacramento, California. \u003ccite>(Jed Jacobsohn/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Led by Naismith Memorial Basketball Hall of Fame stalwarts like Yolanda Griffith, Ruthie Bolton and Ticha Penicheiro, the Monarch squad became an enduring contender in a rugged, nascent era of the “W,” winning two Western Conference championships en route to their coveted league trophy. In their heyday, the Monarchs ranked among the league’s premier units, regularly amassing an army of women’s hoop supporters from across Northern California at Arco Arena. \u003c/p>\n\u003cp>So what happened? Today, with record-breaking attendance for the WNBA and a zealous fanbase for the Golden State Valkyries in San Francisco, why do so few people remember the Monarchs? \u003c/p>\n\u003ch2>‘A Sacramento that could have been’\u003c/h2>\n\u003cp>Despite disbanding in 2009, the Monarchs’ legacy remains intact in Sacramento, if you know where to look. Step inside Golden 1 Center in downtown Sacramento — home of the NBA’s Sacramento Kings, and where the NCAA hosted games for the women’s March Madness tournament this season — and you’ll find Monarchs banners hanging high from otherwise empty rafters. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Since 1985, when the Kansas City Kings originally migrated to Sacramento to become the city’s first major professional sports team, the area has struggled to maintain credible franchises. They’ve even been the butt of jokes in national sports discourse (see: \u003ca href=\"https://www.kqed.org/arts/13988509/oakland-as-athletics-west-sacramento\">the “West Sacramento” Athletics\u003c/a>). The Monarchs were the city’s defiant exception, reaching the postseason nine times in 13 seasons.\u003c/p>\n\u003cfigure id=\"attachment_13989184\" class=\"wp-caption aligncenter\" style=\"max-width: 1306px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/GettyImages-592470.jpg\" alt=\"\" width=\"1306\" height=\"2000\" class=\"size-full wp-image-13989184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/GettyImages-592470.jpg 1306w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/GettyImages-592470-160x245.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/GettyImages-592470-768x1176.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/GettyImages-592470-1003x1536.jpg 1003w\" sizes=\"auto, (max-width: 1306px) 100vw, 1306px\">\u003cfigcaption class=\"wp-caption-text\">Ticha Penicheiro of the Sacramento Monarchs shoots a layup during the game against the Seattle Storm at Key Arena in Seattle, Washington.\u003c/figcaption>\u003c/figure>\n\u003cp>Unfortunately, off the court, poor ownership decisions led to the team’s financial unraveling. After threats of moving both the Kings and Monarchs to Seattle or Anaheim, the Maloof family, who took control of both teams in 1998, decided to divest from the Monarchs and focus on their male NBA counterparts. The sudden announcement left a gaping vacuum in Northern California’s professional women’s basketball landscape for the next 15 years.\u003c/p>\n\u003cp>As the Kings floundered, the Monarchs were largely forgotten by most. But not all.\u003c/p>\n\u003cp>[aside postID='news_12080384']“I’m a part of various Facebook groups for ‘Bring Back the Monarchs’ campaigns. With the rise of the WNBA and other teams, there’s a lot of chatter here to bring the team back,” says Terra Lopez, 41, a Sacramento-raised musician whose first job was as a Monarchs ball girl at age 15. “Why don’t we have them anymore? That love has never been lost. Around town, there are folks, including myself, who rock our Monarchs gear still. There’s an appreciation for the team.”\u003c/p>\n\u003cp>Daniel Tutupoly, a 35-year-old barista, agrees. Though he first fell in love with basketball through the Kings, he quickly realized that the Monarchs were equally entertaining, not to mention more successful, than their male counterparts. Like Lopez, he has refused to completely relinquish his nostalgia for Sacramento’s bygone WNBA glory.\u003c/p>\n\u003cp>“[The loss of the Monarchs] doesn’t make any sense, in hindsight,” says Tutupoly, who grew up in Sacramento. “The owners just treated it like a business, rather than considering any of the cultural value. The team was an afterthought, always secondary to Kings. I know a bunch of people here who are excited about the Valkyries right now and drive out to games regularly. So imagine the support there would be for the Monarchs, compared to 20 years ago.”\u003c/p>\n\u003cfigure id=\"attachment_13989186\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Monarchs7.jpg\" alt=\"\" width=\"2000\" height=\"1321\" class=\"size-full wp-image-13989186\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Monarchs7.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Monarchs7-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Monarchs7-768x507.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Monarchs7-1536x1015.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">‘Long Live the Monarchs,’ a special issue of Daniel Tutupoly’s Late Pass zine. \u003ccite>(Daniel Tutupoly)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In April, Tutupoly released “Long Live The Monarchs,” a DIY zine dedicated solely to memories of the Monarchs. Inspired by old school issues of \u003ci>Sports Illustrated for Kids\u003c/i>, the Monarchs-edition zine — part of a larger series,\u003ci> Latepass\u003c/i>, that Tutupoly began making during the pandemic — includes crossword puzzles, digital collages, individual player statistics, stickers and more.\u003c/p>\n\u003cp>It’s a physical vestige of the city’s pride and pain, of having lost despite winning, of everything that Sacramento was and no longer is.\u003c/p>\n\u003cp>“The Monarchs represent a Sacramento that could have been, in sports but also in every sector of the city,” says Lopez, who played basketball at Sacramento High School as a teenager and recalls the team’s social and cultural impact early on. “[The Monarchs] really took the time outside of their games to connect with younger players in the city. That meant everything to me and all of my teammates, and Sacramento in general. It gave us something to embody and envision in a future that we didn’t have before.”\u003c/p>\n\u003cp>\u003cb>Queens on and off the court \u003c/b>\u003c/p>\n\u003cp>In 2020, Lopez launched \u003ca href=\"https://open.spotify.com/show/17eCJqKWuWejH6qKPFRrH5\">\u003ci>The WNBA History Club\u003c/i>,\u003c/a> a podcast that briefly looks at the league’s founding and figures (Lopez later hosted the NPR-syndicated podcast, \u003ca href=\"https://www.npr.org/podcasts/1199077847/this-is-what-it-feels-like\">\u003ci>This is What It Feels Like\u003c/i>\u003c/a>, in 2023). Through it all, she has maintained a vociferous fandom of the Monarchs, having attended the inaugural Monarchs game in 1997 and participated in early community events hosted by the team in local parking lots.\u003c/p>\n\u003cfigure id=\"attachment_13989183\" class=\"wp-caption aligncenter\" style=\"max-width: 1495px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/GettyImages-55731316.jpg\" alt=\"\" width=\"1495\" height=\"2000\" class=\"size-full wp-image-13989183\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/GettyImages-55731316.jpg 1495w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/GettyImages-55731316-160x214.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/GettyImages-55731316-768x1027.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/GettyImages-55731316-1148x1536.jpg 1148w\" sizes=\"auto, (max-width: 1495px) 100vw, 1495px\">\u003cfigcaption class=\"wp-caption-text\">Yolanda Griffith of the Sacramento Monarchs celebrates after defeating the Connecticut Sun during Game 4 to win the WNBA Finals September 20, 2005 at Arco Arena in Sacramento, California. \u003ccite>(Jed Jacobsohn/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to the larger-than-life players, an essential element of the Monarchs’ social contributions to Sacramento came from the fans themselves, many of whom were openly queer. \u003c/p>\n\u003cp>“As a queer person, that was my first representation of seeing queer elders,” Lopez says. “That was out in the open for me for the first time. Queer, older people experiencing joy. That was powerful for me, to know I could have that.”\u003c/p>\n\u003cp>It all ended far too quickly. In an interview on \u003ci>Knuckleheads\u003c/i>, a reputable NBA player podcast, Monarchs’ All-Star point guard Ticha Penicheir said that “the team folded in 2009 and it was kind of out of nowhere, nobody expected it. We never really had a chance to say goodbye to our fans. To thank them.”\u003c/p>\n\u003cp>It’s a commonly held sentiment by local fans. The way in which the team’s demise came out of thin air is particularly Sacramentan, according to Lopez, who says the city has constantly fumbled good opportunities due to a conservative mindset. Perhaps that has been the hardest part of it all.\u003c/p>\n\u003cfigure id=\"attachment_13989180\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/GettyImages-57625648.jpg\" alt=\"\" width=\"2000\" height=\"1463\" class=\"size-full wp-image-13989180\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/GettyImages-57625648.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/GettyImages-57625648-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/GettyImages-57625648-768x562.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/GettyImages-57625648-1536x1124.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">President George W. Bush looks at a jersey as Yolanda Griffith, from the 2005 WNBA Champion Sacramento Monarchs, presents it to him at the White House May 16, 2006 in Washington, DC. \u003ccite>(Win McNamee/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“You had to be there to really understand the significance of it for Sacramento: historically, culturally, not only in sports,” Lopez says. “From a fan’s perspective, we had so much going. There was so much more potential left. But as tragic as losing the Monarchs was, the people who were in the building at Arco [have] a love and pride for the team that is so palpable. That still exists in Sacramento, too.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>As it turns out, the most important words that Monarchs fans would ever hear came from the in-game announcer during the 2005 WNBA Finals, who enthusiastically called out for the first and last time in Sacramento’s tormented sporting existence: “Rejoice, capital city, rejoice!”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Here’s a sports history fact: In 2005, Wheaties released their first-ever special-edition box that featured an \u003ca href=\"https://www.alamy.com/wheaties-cereal-has-issued-a-special-edition-commemorative-package-honoring-the-wnba-championship-sacramento-monarchs-following-their-victory-over-the-connecticut-sun-in-the-wnba-finals-in-minneapolis-on-november-5-2005-thjs-package-marks-the-first-wheaties-appearance-for-the-monarchs-and-the-second-time-wheaties-has-honored-wnba-players-in-the-leagues-nine-year-history-upi-photobggeneral-mills-image258290158.html\">entire women’s professional team\u003c/a>. The famous breakfast of champions cereal had established a reputation for celebrating Olympians like Muhammad Ali and Michael Jordan, but never a women’s team.\u003c/p>\n\u003cp>The athletes who finally made executives at General Mills change their minds? The Sacramento Monarchs of the WNBA.\u003c/p>\n\u003cp>The Monarchs — who played basketball in the state capital as one the league’s founding eight franchises, beginning in 1997 — won a national championship that year, and later went to the White House to meet the President. To date, the Monarchs are the only professional team from Sacramento in any sport to achieve such a feat.\u003c/p>\n\u003cfigure id=\"attachment_13989181\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/GettyImages-71779722.jpg\" alt=\"\" width=\"2000\" height=\"1364\" class=\"size-full wp-image-13989181\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/GettyImages-71779722.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/GettyImages-71779722-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/GettyImages-71779722-768x524.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/GettyImages-71779722-1536x1048.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Ticha Penicheiro of the Sacramento Monarchs throws a pass under the basket against Ruth Riley of the Detroit Shock during Game 3 of the 2006 WNBA Finals September 3, 2006 at ARCO Arena in Sacramento, California. \u003ccite>(Jed Jacobsohn/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Led by Naismith Memorial Basketball Hall of Fame stalwarts like Yolanda Griffith, Ruthie Bolton and Ticha Penicheiro, the Monarch squad became an enduring contender in a rugged, nascent era of the “W,” winning two Western Conference championships en route to their coveted league trophy. In their heyday, the Monarchs ranked among the league’s premier units, regularly amassing an army of women’s hoop supporters from across Northern California at Arco Arena. \u003c/p>\n\u003cp>So what happened? Today, with record-breaking attendance for the WNBA and a zealous fanbase for the Golden State Valkyries in San Francisco, why do so few people remember the Monarchs? \u003c/p>\n\u003ch2>‘A Sacramento that could have been’\u003c/h2>\n\u003cp>Despite disbanding in 2009, the Monarchs’ legacy remains intact in Sacramento, if you know where to look. Step inside Golden 1 Center in downtown Sacramento — home of the NBA’s Sacramento Kings, and where the NCAA hosted games for the women’s March Madness tournament this season — and you’ll find Monarchs banners hanging high from otherwise empty rafters. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Since 1985, when the Kansas City Kings originally migrated to Sacramento to become the city’s first major professional sports team, the area has struggled to maintain credible franchises. They’ve even been the butt of jokes in national sports discourse (see: \u003ca href=\"https://www.kqed.org/arts/13988509/oakland-as-athletics-west-sacramento\">the “West Sacramento” Athletics\u003c/a>). The Monarchs were the city’s defiant exception, reaching the postseason nine times in 13 seasons.\u003c/p>\n\u003cfigure id=\"attachment_13989184\" class=\"wp-caption aligncenter\" style=\"max-width: 1306px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/GettyImages-592470.jpg\" alt=\"\" width=\"1306\" height=\"2000\" class=\"size-full wp-image-13989184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/GettyImages-592470.jpg 1306w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/GettyImages-592470-160x245.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/GettyImages-592470-768x1176.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/GettyImages-592470-1003x1536.jpg 1003w\" sizes=\"auto, (max-width: 1306px) 100vw, 1306px\">\u003cfigcaption class=\"wp-caption-text\">Ticha Penicheiro of the Sacramento Monarchs shoots a layup during the game against the Seattle Storm at Key Arena in Seattle, Washington.\u003c/figcaption>\u003c/figure>\n\u003cp>Unfortunately, off the court, poor ownership decisions led to the team’s financial unraveling. After threats of moving both the Kings and Monarchs to Seattle or Anaheim, the Maloof family, who took control of both teams in 1998, decided to divest from the Monarchs and focus on their male NBA counterparts. The sudden announcement left a gaping vacuum in Northern California’s professional women’s basketball landscape for the next 15 years.\u003c/p>\n\u003cp>As the Kings floundered, the Monarchs were largely forgotten by most. But not all.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“I’m a part of various Facebook groups for ‘Bring Back the Monarchs’ campaigns. With the rise of the WNBA and other teams, there’s a lot of chatter here to bring the team back,” says Terra Lopez, 41, a Sacramento-raised musician whose first job was as a Monarchs ball girl at age 15. “Why don’t we have them anymore? That love has never been lost. Around town, there are folks, including myself, who rock our Monarchs gear still. There’s an appreciation for the team.”\u003c/p>\n\u003cp>Daniel Tutupoly, a 35-year-old barista, agrees. Though he first fell in love with basketball through the Kings, he quickly realized that the Monarchs were equally entertaining, not to mention more successful, than their male counterparts. Like Lopez, he has refused to completely relinquish his nostalgia for Sacramento’s bygone WNBA glory.\u003c/p>\n\u003cp>“[The loss of the Monarchs] doesn’t make any sense, in hindsight,” says Tutupoly, who grew up in Sacramento. “The owners just treated it like a business, rather than considering any of the cultural value. The team was an afterthought, always secondary to Kings. I know a bunch of people here who are excited about the Valkyries right now and drive out to games regularly. So imagine the support there would be for the Monarchs, compared to 20 years ago.”\u003c/p>\n\u003cfigure id=\"attachment_13989186\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Monarchs7.jpg\" alt=\"\" width=\"2000\" height=\"1321\" class=\"size-full wp-image-13989186\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Monarchs7.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Monarchs7-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Monarchs7-768x507.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Monarchs7-1536x1015.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">‘Long Live the Monarchs,’ a special issue of Daniel Tutupoly’s Late Pass zine. \u003ccite>(Daniel Tutupoly)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In April, Tutupoly released “Long Live The Monarchs,” a DIY zine dedicated solely to memories of the Monarchs. Inspired by old school issues of \u003ci>Sports Illustrated for Kids\u003c/i>, the Monarchs-edition zine — part of a larger series,\u003ci> Latepass\u003c/i>, that Tutupoly began making during the pandemic — includes crossword puzzles, digital collages, individual player statistics, stickers and more.\u003c/p>\n\u003cp>It’s a physical vestige of the city’s pride and pain, of having lost despite winning, of everything that Sacramento was and no longer is.\u003c/p>\n\u003cp>“The Monarchs represent a Sacramento that could have been, in sports but also in every sector of the city,” says Lopez, who played basketball at Sacramento High School as a teenager and recalls the team’s social and cultural impact early on. “[The Monarchs] really took the time outside of their games to connect with younger players in the city. That meant everything to me and all of my teammates, and Sacramento in general. It gave us something to embody and envision in a future that we didn’t have before.”\u003c/p>\n\u003cp>\u003cb>Queens on and off the court \u003c/b>\u003c/p>\n\u003cp>In 2020, Lopez launched \u003ca href=\"https://open.spotify.com/show/17eCJqKWuWejH6qKPFRrH5\">\u003ci>The WNBA History Club\u003c/i>,\u003c/a> a podcast that briefly looks at the league’s founding and figures (Lopez later hosted the NPR-syndicated podcast, \u003ca href=\"https://www.npr.org/podcasts/1199077847/this-is-what-it-feels-like\">\u003ci>This is What It Feels Like\u003c/i>\u003c/a>, in 2023). Through it all, she has maintained a vociferous fandom of the Monarchs, having attended the inaugural Monarchs game in 1997 and participated in early community events hosted by the team in local parking lots.\u003c/p>\n\u003cfigure id=\"attachment_13989183\" class=\"wp-caption aligncenter\" style=\"max-width: 1495px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/GettyImages-55731316.jpg\" alt=\"\" width=\"1495\" height=\"2000\" class=\"size-full wp-image-13989183\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/GettyImages-55731316.jpg 1495w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/GettyImages-55731316-160x214.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/GettyImages-55731316-768x1027.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/GettyImages-55731316-1148x1536.jpg 1148w\" sizes=\"auto, (max-width: 1495px) 100vw, 1495px\">\u003cfigcaption class=\"wp-caption-text\">Yolanda Griffith of the Sacramento Monarchs celebrates after defeating the Connecticut Sun during Game 4 to win the WNBA Finals September 20, 2005 at Arco Arena in Sacramento, California. \u003ccite>(Jed Jacobsohn/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to the larger-than-life players, an essential element of the Monarchs’ social contributions to Sacramento came from the fans themselves, many of whom were openly queer. \u003c/p>\n\u003cp>“As a queer person, that was my first representation of seeing queer elders,” Lopez says. “That was out in the open for me for the first time. Queer, older people experiencing joy. That was powerful for me, to know I could have that.”\u003c/p>\n\u003cp>It all ended far too quickly. In an interview on \u003ci>Knuckleheads\u003c/i>, a reputable NBA player podcast, Monarchs’ All-Star point guard Ticha Penicheir said that “the team folded in 2009 and it was kind of out of nowhere, nobody expected it. We never really had a chance to say goodbye to our fans. To thank them.”\u003c/p>\n\u003cp>It’s a commonly held sentiment by local fans. The way in which the team’s demise came out of thin air is particularly Sacramentan, according to Lopez, who says the city has constantly fumbled good opportunities due to a conservative mindset. Perhaps that has been the hardest part of it all.\u003c/p>\n\u003cfigure id=\"attachment_13989180\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/GettyImages-57625648.jpg\" alt=\"\" width=\"2000\" height=\"1463\" class=\"size-full wp-image-13989180\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/GettyImages-57625648.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/GettyImages-57625648-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/GettyImages-57625648-768x562.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/GettyImages-57625648-1536x1124.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">President George W. Bush looks at a jersey as Yolanda Griffith, from the 2005 WNBA Champion Sacramento Monarchs, presents it to him at the White House May 16, 2006 in Washington, DC. \u003ccite>(Win McNamee/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“You had to be there to really understand the significance of it for Sacramento: historically, culturally, not only in sports,” Lopez says. “From a fan’s perspective, we had so much going. There was so much more potential left. But as tragic as losing the Monarchs was, the people who were in the building at Arco [have] a love and pride for the team that is so palpable. That still exists in Sacramento, too.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As it turns out, the most important words that Monarchs fans would ever hear came from the in-game announcer during the 2005 WNBA Finals, who enthusiastically called out for the first and last time in Sacramento’s tormented sporting existence: “Rejoice, capital city, rejoice!”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "etruscan-art-legion-of-honor-review-ancient-italy-roman",
"title": "Forget the Roman Empire — Think About the Etruscans Instead",
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"headTitle": "Forget the Roman Empire — Think About the Etruscans Instead | KQED",
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"content": "\u003cp>Empires get all the credit. And yet it was the Etruscans, the people who lived in present-day Tuscany between 900 and 100 B.C., who taught the Romans about viticulture, urban planning and complex hydraulic works. Without the Etruscans there would be no toga, or what we now call Roman numerals.\u003c/p>\n\u003cp>For too long, as curator Renée Dreyfus argues in her Legion of Honor exhibition \u003ci>\u003ca href=\"https://www.famsf.org/exhibitions/etruscans-heart-ancient-italy\">The Etruscans: From the Heart of Ancient Italy\u003c/a>\u003c/i>, Etruscan culture has been overshadowed by the Greeks and Romans. The Etruscans are considered “mysterious” or “unknowable,” but as the show’s introductory video says, we just need to dig deeper — literally.\u003c/p>\n\u003cp>\u003ci>The Etruscans\u003c/i> gathers the latest scholarship and over 150 objects for the largest-ever presentation of Etruscan art and artifacts outside of Italy. An international roster of over two dozen institutions has loaned what are clearly treasures to this show; some have left their host museums for the first time since they were discovered. \u003c/p>\n\u003cfigure id=\"attachment_13989112\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/0589-Legion-Etruscans-Sexton_2000.jpg\" alt=\"curved display with objects in vitrines, show title in black on wall\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13989112\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/0589-Legion-Etruscans-Sexton_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/0589-Legion-Etruscans-Sexton_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/0589-Legion-Etruscans-Sexton_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/0589-Legion-Etruscans-Sexton_2000-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘The Etruscans: From The Heart of Ancient Italy’ at the Legion of Honor. \u003ccite>(Photo by Gary Sexton; courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Much of what we see at the Legion of Honor comes from the tombs of the elite: finely wrought jewelry, delicately painted pottery, everything needed to live well in the afterlife. (This includes eating and partying — the Etruscans were devoted to their banquets.) \u003c/p>\n\u003cp>But the show also contains objects made for the living: a model for the study of divination, votive figures of the Etruscans’ many gods, and small bronzes found in the thermal waters of San Casciano dei Bagni. That model, the “Liver of Piacenza,” is one of the most remarkable objects on display. The life-sized bronze replica of a sheep’s liver is inscribed with the names of Etruscan deities; it acted as a guide to reading the entrails of sacrificed animals, which in turn determined the will of the gods. \u003c/p>\n\u003cfigure id=\"attachment_13989115\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/MS_310311_20201118-01_2000.jpg\" alt=\"bronze object covered in inscriptions\" width=\"2000\" height=\"1500\" class=\"size-full wp-image-13989115\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/MS_310311_20201118-01_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/MS_310311_20201118-01_2000-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/MS_310311_20201118-01_2000-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/MS_310311_20201118-01_2000-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Etruscan model of a sheep’s liver, found in Piacenza, second century B.C. \u003ccite>(Courtesy of the Musei Civici di Palazzo Farnese, Piacenza)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While the Etruscans used the Greek alphabet, generally read right to left, their language was a unique non-Indo-European tongue with no known antecedents or modern descendants. Most of the Etruscan writing that exists now is funerary inscriptions on objects, short phrases of ownership or dedication. But at the Legion of Honor — incredibly rare thing alert! — we also get to see the longest example of Etruscan writing: a wide, framed display on strips of linen that has its own incredible backstory.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The \u003ci>Liber linteus zagrabiensis\u003c/i> (Linen book of Zagreb) is the longest-surviving Etruscan text (aka Europe’s oldest book). Believed to be a calendar of ritual sacrifices and prayers, it dates back to the mid-third century B.C. The text exists \u003ci>only\u003c/i> because the manuscript was cut into strips and used to wrap an Egyptian mummy. Preserved by Egypt’s dry climate, the deconstructed book was identified as Etruscian writing in 1892, nearly 50 years after it was purchased in Alexandria.\u003c/p>\n\u003cfigure id=\"attachment_13989116\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/0391-Legion-Etruscans-Sexton_2000.jpg\" alt=\"person stands in front of wide frame holding strips of linen\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13989116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/0391-Legion-Etruscans-Sexton_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/0391-Legion-Etruscans-Sexton_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/0391-Legion-Etruscans-Sexton_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/0391-Legion-Etruscans-Sexton_2000-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Liber linteus zagrabiensis’ in ‘The Etruscans: From The Heart of Ancient Italy’ at the Legion of Honor. \u003ccite>(Photo by Gary Sexton; courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That may seem oh so long ago, but scholars and archeologists are still making new discoveries about the Etruscans today. The small sculptures excavated from the mud of San Casciano dei Bagni, on display in the exhibition’s final gallery, were found just two years ago. \u003c/p>\n\u003cp>It’s hard to make an ancient civilization come alive for modern audiences. It helps that so many of the objects on view are playful, animated: a handle made from a bent-backwards body, a wonderfully elongated figure, a cup in the shape of a leg. \u003ci>The Etruscans\u003c/i> also stresses again and again just what made these people unique, especially in comparison to the empire that eventually subsumed them. (Etruscans became Roman citizens in 89 B.C.)\u003c/p>\n\u003cfigure id=\"attachment_13989119\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/DIGITAL-26-etruscans-web-image-R1-V8-cinerary-urn_2000.jpg\" alt=\"terracotta sculpture of man and woman lounging together\" width=\"2000\" height=\"1125\" class=\"size-full wp-image-13989119\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/DIGITAL-26-etruscans-web-image-R1-V8-cinerary-urn_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/DIGITAL-26-etruscans-web-image-R1-V8-cinerary-urn_2000-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/DIGITAL-26-etruscans-web-image-R1-V8-cinerary-urn_2000-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/DIGITAL-26-etruscans-web-image-R1-V8-cinerary-urn_2000-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/DIGITAL-26-etruscans-web-image-R1-V8-cinerary-urn_2000-1200x675.jpg 1200w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Cinerary urn of the spouses, Etruscan, Caere, 520–500 B.C. \u003ccite>(Musée du Louvre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Women, in particular, enjoyed an elevated status in Etruscan society. They were highly literate, could inherit property, kept their maiden names and participated in public life. A reproduction of a painting in the Tomb of the Leopards spreads across one wall of the exhibition, showing both men and women lounging, conversing and generally enjoying themselves at a banquet. Greek symposia, in contrast, were the sole domain of aristocratic men.\u003c/p>\n\u003cp>The society that emerges through this exhibition is one of great wealth (the fine detail on the jewelry, holy moly) and great joy. Only people with a sense of delight would carve a toiletries box in the shape of a fawn. Or put such enigmatic and peaceful smiles on their renderings of the dead. You may emerge from the subterranean depths of the Legion of Honor wishing a bit more of Etruscan culture seeped its way into the Roman world, and, eventually, Western civilization.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://www.famsf.org/exhibitions/etruscans-heart-ancient-italy\">The Etruscans: From the Heart of Ancient Italy\u003c/a>’ is on view at the Legion of Honor (100 34th Ave., San Francisco) May 2–Sept. 20, 2026.\u003c/i>\u003c/p>\n\n",
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"title": "‘Etruscans’ at Legion of Honor: Ancient Culture Gets its Due | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Empires get all the credit. And yet it was the Etruscans, the people who lived in present-day Tuscany between 900 and 100 B.C., who taught the Romans about viticulture, urban planning and complex hydraulic works. Without the Etruscans there would be no toga, or what we now call Roman numerals.\u003c/p>\n\u003cp>For too long, as curator Renée Dreyfus argues in her Legion of Honor exhibition \u003ci>\u003ca href=\"https://www.famsf.org/exhibitions/etruscans-heart-ancient-italy\">The Etruscans: From the Heart of Ancient Italy\u003c/a>\u003c/i>, Etruscan culture has been overshadowed by the Greeks and Romans. The Etruscans are considered “mysterious” or “unknowable,” but as the show’s introductory video says, we just need to dig deeper — literally.\u003c/p>\n\u003cp>\u003ci>The Etruscans\u003c/i> gathers the latest scholarship and over 150 objects for the largest-ever presentation of Etruscan art and artifacts outside of Italy. An international roster of over two dozen institutions has loaned what are clearly treasures to this show; some have left their host museums for the first time since they were discovered. \u003c/p>\n\u003cfigure id=\"attachment_13989112\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/0589-Legion-Etruscans-Sexton_2000.jpg\" alt=\"curved display with objects in vitrines, show title in black on wall\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13989112\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/0589-Legion-Etruscans-Sexton_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/0589-Legion-Etruscans-Sexton_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/0589-Legion-Etruscans-Sexton_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/0589-Legion-Etruscans-Sexton_2000-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘The Etruscans: From The Heart of Ancient Italy’ at the Legion of Honor. \u003ccite>(Photo by Gary Sexton; courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Much of what we see at the Legion of Honor comes from the tombs of the elite: finely wrought jewelry, delicately painted pottery, everything needed to live well in the afterlife. (This includes eating and partying — the Etruscans were devoted to their banquets.) \u003c/p>\n\u003cp>But the show also contains objects made for the living: a model for the study of divination, votive figures of the Etruscans’ many gods, and small bronzes found in the thermal waters of San Casciano dei Bagni. That model, the “Liver of Piacenza,” is one of the most remarkable objects on display. The life-sized bronze replica of a sheep’s liver is inscribed with the names of Etruscan deities; it acted as a guide to reading the entrails of sacrificed animals, which in turn determined the will of the gods. \u003c/p>\n\u003cfigure id=\"attachment_13989115\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/MS_310311_20201118-01_2000.jpg\" alt=\"bronze object covered in inscriptions\" width=\"2000\" height=\"1500\" class=\"size-full wp-image-13989115\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/MS_310311_20201118-01_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/MS_310311_20201118-01_2000-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/MS_310311_20201118-01_2000-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/MS_310311_20201118-01_2000-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Etruscan model of a sheep’s liver, found in Piacenza, second century B.C. \u003ccite>(Courtesy of the Musei Civici di Palazzo Farnese, Piacenza)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While the Etruscans used the Greek alphabet, generally read right to left, their language was a unique non-Indo-European tongue with no known antecedents or modern descendants. Most of the Etruscan writing that exists now is funerary inscriptions on objects, short phrases of ownership or dedication. But at the Legion of Honor — incredibly rare thing alert! — we also get to see the longest example of Etruscan writing: a wide, framed display on strips of linen that has its own incredible backstory.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The \u003ci>Liber linteus zagrabiensis\u003c/i> (Linen book of Zagreb) is the longest-surviving Etruscan text (aka Europe’s oldest book). Believed to be a calendar of ritual sacrifices and prayers, it dates back to the mid-third century B.C. The text exists \u003ci>only\u003c/i> because the manuscript was cut into strips and used to wrap an Egyptian mummy. Preserved by Egypt’s dry climate, the deconstructed book was identified as Etruscian writing in 1892, nearly 50 years after it was purchased in Alexandria.\u003c/p>\n\u003cfigure id=\"attachment_13989116\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/0391-Legion-Etruscans-Sexton_2000.jpg\" alt=\"person stands in front of wide frame holding strips of linen\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13989116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/0391-Legion-Etruscans-Sexton_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/0391-Legion-Etruscans-Sexton_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/0391-Legion-Etruscans-Sexton_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/0391-Legion-Etruscans-Sexton_2000-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Liber linteus zagrabiensis’ in ‘The Etruscans: From The Heart of Ancient Italy’ at the Legion of Honor. \u003ccite>(Photo by Gary Sexton; courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That may seem oh so long ago, but scholars and archeologists are still making new discoveries about the Etruscans today. The small sculptures excavated from the mud of San Casciano dei Bagni, on display in the exhibition’s final gallery, were found just two years ago. \u003c/p>\n\u003cp>It’s hard to make an ancient civilization come alive for modern audiences. It helps that so many of the objects on view are playful, animated: a handle made from a bent-backwards body, a wonderfully elongated figure, a cup in the shape of a leg. \u003ci>The Etruscans\u003c/i> also stresses again and again just what made these people unique, especially in comparison to the empire that eventually subsumed them. (Etruscans became Roman citizens in 89 B.C.)\u003c/p>\n\u003cfigure id=\"attachment_13989119\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/DIGITAL-26-etruscans-web-image-R1-V8-cinerary-urn_2000.jpg\" alt=\"terracotta sculpture of man and woman lounging together\" width=\"2000\" height=\"1125\" class=\"size-full wp-image-13989119\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/DIGITAL-26-etruscans-web-image-R1-V8-cinerary-urn_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/DIGITAL-26-etruscans-web-image-R1-V8-cinerary-urn_2000-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/DIGITAL-26-etruscans-web-image-R1-V8-cinerary-urn_2000-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/DIGITAL-26-etruscans-web-image-R1-V8-cinerary-urn_2000-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/DIGITAL-26-etruscans-web-image-R1-V8-cinerary-urn_2000-1200x675.jpg 1200w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Cinerary urn of the spouses, Etruscan, Caere, 520–500 B.C. \u003ccite>(Musée du Louvre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Women, in particular, enjoyed an elevated status in Etruscan society. They were highly literate, could inherit property, kept their maiden names and participated in public life. A reproduction of a painting in the Tomb of the Leopards spreads across one wall of the exhibition, showing both men and women lounging, conversing and generally enjoying themselves at a banquet. Greek symposia, in contrast, were the sole domain of aristocratic men.\u003c/p>\n\u003cp>The society that emerges through this exhibition is one of great wealth (the fine detail on the jewelry, holy moly) and great joy. Only people with a sense of delight would carve a toiletries box in the shape of a fawn. Or put such enigmatic and peaceful smiles on their renderings of the dead. You may emerge from the subterranean depths of the Legion of Honor wishing a bit more of Etruscan culture seeped its way into the Roman world, and, eventually, Western civilization.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://www.famsf.org/exhibitions/etruscans-heart-ancient-italy\">The Etruscans: From the Heart of Ancient Italy\u003c/a>’ is on view at the Legion of Honor (100 34th Ave., San Francisco) May 2–Sept. 20, 2026.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "aids-memorial-quilt-photography-redigitization-san-leandro",
"title": "How a Small Team Is Bringing the AIDS Memorial Quilt into Sharp Focus",
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"headTitle": "How a Small Team Is Bringing the AIDS Memorial Quilt into Sharp Focus | KQED",
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"content": "\u003cp>On a recent morning in an unmarked, unfinished San Leandro storefront, Michael Berg and Will Roczkos crouch over a bright blue block of \u003ca href=\"https://www.aidsmemorial.org/quilt\">AIDS Memorial Quilt\u003c/a> panels. Each of the eight panels in the block, made by people to honor their loved ones, contains an impressive array of creative embellishments: spray paint, rhinestones, intricate hand-stitching, and photos — inside plastic sleeves or printed right into the fabric.\u003c/p>\n\u003cp>Berg and Roczkos are the first two volunteers working on a redigitization project with Roddy Williams, the manager of the 54-ton quilt. The process includes photographing every block, entering metadata, and redesigning the current database. Funded by a grant from the Jonathan Logan Family Foundation, Williams expects the project to take eight months.\u003c/p>\n\u003cp>In much the same way that the HIV/AIDS pandemic has had a rolling, unending impact on millions worldwide since HIV was identified in 1981, the influence of the 500,000-panel quilt continues to evolve. Conceived by San Francisco activist \u003ca href=\"https://www.kqed.org/news/11950268/still-under-threat-on-harvey-milk-day-leading-activist-says-lgbtq-leaders-face-dangers-decades-after-assassination\">Cleve Jones\u003c/a>, the first AIDS Memorial Quilt panels were made in 1987. Each panel measures three by six feet, roughly the size of a human grave. \u003c/p>\n\u003cfigure id=\"attachment_13989055\" class=\"wp-caption aligncenter\" style=\"max-width: 1999px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-19-BL_qed.jpg\" alt=\"view into storage space with folded quilts stacked high on shelves\" width=\"1999\" height=\"1333\" class=\"size-full wp-image-13989055\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-19-BL_qed.jpg 1999w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-19-BL_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-19-BL_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-19-BL_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1999px) 100vw, 1999px\">\u003cfigcaption class=\"wp-caption-text\">A San Leandro warehouse houses the AIDS Memorial Quilt. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Panels are then sewn into 12-by-12-foot blocks by Gert McMullin, the so-called \u003ca href=\"https://www.aidsmemorial.org/post/gert-mcmullin\">mother of the quilt\u003c/a>, who thoughtfully creates a miniature crazy quilt in every block, joining panels with similar colors and patterns. When publicly displayed, viewers can read panels from any side of the block.\u003c/p>\n\u003cp>While sections are always loaned out for public displays, most of the quilt is stored in a warehouse a 10-minute drive from the makeshift photography studio. Heavy quilt blocks catalogued and carefully folded sit in stacks on ceiling-high shelves. A few requisite ladders are scattered throughout the skylight-lit space.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Survivors continue to make and send new quilt panels to the warehouse all the time. It’s also common for families cleaning out an attic to find a panel made many years ago and to contribute it now, including in the parcel notes and ephemera about the person who died of AIDS. \u003c/p>\n\u003cfigure id=\"attachment_13989060\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-31-BL_qed.jpg\" alt=\"handwritten note from son to father on part of quilt, red hearts below\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13989060\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-31-BL_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-31-BL_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-31-BL_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-31-BL_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A detail on a panel of the AIDS Memorial Quilt before it is photographed for an archiving project at a warehouse in San Leandro on April 15, 2026. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Williams notes that some families make multiple panels for their loved one, like John Politano Jr.’s parents. Politano died of AIDS in 1986 at age 25, and his parents made a second panel in the late 1990s to continue his legacy. Currently, details on the second panel appear blurry online. But once new photos are taken and uploaded, anyone will be able to read their open letter to their child, which includes a moving description of the impact of public quilt exhibitions. \u003c/p>\n\u003cp>“Your first panel has faded through constant use, and that is okay. You see, if your panel did not get used, or was not seen by people from all over the country, then the message would not get out,” it reads. “AIDS is real, and real people die from AIDS. This new panel that Ma and I have made for you is different from the first, but the message is the same. \u003cem>You are our son, and we love you!\u003c/em>”\u003c/p>\n\u003ch2>An unfolding project\u003c/h2>\n\u003cp>Williams became the quilt’s manager 23 years ago in Atlanta, Georgia, where it was housed from 2001 until it returned to the Bay Area in 2021. The Library of Congress \u003ca href=\"https://blogs.loc.gov/folklife/2019/11/afc-is-acquiring-the-archival-collections-of-the-names-project-aids-memorial-quilt/\">assumed responsibility\u003c/a> for the over 200,000 photos, letters, news clippings, and other mementos that loved ones included when sending panels to the quilt caretakers.\u003c/p>\n\u003cp>In the U.S., more than 630,000 individuals have died of AIDS. Globally, the disease has killed 40 million people, with an additional estimated 40 million living with HIV. \u003c/p>\n\u003cp>In the past year, President Trump obliterated major global HIV/AIDS prevention and care programs by \u003ca href=\"https://www.npr.org/sections/goats-and-soda/2025/07/01/nx-s1-5452513/trump-usaid-foreign-aid-deaths\">shuttering USAID\u003c/a> and freezing foreign aid, which \u003ca href=\"https://www.npr.org/2026/04/23/g-s1-118221/hiv-aids-pepfar-trump-foreign-aid\">impacts projects like PEPFAR\u003c/a> (the President’s Emergency Plan for AIDS Relief), instituted in 2003. \u003c/p>\n\u003cfigure id=\"attachment_13989053\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-34-BL_qed.jpg\" alt=\"older white man kneels and reaches across quilt\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13989053\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-34-BL_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-34-BL_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-34-BL_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-34-BL_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Will Roczkos, with the National AIDS Memorial, helps clean panels of the AIDS Memorial Quilt before they are photographed for an archiving project at a warehouse in San Leandro on April 15, 2026. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Quilt volunteer Roczkos noted that because of the current administration’s devastating actions, preserving the quilt and increasing accessibility to its handmade tributes feels more urgent than ever. “More people will die now,” he says, gesturing at a panel he’s gently cleaning with a tape roller, readying it for a photo.\u003c/p>\n\u003cp>Since its inception nearly 40 years ago, the quilt has been thoroughly documented, both the individual panels and the increasingly large-scale public displays. Even if someone has never seen the quilt panels on display, they may have a mental image of blocks spread across the National Mall in Washington, D.C. \u003c/p>\n\u003cp>During the first years of the COVID-19 pandemic, when physical exhibitions were suspended, database searches skyrocketed, with survivors of a new plague looking to the quilt for solace. (In 2020, McMullin and volunteers even \u003ca href=\"https://www.nbcnews.com/feature/nbc-out/extra-fabric-aids-memorial-quilt-used-coronavirus-masks-n1183501\">sewed cloth masks\u003c/a> using fabric leftover from quilt panels.)\u003c/p>\n\u003cp>Berg is one steward who’s worked on the project from the beginning. Over nearly 40 years, he’s held a variety of roles, including president of the board of directors for the NAMES Project, the quilt’s original moniker. He even photographed the quilt back in the late 1980s. \u003c/p>\n\u003cp>“Of course, the technology has improved,” he muses.\u003c/p>\n\u003cfigure id=\"attachment_13989058\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-27-BL_qed.jpg\" alt=\"older white man kneels beside quilt with lint roller\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13989058\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-27-BL_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-27-BL_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-27-BL_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-27-BL_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Michael Berg, a volunteer, helps clean panels of the AIDS Memorial Quilt before they are photographed for an archiving project at a warehouse in San Leandro on April 15, 2026. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In recent years, Williams has received several emails every week asking for high-quality photos of a loved one’s panel. While every panel is technically viewable online, small details are often blurry; the images were taken long ago, with lower-resolution cameras. \u003c/p>\n\u003cp>One evocative email from a parent asked whether Williams could share high-resolution photos from a quilt panel because a house fire had destroyed all other remaining photos of their son. Williams individually responds to every request by physically climbing a tall ladder, carrying a block to the floor, gently unfolding it, and photographing the desired panel.\u003c/p>\n\u003ch2>A stitched-together story\u003c/h2>\n\u003cp>To replace all of the images currently online with higher-resolution photos, Williams is \u003ca href=\"https://docs.google.com/forms/d/e/1FAIpQLSemDi4I0pS4mVBFM-M_LvI7zKgZARvEd1gG-h701y3S0wIvGw/viewform\">actively seeking support\u003c/a>. Volunteers work in pairs to clean each block and mount it vertically to be photographed. The work requires a lot of physicality, both kneeling over a block placed on an enormous stress mat, and moving around its circumference, bending and stretching to remove stray threads or tidy up the endless messiness of glitter. \u003c/p>\n\u003cp>Blocks with felt embellishments are managed separately, as pressed wool collects extensive debris, especially when displayed outdoors or on a lawn, and requires intensive cleaning.\u003c/p>\n\u003cfigure id=\"attachment_13989054\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-26-BL_qed.jpg\" alt=\"photo flash umbrellas surround a large-scale quilt hanging on wall\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13989054\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-26-BL_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-26-BL_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-26-BL_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-26-BL_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A panel of the AIDS Memorial Quilt hangs to be photographed for an archiving project at a warehouse in San Leandro on April 15, 2026. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Once a block is ready to be photographed, a cord is pulled taut through its grommets to vertically position it against a thick black background panel. Four large white numbers attached to one side of the backing panel are changed out, depicting each block number, the cataloging system for a project of this magnitude. Caretakers remove any last bits of dust or debris with yet another tape roller on a comically long-armed handle. \u003c/p>\n\u003cp>As seasoned volunteers like Berg and Roczkos fall into a rhythm, the entire per-block process can drop to between three and six minutes. Over two recent days at the studio space, the two men cleaned and mounted 90 blocks for photos.\u003c/p>\n\u003cp>This massive undertaking ensures that the physical panels, and all the lives they honor, will be preserved and accessible to all, for all time. \u003c/p>\n\u003cp>“This is how volunteers help tell the story of the quilt,” Williams says. \u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>To volunteer with the AIDS Memorial Quilt redigitization project, \u003ca href=\"https://docs.google.com/forms/d/e/1FAIpQLSemDi4I0pS4mVBFM-M_LvI7zKgZARvEd1gG-h701y3S0wIvGw/viewform\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"excerpt": "Nearly 40 years after the project started, volunteers are rephotographing the 500,000-panel collaborative artwork.",
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"title": "Bringing the AIDS Memorial Quilt into Sharp Focus | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On a recent morning in an unmarked, unfinished San Leandro storefront, Michael Berg and Will Roczkos crouch over a bright blue block of \u003ca href=\"https://www.aidsmemorial.org/quilt\">AIDS Memorial Quilt\u003c/a> panels. Each of the eight panels in the block, made by people to honor their loved ones, contains an impressive array of creative embellishments: spray paint, rhinestones, intricate hand-stitching, and photos — inside plastic sleeves or printed right into the fabric.\u003c/p>\n\u003cp>Berg and Roczkos are the first two volunteers working on a redigitization project with Roddy Williams, the manager of the 54-ton quilt. The process includes photographing every block, entering metadata, and redesigning the current database. Funded by a grant from the Jonathan Logan Family Foundation, Williams expects the project to take eight months.\u003c/p>\n\u003cp>In much the same way that the HIV/AIDS pandemic has had a rolling, unending impact on millions worldwide since HIV was identified in 1981, the influence of the 500,000-panel quilt continues to evolve. Conceived by San Francisco activist \u003ca href=\"https://www.kqed.org/news/11950268/still-under-threat-on-harvey-milk-day-leading-activist-says-lgbtq-leaders-face-dangers-decades-after-assassination\">Cleve Jones\u003c/a>, the first AIDS Memorial Quilt panels were made in 1987. Each panel measures three by six feet, roughly the size of a human grave. \u003c/p>\n\u003cfigure id=\"attachment_13989055\" class=\"wp-caption aligncenter\" style=\"max-width: 1999px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-19-BL_qed.jpg\" alt=\"view into storage space with folded quilts stacked high on shelves\" width=\"1999\" height=\"1333\" class=\"size-full wp-image-13989055\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-19-BL_qed.jpg 1999w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-19-BL_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-19-BL_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-19-BL_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1999px) 100vw, 1999px\">\u003cfigcaption class=\"wp-caption-text\">A San Leandro warehouse houses the AIDS Memorial Quilt. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Panels are then sewn into 12-by-12-foot blocks by Gert McMullin, the so-called \u003ca href=\"https://www.aidsmemorial.org/post/gert-mcmullin\">mother of the quilt\u003c/a>, who thoughtfully creates a miniature crazy quilt in every block, joining panels with similar colors and patterns. When publicly displayed, viewers can read panels from any side of the block.\u003c/p>\n\u003cp>While sections are always loaned out for public displays, most of the quilt is stored in a warehouse a 10-minute drive from the makeshift photography studio. Heavy quilt blocks catalogued and carefully folded sit in stacks on ceiling-high shelves. A few requisite ladders are scattered throughout the skylight-lit space.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Survivors continue to make and send new quilt panels to the warehouse all the time. It’s also common for families cleaning out an attic to find a panel made many years ago and to contribute it now, including in the parcel notes and ephemera about the person who died of AIDS. \u003c/p>\n\u003cfigure id=\"attachment_13989060\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-31-BL_qed.jpg\" alt=\"handwritten note from son to father on part of quilt, red hearts below\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13989060\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-31-BL_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-31-BL_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-31-BL_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-31-BL_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A detail on a panel of the AIDS Memorial Quilt before it is photographed for an archiving project at a warehouse in San Leandro on April 15, 2026. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Williams notes that some families make multiple panels for their loved one, like John Politano Jr.’s parents. Politano died of AIDS in 1986 at age 25, and his parents made a second panel in the late 1990s to continue his legacy. Currently, details on the second panel appear blurry online. But once new photos are taken and uploaded, anyone will be able to read their open letter to their child, which includes a moving description of the impact of public quilt exhibitions. \u003c/p>\n\u003cp>“Your first panel has faded through constant use, and that is okay. You see, if your panel did not get used, or was not seen by people from all over the country, then the message would not get out,” it reads. “AIDS is real, and real people die from AIDS. This new panel that Ma and I have made for you is different from the first, but the message is the same. \u003cem>You are our son, and we love you!\u003c/em>”\u003c/p>\n\u003ch2>An unfolding project\u003c/h2>\n\u003cp>Williams became the quilt’s manager 23 years ago in Atlanta, Georgia, where it was housed from 2001 until it returned to the Bay Area in 2021. The Library of Congress \u003ca href=\"https://blogs.loc.gov/folklife/2019/11/afc-is-acquiring-the-archival-collections-of-the-names-project-aids-memorial-quilt/\">assumed responsibility\u003c/a> for the over 200,000 photos, letters, news clippings, and other mementos that loved ones included when sending panels to the quilt caretakers.\u003c/p>\n\u003cp>In the U.S., more than 630,000 individuals have died of AIDS. Globally, the disease has killed 40 million people, with an additional estimated 40 million living with HIV. \u003c/p>\n\u003cp>In the past year, President Trump obliterated major global HIV/AIDS prevention and care programs by \u003ca href=\"https://www.npr.org/sections/goats-and-soda/2025/07/01/nx-s1-5452513/trump-usaid-foreign-aid-deaths\">shuttering USAID\u003c/a> and freezing foreign aid, which \u003ca href=\"https://www.npr.org/2026/04/23/g-s1-118221/hiv-aids-pepfar-trump-foreign-aid\">impacts projects like PEPFAR\u003c/a> (the President’s Emergency Plan for AIDS Relief), instituted in 2003. \u003c/p>\n\u003cfigure id=\"attachment_13989053\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-34-BL_qed.jpg\" alt=\"older white man kneels and reaches across quilt\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13989053\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-34-BL_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-34-BL_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-34-BL_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-34-BL_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Will Roczkos, with the National AIDS Memorial, helps clean panels of the AIDS Memorial Quilt before they are photographed for an archiving project at a warehouse in San Leandro on April 15, 2026. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Quilt volunteer Roczkos noted that because of the current administration’s devastating actions, preserving the quilt and increasing accessibility to its handmade tributes feels more urgent than ever. “More people will die now,” he says, gesturing at a panel he’s gently cleaning with a tape roller, readying it for a photo.\u003c/p>\n\u003cp>Since its inception nearly 40 years ago, the quilt has been thoroughly documented, both the individual panels and the increasingly large-scale public displays. Even if someone has never seen the quilt panels on display, they may have a mental image of blocks spread across the National Mall in Washington, D.C. \u003c/p>\n\u003cp>During the first years of the COVID-19 pandemic, when physical exhibitions were suspended, database searches skyrocketed, with survivors of a new plague looking to the quilt for solace. (In 2020, McMullin and volunteers even \u003ca href=\"https://www.nbcnews.com/feature/nbc-out/extra-fabric-aids-memorial-quilt-used-coronavirus-masks-n1183501\">sewed cloth masks\u003c/a> using fabric leftover from quilt panels.)\u003c/p>\n\u003cp>Berg is one steward who’s worked on the project from the beginning. Over nearly 40 years, he’s held a variety of roles, including president of the board of directors for the NAMES Project, the quilt’s original moniker. He even photographed the quilt back in the late 1980s. \u003c/p>\n\u003cp>“Of course, the technology has improved,” he muses.\u003c/p>\n\u003cfigure id=\"attachment_13989058\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-27-BL_qed.jpg\" alt=\"older white man kneels beside quilt with lint roller\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13989058\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-27-BL_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-27-BL_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-27-BL_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-27-BL_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Michael Berg, a volunteer, helps clean panels of the AIDS Memorial Quilt before they are photographed for an archiving project at a warehouse in San Leandro on April 15, 2026. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In recent years, Williams has received several emails every week asking for high-quality photos of a loved one’s panel. While every panel is technically viewable online, small details are often blurry; the images were taken long ago, with lower-resolution cameras. \u003c/p>\n\u003cp>One evocative email from a parent asked whether Williams could share high-resolution photos from a quilt panel because a house fire had destroyed all other remaining photos of their son. Williams individually responds to every request by physically climbing a tall ladder, carrying a block to the floor, gently unfolding it, and photographing the desired panel.\u003c/p>\n\u003ch2>A stitched-together story\u003c/h2>\n\u003cp>To replace all of the images currently online with higher-resolution photos, Williams is \u003ca href=\"https://docs.google.com/forms/d/e/1FAIpQLSemDi4I0pS4mVBFM-M_LvI7zKgZARvEd1gG-h701y3S0wIvGw/viewform\">actively seeking support\u003c/a>. Volunteers work in pairs to clean each block and mount it vertically to be photographed. The work requires a lot of physicality, both kneeling over a block placed on an enormous stress mat, and moving around its circumference, bending and stretching to remove stray threads or tidy up the endless messiness of glitter. \u003c/p>\n\u003cp>Blocks with felt embellishments are managed separately, as pressed wool collects extensive debris, especially when displayed outdoors or on a lawn, and requires intensive cleaning.\u003c/p>\n\u003cfigure id=\"attachment_13989054\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-26-BL_qed.jpg\" alt=\"photo flash umbrellas surround a large-scale quilt hanging on wall\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13989054\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-26-BL_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-26-BL_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-26-BL_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-26-BL_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A panel of the AIDS Memorial Quilt hangs to be photographed for an archiving project at a warehouse in San Leandro on April 15, 2026. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Once a block is ready to be photographed, a cord is pulled taut through its grommets to vertically position it against a thick black background panel. Four large white numbers attached to one side of the backing panel are changed out, depicting each block number, the cataloging system for a project of this magnitude. Caretakers remove any last bits of dust or debris with yet another tape roller on a comically long-armed handle. \u003c/p>\n\u003cp>As seasoned volunteers like Berg and Roczkos fall into a rhythm, the entire per-block process can drop to between three and six minutes. Over two recent days at the studio space, the two men cleaned and mounted 90 blocks for photos.\u003c/p>\n\u003cp>This massive undertaking ensures that the physical panels, and all the lives they honor, will be preserved and accessible to all, for all time. \u003c/p>\n\u003cp>“This is how volunteers help tell the story of the quilt,” Williams says. \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Poppy Liu doing the splits on the red carpet — not an elegant walkway, but a rug crammed inside an \u003ca href=\"https://www.kqed.org/arts/tag/oakland\">Oakland\u003c/a> storefront full of sweaty reporters — wasn’t the only lovably chaotic moment at the West Coast premiere of \u003ca href=\"https://www.kqed.org/arts/tag/boots-riley\">Boots Riley\u003c/a>’s \u003cem>I Love Boosters\u003c/em> during the \u003ca href=\"https://www.kqed.org/arts/tag/sffilm\">San Francisco International Film Festival\u003c/a>.\u003c/p>\n\u003cp>At the \u003ca href=\"https://www.kqed.org/arts/13987291/grand-lake-theatre-100-years-oakland\">Grand Lake Theatre\u003c/a> Tuesday evening, there was also a marriage proposal during the after-screening Q&A; lots of oral sex jokes from LaKeith Stanfield (in the film, he plays a demon who uses his skills to nefarious ends); and, of course, many rants about the Marxist concept of \u003ca href=\"https://www.hamptonthink.org/read/a-brief-and-imperfect-explanation-of-dialectical-materialism\">dialectical materialism\u003c/a>. As for the splits: Liu explained that she felt awkward for being late, and it was the only logical thing to do in a moment of “neurodivergent panic.”\u003c/p>\n\u003cfigure id=\"attachment_13989009\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989009\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260428-iloveboostersredcarpet00702_TV_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260428-iloveboostersredcarpet00702_TV_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260428-iloveboostersredcarpet00702_TV_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260428-iloveboostersredcarpet00702_TV_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260428-iloveboostersredcarpet00702_TV_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Poppy Liu does the splits while holding onto LaKeith Stanfield at a red carpet event for the movie, ‘I Love Boosters’ near the Grand Lake Theatre in Oakland on April 28, 2026. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The evening’s wild antics mixed with heady political philosophy mirrored the tone and pacing of \u003cem>I Love Boosters\u003c/em> itself, which follows an all-woman shoplifting ring, the Velvet Gang, who resell designer clothes from high-end Bay Area stores to make ends meet and provide a community service of “fashion-forward (f)ilanthropy.”\u003c/p>\n\u003cp>The boosters, Corvette (Keke Palmer), Mariah (Taylour Paige) and Sade (Naomi Ackie), get caught up in a rivalry with the elitist, foul-mouthed fashion mogul Christie Smith (Demi Moore), and eventually join forces with retail worker Violeta (Eiza Gonzalez) and Chinese garment worker Jianhu (Poppy Liu) for an epic scheme that defies the laws of physics.\u003c/p>\n\u003cfigure id=\"attachment_13988896\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988896\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/I-LOVE-BOOSTERS_Still_03_Cropped_Courtesy-of-NEON-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1125\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/I-LOVE-BOOSTERS_Still_03_Cropped_Courtesy-of-NEON-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/I-LOVE-BOOSTERS_Still_03_Cropped_Courtesy-of-NEON-2000x879.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/I-LOVE-BOOSTERS_Still_03_Cropped_Courtesy-of-NEON-160x70.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/I-LOVE-BOOSTERS_Still_03_Cropped_Courtesy-of-NEON-768x338.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/I-LOVE-BOOSTERS_Still_03_Cropped_Courtesy-of-NEON-1536x675.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/I-LOVE-BOOSTERS_Still_03_Cropped_Courtesy-of-NEON-2048x900.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Naomi Ackie, Keke Palmer, Poppy Liu and Taylour Paige in ‘I Love Boosters.’ \u003ccite>(Courtesy of NEON)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Boots Riley, who spent decades as a frontline community organizer and political rapper before becoming a filmmaker, has never been shy about the bold aims of his art: “We need a mass, militant radical labor movement,” he told KQED on the red carpet. And although worker organizing is an explicit theme in \u003cem>I Love Boosters\u003c/em>, Riley makes its union politics go down easy with skillful comedic pacing, technicolor visuals and the boosters’ runway-worthy looks.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The gags don’t stop throughout the film’s taut 105-minute run time. In the opening scene, Corvette seemingly propositions a guy for sex by asking his shoe size and then flips it into a sales pitch for discounted footwear. Bolstered by a soundtrack of boings and whoops from Tune-Yards, \u003cem>I Love Boosters\u003c/em> excels in physical comedy. Corvette’s \u003cem>Tom and Jerry\u003c/em>-esque standoff with Christie Smith and her minions gets more bizarre at each turn until it culminates in a reveal as freaky as the one in Riley’s 2018 film \u003cem>Sorry to Bother You\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13988897\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988897\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/I-LOVE-BOOSTERS_Still_01_Cropped_Courtesy-of-NEON-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/I-LOVE-BOOSTERS_Still_01_Cropped_Courtesy-of-NEON-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/I-LOVE-BOOSTERS_Still_01_Cropped_Courtesy-of-NEON-2000x974.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/I-LOVE-BOOSTERS_Still_01_Cropped_Courtesy-of-NEON-160x78.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/I-LOVE-BOOSTERS_Still_01_Cropped_Courtesy-of-NEON-768x374.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/I-LOVE-BOOSTERS_Still_01_Cropped_Courtesy-of-NEON-1536x748.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/I-LOVE-BOOSTERS_Still_01_Cropped_Courtesy-of-NEON-2048x998.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Naomi Ackie, Taylour Paige and Keke Palmer star in ‘I Love Boosters.’ \u003ccite>(Courtesy of NEON)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>I Love Boosters\u003c/em> is Riley’s sophomore feature, and his sci-fi imagination feels bigger here, as does his ambition to inject the story with references to Marxist philosophy. Dialectical materialism, a theory of conflict between opposing forces and its ability to drive change, underpins some of the wackiest elements of the movie. Some viewers might find the film’s monologues about it burdensome, but I left with the urge to watch the film at least three more times to truly unpack it.\u003c/p>\n\u003cfigure id=\"attachment_13989012\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989012\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260428-iloveboostersredcarpet00768_TV_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260428-iloveboostersredcarpet00768_TV_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260428-iloveboostersredcarpet00768_TV_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260428-iloveboostersredcarpet00768_TV_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260428-iloveboostersredcarpet00768_TV_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Boots Riley, director of the movie ‘I Love Boosters,’ prepares to shake hands with someone at a red carpet event for the movie, ‘I Love Boosters’ near the Grand Lake Theatre in Oakland on April 28, 2026. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Whether you’ve taken poli-sci classes or not, \u003cem>I Love Boosters\u003c/em> makes you feel, on a visceral level, the power of ordinary people coming together against a powerful, exploitive few. The Oakland audience — which included notable artists like comedian W. Kamau Bell and actor Jamal Trulove — jeered at the film’s fake conservative news clips (one featured a low-income woman arguing for the right to pay more in rent) and cheered emphatically as picket signs went up on screen.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>When \u003cem>I Love Boosters\u003c/em> gets its wide release on May 22, much hand-wringing about the morality of stealing will undoubtedly ensue. But whether you agree with the boosters’ tactics is beside the point. As LaKeith Stanfield put it in the post-screening Q&A, the film is really all about “this social issue that I think that we’re having trouble with, which is unity.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Poppy Liu doing the splits on the red carpet — not an elegant walkway, but a rug crammed inside an \u003ca href=\"https://www.kqed.org/arts/tag/oakland\">Oakland\u003c/a> storefront full of sweaty reporters — wasn’t the only lovably chaotic moment at the West Coast premiere of \u003ca href=\"https://www.kqed.org/arts/tag/boots-riley\">Boots Riley\u003c/a>’s \u003cem>I Love Boosters\u003c/em> during the \u003ca href=\"https://www.kqed.org/arts/tag/sffilm\">San Francisco International Film Festival\u003c/a>.\u003c/p>\n\u003cp>At the \u003ca href=\"https://www.kqed.org/arts/13987291/grand-lake-theatre-100-years-oakland\">Grand Lake Theatre\u003c/a> Tuesday evening, there was also a marriage proposal during the after-screening Q&A; lots of oral sex jokes from LaKeith Stanfield (in the film, he plays a demon who uses his skills to nefarious ends); and, of course, many rants about the Marxist concept of \u003ca href=\"https://www.hamptonthink.org/read/a-brief-and-imperfect-explanation-of-dialectical-materialism\">dialectical materialism\u003c/a>. As for the splits: Liu explained that she felt awkward for being late, and it was the only logical thing to do in a moment of “neurodivergent panic.”\u003c/p>\n\u003cfigure id=\"attachment_13989009\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989009\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260428-iloveboostersredcarpet00702_TV_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260428-iloveboostersredcarpet00702_TV_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260428-iloveboostersredcarpet00702_TV_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260428-iloveboostersredcarpet00702_TV_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260428-iloveboostersredcarpet00702_TV_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Poppy Liu does the splits while holding onto LaKeith Stanfield at a red carpet event for the movie, ‘I Love Boosters’ near the Grand Lake Theatre in Oakland on April 28, 2026. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The evening’s wild antics mixed with heady political philosophy mirrored the tone and pacing of \u003cem>I Love Boosters\u003c/em> itself, which follows an all-woman shoplifting ring, the Velvet Gang, who resell designer clothes from high-end Bay Area stores to make ends meet and provide a community service of “fashion-forward (f)ilanthropy.”\u003c/p>\n\u003cp>The boosters, Corvette (Keke Palmer), Mariah (Taylour Paige) and Sade (Naomi Ackie), get caught up in a rivalry with the elitist, foul-mouthed fashion mogul Christie Smith (Demi Moore), and eventually join forces with retail worker Violeta (Eiza Gonzalez) and Chinese garment worker Jianhu (Poppy Liu) for an epic scheme that defies the laws of physics.\u003c/p>\n\u003cfigure id=\"attachment_13988896\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988896\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/I-LOVE-BOOSTERS_Still_03_Cropped_Courtesy-of-NEON-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1125\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/I-LOVE-BOOSTERS_Still_03_Cropped_Courtesy-of-NEON-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/I-LOVE-BOOSTERS_Still_03_Cropped_Courtesy-of-NEON-2000x879.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/I-LOVE-BOOSTERS_Still_03_Cropped_Courtesy-of-NEON-160x70.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/I-LOVE-BOOSTERS_Still_03_Cropped_Courtesy-of-NEON-768x338.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/I-LOVE-BOOSTERS_Still_03_Cropped_Courtesy-of-NEON-1536x675.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/I-LOVE-BOOSTERS_Still_03_Cropped_Courtesy-of-NEON-2048x900.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Naomi Ackie, Keke Palmer, Poppy Liu and Taylour Paige in ‘I Love Boosters.’ \u003ccite>(Courtesy of NEON)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Boots Riley, who spent decades as a frontline community organizer and political rapper before becoming a filmmaker, has never been shy about the bold aims of his art: “We need a mass, militant radical labor movement,” he told KQED on the red carpet. And although worker organizing is an explicit theme in \u003cem>I Love Boosters\u003c/em>, Riley makes its union politics go down easy with skillful comedic pacing, technicolor visuals and the boosters’ runway-worthy looks.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The gags don’t stop throughout the film’s taut 105-minute run time. In the opening scene, Corvette seemingly propositions a guy for sex by asking his shoe size and then flips it into a sales pitch for discounted footwear. Bolstered by a soundtrack of boings and whoops from Tune-Yards, \u003cem>I Love Boosters\u003c/em> excels in physical comedy. Corvette’s \u003cem>Tom and Jerry\u003c/em>-esque standoff with Christie Smith and her minions gets more bizarre at each turn until it culminates in a reveal as freaky as the one in Riley’s 2018 film \u003cem>Sorry to Bother You\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13988897\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988897\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/I-LOVE-BOOSTERS_Still_01_Cropped_Courtesy-of-NEON-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/I-LOVE-BOOSTERS_Still_01_Cropped_Courtesy-of-NEON-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/I-LOVE-BOOSTERS_Still_01_Cropped_Courtesy-of-NEON-2000x974.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/I-LOVE-BOOSTERS_Still_01_Cropped_Courtesy-of-NEON-160x78.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/I-LOVE-BOOSTERS_Still_01_Cropped_Courtesy-of-NEON-768x374.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/I-LOVE-BOOSTERS_Still_01_Cropped_Courtesy-of-NEON-1536x748.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/I-LOVE-BOOSTERS_Still_01_Cropped_Courtesy-of-NEON-2048x998.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Naomi Ackie, Taylour Paige and Keke Palmer star in ‘I Love Boosters.’ \u003ccite>(Courtesy of NEON)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>I Love Boosters\u003c/em> is Riley’s sophomore feature, and his sci-fi imagination feels bigger here, as does his ambition to inject the story with references to Marxist philosophy. Dialectical materialism, a theory of conflict between opposing forces and its ability to drive change, underpins some of the wackiest elements of the movie. Some viewers might find the film’s monologues about it burdensome, but I left with the urge to watch the film at least three more times to truly unpack it.\u003c/p>\n\u003cfigure id=\"attachment_13989012\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989012\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260428-iloveboostersredcarpet00768_TV_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260428-iloveboostersredcarpet00768_TV_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260428-iloveboostersredcarpet00768_TV_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260428-iloveboostersredcarpet00768_TV_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260428-iloveboostersredcarpet00768_TV_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Boots Riley, director of the movie ‘I Love Boosters,’ prepares to shake hands with someone at a red carpet event for the movie, ‘I Love Boosters’ near the Grand Lake Theatre in Oakland on April 28, 2026. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Whether you’ve taken poli-sci classes or not, \u003cem>I Love Boosters\u003c/em> makes you feel, on a visceral level, the power of ordinary people coming together against a powerful, exploitive few. The Oakland audience — which included notable artists like comedian W. Kamau Bell and actor Jamal Trulove — jeered at the film’s fake conservative news clips (one featured a low-income woman arguing for the right to pay more in rent) and cheered emphatically as picket signs went up on screen.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>When \u003cem>I Love Boosters\u003c/em> gets its wide release on May 22, much hand-wringing about the morality of stealing will undoubtedly ensue. But whether you agree with the boosters’ tactics is beside the point. As LaKeith Stanfield put it in the post-screening Q&A, the film is really all about “this social issue that I think that we’re having trouble with, which is unity.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "La Doña Traveled to 5 Countries to Make Her Borderless Album, ‘Corrientes’",
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"content": "\u003cfigure id=\"attachment_13988957\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988957\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_004-Edit.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_004-Edit.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_004-Edit-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_004-Edit-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_004-Edit-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Cecilia Peña-Govea, known as La Doña, poses on the hood of her vintage Chevrolet Impala coupe in West Oakland on April 24, 2026. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003cem>This story was reported for K Onda KQED, a monthly newsletter focused on the Bay Area’s Latinx community. \u003ca href=\"https://www.kqed.org/newsletters/k-onda\">Click here to subscribe\u003c/a>.\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>One of the songs on \u003ca href=\"https://www.kqed.org/arts/tag/la-dona\">La Doña\u003c/a>‘s new album, \u003cem>Corrientes\u003c/em>, tells the story of her parents’ 44-year-long partnership that started with a chance meeting when her dad was an undergraduate at UC Berkeley and her mom was a law student there.\u003c/p>\n\u003cp>That night, \u003ca href=\"https://www.instagram.com/ladona415/\">La Doña\u003c/a>‘s mom pulled a fiddle out of her car and played a song she called the “Jessie Polka,” a rendition of “Jesusita en Chihuahua,” a beloved folk song composed during the Mexican Revolution.\u003c/p>\n\u003cp>“From that moment on, they had this cultural exchange and this language that they shared,” says La Doña, whose real name is Cecilia Peña-Govea. “They were learning about each other and learning about their own roots and practices.”\u003c/p>\n\u003cp>Her song, “La Que Nos Unió” (“The One that United Us”) is set to an uptempo merengue beat, which, like polka, rouses listeners to get up and dance.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“[The song] is a celebration of their love and the legacy that I’m walking in and the beauty of the musical traditions that they endowed me with,” the 33-year-old says. “I wanted it to be a party song because they’re fun and they’re party animals.”\u003c/p>\n\u003cp>La Doña’s ethos of paying homage to tradition and history while bringing her own style reverberates throughout the 16 songs on \u003cem>Corrientes\u003c/em>, which comes out April 29. This is the second full-length record for the born-and-raised San Franciscan, who started releasing music in 2018.\u003c/p>\n\u003cp>\u003cem>Corrientes\u003c/em> is La Doña’s most ambitious and comprehensive project yet. She incorporates many genres, including some that are tried-and-true for her: cumbia, reggaeton, ranchera, bolero and salsa. She also branches out further into bachata, merengue, electronic dance music and son jarocho, a folk music style that originated in the Mexican state of Veracruz.\u003c/p>\n\u003cp>\u003cem>Corrientes\u003c/em> shows off La Doña’s deep understanding of music while showcasing her brilliance, versatility and expansive range as a singer and songwriter. The album feels like a multinational tour of Latin America with a passionate guide at the helm; while working on the album, she traveled to five countries and collaborated with 40 musicians. Her sultry vocals fit seamlessly, whether she’s singing in English, Spanish or both.\u003c/p>\n\u003cp>https://youtu.be/93ZK9i1wh5k?si=CcW-XD74gTUCrXqu\u003c/p>\n\u003cp>On the cheeky, “Frisco Hates You Too,” collaborators Jada Imani, Stoni and Qing Qi join La Doña for a delicious clap-back banger that takes aim at outsiders who try to force their aesthetics and preferences on Bay Area culture.\u003c/p>\n\u003cp>“If you were born and raised in San Francisco, you’ve always felt this impending doom, right? If gentrification doesn’t get me, then the earthquake’s going to get me. You always feel like something is going to remove you from your city or your space,” she says. “So ‘Frisco Hates You Too’ is related to a quote that Jimmy Fails says in [the movie] \u003ca href=\"https://www.kqed.org/arts/13858829/the-last-black-man-in-san-francisco-hits-home-in-oakland\">\u003cem>The Last Black Man in San Francisco\u003c/em>\u003c/a>, which is, ‘You can’t hate it unless you love it.’”\u003c/p>\n\u003cp>On the bolero, “Consiénteme,” (“Pamper Me”) she sings poetic stanzas in Spanish about passionate love and then switches to English for a spoken word plea for clarity about the relationship: “Dear redacted, did you mean it when you said you wanted to be my baby daddy?”\u003c/p>\n\u003cp>As an independent artist, La Doña takes risks both in music and activism. Her support of Palestinian people amid the war in Gaza has drawn backlash and cost her opportunities, she says, but silence for her is not an option.\u003c/p>\n\u003cp>https://youtu.be/3F5Jncvig3Y?si=AVUoLZOivTchyz0V\u003c/p>\n\u003cp>In the song, “Mentira y La Verdad,” (“Lies and Truth”) La Doña sings about how people have tried to pressure her to stop speaking out, but she refuses to back down.\u003c/p>\n\u003cp>“They come to my concerts. At night, they write to me always criticizing and demanding apologies, but my song today will sound louder tomorrow,” she sings in Spanish.\u003c/p>\n\u003cp>La Doña has a couple of Northern California performances planned, including a \u003ca href=\"https://www.theuctheatre.org/shows/la-dona-15-may\">release show on May 15 at Berkeley’s UC Theatre\u003c/a>, but has not yet set up a tour. She’s at a crossroads as she decides between different graduate school options for this fall.\u003c/p>\n\u003cp>La Doña sat down with KQED to talk about her artistry, her aesthetics and what might come next for her future.\u003c/p>\n\u003cp>\u003cem>This interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13988958\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988958\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_008-Edit.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_008-Edit.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_008-Edit-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_008-Edit-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_008-Edit-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">La Doña poses in the inside of her vintage Chevrolet Impala coupe in West Oakland on April 24, 2026. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Blanca Torres:\u003c/strong> On this album, you have some salsa, you have some reggaeton, you have some banda and then the son jarocho. Is any of that new that you’re trying out, or is it all stuff that you’ve been working on for a while?\u003c/p>\n\u003cp>\u003cstrong>La Doña:\u003c/strong> I have been playing salsa since I was a very young girl, especially playing the trumpet. I also grew up listening to and playing a lot of corridos, rancheras, so that also feels very natural for me. Especially bolero, mambo, salsa, how these genres of music are moving freely between countries and across borders has informed so much of my writing and so much of my understanding, both of self and of genres and music in general. Was a stretch production-wise just because, yeah, there’s like 20 different styles on this album, right? Just the nature of getting together 40 musicians who all are masters in their craft. It was a huge undertaking.\u003c/p>\n\u003cp>\u003cstrong>How do you decide if you want a song in Spanish or in English or both? What’s kind of your creative process since you can access so many styles of music?\u003c/strong>\u003c/p>\n\u003cp>Conversationally, I’m more comfortable in English. Musically, I’m more comfortable in Spanish. When I’m writing lyrics or when the song is really led by a story or narrative, I begin composing in Spanish. Whereas if the material is more conversational, then I tend to lean towards English.\u003c/p>\n\u003cp>https://youtu.be/fokeuzQS4Ac?si=dQD1kudLICbeW7FV\u003c/p>\n\u003cp>\u003cstrong>Can you talk about taking very traditional styles and bringing in modern elements? Is that something intentional that you’re doing?\u003c/strong>\u003c/p>\n\u003cp>Everything that I create, I think about how it’s going to be received and how I’m going be able to present it to people because that’s one of the most special and important parts of music — how it is shared with other people in a live setting.\u003c/p>\n\u003cp>\u003cstrong>“Por Un Amor” starts out as a sad story and then it turns at the end. Where did that inspiration come from?\u003c/strong>\u003c/p>\n\u003cp>“Por Un Amor” is actually about my breakup with my ex. As a songwriter, as a storyteller, I always get to tell my story, and I always take up space. Also, I love him very much and honor his story and his side of the struggle. I definitely see that. So I wanted to represent that as well.\u003c/p>\n\u003cp>\u003cstrong>On “Mentira y La Verdad,” you sing about how people have tried to silence you for sharing political views. Can you talk about that song and this experience that you’ve had the last few years?\u003c/strong>\u003c/p>\n\u003cp>I have a very strong moral compass, and that has made it much harder to exist within the music industry because it is such an exploitative and usurping machine. Unfortunately in this system, in this society, we’re going to be engaging with different oppressive systems and we must maintain our own truths and integrity. That’s really the only way to make it out of it alive with our souls intact.\u003c/p>\n\u003cfigure id=\"attachment_13988959\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988959\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_016-Edit.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_016-Edit.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_016-Edit-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_016-Edit-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_016-Edit-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">La Doña stands for a portrait against a painted brick wall in West Oakland on April 24, 2026. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Some people might look at you and say, “You’re living the dream, you’re making music, you’re performing.” Is that how you see your life?\u003c/strong>\u003c/p>\n\u003cp>I never wanted to be a musician. I had been playing music since I was so little and my parents always told me, “Get a union job. Get something that will pay the bills. Get a pension. You need to be able to retire and buy a house in the Bay Area.” I had these very pragmatic goals for my life.\u003c/p>\n\u003cp>When I started making music, all of that changed. I worked really hard, but I didn’t have an end goal of being a professional musician or a lifelong artist. I have maintained it because I do love music and I do love making music and I do love performing, but in terms of, is this my final form? I don’t think so.\u003c/p>\n\u003cp>\u003cstrong>You applied to a wide variety of graduate programs and schools for fall of 2026. Have you decided?\u003c/strong>\u003c/p>\n\u003cp>No, girl, I’m freaking out. I’m really trying to figure it out. And in short, no, I don’t know where I’m going yet.\u003c/p>\n\u003cp>https://youtu.be/y2a-_w4xRPU?si=1Y99SXRdE_WyMCZU\u003c/p>\n\u003cp>\u003cstrong>You’re clearly rooted in your identity as a Latina, as someone of Mexican descent, as someone from San Francisco. How does your look, your aesthetic relate to your artistry?\u003c/strong>\u003c/p>\n\u003cp>I’ve always looked like this. I’ve also acted like this, I’ve always sung like this. I’ve always been this person. Growing up seeing this Frisco-chola aesthetic and knowing that that’s where I feel comfortable, and that’s where I feel safe, and that is where I felt most like myself. But, also having the self-confidence to try new things and to lean into more adventurous styles and by learning how to sew and design at a young age.\u003c/p>\n\u003cp>I grew up in a household where my mom didn’t really buy me dresses. She didn’t buy me anything pink. I wasn’t allowed to have Barbies. I didn’t have dolls. I didn’t watch Disney. I didn’t watch TV. She wanted me to learn about myself outside of these Eurocentric, sexist and misogynistic views of femininity and what it meant to be a woman. I came to this iteration of myself by a lot of choice-making and a lot of research and a lot of conviction around how I want to look and how I want to present and what feels good for me.\u003c/p>\n\u003cfigure id=\"attachment_13988961\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988961\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_003_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_003_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_003_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_003_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_003_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">La Doña sits behind the wheel of her vintage Chevrolet Impala coupe in West Oakland on April 24, 2026. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Research and really understanding the history of music is super important to you, can you talk about that?\u003c/strong>\u003c/p>\n\u003cp>I’m already doing deep ethnographic work and auto-ethnographic work. I’m looking for different ways to talk and think about it. For me, this album was definitely about going deeper and not relying on parts of traditional music that have already been utilized or deemed acceptable or palatable by the general public, but looking at things that I am fascinated by, and that I think are important, and that might not really have as much visibility or as much space carved out within the pop canon.\u003c/p>\n\u003cp>\u003cstrong>What’s the best way for fans to support you?\u003c/strong>\u003c/p>\n\u003cp>I need you to listen to the music and I need you to expand your own experience of music, of self, of the world. Listen with an open mind, listen again, listen with a closed mind. I don’t care, just listen. And, come to the show and buy the vinyl.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>La Doña performs at her \u003ca href=\"https://www.theuctheatre.org/shows/la-dona-15-may\">album release party at the UC Theatre\u003c/a> in Berkeley on May 15, followed by another concert on \u003ca href=\"https://www.harlows.com/event/buscabulla-x-la-do%c3%b1a/harlows/sacramento-california/\">May 17 at Harlow’s in Sacramento\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13988957\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988957\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_004-Edit.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_004-Edit.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_004-Edit-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_004-Edit-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_004-Edit-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Cecilia Peña-Govea, known as La Doña, poses on the hood of her vintage Chevrolet Impala coupe in West Oakland on April 24, 2026. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003cem>This story was reported for K Onda KQED, a monthly newsletter focused on the Bay Area’s Latinx community. \u003ca href=\"https://www.kqed.org/newsletters/k-onda\">Click here to subscribe\u003c/a>.\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>One of the songs on \u003ca href=\"https://www.kqed.org/arts/tag/la-dona\">La Doña\u003c/a>‘s new album, \u003cem>Corrientes\u003c/em>, tells the story of her parents’ 44-year-long partnership that started with a chance meeting when her dad was an undergraduate at UC Berkeley and her mom was a law student there.\u003c/p>\n\u003cp>That night, \u003ca href=\"https://www.instagram.com/ladona415/\">La Doña\u003c/a>‘s mom pulled a fiddle out of her car and played a song she called the “Jessie Polka,” a rendition of “Jesusita en Chihuahua,” a beloved folk song composed during the Mexican Revolution.\u003c/p>\n\u003cp>“From that moment on, they had this cultural exchange and this language that they shared,” says La Doña, whose real name is Cecilia Peña-Govea. “They were learning about each other and learning about their own roots and practices.”\u003c/p>\n\u003cp>Her song, “La Que Nos Unió” (“The One that United Us”) is set to an uptempo merengue beat, which, like polka, rouses listeners to get up and dance.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“[The song] is a celebration of their love and the legacy that I’m walking in and the beauty of the musical traditions that they endowed me with,” the 33-year-old says. “I wanted it to be a party song because they’re fun and they’re party animals.”\u003c/p>\n\u003cp>La Doña’s ethos of paying homage to tradition and history while bringing her own style reverberates throughout the 16 songs on \u003cem>Corrientes\u003c/em>, which comes out April 29. This is the second full-length record for the born-and-raised San Franciscan, who started releasing music in 2018.\u003c/p>\n\u003cp>\u003cem>Corrientes\u003c/em> is La Doña’s most ambitious and comprehensive project yet. She incorporates many genres, including some that are tried-and-true for her: cumbia, reggaeton, ranchera, bolero and salsa. She also branches out further into bachata, merengue, electronic dance music and son jarocho, a folk music style that originated in the Mexican state of Veracruz.\u003c/p>\n\u003cp>\u003cem>Corrientes\u003c/em> shows off La Doña’s deep understanding of music while showcasing her brilliance, versatility and expansive range as a singer and songwriter. The album feels like a multinational tour of Latin America with a passionate guide at the helm; while working on the album, she traveled to five countries and collaborated with 40 musicians. Her sultry vocals fit seamlessly, whether she’s singing in English, Spanish or both.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/93ZK9i1wh5k'\n title='//www.youtube.com/embed/93ZK9i1wh5k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>On the cheeky, “Frisco Hates You Too,” collaborators Jada Imani, Stoni and Qing Qi join La Doña for a delicious clap-back banger that takes aim at outsiders who try to force their aesthetics and preferences on Bay Area culture.\u003c/p>\n\u003cp>“If you were born and raised in San Francisco, you’ve always felt this impending doom, right? If gentrification doesn’t get me, then the earthquake’s going to get me. You always feel like something is going to remove you from your city or your space,” she says. “So ‘Frisco Hates You Too’ is related to a quote that Jimmy Fails says in [the movie] \u003ca href=\"https://www.kqed.org/arts/13858829/the-last-black-man-in-san-francisco-hits-home-in-oakland\">\u003cem>The Last Black Man in San Francisco\u003c/em>\u003c/a>, which is, ‘You can’t hate it unless you love it.’”\u003c/p>\n\u003cp>On the bolero, “Consiénteme,” (“Pamper Me”) she sings poetic stanzas in Spanish about passionate love and then switches to English for a spoken word plea for clarity about the relationship: “Dear redacted, did you mean it when you said you wanted to be my baby daddy?”\u003c/p>\n\u003cp>As an independent artist, La Doña takes risks both in music and activism. Her support of Palestinian people amid the war in Gaza has drawn backlash and cost her opportunities, she says, but silence for her is not an option.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/3F5Jncvig3Y'\n title='//www.youtube.com/embed/3F5Jncvig3Y'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In the song, “Mentira y La Verdad,” (“Lies and Truth”) La Doña sings about how people have tried to pressure her to stop speaking out, but she refuses to back down.\u003c/p>\n\u003cp>“They come to my concerts. At night, they write to me always criticizing and demanding apologies, but my song today will sound louder tomorrow,” she sings in Spanish.\u003c/p>\n\u003cp>La Doña has a couple of Northern California performances planned, including a \u003ca href=\"https://www.theuctheatre.org/shows/la-dona-15-may\">release show on May 15 at Berkeley’s UC Theatre\u003c/a>, but has not yet set up a tour. She’s at a crossroads as she decides between different graduate school options for this fall.\u003c/p>\n\u003cp>La Doña sat down with KQED to talk about her artistry, her aesthetics and what might come next for her future.\u003c/p>\n\u003cp>\u003cem>This interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13988958\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988958\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_008-Edit.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_008-Edit.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_008-Edit-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_008-Edit-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_008-Edit-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">La Doña poses in the inside of her vintage Chevrolet Impala coupe in West Oakland on April 24, 2026. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Blanca Torres:\u003c/strong> On this album, you have some salsa, you have some reggaeton, you have some banda and then the son jarocho. Is any of that new that you’re trying out, or is it all stuff that you’ve been working on for a while?\u003c/p>\n\u003cp>\u003cstrong>La Doña:\u003c/strong> I have been playing salsa since I was a very young girl, especially playing the trumpet. I also grew up listening to and playing a lot of corridos, rancheras, so that also feels very natural for me. Especially bolero, mambo, salsa, how these genres of music are moving freely between countries and across borders has informed so much of my writing and so much of my understanding, both of self and of genres and music in general. Was a stretch production-wise just because, yeah, there’s like 20 different styles on this album, right? Just the nature of getting together 40 musicians who all are masters in their craft. It was a huge undertaking.\u003c/p>\n\u003cp>\u003cstrong>How do you decide if you want a song in Spanish or in English or both? What’s kind of your creative process since you can access so many styles of music?\u003c/strong>\u003c/p>\n\u003cp>Conversationally, I’m more comfortable in English. Musically, I’m more comfortable in Spanish. When I’m writing lyrics or when the song is really led by a story or narrative, I begin composing in Spanish. Whereas if the material is more conversational, then I tend to lean towards English.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/fokeuzQS4Ac'\n title='//www.youtube.com/embed/fokeuzQS4Ac'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Can you talk about taking very traditional styles and bringing in modern elements? Is that something intentional that you’re doing?\u003c/strong>\u003c/p>\n\u003cp>Everything that I create, I think about how it’s going to be received and how I’m going be able to present it to people because that’s one of the most special and important parts of music — how it is shared with other people in a live setting.\u003c/p>\n\u003cp>\u003cstrong>“Por Un Amor” starts out as a sad story and then it turns at the end. Where did that inspiration come from?\u003c/strong>\u003c/p>\n\u003cp>“Por Un Amor” is actually about my breakup with my ex. As a songwriter, as a storyteller, I always get to tell my story, and I always take up space. Also, I love him very much and honor his story and his side of the struggle. I definitely see that. So I wanted to represent that as well.\u003c/p>\n\u003cp>\u003cstrong>On “Mentira y La Verdad,” you sing about how people have tried to silence you for sharing political views. Can you talk about that song and this experience that you’ve had the last few years?\u003c/strong>\u003c/p>\n\u003cp>I have a very strong moral compass, and that has made it much harder to exist within the music industry because it is such an exploitative and usurping machine. Unfortunately in this system, in this society, we’re going to be engaging with different oppressive systems and we must maintain our own truths and integrity. That’s really the only way to make it out of it alive with our souls intact.\u003c/p>\n\u003cfigure id=\"attachment_13988959\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988959\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_016-Edit.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_016-Edit.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_016-Edit-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_016-Edit-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_016-Edit-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">La Doña stands for a portrait against a painted brick wall in West Oakland on April 24, 2026. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Some people might look at you and say, “You’re living the dream, you’re making music, you’re performing.” Is that how you see your life?\u003c/strong>\u003c/p>\n\u003cp>I never wanted to be a musician. I had been playing music since I was so little and my parents always told me, “Get a union job. Get something that will pay the bills. Get a pension. You need to be able to retire and buy a house in the Bay Area.” I had these very pragmatic goals for my life.\u003c/p>\n\u003cp>When I started making music, all of that changed. I worked really hard, but I didn’t have an end goal of being a professional musician or a lifelong artist. I have maintained it because I do love music and I do love making music and I do love performing, but in terms of, is this my final form? I don’t think so.\u003c/p>\n\u003cp>\u003cstrong>You applied to a wide variety of graduate programs and schools for fall of 2026. Have you decided?\u003c/strong>\u003c/p>\n\u003cp>No, girl, I’m freaking out. I’m really trying to figure it out. And in short, no, I don’t know where I’m going yet.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/y2a-_w4xRPU'\n title='//www.youtube.com/embed/y2a-_w4xRPU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>You’re clearly rooted in your identity as a Latina, as someone of Mexican descent, as someone from San Francisco. How does your look, your aesthetic relate to your artistry?\u003c/strong>\u003c/p>\n\u003cp>I’ve always looked like this. I’ve also acted like this, I’ve always sung like this. I’ve always been this person. Growing up seeing this Frisco-chola aesthetic and knowing that that’s where I feel comfortable, and that’s where I feel safe, and that is where I felt most like myself. But, also having the self-confidence to try new things and to lean into more adventurous styles and by learning how to sew and design at a young age.\u003c/p>\n\u003cp>I grew up in a household where my mom didn’t really buy me dresses. She didn’t buy me anything pink. I wasn’t allowed to have Barbies. I didn’t have dolls. I didn’t watch Disney. I didn’t watch TV. She wanted me to learn about myself outside of these Eurocentric, sexist and misogynistic views of femininity and what it meant to be a woman. I came to this iteration of myself by a lot of choice-making and a lot of research and a lot of conviction around how I want to look and how I want to present and what feels good for me.\u003c/p>\n\u003cfigure id=\"attachment_13988961\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988961\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_003_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_003_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_003_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_003_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_003_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">La Doña sits behind the wheel of her vintage Chevrolet Impala coupe in West Oakland on April 24, 2026. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Research and really understanding the history of music is super important to you, can you talk about that?\u003c/strong>\u003c/p>\n\u003cp>I’m already doing deep ethnographic work and auto-ethnographic work. I’m looking for different ways to talk and think about it. For me, this album was definitely about going deeper and not relying on parts of traditional music that have already been utilized or deemed acceptable or palatable by the general public, but looking at things that I am fascinated by, and that I think are important, and that might not really have as much visibility or as much space carved out within the pop canon.\u003c/p>\n\u003cp>\u003cstrong>What’s the best way for fans to support you?\u003c/strong>\u003c/p>\n\u003cp>I need you to listen to the music and I need you to expand your own experience of music, of self, of the world. Listen with an open mind, listen again, listen with a closed mind. I don’t care, just listen. And, come to the show and buy the vinyl.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>La Doña performs at her \u003ca href=\"https://www.theuctheatre.org/shows/la-dona-15-may\">album release party at the UC Theatre\u003c/a> in Berkeley on May 15, followed by another concert on \u003ca href=\"https://www.harlows.com/event/buscabulla-x-la-do%c3%b1a/harlows/sacramento-california/\">May 17 at Harlow’s in Sacramento\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"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 />",
"airtime": "SUN 9pm-10pm",
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"meta": {
"site": "radio",
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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.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"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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}
},
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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",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"link": "/radio/program/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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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"id": "here-and-now",
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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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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
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"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"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.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"rss": "https://feeds.npr.org/510313/podcast.xml"
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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",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
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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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"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"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",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"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",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"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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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"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",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"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/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"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",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
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"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
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