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"slug": "hes-painted-thousands-of-san-franciscos-iconic-victorian-homes-meet-dr-color",
"title": "He’s Painted Thousands of San Francisco’s Iconic Victorian Homes. Meet Dr. Color",
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"content": "\u003cp>A hot pink nail salon. A yellow taqueria. A periwinkle Edwardian with red trim.\u003c/p>\n\u003cp>Block after block along \u003ca href=\"https://www.kqed.org/news/tag/san-francisco\">San Francisco\u003c/a>’s bustling 24th Street, architectural gems mimic the vibrant papel picado strung up in windowfronts across the historic \u003ca href=\"https://www.kqed.org/news/tag/mission-district\">Mission District\u003c/a> corridor.\u003c/p>\n\u003cp>Less eye-catching, however, are the small signs affixed to the sides of these buildings, an understated acknowledgment of the man who painted thousands of technicolor buildings and helped shape the city’s iconic skyline in the process: Bob Buckter, better known as Dr. Color.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>San Francisco is widely known for its colorful architectural landscape, particularly the rainbow of Victorians dotting its hillsides. Much of it can be attributed to Buckter, who has painted and consulted on color design for tens of thousands of Victorian homes, churches, commercial buildings and more for nearly 60 years.\u003c/p>\n\u003cp>“There’s another job with my sign on it,” Buckter said on a recent fall afternoon, gesturing to the left as he drove down 24th Street in his royal blue pickup truck, a license plate that reads “DRCOLOR” on the back bumper.\u003c/p>\n\u003cp>“The guy wanted the wildest pink I could come up with, and there it is,” Buckter said.\u003c/p>\n\u003cfigure id=\"attachment_12059298\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12059298\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251008-drcolor_01283_TV_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251008-drcolor_01283_TV_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251008-drcolor_01283_TV_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251008-drcolor_01283_TV_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A building painted by Bob Buckter, also known as Dr. Color, is seen at 1102 Treat Ave., in San Francisco’s Mission District on Oct. 8, 2025. Buckter has designed and painted more than 23,000 homes, along with other projects in San Francisco and beyond. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The 78-year-old’s work uses different colors to highlight the ornate details of a building’s facade, generating the polychromatic architectural backdrop that draws so many people to the City by the Bay.\u003c/p>\n\u003cp>“San Francisco is the leader of the identity of Victorian architecture across the West Coast. I would probably venture to say even across the nation,” said Clark Thenhaus, associate professor of architecture at California College of the Arts in San Francisco.\u003c/p>\n\u003cp>Victorian-style architecture in the United States was first popularized on the East Coast, where these homes were constructed with natural materials like stone and brick, giving them more neutral earth-tone colors, like softer grays and browns.[aside postID=news_12057037 hero='https://cdn.kqed.org/wp-content/uploads/sites/10/2025/09/250904_K-ONDA-SEPTEMBER-NAIL-ARTIST-_GH-2-KQED.jpg']As the style moved toward the West Coast, timber became the primary building material for Victorians. Wood exterior made a better canvas for paint, and soon the multicolored facades could be found across California, from Santa Cruz to Nevada City in the Sierra foothills and Eureka along the coast in Humboldt County.\u003c/p>\n\u003cp>“What you find is actually a whole new way of thinking about color, because now it’s not derivative of a specific material. It’s actually applied to something,” Thenhaus said. “That’s when you start to see the Victorians kind of change their clothing from this earthen material to something that’s much more vibrant and bright.”\u003c/p>\n\u003cp>Buckter started painting houses in the 1970s after graduating from San Francisco State University with a degree in social sciences and a minor in business, cultivating his passion at the cusp of the city’s psychedelic era. After doing a couple of paint jobs for a friend, he placed an ad in a local newspaper offering house painting services to earn some extra cash while pursuing a career in real estate.\u003c/p>\n\u003cp>He never completed any formal art or color theory training, but after he landed his first home painting gig, clients kept coming. After retiring from painting homes himself in his thirties, color consulting became his full-time work.\u003c/p>\n\u003cfigure id=\"attachment_12058967\" class=\"wp-caption aligncenter\" style=\"max-width: 2500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12058967\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251002-drcolor_DIPTYCH-01_TV.jpg\" alt=\"\" width=\"2500\" height=\"840\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251002-drcolor_DIPTYCH-01_TV.jpg 2500w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251002-drcolor_DIPTYCH-01_TV-2000x672.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251002-drcolor_DIPTYCH-01_TV-160x54.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251002-drcolor_DIPTYCH-01_TV-1536x516.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251002-drcolor_DIPTYCH-01_TV-2048x688.jpg 2048w\" sizes=\"auto, (max-width: 2500px) 100vw, 2500px\">\u003cfigcaption class=\"wp-caption-text\">A home Bob Buckler painted is located in the Dolores Heights neighborhood in San Francisco on Oct. 2, 2025. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I just learned everything the hard way,” Buckter said. “I made sure people would be happy, even when I was trying new things, and I learned a lot doing that.”\u003c/p>\n\u003cp>Maria Diaz Bobillo, who lives in a yellow accessory dwelling unit that Buckter designed across from Dolores Park, chose the unit specifically for its sunny hues.\u003c/p>\n\u003cp>“A friend sent me the Craigslist ad, and she was like, ‘It speaks to you, it has your colors,” she said. “It has this deep yellow, and I had friends who used to call me Yellow Maria because my whole wardrobe was yellow. It was meant to be, you know? And it’s very beautiful.”\u003c/p>\n\u003cp>In front of her cottage stands another one of Buckter’s jewels, a three-story Victorian that features 11 colors in total. A yellow and gold face with blue, green and purple trimmings, plus a stained glass feature next to the front staircase.\u003c/p>\n\u003cfigure id=\"attachment_12059318\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12059318\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251002-drcolor_00466_TV_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251002-drcolor_00466_TV_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251002-drcolor_00466_TV_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251002-drcolor_00466_TV_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A molding design adorned with gold leaf, a decorative style specialized by Bob Buckter, stands in the Dolores Heights neighborhood on Oct. 2, 2025. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“This is a big part of my life, this building,” Buckter said, using a green laser pointer to identify elements of the design.\u003c/p>\n\u003cp>Dr. Color himself lived in the building before moving to his current residence, a periwinkle Edwardian with gold leaf finish on Vermont Street. And he remembers every detail that went into both homes.\u003c/p>\n\u003cp>“I rigged this whole thing with my own scaffolding, you know, a plank that goes all the way across with hooks and ropes, and I did all the work up there myself,” he said, pointing to a hand-stenciled ribbon feature lining the top of his yellow building at Dolores Park.\u003c/p>\n\u003cp>Buckter rattled off memories of living there, like hot tub ragers on the roof overlooking the city’s skyline. “Lots of parties, and before all those buildings were built, this had a view of the Bay Bridge,” he said, pointing to Salesforce Tower in the distance. “Now you can’t see it, but what am I going to do? Just enjoy it, I guess.”\u003c/p>\n\u003cfigure id=\"attachment_12058968\" class=\"wp-caption aligncenter\" style=\"max-width: 2500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12058968\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251002-drcolor_DIPTYCH-02_TV.jpg\" alt=\"\" width=\"2500\" height=\"840\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251002-drcolor_DIPTYCH-02_TV.jpg 2500w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251002-drcolor_DIPTYCH-02_TV-2000x672.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251002-drcolor_DIPTYCH-02_TV-160x54.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251002-drcolor_DIPTYCH-02_TV-1536x516.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251002-drcolor_DIPTYCH-02_TV-2048x688.jpg 2048w\" sizes=\"auto, (max-width: 2500px) 100vw, 2500px\">\u003cfigcaption class=\"wp-caption-text\">Bob Buckler’s home is located in the Mission District in San Francisco on Oct. 2, 2025. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For many years, Buckter, a second-generation San Franciscan who was born in the Mission District and grew up in the Sunset District, worked right alongside the painting crew on scaffolds, highlighting all the nooks and crannies with multiple colors that make it impossible not to stop and stare.\u003c/p>\n\u003cp>They never had a major accident, but they did take a few chances.\u003c/p>\n\u003cp>“One day, one of the guys that put the hooks up on the building for the plants said, ‘Hey, there’s a bunch of marijuana on this roof drying out. Send me up a brown paper bag.’ So I sent that up, we smoked it and this stuff was out of this world,” he laughed. “In retrospect, it might’ve been mixed with some bad stuff, but the good thing is everyone is still alive and healthy. So we had a lot of fun.”\u003c/p>\n\u003cp>Several artists and other “colorists” began experimenting with home exterior colors in the 1960s, inspiring one another’s work. Buckter himself did the color for two of the best-known Victorians on Steiner Street overlooking Alamo Square Park, called the “Painted Ladies,” but those have since been repainted. His work is mentioned throughout the 1978 book, \u003cem>Painted Ladies – San Francisco’s Resplendent Victorians\u003c/em>, which coined the term.\u003c/p>\n\u003cfigure id=\"attachment_12058963\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12058963 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251002-DRCOLOR_00228_TV-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251002-DRCOLOR_00228_TV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251002-DRCOLOR_00228_TV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251002-DRCOLOR_00228_TV-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Bob Buckter’s color swatches for a new project sit on his desk in his home in the Mission District in San Francisco on Oct. 2, 2025. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>These days, Buckter primarily provides color consulting services where he’ll advise clients on palettes and types of paint for homes and businesses across the country.\u003c/p>\n\u003cp>He recently released his own book, which he said is his first and last, on all of the signature work he’s done in the city and beyond.\u003c/p>\n\u003cp>“I’m still doing commercial and industrial work; however, my labor of love and what I really enjoy best is historic homes,” Buckter said.\u003c/p>\n\u003cp>Victorians are more than just a pretty sidewalk attraction, though, Thenhaus said. They represent eras of history, social movements and changes across the city at large.\u003c/p>\n\u003cp>In the 1960s and ’70s, “most of the Victorians were more like a commune back in the day. These were like sex, drug and rock ‘n’ roll places. There were a lot of people living there, and they were inexpensive at that time,” Thenhaus said.\u003c/p>\n\u003cfigure id=\"attachment_12059296\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12059296\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251008-drcolor_01126_TV_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251008-drcolor_01126_TV_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251008-drcolor_01126_TV_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251008-drcolor_01126_TV_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A building Bob Buckter painted is located in the Mission District at 3033 24th Street in San Francisco on Oct. 8, 2025. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Former homes of groups like the Cockettes, an avant-garde theater and drag group, or the Grateful Dead, still draw crowds of tourists to this day. The groovy ethos of those eras inspired their colors, but they were also a visual tool of the counter-cultural and civil rights movements of their time.\u003c/p>\n\u003cp>Brightly colored Victorians in the Castro, for example, signaled safe spaces for thousands of gay men who moved to San Francisco during World War II, after being discharged and denied G.I. benefits from the U.S. military due to their sexuality.\u003c/p>\n\u003cp>These homes also serve as a marker of some of the city’s darker histories, like the numerous Victorian homes that were placed on trucks and physically moved out of the historically African American Fillmore District and into other neighborhoods like Pacific Heights around the 1970s, displacing thousands of Black residents.\u003c/p>\n\u003cp>Today, efforts to preserve the city’s Victorian image in some ways belie the history that made them so culturally significant.\u003c/p>\n\u003cp>“They’re often now the most expensive real estate in the city, and often they are single-family homes or carved up into apartments,” Thenhaus said. “In a way, it is just preserving an image of them, but not necessarily with the kind of counter-cultural revolution that came with what led to them being so brightly painted and ornate.”\u003c/p>\n\u003cfigure id=\"attachment_12058966\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12058966\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251002-DRCOLOR_00383_TV-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251002-DRCOLOR_00383_TV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251002-DRCOLOR_00383_TV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251002-DRCOLOR_00383_TV-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A home Bob Buckler painted is located in the Dolores Heights neighborhood in San Francisco on Oct. 2, 2025. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As the city faces a pressing housing crisis, pouring money, time and effort into preserving Victorians strikes some as out of line with residents’ more utilitarian need for shelter.\u003c/p>\n\u003cp>“You have this real conflict of what is the priority from a city planning standpoint: the imageability of the city and its popular appeal for tourism to see these houses juxtaposed by the growing need for more housing, probably better housing, and ways of thinking about the kind of equitable structure of the housing market,” Thenhaus said.\u003c/p>\n\u003cp>Nevertheless, Victorians have stood tall throughout the city’s many boom and bust cycles. Clients still come to Dr. Color with their own ideas and preferences, and he steers people toward combinations he thinks will bring out the best of the building’s architecture, drawing on elements of the surrounding area and environment.\u003c/p>\n\u003cp>Color fads also come and go. One trend you won’t see Buckter getting enthusiastic over is monochrome, such as the all-black or all-white Victorians some homeowners are going with these days.\u003c/p>\n\u003cfigure id=\"attachment_12059320\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12059320\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251008-drcolor_01180_TV_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251008-drcolor_01180_TV_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251008-drcolor_01180_TV_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251008-drcolor_01180_TV_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A building Bob Buckter painted is located in the Mission District at 3033 24th St., in San Francisco, on Oct. 8, 2025. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“In my opinion, that is an ignorant approach to decorating your facade, because the owners are ignoring the architecture. They aren’t paying attention to what the building has. I do,” he said.\u003c/p>\n\u003cp>Thenhaus said the single-color approach is part of a wider trend in fashion, a sort of “clean girl” aesthetic that’s crept into architecture and design. But it also harkens back to some of the city’s earliest Victorian homes, like the Queen Annes erected in San Francisco after the Gold Rush, which were often painted all white to cover up their wooden exterior.\u003c/p>\n\u003cp>“We’ve seen it where a lot of fashion went to a kind of monochrome. I don’t know that I read it at this point anyway as being a political statement or reaction or anything like that,” the architecture professor said. “My take on it is it’s actually a way of differentiating from the plethora of colors out there, like, here’s an all-black, here’s an all-white.”\u003c/p>\n\u003cp>Buckter has had more freedom to be creative in San Francisco than he would in many other places. City officials say they rarely step in to regulate a building’s color. Some exceptions include if a building is a designated landmark or located in certain areas like the Jackson Square Historic District, downtown’s conservation district or the Northeast Waterfront Historic District.\u003c/p>\n\u003cfigure id=\"attachment_12058964\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12058964\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251002-DRCOLOR_00257_TV-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251002-DRCOLOR_00257_TV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251002-DRCOLOR_00257_TV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251002-DRCOLOR_00257_TV-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Bob Buckter poses for a portrait at his home in the Mission District in San Francisco on Oct. 2, 2025. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Buckter is well known around town. When this reporter contacted the Planning Department for information on color regulations, the response was immediate.\u003c/p>\n\u003cp>“You wouldn’t be talking about Bob Buckter by any chance, would you? Only asking because his name is the one that came to mind,” Daniel Sider, chief of staff for San Francisco Planning, wrote in an email to KQED. “I’m familiar with him because — to be totally honest — my HOA hired him when we repainted my building.”\u003c/p>\n\u003cp>Sider’s building went with a sky blue face with white, beige and navy blue details — Dr. Color’s personal favorites.\u003c/p>\n\u003cp>“I like blue,” Buckter said. “My truck is blue and I’ve got a couple old Mercedes-Benz collector cars that are also blue and gray.”\u003c/p>\n\u003cp>But most anything goes for Dr. Color, if it’s what the client wants. His approach and inspiration, he said, “is to have people happy about what I’m doing, something they personally like, and that will appeal to the widest range of people so they can look up and see something that is in very good taste.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A hot pink nail salon. A yellow taqueria. A periwinkle Edwardian with red trim.\u003c/p>\n\u003cp>Block after block along \u003ca href=\"https://www.kqed.org/news/tag/san-francisco\">San Francisco\u003c/a>’s bustling 24th Street, architectural gems mimic the vibrant papel picado strung up in windowfronts across the historic \u003ca href=\"https://www.kqed.org/news/tag/mission-district\">Mission District\u003c/a> corridor.\u003c/p>\n\u003cp>Less eye-catching, however, are the small signs affixed to the sides of these buildings, an understated acknowledgment of the man who painted thousands of technicolor buildings and helped shape the city’s iconic skyline in the process: Bob Buckter, better known as Dr. Color.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>San Francisco is widely known for its colorful architectural landscape, particularly the rainbow of Victorians dotting its hillsides. Much of it can be attributed to Buckter, who has painted and consulted on color design for tens of thousands of Victorian homes, churches, commercial buildings and more for nearly 60 years.\u003c/p>\n\u003cp>“There’s another job with my sign on it,” Buckter said on a recent fall afternoon, gesturing to the left as he drove down 24th Street in his royal blue pickup truck, a license plate that reads “DRCOLOR” on the back bumper.\u003c/p>\n\u003cp>“The guy wanted the wildest pink I could come up with, and there it is,” Buckter said.\u003c/p>\n\u003cfigure id=\"attachment_12059298\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12059298\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251008-drcolor_01283_TV_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251008-drcolor_01283_TV_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251008-drcolor_01283_TV_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251008-drcolor_01283_TV_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A building painted by Bob Buckter, also known as Dr. Color, is seen at 1102 Treat Ave., in San Francisco’s Mission District on Oct. 8, 2025. Buckter has designed and painted more than 23,000 homes, along with other projects in San Francisco and beyond. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The 78-year-old’s work uses different colors to highlight the ornate details of a building’s facade, generating the polychromatic architectural backdrop that draws so many people to the City by the Bay.\u003c/p>\n\u003cp>“San Francisco is the leader of the identity of Victorian architecture across the West Coast. I would probably venture to say even across the nation,” said Clark Thenhaus, associate professor of architecture at California College of the Arts in San Francisco.\u003c/p>\n\u003cp>Victorian-style architecture in the United States was first popularized on the East Coast, where these homes were constructed with natural materials like stone and brick, giving them more neutral earth-tone colors, like softer grays and browns.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>As the style moved toward the West Coast, timber became the primary building material for Victorians. Wood exterior made a better canvas for paint, and soon the multicolored facades could be found across California, from Santa Cruz to Nevada City in the Sierra foothills and Eureka along the coast in Humboldt County.\u003c/p>\n\u003cp>“What you find is actually a whole new way of thinking about color, because now it’s not derivative of a specific material. It’s actually applied to something,” Thenhaus said. “That’s when you start to see the Victorians kind of change their clothing from this earthen material to something that’s much more vibrant and bright.”\u003c/p>\n\u003cp>Buckter started painting houses in the 1970s after graduating from San Francisco State University with a degree in social sciences and a minor in business, cultivating his passion at the cusp of the city’s psychedelic era. After doing a couple of paint jobs for a friend, he placed an ad in a local newspaper offering house painting services to earn some extra cash while pursuing a career in real estate.\u003c/p>\n\u003cp>He never completed any formal art or color theory training, but after he landed his first home painting gig, clients kept coming. After retiring from painting homes himself in his thirties, color consulting became his full-time work.\u003c/p>\n\u003cfigure id=\"attachment_12058967\" class=\"wp-caption aligncenter\" style=\"max-width: 2500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12058967\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251002-drcolor_DIPTYCH-01_TV.jpg\" alt=\"\" width=\"2500\" height=\"840\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251002-drcolor_DIPTYCH-01_TV.jpg 2500w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251002-drcolor_DIPTYCH-01_TV-2000x672.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251002-drcolor_DIPTYCH-01_TV-160x54.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251002-drcolor_DIPTYCH-01_TV-1536x516.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251002-drcolor_DIPTYCH-01_TV-2048x688.jpg 2048w\" sizes=\"auto, (max-width: 2500px) 100vw, 2500px\">\u003cfigcaption class=\"wp-caption-text\">A home Bob Buckler painted is located in the Dolores Heights neighborhood in San Francisco on Oct. 2, 2025. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I just learned everything the hard way,” Buckter said. “I made sure people would be happy, even when I was trying new things, and I learned a lot doing that.”\u003c/p>\n\u003cp>Maria Diaz Bobillo, who lives in a yellow accessory dwelling unit that Buckter designed across from Dolores Park, chose the unit specifically for its sunny hues.\u003c/p>\n\u003cp>“A friend sent me the Craigslist ad, and she was like, ‘It speaks to you, it has your colors,” she said. “It has this deep yellow, and I had friends who used to call me Yellow Maria because my whole wardrobe was yellow. It was meant to be, you know? And it’s very beautiful.”\u003c/p>\n\u003cp>In front of her cottage stands another one of Buckter’s jewels, a three-story Victorian that features 11 colors in total. A yellow and gold face with blue, green and purple trimmings, plus a stained glass feature next to the front staircase.\u003c/p>\n\u003cfigure id=\"attachment_12059318\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12059318\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251002-drcolor_00466_TV_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251002-drcolor_00466_TV_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251002-drcolor_00466_TV_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251002-drcolor_00466_TV_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A molding design adorned with gold leaf, a decorative style specialized by Bob Buckter, stands in the Dolores Heights neighborhood on Oct. 2, 2025. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“This is a big part of my life, this building,” Buckter said, using a green laser pointer to identify elements of the design.\u003c/p>\n\u003cp>Dr. Color himself lived in the building before moving to his current residence, a periwinkle Edwardian with gold leaf finish on Vermont Street. And he remembers every detail that went into both homes.\u003c/p>\n\u003cp>“I rigged this whole thing with my own scaffolding, you know, a plank that goes all the way across with hooks and ropes, and I did all the work up there myself,” he said, pointing to a hand-stenciled ribbon feature lining the top of his yellow building at Dolores Park.\u003c/p>\n\u003cp>Buckter rattled off memories of living there, like hot tub ragers on the roof overlooking the city’s skyline. “Lots of parties, and before all those buildings were built, this had a view of the Bay Bridge,” he said, pointing to Salesforce Tower in the distance. “Now you can’t see it, but what am I going to do? Just enjoy it, I guess.”\u003c/p>\n\u003cfigure id=\"attachment_12058968\" class=\"wp-caption aligncenter\" style=\"max-width: 2500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12058968\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251002-drcolor_DIPTYCH-02_TV.jpg\" alt=\"\" width=\"2500\" height=\"840\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251002-drcolor_DIPTYCH-02_TV.jpg 2500w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251002-drcolor_DIPTYCH-02_TV-2000x672.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251002-drcolor_DIPTYCH-02_TV-160x54.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251002-drcolor_DIPTYCH-02_TV-1536x516.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251002-drcolor_DIPTYCH-02_TV-2048x688.jpg 2048w\" sizes=\"auto, (max-width: 2500px) 100vw, 2500px\">\u003cfigcaption class=\"wp-caption-text\">Bob Buckler’s home is located in the Mission District in San Francisco on Oct. 2, 2025. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For many years, Buckter, a second-generation San Franciscan who was born in the Mission District and grew up in the Sunset District, worked right alongside the painting crew on scaffolds, highlighting all the nooks and crannies with multiple colors that make it impossible not to stop and stare.\u003c/p>\n\u003cp>They never had a major accident, but they did take a few chances.\u003c/p>\n\u003cp>“One day, one of the guys that put the hooks up on the building for the plants said, ‘Hey, there’s a bunch of marijuana on this roof drying out. Send me up a brown paper bag.’ So I sent that up, we smoked it and this stuff was out of this world,” he laughed. “In retrospect, it might’ve been mixed with some bad stuff, but the good thing is everyone is still alive and healthy. So we had a lot of fun.”\u003c/p>\n\u003cp>Several artists and other “colorists” began experimenting with home exterior colors in the 1960s, inspiring one another’s work. Buckter himself did the color for two of the best-known Victorians on Steiner Street overlooking Alamo Square Park, called the “Painted Ladies,” but those have since been repainted. His work is mentioned throughout the 1978 book, \u003cem>Painted Ladies – San Francisco’s Resplendent Victorians\u003c/em>, which coined the term.\u003c/p>\n\u003cfigure id=\"attachment_12058963\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12058963 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251002-DRCOLOR_00228_TV-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251002-DRCOLOR_00228_TV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251002-DRCOLOR_00228_TV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251002-DRCOLOR_00228_TV-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Bob Buckter’s color swatches for a new project sit on his desk in his home in the Mission District in San Francisco on Oct. 2, 2025. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>These days, Buckter primarily provides color consulting services where he’ll advise clients on palettes and types of paint for homes and businesses across the country.\u003c/p>\n\u003cp>He recently released his own book, which he said is his first and last, on all of the signature work he’s done in the city and beyond.\u003c/p>\n\u003cp>“I’m still doing commercial and industrial work; however, my labor of love and what I really enjoy best is historic homes,” Buckter said.\u003c/p>\n\u003cp>Victorians are more than just a pretty sidewalk attraction, though, Thenhaus said. They represent eras of history, social movements and changes across the city at large.\u003c/p>\n\u003cp>In the 1960s and ’70s, “most of the Victorians were more like a commune back in the day. These were like sex, drug and rock ‘n’ roll places. There were a lot of people living there, and they were inexpensive at that time,” Thenhaus said.\u003c/p>\n\u003cfigure id=\"attachment_12059296\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12059296\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251008-drcolor_01126_TV_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251008-drcolor_01126_TV_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251008-drcolor_01126_TV_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251008-drcolor_01126_TV_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A building Bob Buckter painted is located in the Mission District at 3033 24th Street in San Francisco on Oct. 8, 2025. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Former homes of groups like the Cockettes, an avant-garde theater and drag group, or the Grateful Dead, still draw crowds of tourists to this day. The groovy ethos of those eras inspired their colors, but they were also a visual tool of the counter-cultural and civil rights movements of their time.\u003c/p>\n\u003cp>Brightly colored Victorians in the Castro, for example, signaled safe spaces for thousands of gay men who moved to San Francisco during World War II, after being discharged and denied G.I. benefits from the U.S. military due to their sexuality.\u003c/p>\n\u003cp>These homes also serve as a marker of some of the city’s darker histories, like the numerous Victorian homes that were placed on trucks and physically moved out of the historically African American Fillmore District and into other neighborhoods like Pacific Heights around the 1970s, displacing thousands of Black residents.\u003c/p>\n\u003cp>Today, efforts to preserve the city’s Victorian image in some ways belie the history that made them so culturally significant.\u003c/p>\n\u003cp>“They’re often now the most expensive real estate in the city, and often they are single-family homes or carved up into apartments,” Thenhaus said. “In a way, it is just preserving an image of them, but not necessarily with the kind of counter-cultural revolution that came with what led to them being so brightly painted and ornate.”\u003c/p>\n\u003cfigure id=\"attachment_12058966\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12058966\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251002-DRCOLOR_00383_TV-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251002-DRCOLOR_00383_TV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251002-DRCOLOR_00383_TV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251002-DRCOLOR_00383_TV-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A home Bob Buckler painted is located in the Dolores Heights neighborhood in San Francisco on Oct. 2, 2025. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As the city faces a pressing housing crisis, pouring money, time and effort into preserving Victorians strikes some as out of line with residents’ more utilitarian need for shelter.\u003c/p>\n\u003cp>“You have this real conflict of what is the priority from a city planning standpoint: the imageability of the city and its popular appeal for tourism to see these houses juxtaposed by the growing need for more housing, probably better housing, and ways of thinking about the kind of equitable structure of the housing market,” Thenhaus said.\u003c/p>\n\u003cp>Nevertheless, Victorians have stood tall throughout the city’s many boom and bust cycles. Clients still come to Dr. Color with their own ideas and preferences, and he steers people toward combinations he thinks will bring out the best of the building’s architecture, drawing on elements of the surrounding area and environment.\u003c/p>\n\u003cp>Color fads also come and go. One trend you won’t see Buckter getting enthusiastic over is monochrome, such as the all-black or all-white Victorians some homeowners are going with these days.\u003c/p>\n\u003cfigure id=\"attachment_12059320\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12059320\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251008-drcolor_01180_TV_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251008-drcolor_01180_TV_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251008-drcolor_01180_TV_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251008-drcolor_01180_TV_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A building Bob Buckter painted is located in the Mission District at 3033 24th St., in San Francisco, on Oct. 8, 2025. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“In my opinion, that is an ignorant approach to decorating your facade, because the owners are ignoring the architecture. They aren’t paying attention to what the building has. I do,” he said.\u003c/p>\n\u003cp>Thenhaus said the single-color approach is part of a wider trend in fashion, a sort of “clean girl” aesthetic that’s crept into architecture and design. But it also harkens back to some of the city’s earliest Victorian homes, like the Queen Annes erected in San Francisco after the Gold Rush, which were often painted all white to cover up their wooden exterior.\u003c/p>\n\u003cp>“We’ve seen it where a lot of fashion went to a kind of monochrome. I don’t know that I read it at this point anyway as being a political statement or reaction or anything like that,” the architecture professor said. “My take on it is it’s actually a way of differentiating from the plethora of colors out there, like, here’s an all-black, here’s an all-white.”\u003c/p>\n\u003cp>Buckter has had more freedom to be creative in San Francisco than he would in many other places. City officials say they rarely step in to regulate a building’s color. Some exceptions include if a building is a designated landmark or located in certain areas like the Jackson Square Historic District, downtown’s conservation district or the Northeast Waterfront Historic District.\u003c/p>\n\u003cfigure id=\"attachment_12058964\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12058964\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251002-DRCOLOR_00257_TV-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251002-DRCOLOR_00257_TV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251002-DRCOLOR_00257_TV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251002-DRCOLOR_00257_TV-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Bob Buckter poses for a portrait at his home in the Mission District in San Francisco on Oct. 2, 2025. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Buckter is well known around town. When this reporter contacted the Planning Department for information on color regulations, the response was immediate.\u003c/p>\n\u003cp>“You wouldn’t be talking about Bob Buckter by any chance, would you? Only asking because his name is the one that came to mind,” Daniel Sider, chief of staff for San Francisco Planning, wrote in an email to KQED. “I’m familiar with him because — to be totally honest — my HOA hired him when we repainted my building.”\u003c/p>\n\u003cp>Sider’s building went with a sky blue face with white, beige and navy blue details — Dr. Color’s personal favorites.\u003c/p>\n\u003cp>“I like blue,” Buckter said. “My truck is blue and I’ve got a couple old Mercedes-Benz collector cars that are also blue and gray.”\u003c/p>\n\u003cp>But most anything goes for Dr. Color, if it’s what the client wants. His approach and inspiration, he said, “is to have people happy about what I’m doing, something they personally like, and that will appeal to the widest range of people so they can look up and see something that is in very good taste.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "traveling-through-sfo-airport-check-out-the-art-museum",
"title": "Traveling Through SFO Airport? Check Out the Art Museum",
"publishDate": 1763982020,
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"headTitle": "Traveling Through SFO Airport? Check Out the Art Museum | KQED",
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"content": "\u003cp>An estimated 6.3 million travelers are expected to pass through San Francisco International Airport between Thanksgiving and New Year’s. If you’re one of them, you can spend some time visiting the SFO Museum, the only airport museum accredited by the American Alliance of Museums. Today, we take you on a tour of some of the exhibits and meet the curators behind them.\u003c/p>\n\u003cp>\u003cb>Links:\u003c/b>\u003c/p>\n\u003cul>\n\u003cli>If you’re interested in scheduling a free tour of SFO Museum, whether or not you’re flying, email \u003ca href=\"mailto:curator@flysfo.com\">curator@flysfo.com\u003c/a>\u003c/li>\n\u003c/ul>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC8701699800\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003ci>Some members of the KQED podcast team are represented by The Screen Actors Guild, American Federation of Television and Radio Artists, San Francisco-Northern California Local.\u003c/i>\u003c/p>\n\u003cp>\u003cem>This transcript is computer-generated. While our team has reviewed it, there may be errors.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Ericka Cruz Guevarra \u003c/strong>[00:00:00] I’m Ericka Cruz Guevarra and welcome to The Bay, local news to keep you rooted. So earlier this month, me and the rest of the Bay team were at San Francisco International Airport. But we weren’t flying anywhere. We were there to check out all the really cool art exhibits at the airport.\u003c/p>\n\u003cp>\u003cstrong>Bao Li \u003c/strong>[00:00:22] So we are now in Harvey Milk Terminal 1, and SFO Museum does have a permanent installation dedicated to the life of Harvey Milk.\u003c/p>\n\u003cp>\u003cstrong>Ericka Cruz Guevarra \u003c/strong>[00:00:31] Past the security gates, there’s a wall of archival photos of Harvey Milk’s time and work in San Francisco. There are also newspaper clippings and speech drafts.\u003c/p>\n\u003cp>\u003cstrong>Bao Li \u003c/strong>[00:00:44] I think we are the first and only terminal in the world that has a terminal dedicated to an LGBT activist, which is important because we are celebrating San Francisco history.\u003c/p>\n\u003cp>\u003cstrong>Ericka Cruz Guevarra \u003c/strong>[00:00:54] Yeah, makes sense.\u003c/p>\n\u003cp>\u003cstrong>Ericka Cruz Guevarra \u003c/strong>[00:00:59] The Harvey Milk exhibit is just one of several exhibits at SFO, which also happens to be the only airport museum accredited by the American Alliance of Museums. And if you’ll be one of the 6.3 million passengers expected to move through SFO between Thanksgiving and New Year’s, the curators of the SFO Museum hope to showcase work that gets you to look up from your phone. And stay a while.\u003c/p>\n\u003cp>\u003cstrong>Daniel Calderon \u003c/strong>[00:01:32] We want to try to catch people’s attention, maybe get them to peel off for a few minutes and take some of the exhibitions in, read a little bit. Hopefully not so much that they miss their flight. I’m sure that’s happened. Exhibitions are that good.\u003c/p>\n\u003cp>\u003cstrong>Ericka Cruz Guevarra \u003c/strong>[00:01:47] Today we take you to the SFO Art Museum and meet its carriers. I’m here at San Francisco International Airport in front of the Aviation Museum and Library.\u003c/p>\n\u003cp>\u003cstrong>Ericka Cruz Guevarra \u003c/strong>[00:02:19] Daniel, can you introduce yourself for me and tell me what you do here?\u003c/p>\n\u003cp>\u003cstrong>Daniel Calderon \u003c/strong>[00:02:22] Sure, Daniel Calderon, one of the exhibition curators at SFO Museum.\u003c/p>\n\u003cp>\u003cstrong>Ericka Cruz Guevarra \u003c/strong>[00:02:28] And I’m also here with Nicole. Nicole, would you mind introducing yourself as well?\u003c/p>\n\u003cp>\u003cstrong>Nicole Mullen \u003c/strong>[00:02:32] My name is Nicole Mullen and I’m curator in charge of exhibitions at SFO Museum at the San Francisco International Airport.\u003c/p>\n\u003cp>\u003cstrong>Ericka Cruz Guevarra \u003c/strong>[00:02:41] Can you talk a little bit more maybe, Daniel, about the specific work that you do as a curator for an airport?\u003c/p>\n\u003cp>\u003cstrong>Daniel Calderon \u003c/strong>[00:02:48] Sure. Currently we have 25 sites throughout the airport terminals. Nicole and I are among an excess of 30 to 40 full-time staff here at SFO Museum, involved in all aspects of production. And our role is to really drive the content of these exhibitions. So not having a real permanent collection to draw from, Nicole and are always on out for exciting, engaging collections, things to represent at SFO Museum. You know, we do have exhibitions that are pre-security, but with some advanced notice we can accommodate tours post-security like we’ll do today.\u003c/p>\n\u003cp>\u003cstrong>Nicole Mullen \u003c/strong>[00:03:29] Our program was created in 1980. We are the only museum in an airport accredited by the American Alliance of Museums. So everything from vintage telephones to women in Afrofuturism to Chinese ceramics and Chinese basketry you can see right now on display.\u003c/p>\n\u003cp>\u003cstrong>Ericka Cruz Guevarra \u003c/strong>[00:03:53] Well, Daniel, I know you’re going to take us over to the first exhibition that we’re going to look at, and I believe it’s the one that you curated, right? Can you tell us a little bit about where we’re heading and what we’re about to go check out?\u003c/p>\n\u003cp>\u003cstrong>Daniel Calderon \u003c/strong>[00:04:07] Sure, we’re in the International Terminal main hall. We’re going to walk along the back of the main hall to the middle of the hall. We have the AIDS Memorial Quilt installed there.\u003c/p>\n\u003cp>\u003cstrong>Ericka Cruz Guevarra \u003c/strong>[00:04:17] Great, let’s go ahead and take a look.\u003c/p>\n\u003cp>\u003cstrong>Ericka Cruz Guevarra \u003c/strong>[00:04:27] I was actually traveling earlier this year, Daniel, and I stopped by this area, the AIDS Memorial Quilt exhibition. Can you tell us a little bit about what’s in here?\u003c/p>\n\u003cp>\u003cstrong>Daniel Calderon \u003c/strong>[00:04:43] We have these two huge galleries, about 50 feet long each. The quilt was born in 1987 here in San Francisco. Only six blocks of the quilt are on display out of more than 6,000 that actually make up the quilt. Each block is 12 foot square, 12 foot by 12 foot, made from panels that are three by six feet. And the three by 6 foot dimension was decided upon… Because that was the approximate size of human grave. At that point the federal government had decided essentially to turn a blind eye on the AIDS epidemic and you can imagine living in San Francisco then, you know, seeing your friends and family members dying all around you. Cleve Jones, Gert McMullin, other members of the NAMES project were just, they were fed up, they’re frustrated, they are angry. And in 1987, starting in the spring… And working up to October of that year, they created 1,920 panels that were sewn into these 12-foot blocks. They all piled in a van that somebody donated into a box truck, and they drove to D.C. And they covered a good portion of the National Mall in protest. There are more than 50,000 panels in the quilt now, and over 6,000 blocks, 110,000 names are represented. It’s just a drop in the bucket, the millions of people who have died from HIV and AIDS-related illness.\u003c/p>\n\u003cp>\u003cstrong>Ericka Cruz Guevarra \u003c/strong>[00:06:28] Sort of a range, like some of them are really intricate, like this one that we’re looking at right here has painted hands, I mean like paint all over it, but also some really intricate stitching, and I mean this one here has names spelled out with like individual buttons.\u003c/p>\n\u003cp>\u003cstrong>Daniel Calderon \u003c/strong>[00:06:48] With buttons. So now, you know, now we’re at a panel that was made in 1993 and by this time the quilt has grown. So now you’re seeing that. You’re seeing traditional quilt making techniques in addition to the buttons that you noticed. And that is one panel that we have some information on. It was made for Margaret Janet Emmett by her daughter. And she recalled her mother as being… Someone who was very, very eccentric in a good way. She took the family to museums, she loved to craft, she loved make things, and her daughter wrote that she felt rendering her names in buttons sort of conveyed, at least to her, that eccentricity in a very positive way.\u003c/p>\n\u003cp>\u003cstrong>Ericka Cruz Guevarra \u003c/strong>[00:07:38] There’s a nice variety of buttons sort of represented there. And then it also says 1931 to 1985, my mother, my friend, I love you forever. You mentioned earlier, Daniel, that one of the things that you aim to do when you’re picking what you curate for the museum is you want things to be very colorful. And I feel like this exhibition is definitely representative of that. There’s lot of really bright. Beautiful color, very eye-catching in this otherwise very gray building. What do you want people to feel when they see this and come across this?\u003c/p>\n\u003cp>\u003cstrong>Daniel Calderon \u003c/strong>[00:08:17] I hope that being so visually beautiful, I hope they would be drawn in. Younger people now don’t even know what the AIDS Memorial Quilt is, having that distance from the onset of the epidemic, right? But as they read and they learn, potentially draw an inspiration from that. So, it’s a very important exhibition.\u003c/p>\n\u003cp>\u003cstrong>Daniel Calderon \u003c/strong>[00:08:41] We’re currently walking past the AIDS Memorial Quilt Exhibition in the International Terminal Main Hall towards the A Gates, International Terminals A Gates on the departures level. So that we can go through the security checkpoint there to view an exhibition in Harvey Milk Terminal One on women of Afrofuturism.\u003c/p>\n\u003cp>\u003cstrong>Bao Li \u003c/strong>[00:09:05] So we’re going to go through security, we’re gonna go through security just like any normal passenger would. My name is Bao Li, I’m the associate curator of public engagement at SFO Museum. I run tours for the post security exhibitions at SFO Museum. We have scheduled tours once a week, however we do have unscheduled tours if people can’t make the time that the scheduled tours occur. They are free, although they do require a bit of paperwork. And so there is a bit of a process that you need to go through to be able to come through TSA security without a valid flight ticket.\u003c/p>\n\u003cp>\u003cstrong>Bao Li \u003c/strong>[00:09:45] Everything goes in the gray bin, you do not need to take off your shoes anymore. What we will do is that this first person in line will just want to see that you have a badge, so just show them your badge. The second person at the security line will ask for both your badge and your ID. They will look at your badge, look at you ID, look your face, scan your badge look at the ID, your face and then scan your bag a second time. After that, we’ll go to the place with the gray bins. Everything goes in the gray bin except for your badge. Keep your badge on at all times. Okay, perfect.\u003c/p>\n\u003cp>\u003cstrong>Bao Li \u003c/strong>[00:10:25] In the fiscal year of June 2024 to June 2025, the airport had 54 million passengers arrive and depart from the airport. And the other thing is that the airport is never not open, so we are open 24 hours a day, seven days a week, which means that pieces of art are actually blasted with light levels. 24 hours day, 7 days a weak, and they are potentially touched by 54 million of passengers. We have a lot of mosaics because they are very robust, they are resilient, they are easy to clean. Much more than paintings or anything like that and so we actually are going to have more public art in the new Terminal 3 and what has been pitched has been a lot more mosaics because they are very easy to clean.\u003c/p>\n\u003cp>\u003cstrong>Ericka Cruz Guevarra \u003c/strong>[00:11:10] Now we are walking past security to see the Women in Afrofuturism exhibit that Nicole curated.\u003c/p>\n\u003cp>\u003cstrong>Nicole Mullen \u003c/strong>[00:11:20] Just past security and Harvey Milk Terminal 1, we are standing outside of Green Apple Books and Ritual Coffee. And in between those two vendors, you have a beautiful, intimate space where we’re currently featuring women of Afrofuturism.\u003c/p>\n\u003cp>\u003cstrong>Ericka Cruz Guevarra \u003c/strong>[00:11:44] It is nice to know that there are these little corners of the airport that you can escape to after a stressful walk through security.\u003c/p>\n\u003cp>\u003cstrong>Nicole Mullen \u003c/strong>[00:11:54] Absolutely. You know, when we opened the space we were worried that people would just pass right by, but really people are intrigued and they’re lured into the space. And this is really fun because when you first step into the exhibition you see local Oakland Bay area based artist, Celia C. Peters, who is a filmmaker and artist. So we’re showing her proof-of-concept godspeed, you and see that. Animation and you can also interact with her lenticular print.\u003c/p>\n\u003cp>\u003cstrong>Ericka Cruz Guevarra \u003c/strong>[00:12:29] And it’s this, like, woman who’s sort of looking over her shoulder, she’s sort of blue in color, has blue lipstick, and is wearing very, like futuristic, like aluminum sort of-looking clothing.\u003c/p>\n\u003cp>\u003cstrong>Nicole Mullen \u003c/strong>[00:12:43] And very confident and welcoming you into the space. So it’s a special print made on plastic and it has three changes. So if you start here, you see the woman with her eyes open and if you look a little further, she turns green and gold with a pink background. So it changes a little bit. Yes, and then step again and you’ll see her. With a little bit of a smile now, and she suggested the idea to start the show like this with this strong woman in space.\u003c/p>\n\u003cp>\u003cstrong>Ericka Cruz Guevarra \u003c/strong>[00:13:25] Maybe Nicole, if you could explain this specific corner of the exhibition.\u003c/p>\n\u003cp>\u003cstrong>Nicole Mullen \u003c/strong>[00:13:31] Right now we’re looking at futuristic fashion design in the last bay of the exhibition and what you’re seeing here is work done by Afatasi The Artist. She is a local San Francisco based artist, born and raised here. She currently resides in Bayview. She’s created these kind of space helmets in a way, but you’re looking really bright red and yellow flowers that she’s created into a space helmet.\u003c/p>\n\u003cp>\u003cstrong>Ericka Cruz Guevarra \u003c/strong>[00:13:59] I wonder as the person who curated this exhibit, why was it important for you to really show and highlight Afrofuturism at SFO?\u003c/p>\n\u003cp>\u003cstrong>Nicole Mullen \u003c/strong>[00:14:10] Well, I really thought it would be wonderful for our audience. You know, when you’re talking about Afrofuturism, this is a social, political, and artistic movement. It examines the past. It questions the present. And it looks at how we can re-sculpt futures, both real and imagined. And I think doing that through the eyes of black women, especially, and their role in the movement, as Ingrid LaFleur had said, it really is like a warm hug. You know, when you come in here and you get to celebrate all these women.\u003c/p>\n\u003cp>\u003cstrong>Ericka Cruz Guevarra \u003c/strong>[00:14:44] And as we’re walking through here, it’s, I mean, a pretty short-ish, I feel like it takes you from one end of the airport to another end of the airport. You see people, some people just sort of walking through. But you also see, I see someone who’s stopping and really looking at the stuff. What is it like for you when you see people coming into this hallway and looking at the things you’ve curated?\u003c/p>\n\u003cp>\u003cstrong>Nicole Mullen \u003c/strong>[00:15:10] It’s really amazing and it’s really an honor to be able to bring this type of material to the public. We have a QR code to a visitor survey and so we get responses from the public all the time and a lot of people have been very moved by this exhibition and you don’t have to know a lot about the subject matter. You don’t need to pay a ticket to go see a museum exhibition and a lotta times people. You know, they may have not thought about it and they stumble upon our exhibition and they feel drawn to it or excited by it. And so being able to reach that vast general audience is what I really love about the job.\u003c/p>\n\u003cp>\u003cstrong>Ericka Cruz Guevarra \u003c/strong>[00:15:58] Well, Daniel, Nicole, and Bao, thank you so much for for walking us through this. This is really fun.\u003c/p>\n\u003cp>\u003cstrong>Daniel Calderon \u003c/strong>[00:16:05] You’re so welcome. Glad to have you.\u003c/p>\n\u003cp>\u003cstrong>Nicole Mullen \u003c/strong>[00:16:08] Thank you so much for coming out.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>Bao Li \u003c/strong>[00:16:09] Thank you for featuring us.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>An estimated 6.3 million travelers are expected to pass through San Francisco International Airport between Thanksgiving and New Year’s. If you’re one of them, you can spend some time visiting the SFO Museum, the only airport museum accredited by the American Alliance of Museums. Today, we take you on a tour of some of the exhibits and meet the curators behind them.\u003c/p>\n\u003cp>\u003cb>Links:\u003c/b>\u003c/p>\n\u003cul>\n\u003cli>If you’re interested in scheduling a free tour of SFO Museum, whether or not you’re flying, email \u003ca href=\"mailto:curator@flysfo.com\">curator@flysfo.com\u003c/a>\u003c/li>\n\u003c/ul>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC8701699800\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003ci>Some members of the KQED podcast team are represented by The Screen Actors Guild, American Federation of Television and Radio Artists, San Francisco-Northern California Local.\u003c/i>\u003c/p>\n\u003cp>\u003cem>This transcript is computer-generated. While our team has reviewed it, there may be errors.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Ericka Cruz Guevarra \u003c/strong>[00:00:00] I’m Ericka Cruz Guevarra and welcome to The Bay, local news to keep you rooted. So earlier this month, me and the rest of the Bay team were at San Francisco International Airport. But we weren’t flying anywhere. We were there to check out all the really cool art exhibits at the airport.\u003c/p>\n\u003cp>\u003cstrong>Bao Li \u003c/strong>[00:00:22] So we are now in Harvey Milk Terminal 1, and SFO Museum does have a permanent installation dedicated to the life of Harvey Milk.\u003c/p>\n\u003cp>\u003cstrong>Ericka Cruz Guevarra \u003c/strong>[00:00:31] Past the security gates, there’s a wall of archival photos of Harvey Milk’s time and work in San Francisco. There are also newspaper clippings and speech drafts.\u003c/p>\n\u003cp>\u003cstrong>Bao Li \u003c/strong>[00:00:44] I think we are the first and only terminal in the world that has a terminal dedicated to an LGBT activist, which is important because we are celebrating San Francisco history.\u003c/p>\n\u003cp>\u003cstrong>Ericka Cruz Guevarra \u003c/strong>[00:00:54] Yeah, makes sense.\u003c/p>\n\u003cp>\u003cstrong>Ericka Cruz Guevarra \u003c/strong>[00:00:59] The Harvey Milk exhibit is just one of several exhibits at SFO, which also happens to be the only airport museum accredited by the American Alliance of Museums. And if you’ll be one of the 6.3 million passengers expected to move through SFO between Thanksgiving and New Year’s, the curators of the SFO Museum hope to showcase work that gets you to look up from your phone. And stay a while.\u003c/p>\n\u003cp>\u003cstrong>Daniel Calderon \u003c/strong>[00:01:32] We want to try to catch people’s attention, maybe get them to peel off for a few minutes and take some of the exhibitions in, read a little bit. Hopefully not so much that they miss their flight. I’m sure that’s happened. Exhibitions are that good.\u003c/p>\n\u003cp>\u003cstrong>Ericka Cruz Guevarra \u003c/strong>[00:01:47] Today we take you to the SFO Art Museum and meet its carriers. I’m here at San Francisco International Airport in front of the Aviation Museum and Library.\u003c/p>\n\u003cp>\u003cstrong>Ericka Cruz Guevarra \u003c/strong>[00:02:19] Daniel, can you introduce yourself for me and tell me what you do here?\u003c/p>\n\u003cp>\u003cstrong>Daniel Calderon \u003c/strong>[00:02:22] Sure, Daniel Calderon, one of the exhibition curators at SFO Museum.\u003c/p>\n\u003cp>\u003cstrong>Ericka Cruz Guevarra \u003c/strong>[00:02:28] And I’m also here with Nicole. Nicole, would you mind introducing yourself as well?\u003c/p>\n\u003cp>\u003cstrong>Nicole Mullen \u003c/strong>[00:02:32] My name is Nicole Mullen and I’m curator in charge of exhibitions at SFO Museum at the San Francisco International Airport.\u003c/p>\n\u003cp>\u003cstrong>Ericka Cruz Guevarra \u003c/strong>[00:02:41] Can you talk a little bit more maybe, Daniel, about the specific work that you do as a curator for an airport?\u003c/p>\n\u003cp>\u003cstrong>Daniel Calderon \u003c/strong>[00:02:48] Sure. Currently we have 25 sites throughout the airport terminals. Nicole and I are among an excess of 30 to 40 full-time staff here at SFO Museum, involved in all aspects of production. And our role is to really drive the content of these exhibitions. So not having a real permanent collection to draw from, Nicole and are always on out for exciting, engaging collections, things to represent at SFO Museum. You know, we do have exhibitions that are pre-security, but with some advanced notice we can accommodate tours post-security like we’ll do today.\u003c/p>\n\u003cp>\u003cstrong>Nicole Mullen \u003c/strong>[00:03:29] Our program was created in 1980. We are the only museum in an airport accredited by the American Alliance of Museums. So everything from vintage telephones to women in Afrofuturism to Chinese ceramics and Chinese basketry you can see right now on display.\u003c/p>\n\u003cp>\u003cstrong>Ericka Cruz Guevarra \u003c/strong>[00:03:53] Well, Daniel, I know you’re going to take us over to the first exhibition that we’re going to look at, and I believe it’s the one that you curated, right? Can you tell us a little bit about where we’re heading and what we’re about to go check out?\u003c/p>\n\u003cp>\u003cstrong>Daniel Calderon \u003c/strong>[00:04:07] Sure, we’re in the International Terminal main hall. We’re going to walk along the back of the main hall to the middle of the hall. We have the AIDS Memorial Quilt installed there.\u003c/p>\n\u003cp>\u003cstrong>Ericka Cruz Guevarra \u003c/strong>[00:04:17] Great, let’s go ahead and take a look.\u003c/p>\n\u003cp>\u003cstrong>Ericka Cruz Guevarra \u003c/strong>[00:04:27] I was actually traveling earlier this year, Daniel, and I stopped by this area, the AIDS Memorial Quilt exhibition. Can you tell us a little bit about what’s in here?\u003c/p>\n\u003cp>\u003cstrong>Daniel Calderon \u003c/strong>[00:04:43] We have these two huge galleries, about 50 feet long each. The quilt was born in 1987 here in San Francisco. Only six blocks of the quilt are on display out of more than 6,000 that actually make up the quilt. Each block is 12 foot square, 12 foot by 12 foot, made from panels that are three by six feet. And the three by 6 foot dimension was decided upon… Because that was the approximate size of human grave. At that point the federal government had decided essentially to turn a blind eye on the AIDS epidemic and you can imagine living in San Francisco then, you know, seeing your friends and family members dying all around you. Cleve Jones, Gert McMullin, other members of the NAMES project were just, they were fed up, they’re frustrated, they are angry. And in 1987, starting in the spring… And working up to October of that year, they created 1,920 panels that were sewn into these 12-foot blocks. They all piled in a van that somebody donated into a box truck, and they drove to D.C. And they covered a good portion of the National Mall in protest. There are more than 50,000 panels in the quilt now, and over 6,000 blocks, 110,000 names are represented. It’s just a drop in the bucket, the millions of people who have died from HIV and AIDS-related illness.\u003c/p>\n\u003cp>\u003cstrong>Ericka Cruz Guevarra \u003c/strong>[00:06:28] Sort of a range, like some of them are really intricate, like this one that we’re looking at right here has painted hands, I mean like paint all over it, but also some really intricate stitching, and I mean this one here has names spelled out with like individual buttons.\u003c/p>\n\u003cp>\u003cstrong>Daniel Calderon \u003c/strong>[00:06:48] With buttons. So now, you know, now we’re at a panel that was made in 1993 and by this time the quilt has grown. So now you’re seeing that. You’re seeing traditional quilt making techniques in addition to the buttons that you noticed. And that is one panel that we have some information on. It was made for Margaret Janet Emmett by her daughter. And she recalled her mother as being… Someone who was very, very eccentric in a good way. She took the family to museums, she loved to craft, she loved make things, and her daughter wrote that she felt rendering her names in buttons sort of conveyed, at least to her, that eccentricity in a very positive way.\u003c/p>\n\u003cp>\u003cstrong>Ericka Cruz Guevarra \u003c/strong>[00:07:38] There’s a nice variety of buttons sort of represented there. And then it also says 1931 to 1985, my mother, my friend, I love you forever. You mentioned earlier, Daniel, that one of the things that you aim to do when you’re picking what you curate for the museum is you want things to be very colorful. And I feel like this exhibition is definitely representative of that. There’s lot of really bright. Beautiful color, very eye-catching in this otherwise very gray building. What do you want people to feel when they see this and come across this?\u003c/p>\n\u003cp>\u003cstrong>Daniel Calderon \u003c/strong>[00:08:17] I hope that being so visually beautiful, I hope they would be drawn in. Younger people now don’t even know what the AIDS Memorial Quilt is, having that distance from the onset of the epidemic, right? But as they read and they learn, potentially draw an inspiration from that. So, it’s a very important exhibition.\u003c/p>\n\u003cp>\u003cstrong>Daniel Calderon \u003c/strong>[00:08:41] We’re currently walking past the AIDS Memorial Quilt Exhibition in the International Terminal Main Hall towards the A Gates, International Terminals A Gates on the departures level. So that we can go through the security checkpoint there to view an exhibition in Harvey Milk Terminal One on women of Afrofuturism.\u003c/p>\n\u003cp>\u003cstrong>Bao Li \u003c/strong>[00:09:05] So we’re going to go through security, we’re gonna go through security just like any normal passenger would. My name is Bao Li, I’m the associate curator of public engagement at SFO Museum. I run tours for the post security exhibitions at SFO Museum. We have scheduled tours once a week, however we do have unscheduled tours if people can’t make the time that the scheduled tours occur. They are free, although they do require a bit of paperwork. And so there is a bit of a process that you need to go through to be able to come through TSA security without a valid flight ticket.\u003c/p>\n\u003cp>\u003cstrong>Bao Li \u003c/strong>[00:09:45] Everything goes in the gray bin, you do not need to take off your shoes anymore. What we will do is that this first person in line will just want to see that you have a badge, so just show them your badge. The second person at the security line will ask for both your badge and your ID. They will look at your badge, look at you ID, look your face, scan your badge look at the ID, your face and then scan your bag a second time. After that, we’ll go to the place with the gray bins. Everything goes in the gray bin except for your badge. Keep your badge on at all times. Okay, perfect.\u003c/p>\n\u003cp>\u003cstrong>Bao Li \u003c/strong>[00:10:25] In the fiscal year of June 2024 to June 2025, the airport had 54 million passengers arrive and depart from the airport. And the other thing is that the airport is never not open, so we are open 24 hours a day, seven days a week, which means that pieces of art are actually blasted with light levels. 24 hours day, 7 days a weak, and they are potentially touched by 54 million of passengers. We have a lot of mosaics because they are very robust, they are resilient, they are easy to clean. Much more than paintings or anything like that and so we actually are going to have more public art in the new Terminal 3 and what has been pitched has been a lot more mosaics because they are very easy to clean.\u003c/p>\n\u003cp>\u003cstrong>Ericka Cruz Guevarra \u003c/strong>[00:11:10] Now we are walking past security to see the Women in Afrofuturism exhibit that Nicole curated.\u003c/p>\n\u003cp>\u003cstrong>Nicole Mullen \u003c/strong>[00:11:20] Just past security and Harvey Milk Terminal 1, we are standing outside of Green Apple Books and Ritual Coffee. And in between those two vendors, you have a beautiful, intimate space where we’re currently featuring women of Afrofuturism.\u003c/p>\n\u003cp>\u003cstrong>Ericka Cruz Guevarra \u003c/strong>[00:11:44] It is nice to know that there are these little corners of the airport that you can escape to after a stressful walk through security.\u003c/p>\n\u003cp>\u003cstrong>Nicole Mullen \u003c/strong>[00:11:54] Absolutely. You know, when we opened the space we were worried that people would just pass right by, but really people are intrigued and they’re lured into the space. And this is really fun because when you first step into the exhibition you see local Oakland Bay area based artist, Celia C. Peters, who is a filmmaker and artist. So we’re showing her proof-of-concept godspeed, you and see that. Animation and you can also interact with her lenticular print.\u003c/p>\n\u003cp>\u003cstrong>Ericka Cruz Guevarra \u003c/strong>[00:12:29] And it’s this, like, woman who’s sort of looking over her shoulder, she’s sort of blue in color, has blue lipstick, and is wearing very, like futuristic, like aluminum sort of-looking clothing.\u003c/p>\n\u003cp>\u003cstrong>Nicole Mullen \u003c/strong>[00:12:43] And very confident and welcoming you into the space. So it’s a special print made on plastic and it has three changes. So if you start here, you see the woman with her eyes open and if you look a little further, she turns green and gold with a pink background. So it changes a little bit. Yes, and then step again and you’ll see her. With a little bit of a smile now, and she suggested the idea to start the show like this with this strong woman in space.\u003c/p>\n\u003cp>\u003cstrong>Ericka Cruz Guevarra \u003c/strong>[00:13:25] Maybe Nicole, if you could explain this specific corner of the exhibition.\u003c/p>\n\u003cp>\u003cstrong>Nicole Mullen \u003c/strong>[00:13:31] Right now we’re looking at futuristic fashion design in the last bay of the exhibition and what you’re seeing here is work done by Afatasi The Artist. She is a local San Francisco based artist, born and raised here. She currently resides in Bayview. She’s created these kind of space helmets in a way, but you’re looking really bright red and yellow flowers that she’s created into a space helmet.\u003c/p>\n\u003cp>\u003cstrong>Ericka Cruz Guevarra \u003c/strong>[00:13:59] I wonder as the person who curated this exhibit, why was it important for you to really show and highlight Afrofuturism at SFO?\u003c/p>\n\u003cp>\u003cstrong>Nicole Mullen \u003c/strong>[00:14:10] Well, I really thought it would be wonderful for our audience. You know, when you’re talking about Afrofuturism, this is a social, political, and artistic movement. It examines the past. It questions the present. And it looks at how we can re-sculpt futures, both real and imagined. And I think doing that through the eyes of black women, especially, and their role in the movement, as Ingrid LaFleur had said, it really is like a warm hug. You know, when you come in here and you get to celebrate all these women.\u003c/p>\n\u003cp>\u003cstrong>Ericka Cruz Guevarra \u003c/strong>[00:14:44] And as we’re walking through here, it’s, I mean, a pretty short-ish, I feel like it takes you from one end of the airport to another end of the airport. You see people, some people just sort of walking through. But you also see, I see someone who’s stopping and really looking at the stuff. What is it like for you when you see people coming into this hallway and looking at the things you’ve curated?\u003c/p>\n\u003cp>\u003cstrong>Nicole Mullen \u003c/strong>[00:15:10] It’s really amazing and it’s really an honor to be able to bring this type of material to the public. We have a QR code to a visitor survey and so we get responses from the public all the time and a lot of people have been very moved by this exhibition and you don’t have to know a lot about the subject matter. You don’t need to pay a ticket to go see a museum exhibition and a lotta times people. You know, they may have not thought about it and they stumble upon our exhibition and they feel drawn to it or excited by it. And so being able to reach that vast general audience is what I really love about the job.\u003c/p>\n\u003cp>\u003cstrong>Ericka Cruz Guevarra \u003c/strong>[00:15:58] Well, Daniel, Nicole, and Bao, thank you so much for for walking us through this. This is really fun.\u003c/p>\n\u003cp>\u003cstrong>Daniel Calderon \u003c/strong>[00:16:05] You’re so welcome. Glad to have you.\u003c/p>\n\u003cp>\u003cstrong>Nicole Mullen \u003c/strong>[00:16:08] Thank you so much for coming out.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cem>\u003ca href=\"https://www.kqed.org/sundaymusicdrop\">The Sunday Music Drop is a weekly radio series hosted by the KQED weekend news team.\u003c/a> In each segment, we feature a song from a local musician or band with an upcoming show and hear about what inspires their music.\u003c/em>\u003c/p>\n\u003cp>On a summer day last year, Julius Pasion was feeling particularly demoralized.\u003c/p>\n\u003cp>The drummer and co-vocalist of Indigo Elephant was practicing on his kit, ruminating on the Bay Area indie pop band’s show the night before.\u003c/p>\n\u003cp>“The turnout was not great,” he said. “I was feeling down with the band as a whole… what was I doing in the studio practicing when I feel so low about the band right now?”\u003c/p>\n\u003cp>Pasion then decided to bike over to a nearby brewery and pen down his emotions over a beer. These pangs of self-doubt and inadequacy eventually found their home in “Marble Statue,” one of the singles from Indigo Elephant’s new album \u003cem>The Art of Erosion\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Marble Statue” is swirling and melancholic, a cocoon embracing listeners with a gentle reminder to let go of perfection. It starts off with a dreamy trumpet line (video game fans might be able to hear a layered trumpet sample from Disco Elysium) that intentionally echoes Pasion’s vulnerable lyrics.\u003c/p>\n\u003cp>“When we thought of the melody and the chords, the trumpet part came to try to symbolize that longing, spiraling feeling,” said guitarist and co-vocalist Brenden Phung. “Blending that was a way to bring our sound forward while also continuing to experiment.”\u003c/p>\n\u003cp>Another new direction the band took was recording in a professional studio for the first time. Armed with demos they first ideated in their practice space, the group recorded at Tiny Telephone in Oakland to bring their material to life.\u003c/p>\n\u003cp>“[With] ‘Marble Statue,’ having all of us play in the same room really helped us practice for that studio session,” said guitarist and bassist Cliff Yang. “We were so laser focused on all the different tiny sections in songs where things have to be locked in.”\u003c/p>\n\u003cp>Working with the producers at Tiny Telephone also helped achieve a sense of cohesion for \u003cem>The Art of Erosion\u003c/em> as a whole.\u003c/p>\n\u003cp>“[Tiny Telephone] really helped tie these 11 separate songs into, I think, a really solid album that is trying to take the listener on a journey of what it’s like when you feel a relationship slowly starting to wear away and all its nuances and different situations,” said Phung. “I hope that for anyone checking out \u003cem>The Art of Erosion\u003c/em>, they can really feel this sense of universalness about these tough situations.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Indigo Elephant’s new album \u003cem>The Art of Erosion\u003c/em> is out now. The band is performing at \u003ca href=\"https://dice.fm/event/92gmk7-saturday-matinee-show-featuring-indigo-elephant-kiroshi-downbydawn-granny-nix-15th-nov-the-knockout-san-francisco-tickets?pid=YUCBDJYJ&_branch_match_id=1482798793074668333&utm_medium=partners_api&_branch_referrer=H4sIAAAAAAAAA8soKSkottLXz8nMy9ZLyUxO1UvL1U9PMrFIMrcwNUxJSrIvyEyxjQx1dnLxivRSqytKTUstKsrMS49PKsovL04tsnXOKMrPTQUAxxeRAUgAAAA%3D\">The Knockout\u003c/a> in San Francisco on Nov. 15.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Marble Statue” is swirling and melancholic, a cocoon embracing listeners with a gentle reminder to let go of perfection. It starts off with a dreamy trumpet line (video game fans might be able to hear a layered trumpet sample from Disco Elysium) that intentionally echoes Pasion’s vulnerable lyrics.\u003c/p>\n\u003cp>“When we thought of the melody and the chords, the trumpet part came to try to symbolize that longing, spiraling feeling,” said guitarist and co-vocalist Brenden Phung. “Blending that was a way to bring our sound forward while also continuing to experiment.”\u003c/p>\n\u003cp>Another new direction the band took was recording in a professional studio for the first time. Armed with demos they first ideated in their practice space, the group recorded at Tiny Telephone in Oakland to bring their material to life.\u003c/p>\n\u003cp>“[With] ‘Marble Statue,’ having all of us play in the same room really helped us practice for that studio session,” said guitarist and bassist Cliff Yang. “We were so laser focused on all the different tiny sections in songs where things have to be locked in.”\u003c/p>\n\u003cp>Working with the producers at Tiny Telephone also helped achieve a sense of cohesion for \u003cem>The Art of Erosion\u003c/em> as a whole.\u003c/p>\n\u003cp>“[Tiny Telephone] really helped tie these 11 separate songs into, I think, a really solid album that is trying to take the listener on a journey of what it’s like when you feel a relationship slowly starting to wear away and all its nuances and different situations,” said Phung. “I hope that for anyone checking out \u003cem>The Art of Erosion\u003c/em>, they can really feel this sense of universalness about these tough situations.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Indigo Elephant’s new album \u003cem>The Art of Erosion\u003c/em> is out now. The band is performing at \u003ca href=\"https://dice.fm/event/92gmk7-saturday-matinee-show-featuring-indigo-elephant-kiroshi-downbydawn-granny-nix-15th-nov-the-knockout-san-francisco-tickets?pid=YUCBDJYJ&_branch_match_id=1482798793074668333&utm_medium=partners_api&_branch_referrer=H4sIAAAAAAAAA8soKSkottLXz8nMy9ZLyUxO1UvL1U9PMrFIMrcwNUxJSrIvyEyxjQx1dnLxivRSqytKTUstKsrMS49PKsovL04tsnXOKMrPTQUAxxeRAUgAAAA%3D\">The Knockout\u003c/a> in San Francisco on Nov. 15.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "nfl-unveils-super-bowl-lx-events-spanning-san-francisco-san-jose-and-east-bay",
"title": "NFL Unveils Super Bowl LX Events Spanning San Francisco, San José and East Bay",
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"headTitle": "NFL Unveils Super Bowl LX Events Spanning San Francisco, San José and East Bay | KQED",
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"content": "\u003cp>The NFL and the Bay Area Host Committee, or BAHC, announced the official \u003ca href=\"https://bayareahostcommittee.com/newsroom/official-lineup-of-super-bowl-lx-events-and-venues-revealed\">lineup of events \u003c/a>for Super Bowl LX on Monday, detailing a weeklong celebration centered in both San Francisco and San José, with partnerships extending into the East Bay.\u003c/p>\n\u003cp>The week, which kicks off Feb. 2, will feature several new activations. For the first time, the 2026 Pro Bowl Games will be relocated to Super Bowl week, taking place at San Francisco’s Moscone Center. A new Super Bowl LX Innovation Summit focused on technology will also be held at SFMOMA during the week.\u003c/p>\n\u003cp>“As we return to the Bay Area for Super Bowl LX, a decade after Super Bowl 50, we’re fully embracing the region’s unique energy and building something that feels true to the Bay,” said Peter O’Reilly, the NFL’s executive vice president of club business, major events and international, in a statement.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That energy, according to BAHC President and CEO Zaileen Janmohamed, comes from the region’s distinct character.\u003c/p>\n\u003cp>“The Bay Area is made up of nine counties … All counties have their own vibe, culture, and way that they behave every single day,” Janmohamed said at a virtual press conference on Monday. “And our job is to showcase that out to the world and then to bring the Super Bowl in to unite the region through that event.”\u003c/p>\n\u003cfigure id=\"attachment_12062834\" class=\"wp-caption aligncenter\" style=\"max-width: 1999px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12062834\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/11/006_KQED_SuperBowl_AlabamaSt_02022020_1255_qed.jpg\" alt=\"\" width=\"1999\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/11/006_KQED_SuperBowl_AlabamaSt_02022020_1255_qed.jpg 1999w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/11/006_KQED_SuperBowl_AlabamaSt_02022020_1255_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/11/006_KQED_SuperBowl_AlabamaSt_02022020_1255_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1999px) 100vw, 1999px\">\u003cfigcaption class=\"wp-caption-text\">49ers fans at Pops Bar during the Super Bowl on Sunday in San Francisco’s Mission District. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>O’Reilly called the Pro Bowl Games at Moscone a “significant deal” that serves as a major community engagement opportunity. The event will bring 88 of the NFL’s top players to the region to participate in a multi-day skills competition and a 7-on-7 flag football game, rather than a traditional tackle game.\u003c/p>\n\u003cp>O’Reilly emphasized the value of having that level of “star power” concentrated in the Bay, actively engaging in both fan activities and community events.\u003c/p>\n\u003cp>“At the heart of that Pro Bowl Games decision is all the momentum that exists around flag football,” he said.\u003c/p>\n\u003cp>That focus on broad fan access extends to the week’s other main events. The Super Bowl Experience at the Moscone Center from Feb. 3–7, which O’Reilly called an “NFL theme park,” will be free for kids 12 and under. The week will also feature multiple music events, including the BAHC Live! Concert Series at the Bill Graham Civic Auditorium and On Location’s Studio 60 Concert Series at the Palace of Fine Arts.[aside postID=news_11975357 hero='https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240210-NANCY-PELOSI-SEATMATE-MD-01-KQED-1020x680.jpg']While San Francisco will host the main fan festival, the week’s festivities will officially begin in the South Bay. Super Bowl Opening Night is set for the San José Convention Center on Feb. 2. Janmohamed called this a deliberate “decision of inclusivity across the region.”\u003c/p>\n\u003cp>The decision was also logistical. John Poch, executive director of the San José Sports Authority, confirmed that both participating teams will be practicing in the South Bay.\u003c/p>\n\u003cp>“By having it here in San José makes it very accessible for both teams,” Poch said, adding it’s a “five-minute walk” for one team. He said the goal is to “create a Super Bowl experience for those that can’t go to the game.”\u003c/p>\n\u003cp>Beyond fan events, Janmohamed said the committee is leaning into the region’s identity as the “innovation capital of the world.” She noted that the Innovation Summit at SFMOMA was a foundational idea for the bid. “You can’t come into the Bay Area and not talk about technology innovation,” she said.\u003c/p>\n\u003cp>Though primary events are concentrated in San José and San Francisco, the BAHC has partnered with Visit Oakland and an East Bay Coalition representing Berkeley, Pleasant Hill, the Tri-Valley and Walnut Creek. Organizers confirmed that specific East Bay events are still being finalized and will be announced later.\u003c/p>\n\u003cfigure id=\"attachment_12015107\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12015107 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/11/OaklandGetty.jpg\" alt=\"\" width=\"2000\" height=\"1123\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/11/OaklandGetty.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/11/OaklandGetty-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/11/OaklandGetty-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/11/OaklandGetty-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/11/OaklandGetty-1536x862.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/11/OaklandGetty-1920x1078.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">While most primary events will take place in San José and San Francisco, the BAHC is also collaborating with Visit Oakland and an East Bay coalition representing Berkeley, Pleasant Hill, the Tri-Valley and Walnut Creek. Details on East Bay events will be announced soon. \u003ccite>(Joe Sohm/Visions of America/Universal Images Group via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Peter Gamez, president and CEO of Visit Oakland, said he anticipates a 20% increase in hotel occupancy for the city.\u003c/p>\n\u003cp>“Our city knows that when one section of the Bay Area is host to these major sporting events — we all rise because of it,” Gamez said in a statement.\u003c/p>\n\u003cp>The host committee also highlighted its community legacy projects, including the Bridge to Work workforce equity program and the Sports for All initiative. The latter is currently refurbishing a field in East Palo Alto, which Janmohamed described as “very much outdated” and in an area that “desperately needs support.”\u003c/p>\n\u003cp>The full schedule, including the NFL Culture Club and Taste of the NFL, will be available on the NFL OnePass app.\u003c/p>\n\u003cp>“When you touch down at San Jose Mineta International Airport, you’ll be just ten minutes from Levi’s Stadium and the NFL’s Opening Night,” San José Mayor Matt Mahan said in a statement. “We’re also organizing world-class concerts, drone shows and culinary experiences walking distance from Downtown so residents and visitors alike have an unforgettable Super Bowl experience right here in San Jose.”\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The NFL and the Bay Area Host Committee, or BAHC, announced the official \u003ca href=\"https://bayareahostcommittee.com/newsroom/official-lineup-of-super-bowl-lx-events-and-venues-revealed\">lineup of events \u003c/a>for Super Bowl LX on Monday, detailing a weeklong celebration centered in both San Francisco and San José, with partnerships extending into the East Bay.\u003c/p>\n\u003cp>The week, which kicks off Feb. 2, will feature several new activations. For the first time, the 2026 Pro Bowl Games will be relocated to Super Bowl week, taking place at San Francisco’s Moscone Center. A new Super Bowl LX Innovation Summit focused on technology will also be held at SFMOMA during the week.\u003c/p>\n\u003cp>“As we return to the Bay Area for Super Bowl LX, a decade after Super Bowl 50, we’re fully embracing the region’s unique energy and building something that feels true to the Bay,” said Peter O’Reilly, the NFL’s executive vice president of club business, major events and international, in a statement.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That energy, according to BAHC President and CEO Zaileen Janmohamed, comes from the region’s distinct character.\u003c/p>\n\u003cp>“The Bay Area is made up of nine counties … All counties have their own vibe, culture, and way that they behave every single day,” Janmohamed said at a virtual press conference on Monday. “And our job is to showcase that out to the world and then to bring the Super Bowl in to unite the region through that event.”\u003c/p>\n\u003cfigure id=\"attachment_12062834\" class=\"wp-caption aligncenter\" style=\"max-width: 1999px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12062834\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/11/006_KQED_SuperBowl_AlabamaSt_02022020_1255_qed.jpg\" alt=\"\" width=\"1999\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/11/006_KQED_SuperBowl_AlabamaSt_02022020_1255_qed.jpg 1999w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/11/006_KQED_SuperBowl_AlabamaSt_02022020_1255_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/11/006_KQED_SuperBowl_AlabamaSt_02022020_1255_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1999px) 100vw, 1999px\">\u003cfigcaption class=\"wp-caption-text\">49ers fans at Pops Bar during the Super Bowl on Sunday in San Francisco’s Mission District. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>O’Reilly called the Pro Bowl Games at Moscone a “significant deal” that serves as a major community engagement opportunity. The event will bring 88 of the NFL’s top players to the region to participate in a multi-day skills competition and a 7-on-7 flag football game, rather than a traditional tackle game.\u003c/p>\n\u003cp>O’Reilly emphasized the value of having that level of “star power” concentrated in the Bay, actively engaging in both fan activities and community events.\u003c/p>\n\u003cp>“At the heart of that Pro Bowl Games decision is all the momentum that exists around flag football,” he said.\u003c/p>\n\u003cp>That focus on broad fan access extends to the week’s other main events. The Super Bowl Experience at the Moscone Center from Feb. 3–7, which O’Reilly called an “NFL theme park,” will be free for kids 12 and under. The week will also feature multiple music events, including the BAHC Live! Concert Series at the Bill Graham Civic Auditorium and On Location’s Studio 60 Concert Series at the Palace of Fine Arts.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>While San Francisco will host the main fan festival, the week’s festivities will officially begin in the South Bay. Super Bowl Opening Night is set for the San José Convention Center on Feb. 2. Janmohamed called this a deliberate “decision of inclusivity across the region.”\u003c/p>\n\u003cp>The decision was also logistical. John Poch, executive director of the San José Sports Authority, confirmed that both participating teams will be practicing in the South Bay.\u003c/p>\n\u003cp>“By having it here in San José makes it very accessible for both teams,” Poch said, adding it’s a “five-minute walk” for one team. He said the goal is to “create a Super Bowl experience for those that can’t go to the game.”\u003c/p>\n\u003cp>Beyond fan events, Janmohamed said the committee is leaning into the region’s identity as the “innovation capital of the world.” She noted that the Innovation Summit at SFMOMA was a foundational idea for the bid. “You can’t come into the Bay Area and not talk about technology innovation,” she said.\u003c/p>\n\u003cp>Though primary events are concentrated in San José and San Francisco, the BAHC has partnered with Visit Oakland and an East Bay Coalition representing Berkeley, Pleasant Hill, the Tri-Valley and Walnut Creek. Organizers confirmed that specific East Bay events are still being finalized and will be announced later.\u003c/p>\n\u003cfigure id=\"attachment_12015107\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12015107 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/11/OaklandGetty.jpg\" alt=\"\" width=\"2000\" height=\"1123\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/11/OaklandGetty.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/11/OaklandGetty-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/11/OaklandGetty-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/11/OaklandGetty-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/11/OaklandGetty-1536x862.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/11/OaklandGetty-1920x1078.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">While most primary events will take place in San José and San Francisco, the BAHC is also collaborating with Visit Oakland and an East Bay coalition representing Berkeley, Pleasant Hill, the Tri-Valley and Walnut Creek. Details on East Bay events will be announced soon. \u003ccite>(Joe Sohm/Visions of America/Universal Images Group via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Peter Gamez, president and CEO of Visit Oakland, said he anticipates a 20% increase in hotel occupancy for the city.\u003c/p>\n\u003cp>“Our city knows that when one section of the Bay Area is host to these major sporting events — we all rise because of it,” Gamez said in a statement.\u003c/p>\n\u003cp>The host committee also highlighted its community legacy projects, including the Bridge to Work workforce equity program and the Sports for All initiative. The latter is currently refurbishing a field in East Palo Alto, which Janmohamed described as “very much outdated” and in an area that “desperately needs support.”\u003c/p>\n\u003cp>The full schedule, including the NFL Culture Club and Taste of the NFL, will be available on the NFL OnePass app.\u003c/p>\n\u003cp>“When you touch down at San Jose Mineta International Airport, you’ll be just ten minutes from Levi’s Stadium and the NFL’s Opening Night,” San José Mayor Matt Mahan said in a statement. “We’re also organizing world-class concerts, drone shows and culinary experiences walking distance from Downtown so residents and visitors alike have an unforgettable Super Bowl experience right here in San Jose.”\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>\u003ca href=\"https://www.kqed.org/sundaymusicdrop\">The Sunday Music Drop is a weekly radio series hosted by the KQED weekend news team.\u003c/a> In each segment, we feature a song from a local musician or band with an upcoming show and hear about what inspires their music.\u003c/em>\u003c/p>\n\u003cp>The core members of Half Stack originally met at UC Santa Cruz.\u003c/p>\n\u003cp>“We’re all banana slugs,” the band’s singer and guitarist, Peter Kegler, says.\u003c/p>\n\u003cp>But it wasn’t until they moved to the Bay Area that Half Stack was born.\u003c/p>\n\u003cp>In the eight years since it started to release music, Half Stack recruited many Bay Area musicians to play with the band.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Half of the Bay Area music scene has played in Half Stack at one point or another,” Kegler says.\u003c/p>\n\u003cp>Kegler works as a scientist during the day, doing biology research. Making music as a full-time job is “a difficult thing to pull off in the Bay Area,” he says. “Music is not how I make my living, but it’s my life.”\u003c/p>\n\u003cp>“Diamond Dancer,” one of the tracks off the band’s new LP titled \u003ca href=\"https://halfstack.bandcamp.com/album/sitting-pretty\">Sitting Pretty\u003c/a>, was written during the COVID-19 pandemic while Kegler and his wife were driving around the Northern California coast. “It’s about hitting the road to figure out some stuff during a time of uncertainty,” he says.\u003c/p>\n\u003cp>It’s one of the band’s more upbeat songs, with an instrumental outro. “It’s a lot of fun every time we play it, because the band can really open up and get into jamming and rocking,” Kegler says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Half Stack will perform live at 8 p.m. on Tuesday, Nov. 4, at Bottom of the Hill in San Francisco, opening for East Coast country band Florry. For details and tickets, \u003ca href=\"https://www.bottomofthehill.com/20251104.html\">click here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003ca href=\"https://www.kqed.org/sundaymusicdrop\">The Sunday Music Drop is a weekly radio series hosted by the KQED weekend news team.\u003c/a> In each segment, we feature a song from a local musician or band with an upcoming show and hear about what inspires their music.\u003c/em>\u003c/p>\n\u003cp>The core members of Half Stack originally met at UC Santa Cruz.\u003c/p>\n\u003cp>“We’re all banana slugs,” the band’s singer and guitarist, Peter Kegler, says.\u003c/p>\n\u003cp>But it wasn’t until they moved to the Bay Area that Half Stack was born.\u003c/p>\n\u003cp>In the eight years since it started to release music, Half Stack recruited many Bay Area musicians to play with the band.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Half of the Bay Area music scene has played in Half Stack at one point or another,” Kegler says.\u003c/p>\n\u003cp>Kegler works as a scientist during the day, doing biology research. Making music as a full-time job is “a difficult thing to pull off in the Bay Area,” he says. “Music is not how I make my living, but it’s my life.”\u003c/p>\n\u003cp>“Diamond Dancer,” one of the tracks off the band’s new LP titled \u003ca href=\"https://halfstack.bandcamp.com/album/sitting-pretty\">Sitting Pretty\u003c/a>, was written during the COVID-19 pandemic while Kegler and his wife were driving around the Northern California coast. “It’s about hitting the road to figure out some stuff during a time of uncertainty,” he says.\u003c/p>\n\u003cp>It’s one of the band’s more upbeat songs, with an instrumental outro. “It’s a lot of fun every time we play it, because the band can really open up and get into jamming and rocking,” Kegler says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Half Stack will perform live at 8 p.m. on Tuesday, Nov. 4, at Bottom of the Hill in San Francisco, opening for East Coast country band Florry. For details and tickets, \u003ca href=\"https://www.bottomofthehill.com/20251104.html\">click here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Days Before the Louvre Jewel Heist, the Oakland Museum Suffers Its Own Massive Art Theft",
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"content": "\u003cp>Days before a jewelry heist at the Louvre captured national attention, \u003ca href=\"https://www.kqed.org/arts/tag/oakland-museum-of-california\">a longstanding Bay Area museum\u003c/a> experienced a major theft of its own.\u003c/p>\n\u003cp>On Oct. 15, burglars stole more than 1,000 items from the Oakland Museum of California, including “Native American baskets, jewelry, laptops, and other historic artifacts,” Oakland’s police department said in a press release this week.\u003c/p>\n\u003cp>While the items taken in Oakland may not shine as brightly as the \u003ca href=\"https://www.npr.org/2025/10/19/nx-s1-5579509/thieves-steal-priceless-jewels-louvre\">French crown jewels\u003c/a> stolen from the iconic Paris gallery, Oakland Museum Director and CEO Lori Fogarty said the political pins, military memorabilia, Native baskets and scrimshaw artifacts now missing from the museum’s vast collection also have a priceless history.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Our mission is to tell the broad story of California in all of its diversity, especially highlighting the story of everyday people, everyday life,” she told KQED. “We think of ourselves as stewards, not as owners, of that kind of cultural heritage.\u003c/p>\n\u003cp>“It feels like an attack on our community and on our cultural heritage, and for our staff who devote their full careers to caring for and preserving our collections, it’s truly heartbreaking,” she continued.\u003c/p>\n\u003cp>The theft occurred overnight on Oct. 15 at the museum’s off-site storage facility in Oakland, according to Oakland Police. Fogarty said that when museum staff arrived the following morning, it was evident there had been a break-in at the warehouse, where hundreds of thousands of its collection items are held when not on display.\u003c/p>\n\u003cfigure id=\"attachment_12048969\" class=\"wp-caption aligncenter\" style=\"max-width: 1900px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12048969\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/07/OaklandPoliceCar_qed.jpg\" alt=\"\" width=\"1900\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/07/OaklandPoliceCar_qed.jpg 1900w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/07/OaklandPoliceCar_qed-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/07/OaklandPoliceCar_qed-1536x1078.jpg 1536w\" sizes=\"auto, (max-width: 1900px) 100vw, 1900px\">\u003cfigcaption class=\"wp-caption-text\">An Oakland Police officer walks by patrol cars at the Oakland Police headquarters on Dec. 6, 2012, in Oakland, California. \u003ccite>(Justin Sullivan/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“They saw right away that there had been an intrusion … and that a significant number of items were stolen,” Fogarty said.\u003c/p>\n\u003cp>In the weeks since, museum staff have been taking inventory to identify what’s missing and working with insurance brokers and the city of Oakland, which owns the collection, to determine the monetary value of the pieces.\u003c/p>\n\u003cp>The most valuable, and most likely to turn up at a pawn shop or flea market, are several baskets made by a Northern California Native tribe, a collection of metal and stone jewelry pieces from a California artist and a number of scrimshaw artifacts, according to Fogarty.\u003c/p>\n\u003cp>“We share a sense of responsibility for the public, but also for the Indigenous people of California for stewarding those collections,” Fogarty told KQED.[aside postID=news_12062057 hero='https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251003_ORBIT_ROOM-_-19-KQED.jpg']“For me and for a number of our collection staff, it’s the loss of the Native baskets that really hits home the hardest,” she continued, noting that much of the museum’s basket collection dates back to the early 1900s.\u003c/p>\n\u003cp>Oakland’s museum boasts the largest collection of California art history and natural science anywhere, including more than two million artworks, artifacts and specimens collected over the last 115 years, Fogarty said.\u003c/p>\n\u003cp>Its current site next to Lake Merritt opened in 1969, but was born from three predecessor institutions, including the Oakland History Museum, which was founded in 1910.\u003c/p>\n\u003cp>The Oakland Museum experienced a \u003ca href=\"https://www.eastbaytimes.com/2012/11/13/police-artifacts-pilfered-in-break-in-at-oakland-museum/\">series of break-ins\u003c/a> in 2012 and 2013, when thieves stole gold nuggets and other Gold Rush-era artifacts from its main site. An Oakland man was sentenced to four years in prison in 2014 for thieving the most high-profile of those goods: a jewelry box made of California gold and adorned with gold-veined quartz, \u003ca href=\"https://www.sfgate.com/crime/article/invaluable-item-stolen-from-oakland-museum-4177973.php\">valued at up to $800,000\u003c/a>. The box was ultimately returned.\u003c/p>\n\u003cp>“We are very much hoping that we will have a similar outcome here,” Fogarty said.\u003c/p>\n\u003cp>She said the museum took additional security precautions immediately following the break-in, and is working with OPD and the city to identify ways to bolster protections in the future.\u003c/p>\n\u003cp>OPD and the FBI’s Art Crime Team are co-leading an ongoing investigation into the incident, and have asked people to notify them if they see any items that resemble the stolen goods at local pawn shops, antique stores or flea markets.\u003c/p>\n\u003cp>\u003cem>KQED’s \u003c/em>\u003ca href=\"https://www.kqed.org/author/wcruz\">\u003cem>Billy Cruz\u003c/em>\u003c/a>\u003cem> contributed to this report. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Days before a jewelry heist at the Louvre captured national attention, \u003ca href=\"https://www.kqed.org/arts/tag/oakland-museum-of-california\">a longstanding Bay Area museum\u003c/a> experienced a major theft of its own.\u003c/p>\n\u003cp>On Oct. 15, burglars stole more than 1,000 items from the Oakland Museum of California, including “Native American baskets, jewelry, laptops, and other historic artifacts,” Oakland’s police department said in a press release this week.\u003c/p>\n\u003cp>While the items taken in Oakland may not shine as brightly as the \u003ca href=\"https://www.npr.org/2025/10/19/nx-s1-5579509/thieves-steal-priceless-jewels-louvre\">French crown jewels\u003c/a> stolen from the iconic Paris gallery, Oakland Museum Director and CEO Lori Fogarty said the political pins, military memorabilia, Native baskets and scrimshaw artifacts now missing from the museum’s vast collection also have a priceless history.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Our mission is to tell the broad story of California in all of its diversity, especially highlighting the story of everyday people, everyday life,” she told KQED. “We think of ourselves as stewards, not as owners, of that kind of cultural heritage.\u003c/p>\n\u003cp>“It feels like an attack on our community and on our cultural heritage, and for our staff who devote their full careers to caring for and preserving our collections, it’s truly heartbreaking,” she continued.\u003c/p>\n\u003cp>The theft occurred overnight on Oct. 15 at the museum’s off-site storage facility in Oakland, according to Oakland Police. Fogarty said that when museum staff arrived the following morning, it was evident there had been a break-in at the warehouse, where hundreds of thousands of its collection items are held when not on display.\u003c/p>\n\u003cfigure id=\"attachment_12048969\" class=\"wp-caption aligncenter\" style=\"max-width: 1900px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12048969\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/07/OaklandPoliceCar_qed.jpg\" alt=\"\" width=\"1900\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/07/OaklandPoliceCar_qed.jpg 1900w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/07/OaklandPoliceCar_qed-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/07/OaklandPoliceCar_qed-1536x1078.jpg 1536w\" sizes=\"auto, (max-width: 1900px) 100vw, 1900px\">\u003cfigcaption class=\"wp-caption-text\">An Oakland Police officer walks by patrol cars at the Oakland Police headquarters on Dec. 6, 2012, in Oakland, California. \u003ccite>(Justin Sullivan/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“They saw right away that there had been an intrusion … and that a significant number of items were stolen,” Fogarty said.\u003c/p>\n\u003cp>In the weeks since, museum staff have been taking inventory to identify what’s missing and working with insurance brokers and the city of Oakland, which owns the collection, to determine the monetary value of the pieces.\u003c/p>\n\u003cp>The most valuable, and most likely to turn up at a pawn shop or flea market, are several baskets made by a Northern California Native tribe, a collection of metal and stone jewelry pieces from a California artist and a number of scrimshaw artifacts, according to Fogarty.\u003c/p>\n\u003cp>“We share a sense of responsibility for the public, but also for the Indigenous people of California for stewarding those collections,” Fogarty told KQED.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“For me and for a number of our collection staff, it’s the loss of the Native baskets that really hits home the hardest,” she continued, noting that much of the museum’s basket collection dates back to the early 1900s.\u003c/p>\n\u003cp>Oakland’s museum boasts the largest collection of California art history and natural science anywhere, including more than two million artworks, artifacts and specimens collected over the last 115 years, Fogarty said.\u003c/p>\n\u003cp>Its current site next to Lake Merritt opened in 1969, but was born from three predecessor institutions, including the Oakland History Museum, which was founded in 1910.\u003c/p>\n\u003cp>The Oakland Museum experienced a \u003ca href=\"https://www.eastbaytimes.com/2012/11/13/police-artifacts-pilfered-in-break-in-at-oakland-museum/\">series of break-ins\u003c/a> in 2012 and 2013, when thieves stole gold nuggets and other Gold Rush-era artifacts from its main site. An Oakland man was sentenced to four years in prison in 2014 for thieving the most high-profile of those goods: a jewelry box made of California gold and adorned with gold-veined quartz, \u003ca href=\"https://www.sfgate.com/crime/article/invaluable-item-stolen-from-oakland-museum-4177973.php\">valued at up to $800,000\u003c/a>. The box was ultimately returned.\u003c/p>\n\u003cp>“We are very much hoping that we will have a similar outcome here,” Fogarty said.\u003c/p>\n\u003cp>She said the museum took additional security precautions immediately following the break-in, and is working with OPD and the city to identify ways to bolster protections in the future.\u003c/p>\n\u003cp>OPD and the FBI’s Art Crime Team are co-leading an ongoing investigation into the incident, and have asked people to notify them if they see any items that resemble the stolen goods at local pawn shops, antique stores or flea markets.\u003c/p>\n\u003cp>\u003cem>KQED’s \u003c/em>\u003ca href=\"https://www.kqed.org/author/wcruz\">\u003cem>Billy Cruz\u003c/em>\u003c/a>\u003cem> contributed to this report. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"slug": "historic-west-oakland-blues-clubs-restoration-reveals-layers-of-hidden-history",
"title": "Historic West Oakland Blues Club’s Restoration Reveals Layers of Hidden History",
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"content": "\u003cp>When Noni Session first imagined reopening Esther’s Orbit Room, she saw a gleaming new building that would serve as an anchor for a reinvigorated cultural and commercial corridor.\u003c/p>\n\u003cp>For Session, who was born and raised in \u003ca href=\"https://www.kqed.org/news/tag/west-oakland\">West Oakland\u003c/a> and is the executive director of the \u003ca href=\"https://ebprec.org/\">East Bay Permanent Real Estate Cooperative\u003c/a>, or EBPREC, renovating Esther’s was a chance at a fresh start.\u003c/p>\n\u003cp>The former blues club had been a staple of the historic Seventh Street district, called the “Harlem of the West,” serving as the center of Black life in West Oakland for roughly half a century. While a series of policy decisions decimated the strip, with dozens of businesses and thousands of homes razed, Esther’s had remained the lone holdout, keeping its \u003ca href=\"https://www.kqed.org/arts/13809453/evolutionary-blues-resurrects-west-oaklands-musical-legacy\">doors open until 2011\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The building had sat vacant for around a decade by the time it came to EBPREC’s attention. But the decision to reopen it as a performance venue, bar and eatery seemed self-evident, Session said. She and her team at the developer co-op purchased the building and planned contemporary additions, including a wellness studio, working and living spaces for artists and an outdoor patio.\u003c/p>\n\u003cp>They released renderings of the proposed upgrades: new balconies, murals, and a bold new sign replacing the rough faux-stone facade in favor of a fresh, modern aesthetic.\u003c/p>\n\u003cp>“We thought we were doing West Oakland a favor by getting rid of the sniff of the trauma and the lack of resources, right? You know, new facade, new bar, new vibe, new day,” Session said.\u003c/p>\n\u003cfigure id=\"attachment_12062061\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12062061 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/Esthers-Orbit-Room-1.jpg\" alt=\"\" width=\"2000\" height=\"1514\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/Esthers-Orbit-Room-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/Esthers-Orbit-Room-1-160x121.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/Esthers-Orbit-Room-1-1536x1163.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Esther’s Orbit Room photographed in 1987. \u003ccite>(Courtesy of the African American Museum & Library at Oakland)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And then came the outcry.\u003c/p>\n\u003cp>“Some of the old men in the neighborhood — on public record — were like, ‘That’s cultural genocide,’” Session recalled.\u003c/p>\n\u003cp>She and her colleagues at EBPREC were already having some misgivings about the proposed design and had resolved to change it. But the criticism still threw Session for a loop.\u003c/p>\n\u003cp>“And then after some time sitting with it, looking at it, we realized you couldn’t really see West Oakland in that rendering,” she said. “It was only really then that I understood what they meant by cultural genocide, that they could not see their story on the surfaces of these buildings that we were calling assets, but not treating like assets.”[aside postID=forum_2010101895065 hero='https://ww2.kqed.org/app/uploads/sites/43/2023/11/010_KQED_AlamedaAffordableHousing_01122023-qut-1020x680.jpg']Now, instead of a ground-breaking ceremony, planned for later this year, there will be a rock-breaking ceremony. With help from professional masons, volunteers will painstakingly remove the building’s original fabricated stones from the exterior so \u003ca href=\"https://www.instagram.com/p/DLa2PyfBllH/?utm_source=ig_web_copy_link&igsh=MzRlODBiNWFlZA==\">they can be reconstructed\u003c/a> when the restoration is complete.\u003c/p>\n\u003cp>For some of West Oakland’s older generation, who experienced Seventh Street in its heyday, the decision to restore — rather than remodel — is one step toward repairing what was lost.\u003c/p>\n\u003cp>“It is sort of a love letter to a legacy,” said Cheryl Fabio, whose documentary film, \u003cem>Evolutionary Blues: West Oakland’s Music Legacy\u003c/em>, recounts the area’s musical history. “It is some repair — not enough repair — but some repair for what was stolen in places like Seventh Street.”\u003c/p>\n\u003cp>Inside, Session said EBPREC plans to repurpose the building’s original wooden walls, painted yellow and orange and long hidden beneath a layer of sheetrock, to use as a decorative backing for the bar and stage. The bar’s antique safe, rolltop desks and other furniture will feature prominently. “So that everywhere you turn, you see the authentic textures of this historical space.”\u003c/p>\n\u003cp>In a true act of serendipity, Session said, they uncovered Esther’s original stage lights, hidden behind an artificial wall and perfectly positioned where a new stage had already been planned. Standing inside the blackened room with only a headlamp to see by, Session pointed to the conical spotlight covers, their bulbs removed, nestled into the ceiling.\u003c/p>\n\u003cp>“We were just dumbfounded,” she said. “What we’ve realized we need to do is, in some ways — this is a made-up word — but that we need to museumize the whole space.”\u003c/p>\n\u003ch2>‘The place to be’\u003c/h2>\n\u003cp>At its height in the middle of the 20th Century, Seventh Street was not only a prime entertainment district drawing national acts — such as B.B. King, Al Green, Aretha Franklin, Big Mama Thornton and other blues greats — but the locus of civic and community life. There were banks and lawyers’ offices, barber shops and grocery stores, a record store and recording studio, pharmacies, clothing stores, a bowling alley, theaters, and plenty of eateries.\u003c/p>\n\u003cp>Esther Mabry, the Orbit Room’s namesake, founder and operator for more than a half-century, first came to Seventh Street during WWII, drawn from her hometown of Palestine, Texas, by the promise of good pay, she said in a \u003ca href=\"https://californiarevealed.org/do/97295ae0-188e-425d-96ca-264375d3b633\">2002 interview\u003c/a> with the African American Museum and Library at Oakland, or AAMLO.\u003c/p>\n\u003cfigure id=\"attachment_12062065\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12062065\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/Esthers-Orbit-Room-3.jpg\" alt=\"\" width=\"2000\" height=\"2471\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/Esthers-Orbit-Room-3.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/Esthers-Orbit-Room-3-160x198.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/Esthers-Orbit-Room-3-1243x1536.jpg 1243w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/Esthers-Orbit-Room-3-1658x2048.jpg 1658w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Two men stand shaking hands on the sidewalk underneath Elsie’s neon sign on Seventh Street, circa the 1950s. \u003ccite>(Courtesy of the African American Museum & Library at Oakland)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Everybody was making good money, and they were talking about how much money they were making,” she said.\u003c/p>\n\u003cp>By that time, West Oakland, the terminus of the transcontinental railroad, had already become a magnet for working-class people of all ethnicities, said Mitchell Schwarzer, an architectural historian and author of the book, \u003ca href=\"https://www.ucpress.edu/books/hella-town/paper\">\u003cem>Hella Town: Oakland’s History of Development and Disruption\u003c/em>\u003c/a>. But, he said, it had a particular pull for Black transplants as the West Coast headquarters of the \u003ca href=\"https://oaklandlibrary.org/content/oaklands-pullman-porters/\">Brotherhood of Sleeping Car Porters\u003c/a>, a large and influential union representing Black workers.\u003c/p>\n\u003cp>“The Porters became the genesis of a larger black community. They were kind of the foundation because they had decent-paying jobs at the time,” Schwarzer said. “And for Black people, this was probably one of the best jobs you could get until the war industries.”\u003c/p>\n\u003cp>Mabry herself worked for the Southern Pacific Railroad when she first arrived in West Oakland, she told AAMLO.\u003c/p>\n\u003cp>“I sold tickets and made sandwiches — they had boxed lunches — and just did it all,” she said. “It was the place to be.”\u003c/p>\n\u003cfigure id=\"attachment_12058750\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12058750\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251003_ORBIT_ROOM-_-3-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251003_ORBIT_ROOM-_-3-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251003_ORBIT_ROOM-_-3-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251003_ORBIT_ROOM-_-3-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The exterior of Esther’s Orbit Room, a historic former jazz club on Seventh Street in Oakland, on Oct. 2, 2025. Once a hub for music legends such as BB King and Etta James, the building is being renovated by the East Bay Permanent Real Estate Cooperative. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And Mabry was at the center of it. She told AAMLO she first opened Esther’s Breakfast Club, located across the street from the Orbit Room’s current location, in 1950.\u003c/p>\n\u003cp>By then, Schwarzer said West Oakland was well on its way to becoming a majority Black neighborhood, in part because racial covenants prevented Black residents from owning property in other parts of the city, and the \u003ca href=\"https://dsl.richmond.edu/panorama/redlining/map/CA/Oakland/context#loc=11/37.8099/-122.2263\">federal government’s policy\u003c/a> of redlining made buying and improving properties in most Black neighborhoods very difficult. So, working-class residents mingled with their wealthier neighbors in West Oakland, providing a diverse economic base that allowed businesses to thrive.\u003c/p>\n\u003cp>And they all frequented Esther’s. “The pimps and prostitutes, they’d be up all night, and they would be ready to come in and eat and drink,” Mabry told AAMLO, adding that Sunday dinners were a different crowd, “All the attorneys and the judges and doctors, they all came.”\u003c/p>\n\u003cp>“All walks of life,” she said.\u003c/p>\n\u003cp>She and her husband, William Mabry, bought the building in 1959 and expanded it to include cocktails and live music in 1961, according to the \u003ca href=\"https://www.eastbaytimes.com/2010/06/01/esther-mabry-owner-of-esthers-orbit-room-in-west-oakland-dies-at-90/\">East Bay Times.\u003c/a> In 1963, the couple opened Esther’s Orbit Room, at 1753 Seventh St., with a dance hall that could \u003ca href=\"https://cdnc.ucr.edu/?a=d&d=OT19850729.1.7&srpos=8&e=-------en--20--1-byDA-txt-txIN-%22Esther+Mabry%22-------\">host some 300 guests\u003c/a> and Harry “Daddy O” Gibson and Jay Payton headlining, according to a \u003ca href=\"https://cdnc.ucr.edu/?a=d&d=OT19631105.1.40&srpos=6&e=-------en--20--1--txt-txIN-%22Esther%27s+Orbit+Room%22-------\">notice\u003c/a> in the Oakland Tribune.\u003c/p>\n\u003cfigure id=\"attachment_12058753\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12058753 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251003_ORBIT_ROOM-_-17-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251003_ORBIT_ROOM-_-17-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251003_ORBIT_ROOM-_-17-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251003_ORBIT_ROOM-_-17-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">An old safe was discovered inside Esther’s Orbit Room with plans to be made into a liquor cabinet during renovations in Oakland on Oct. 2, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Patrons came as much for the performers as for her down-home Southern food.\u003c/p>\n\u003cp>“Chitlins,” Mabry told AAMLO. “That was my thing that kept me in business was chitlins. Nobody had chitlins but me; I started everybody having chitlins.”\u003c/p>\n\u003cp>But Mabry did more than serve food. She often connected her patrons in need of work with available jobs or served as the conduit between employers and their employees.\u003c/p>\n\u003cp>She told AAMLO, “They’d come there to look for somebody, and I’d find them for them. I knew just about where to get in contact with somebody, where they’d be playing cards or something, and go and tell them that they’ve got a job for them this evening. That would work out real good.”\u003c/p>\n\u003cp>And Esther’s served a civic function, hosting meetings for the East Bay Democratic Club, \u003ca href=\"https://cdnc.ucr.edu/?a=d&d=OT19660603.1.5&srpos=4&e=-------en--20--1--txt-txIN-%22Esther%27s+Orbit+Room%22-------\">political forums\u003c/a> and city council \u003ca href=\"https://cdnc.ucr.edu/?a=d&d=OT19670405.1.31&srpos=5&e=-------en--20--1--txt-txIN-%22Esther%27s+Orbit+Room%22-------\">candidates’ fundraisers\u003c/a>; it was even visited \u003ca href=\"https://cdnc.ucr.edu/?a=d&d=OT19701208.1.19&srpos=1&e=-------en--20--1--txt-txIN-%22Esther%27s+Breakfast+Club%22-------\">by Ethel Kennedy\u003c/a>, the widow of Robert F. Kennedy, on a tour of West Oakland in 1970.\u003c/p>\n\u003ch2>‘We always come back’\u003c/h2>\n\u003cp>By then, massive developments were well underway, Schwarzer said. And a series of governmental policy decisions had, over several decades, hastened the hollowing out of Seventh Street.\u003c/p>\n\u003cp>The first was the construction, during the mid-1950s, of the Cypress Street Viaduct, a freeway that tore through the middle of West Oakland, along with the city’s Chinatown, Japantown and Mexican communities, \u003ca href=\"https://archive.ph/20250111235351/https:/www.fhwa.dot.gov/environment/environmental_justice/case_studies/case5.cfm\">uprooting some 600 families\u003c/a> and dozens of businesses.\u003c/p>\n\u003cp>“So you have a freeway that takes its route through the primary minority communities in Oakland, and disrupts them dramatically,” he said. “That’s the first big change. This was called the Cypress Viaduct, and it went right through the middle of West Oakland — a two-level concrete structure.”\u003c/p>\n\u003cfigure id=\"attachment_12062064\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12062064\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/Esthers-Orbit-Room-2.jpg\" alt=\"\" width=\"2000\" height=\"1416\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/Esthers-Orbit-Room-2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/Esthers-Orbit-Room-2-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/Esthers-Orbit-Room-2-1536x1087.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">In an Oakland Post story from Sept. 25, 1963, the newspaper reports on the status of the new Oakland Main Post Office development: “Weeds are over nine feet high. This is an insult to the Negro community. In the background are businesses on Seventh St. This area was sold to the federal government for an alleged Post Office. Over 500 homes were destroyed, to create this blight.” \u003ccite>(Courtesy of the African American Museum & Library at Oakland)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then came what politicians called “slum clearing” for the \u003ca href=\"https://www.oaklandca.gov/files/assets/city/v/1/city-administrator/documents/archive-oakland-redevelopment-agency/redevelopment-plan.pdf\">Acorn Urban Renewal Plan\u003c/a>, Schwarzer said, and a new Oakland Main Post Office and distribution center. Demolition for that began in 1960, when a contractor used a \u003ca href=\"https://cdnc.ucr.edu/?a=d&d=OT19600816.1.13&srpos=4&e=------196-en--20-OT-1--txt-txIN-%22sherman+tank%22-------\">surplus WWII Sherman Tank\u003c/a> to plow through hundreds of homes. “The elapsed time from the first resounding snap to the last dusty roar was 10 minutes,” an Oakland Tribune article from the time stated. But despite the expediency of demolition, construction was slow, and the new post office didn’t open \u003ca href=\"https://cdnc.ucr.edu/?a=d&d=OT19691017.1.17&srpos=1&e=01-01-1969-01-12-1970--en--20-OT-1--txt-txIN-Oakland+post+office-------\">until 1969\u003c/a>.\u003c/p>\n\u003cp>Esther’s Orbit Room, which was located next to the new post office, eventually had to move to make way for its parking lot, and Mabry relocated across the street to its current location.[aside postID=news_11823182 hero='https://cdn.kqed.org/wp-content/uploads/sites/10/2020/06/002_KQED_Oakland_GeorgeFloydProtest_06032020-672x372.jpg']But the real death knell for Seventh Street, said Ronnie Stewart, executive director of the Bay Area Blues Society, was the construction of the West Oakland BART Station, with its elevated tracks running down the middle of the street. To accommodate them, businesses along one side of the street were leveled. For those that remained, there were years of construction to contend with, Stewart said.\u003c/p>\n\u003cp>“During the process … they parked bulldozers and tractors and earth-moving equipment. They put that in front of all the different clubs. Cars couldn’t park. You couldn’t even hardly go down Seventh Street,” Stewart said. “And so consequently, that destroyed it.”\u003c/p>\n\u003cp>Esther’s and a neighboring restaurant, The Barn, which also served Southern cuisine, continued operating in large part because they received patrons from the post office, Stewart said. But many of the other businesses “just died on the vine.” And while Esther’s still had live music, the rumble of passing BART trains would interrupt it, shaking the walls, rattling glassware and setting lights to flicker, he said.\u003c/p>\n\u003cp>Residents displaced by the redevelopment or who left voluntarily moved to North Oakland and West Berkeley, to the Oakland hills if they could afford it, and to East Oakland, Schwarzer said.\u003c/p>\n\u003cfigure id=\"attachment_12058749\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12058749\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251003_ORBIT_ROOM-_-2-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251003_ORBIT_ROOM-_-2-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251003_ORBIT_ROOM-_-2-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251003_ORBIT_ROOM-_-2-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Noni Session, executive director of the East Bay Permanent Real Estate Cooperative, stands in front of the Barn next to Esther’s Orbit Room on Seventh Street in Oakland, part of plans to revive the corridor with a community café, meeting, and maker space, on Oct. 2, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“So there’s a segmentation which hadn’t been present as much before 1960 because the community was so jammed into West Oakland,” he said. “Dispersal of the Black community into segmental class groups starts to weaken the older commercial districts.”\u003c/p>\n\u003cp>But Fabio said that mass displacement had a deeper, psychological impact on the people who lived it.\u003c/p>\n\u003cp>“So all of those homes they took out also removed all of those voices, right?” she said. “The impact is devastating.”\u003c/p>\n\u003cp>By 1985, when the Oakland Tribune \u003ca href=\"https://cdnc.ucr.edu/?a=d&d=OT19850729.1.7&srpos=8&e=-------en--20--1-byDA-txt-txIN-%22Esther+Mabry%22-------\">profiled Esther and her Orbit Room\u003c/a>, West Oakland featured “mostly boarded-up shops, liquor stores, vacant lots and a fried chicken outlet.” Still, Mabry remained, serving as “a sort of neighborhood update service, a place where people who used to live around Seventh Street go to look up old pals who are still there.”\u003c/p>\n\u003cp>Customer Betty Johnson commented to the Tribune, “It seems like, regardless of where we go, we always come back to Esther’s.”\u003c/p>\n\u003ch2>‘Back like it was before’\u003c/h2>\n\u003cp>Mabry’s business persisted past the turn of the century as the “Grand Lady of Seventh Street” and the last remaining testament to the storied strip. When Mabry’s health began to fail, her nephew took over operations. Mabry \u003ca href=\"https://www.eastbaytimes.com/2010/06/01/esther-mabry-owner-of-esthers-orbit-room-in-west-oakland-dies-at-90/\">died in 2010\u003c/a>, and the bar closed the following year.\u003c/p>\n\u003cp>To Stewart, it’s vital the building — and Mabry’s legacy — is preserved, and he’s grateful EBPREC listened to his and other community members’ feedback, urging them to keep that history alive.\u003c/p>\n\u003cfigure id=\"attachment_12058748\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12058748 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251003_ORBIT_ROOM-_-1-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251003_ORBIT_ROOM-_-1-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251003_ORBIT_ROOM-_-1-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251003_ORBIT_ROOM-_-1-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The Barn, next to Esther’s Orbit Room on Seventh Street in West Oakland, is part of efforts to revive the corridor as a community café, meeting and maker space in Oakland on Oct. 2, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“[Seventh Street] was the center of Black life. And we think it’s very important to have that remembrance,” Stewart said, “And we feel that the community should have some sort of an iconic symbol of where it used to be.”\u003c/p>\n\u003cp>The building next to Esther’s, which held The Barn and where EBPREC now has its headquarters, will house a new museum to recount the story of Seventh Street, complete with oral histories, archival photos and other memorabilia, Session said. Some of Esther’s original furniture, gambling gear, signage, a clock — even one of Mabry’s hats — will be housed inside the Orbit Room.\u003c/p>\n\u003cp>EBPREC hopes the roughly $9 million restoration will become the cornerstone of a plan to revitalize the entire 13 blocks of the historic stretch in an initiative called \u003ca href=\"https://www.7thstreetoakland.com/\">7th Street Thrives\u003c/a>, which includes a coalition of other area residents, business and property owners and city officials.\u003c/p>\n\u003cp>The vision is to have “every commercial space leased up, the lights turned back on, the trash picked up regularly, and foot traffic and business at increasing levels,” Session said.\u003c/p>\n\u003cfigure id=\"attachment_12058751\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12058751\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251003_ORBIT_ROOM-_-5-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251003_ORBIT_ROOM-_-5-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251003_ORBIT_ROOM-_-5-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251003_ORBIT_ROOM-_-5-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Noni Session points to the spot where the first brick was removed from Esther’s Orbit Room during renovations on Seventh Street in Oakland on Oct. 2, 2025. The cooperative is seeking skilled masons to help preserve its original stone facade. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But more than that, she said it’s also about retaining community control of the corridor’s future and ensuring existing and returning residents can benefit from it.\u003c/p>\n\u003cp>“People don’t want something new,” Session said. “They want to recover what was lost.”\u003c/p>\n\u003cp>To her dying day, that’s what Mabry wanted, too, Stewart said. In her 2002 conversation with AAMLO, Mabry told her interviewers it was her “greatest ambition” to see Seventh Street, and all of West Oakland, revitalized.\u003c/p>\n\u003cp>After all, she told the Tribune in 1985, “This is where people’s roots are. We just try to take care of ‘em.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When Noni Session first imagined reopening Esther’s Orbit Room, she saw a gleaming new building that would serve as an anchor for a reinvigorated cultural and commercial corridor.\u003c/p>\n\u003cp>For Session, who was born and raised in \u003ca href=\"https://www.kqed.org/news/tag/west-oakland\">West Oakland\u003c/a> and is the executive director of the \u003ca href=\"https://ebprec.org/\">East Bay Permanent Real Estate Cooperative\u003c/a>, or EBPREC, renovating Esther’s was a chance at a fresh start.\u003c/p>\n\u003cp>The former blues club had been a staple of the historic Seventh Street district, called the “Harlem of the West,” serving as the center of Black life in West Oakland for roughly half a century. While a series of policy decisions decimated the strip, with dozens of businesses and thousands of homes razed, Esther’s had remained the lone holdout, keeping its \u003ca href=\"https://www.kqed.org/arts/13809453/evolutionary-blues-resurrects-west-oaklands-musical-legacy\">doors open until 2011\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The building had sat vacant for around a decade by the time it came to EBPREC’s attention. But the decision to reopen it as a performance venue, bar and eatery seemed self-evident, Session said. She and her team at the developer co-op purchased the building and planned contemporary additions, including a wellness studio, working and living spaces for artists and an outdoor patio.\u003c/p>\n\u003cp>They released renderings of the proposed upgrades: new balconies, murals, and a bold new sign replacing the rough faux-stone facade in favor of a fresh, modern aesthetic.\u003c/p>\n\u003cp>“We thought we were doing West Oakland a favor by getting rid of the sniff of the trauma and the lack of resources, right? You know, new facade, new bar, new vibe, new day,” Session said.\u003c/p>\n\u003cfigure id=\"attachment_12062061\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12062061 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/Esthers-Orbit-Room-1.jpg\" alt=\"\" width=\"2000\" height=\"1514\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/Esthers-Orbit-Room-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/Esthers-Orbit-Room-1-160x121.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/Esthers-Orbit-Room-1-1536x1163.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Esther’s Orbit Room photographed in 1987. \u003ccite>(Courtesy of the African American Museum & Library at Oakland)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And then came the outcry.\u003c/p>\n\u003cp>“Some of the old men in the neighborhood — on public record — were like, ‘That’s cultural genocide,’” Session recalled.\u003c/p>\n\u003cp>She and her colleagues at EBPREC were already having some misgivings about the proposed design and had resolved to change it. But the criticism still threw Session for a loop.\u003c/p>\n\u003cp>“And then after some time sitting with it, looking at it, we realized you couldn’t really see West Oakland in that rendering,” she said. “It was only really then that I understood what they meant by cultural genocide, that they could not see their story on the surfaces of these buildings that we were calling assets, but not treating like assets.”\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Now, instead of a ground-breaking ceremony, planned for later this year, there will be a rock-breaking ceremony. With help from professional masons, volunteers will painstakingly remove the building’s original fabricated stones from the exterior so \u003ca href=\"https://www.instagram.com/p/DLa2PyfBllH/?utm_source=ig_web_copy_link&igsh=MzRlODBiNWFlZA==\">they can be reconstructed\u003c/a> when the restoration is complete.\u003c/p>\n\u003cp>For some of West Oakland’s older generation, who experienced Seventh Street in its heyday, the decision to restore — rather than remodel — is one step toward repairing what was lost.\u003c/p>\n\u003cp>“It is sort of a love letter to a legacy,” said Cheryl Fabio, whose documentary film, \u003cem>Evolutionary Blues: West Oakland’s Music Legacy\u003c/em>, recounts the area’s musical history. “It is some repair — not enough repair — but some repair for what was stolen in places like Seventh Street.”\u003c/p>\n\u003cp>Inside, Session said EBPREC plans to repurpose the building’s original wooden walls, painted yellow and orange and long hidden beneath a layer of sheetrock, to use as a decorative backing for the bar and stage. The bar’s antique safe, rolltop desks and other furniture will feature prominently. “So that everywhere you turn, you see the authentic textures of this historical space.”\u003c/p>\n\u003cp>In a true act of serendipity, Session said, they uncovered Esther’s original stage lights, hidden behind an artificial wall and perfectly positioned where a new stage had already been planned. Standing inside the blackened room with only a headlamp to see by, Session pointed to the conical spotlight covers, their bulbs removed, nestled into the ceiling.\u003c/p>\n\u003cp>“We were just dumbfounded,” she said. “What we’ve realized we need to do is, in some ways — this is a made-up word — but that we need to museumize the whole space.”\u003c/p>\n\u003ch2>‘The place to be’\u003c/h2>\n\u003cp>At its height in the middle of the 20th Century, Seventh Street was not only a prime entertainment district drawing national acts — such as B.B. King, Al Green, Aretha Franklin, Big Mama Thornton and other blues greats — but the locus of civic and community life. There were banks and lawyers’ offices, barber shops and grocery stores, a record store and recording studio, pharmacies, clothing stores, a bowling alley, theaters, and plenty of eateries.\u003c/p>\n\u003cp>Esther Mabry, the Orbit Room’s namesake, founder and operator for more than a half-century, first came to Seventh Street during WWII, drawn from her hometown of Palestine, Texas, by the promise of good pay, she said in a \u003ca href=\"https://californiarevealed.org/do/97295ae0-188e-425d-96ca-264375d3b633\">2002 interview\u003c/a> with the African American Museum and Library at Oakland, or AAMLO.\u003c/p>\n\u003cfigure id=\"attachment_12062065\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12062065\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/Esthers-Orbit-Room-3.jpg\" alt=\"\" width=\"2000\" height=\"2471\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/Esthers-Orbit-Room-3.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/Esthers-Orbit-Room-3-160x198.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/Esthers-Orbit-Room-3-1243x1536.jpg 1243w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/Esthers-Orbit-Room-3-1658x2048.jpg 1658w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Two men stand shaking hands on the sidewalk underneath Elsie’s neon sign on Seventh Street, circa the 1950s. \u003ccite>(Courtesy of the African American Museum & Library at Oakland)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Everybody was making good money, and they were talking about how much money they were making,” she said.\u003c/p>\n\u003cp>By that time, West Oakland, the terminus of the transcontinental railroad, had already become a magnet for working-class people of all ethnicities, said Mitchell Schwarzer, an architectural historian and author of the book, \u003ca href=\"https://www.ucpress.edu/books/hella-town/paper\">\u003cem>Hella Town: Oakland’s History of Development and Disruption\u003c/em>\u003c/a>. But, he said, it had a particular pull for Black transplants as the West Coast headquarters of the \u003ca href=\"https://oaklandlibrary.org/content/oaklands-pullman-porters/\">Brotherhood of Sleeping Car Porters\u003c/a>, a large and influential union representing Black workers.\u003c/p>\n\u003cp>“The Porters became the genesis of a larger black community. They were kind of the foundation because they had decent-paying jobs at the time,” Schwarzer said. “And for Black people, this was probably one of the best jobs you could get until the war industries.”\u003c/p>\n\u003cp>Mabry herself worked for the Southern Pacific Railroad when she first arrived in West Oakland, she told AAMLO.\u003c/p>\n\u003cp>“I sold tickets and made sandwiches — they had boxed lunches — and just did it all,” she said. “It was the place to be.”\u003c/p>\n\u003cfigure id=\"attachment_12058750\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12058750\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251003_ORBIT_ROOM-_-3-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251003_ORBIT_ROOM-_-3-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251003_ORBIT_ROOM-_-3-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251003_ORBIT_ROOM-_-3-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The exterior of Esther’s Orbit Room, a historic former jazz club on Seventh Street in Oakland, on Oct. 2, 2025. Once a hub for music legends such as BB King and Etta James, the building is being renovated by the East Bay Permanent Real Estate Cooperative. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And Mabry was at the center of it. She told AAMLO she first opened Esther’s Breakfast Club, located across the street from the Orbit Room’s current location, in 1950.\u003c/p>\n\u003cp>By then, Schwarzer said West Oakland was well on its way to becoming a majority Black neighborhood, in part because racial covenants prevented Black residents from owning property in other parts of the city, and the \u003ca href=\"https://dsl.richmond.edu/panorama/redlining/map/CA/Oakland/context#loc=11/37.8099/-122.2263\">federal government’s policy\u003c/a> of redlining made buying and improving properties in most Black neighborhoods very difficult. So, working-class residents mingled with their wealthier neighbors in West Oakland, providing a diverse economic base that allowed businesses to thrive.\u003c/p>\n\u003cp>And they all frequented Esther’s. “The pimps and prostitutes, they’d be up all night, and they would be ready to come in and eat and drink,” Mabry told AAMLO, adding that Sunday dinners were a different crowd, “All the attorneys and the judges and doctors, they all came.”\u003c/p>\n\u003cp>“All walks of life,” she said.\u003c/p>\n\u003cp>She and her husband, William Mabry, bought the building in 1959 and expanded it to include cocktails and live music in 1961, according to the \u003ca href=\"https://www.eastbaytimes.com/2010/06/01/esther-mabry-owner-of-esthers-orbit-room-in-west-oakland-dies-at-90/\">East Bay Times.\u003c/a> In 1963, the couple opened Esther’s Orbit Room, at 1753 Seventh St., with a dance hall that could \u003ca href=\"https://cdnc.ucr.edu/?a=d&d=OT19850729.1.7&srpos=8&e=-------en--20--1-byDA-txt-txIN-%22Esther+Mabry%22-------\">host some 300 guests\u003c/a> and Harry “Daddy O” Gibson and Jay Payton headlining, according to a \u003ca href=\"https://cdnc.ucr.edu/?a=d&d=OT19631105.1.40&srpos=6&e=-------en--20--1--txt-txIN-%22Esther%27s+Orbit+Room%22-------\">notice\u003c/a> in the Oakland Tribune.\u003c/p>\n\u003cfigure id=\"attachment_12058753\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12058753 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251003_ORBIT_ROOM-_-17-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251003_ORBIT_ROOM-_-17-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251003_ORBIT_ROOM-_-17-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251003_ORBIT_ROOM-_-17-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">An old safe was discovered inside Esther’s Orbit Room with plans to be made into a liquor cabinet during renovations in Oakland on Oct. 2, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Patrons came as much for the performers as for her down-home Southern food.\u003c/p>\n\u003cp>“Chitlins,” Mabry told AAMLO. “That was my thing that kept me in business was chitlins. Nobody had chitlins but me; I started everybody having chitlins.”\u003c/p>\n\u003cp>But Mabry did more than serve food. She often connected her patrons in need of work with available jobs or served as the conduit between employers and their employees.\u003c/p>\n\u003cp>She told AAMLO, “They’d come there to look for somebody, and I’d find them for them. I knew just about where to get in contact with somebody, where they’d be playing cards or something, and go and tell them that they’ve got a job for them this evening. That would work out real good.”\u003c/p>\n\u003cp>And Esther’s served a civic function, hosting meetings for the East Bay Democratic Club, \u003ca href=\"https://cdnc.ucr.edu/?a=d&d=OT19660603.1.5&srpos=4&e=-------en--20--1--txt-txIN-%22Esther%27s+Orbit+Room%22-------\">political forums\u003c/a> and city council \u003ca href=\"https://cdnc.ucr.edu/?a=d&d=OT19670405.1.31&srpos=5&e=-------en--20--1--txt-txIN-%22Esther%27s+Orbit+Room%22-------\">candidates’ fundraisers\u003c/a>; it was even visited \u003ca href=\"https://cdnc.ucr.edu/?a=d&d=OT19701208.1.19&srpos=1&e=-------en--20--1--txt-txIN-%22Esther%27s+Breakfast+Club%22-------\">by Ethel Kennedy\u003c/a>, the widow of Robert F. Kennedy, on a tour of West Oakland in 1970.\u003c/p>\n\u003ch2>‘We always come back’\u003c/h2>\n\u003cp>By then, massive developments were well underway, Schwarzer said. And a series of governmental policy decisions had, over several decades, hastened the hollowing out of Seventh Street.\u003c/p>\n\u003cp>The first was the construction, during the mid-1950s, of the Cypress Street Viaduct, a freeway that tore through the middle of West Oakland, along with the city’s Chinatown, Japantown and Mexican communities, \u003ca href=\"https://archive.ph/20250111235351/https:/www.fhwa.dot.gov/environment/environmental_justice/case_studies/case5.cfm\">uprooting some 600 families\u003c/a> and dozens of businesses.\u003c/p>\n\u003cp>“So you have a freeway that takes its route through the primary minority communities in Oakland, and disrupts them dramatically,” he said. “That’s the first big change. This was called the Cypress Viaduct, and it went right through the middle of West Oakland — a two-level concrete structure.”\u003c/p>\n\u003cfigure id=\"attachment_12062064\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12062064\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/Esthers-Orbit-Room-2.jpg\" alt=\"\" width=\"2000\" height=\"1416\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/Esthers-Orbit-Room-2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/Esthers-Orbit-Room-2-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/Esthers-Orbit-Room-2-1536x1087.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">In an Oakland Post story from Sept. 25, 1963, the newspaper reports on the status of the new Oakland Main Post Office development: “Weeds are over nine feet high. This is an insult to the Negro community. In the background are businesses on Seventh St. This area was sold to the federal government for an alleged Post Office. Over 500 homes were destroyed, to create this blight.” \u003ccite>(Courtesy of the African American Museum & Library at Oakland)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then came what politicians called “slum clearing” for the \u003ca href=\"https://www.oaklandca.gov/files/assets/city/v/1/city-administrator/documents/archive-oakland-redevelopment-agency/redevelopment-plan.pdf\">Acorn Urban Renewal Plan\u003c/a>, Schwarzer said, and a new Oakland Main Post Office and distribution center. Demolition for that began in 1960, when a contractor used a \u003ca href=\"https://cdnc.ucr.edu/?a=d&d=OT19600816.1.13&srpos=4&e=------196-en--20-OT-1--txt-txIN-%22sherman+tank%22-------\">surplus WWII Sherman Tank\u003c/a> to plow through hundreds of homes. “The elapsed time from the first resounding snap to the last dusty roar was 10 minutes,” an Oakland Tribune article from the time stated. But despite the expediency of demolition, construction was slow, and the new post office didn’t open \u003ca href=\"https://cdnc.ucr.edu/?a=d&d=OT19691017.1.17&srpos=1&e=01-01-1969-01-12-1970--en--20-OT-1--txt-txIN-Oakland+post+office-------\">until 1969\u003c/a>.\u003c/p>\n\u003cp>Esther’s Orbit Room, which was located next to the new post office, eventually had to move to make way for its parking lot, and Mabry relocated across the street to its current location.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But the real death knell for Seventh Street, said Ronnie Stewart, executive director of the Bay Area Blues Society, was the construction of the West Oakland BART Station, with its elevated tracks running down the middle of the street. To accommodate them, businesses along one side of the street were leveled. For those that remained, there were years of construction to contend with, Stewart said.\u003c/p>\n\u003cp>“During the process … they parked bulldozers and tractors and earth-moving equipment. They put that in front of all the different clubs. Cars couldn’t park. You couldn’t even hardly go down Seventh Street,” Stewart said. “And so consequently, that destroyed it.”\u003c/p>\n\u003cp>Esther’s and a neighboring restaurant, The Barn, which also served Southern cuisine, continued operating in large part because they received patrons from the post office, Stewart said. But many of the other businesses “just died on the vine.” And while Esther’s still had live music, the rumble of passing BART trains would interrupt it, shaking the walls, rattling glassware and setting lights to flicker, he said.\u003c/p>\n\u003cp>Residents displaced by the redevelopment or who left voluntarily moved to North Oakland and West Berkeley, to the Oakland hills if they could afford it, and to East Oakland, Schwarzer said.\u003c/p>\n\u003cfigure id=\"attachment_12058749\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12058749\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251003_ORBIT_ROOM-_-2-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251003_ORBIT_ROOM-_-2-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251003_ORBIT_ROOM-_-2-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251003_ORBIT_ROOM-_-2-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Noni Session, executive director of the East Bay Permanent Real Estate Cooperative, stands in front of the Barn next to Esther’s Orbit Room on Seventh Street in Oakland, part of plans to revive the corridor with a community café, meeting, and maker space, on Oct. 2, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“So there’s a segmentation which hadn’t been present as much before 1960 because the community was so jammed into West Oakland,” he said. “Dispersal of the Black community into segmental class groups starts to weaken the older commercial districts.”\u003c/p>\n\u003cp>But Fabio said that mass displacement had a deeper, psychological impact on the people who lived it.\u003c/p>\n\u003cp>“So all of those homes they took out also removed all of those voices, right?” she said. “The impact is devastating.”\u003c/p>\n\u003cp>By 1985, when the Oakland Tribune \u003ca href=\"https://cdnc.ucr.edu/?a=d&d=OT19850729.1.7&srpos=8&e=-------en--20--1-byDA-txt-txIN-%22Esther+Mabry%22-------\">profiled Esther and her Orbit Room\u003c/a>, West Oakland featured “mostly boarded-up shops, liquor stores, vacant lots and a fried chicken outlet.” Still, Mabry remained, serving as “a sort of neighborhood update service, a place where people who used to live around Seventh Street go to look up old pals who are still there.”\u003c/p>\n\u003cp>Customer Betty Johnson commented to the Tribune, “It seems like, regardless of where we go, we always come back to Esther’s.”\u003c/p>\n\u003ch2>‘Back like it was before’\u003c/h2>\n\u003cp>Mabry’s business persisted past the turn of the century as the “Grand Lady of Seventh Street” and the last remaining testament to the storied strip. When Mabry’s health began to fail, her nephew took over operations. Mabry \u003ca href=\"https://www.eastbaytimes.com/2010/06/01/esther-mabry-owner-of-esthers-orbit-room-in-west-oakland-dies-at-90/\">died in 2010\u003c/a>, and the bar closed the following year.\u003c/p>\n\u003cp>To Stewart, it’s vital the building — and Mabry’s legacy — is preserved, and he’s grateful EBPREC listened to his and other community members’ feedback, urging them to keep that history alive.\u003c/p>\n\u003cfigure id=\"attachment_12058748\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12058748 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251003_ORBIT_ROOM-_-1-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251003_ORBIT_ROOM-_-1-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251003_ORBIT_ROOM-_-1-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251003_ORBIT_ROOM-_-1-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The Barn, next to Esther’s Orbit Room on Seventh Street in West Oakland, is part of efforts to revive the corridor as a community café, meeting and maker space in Oakland on Oct. 2, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“[Seventh Street] was the center of Black life. And we think it’s very important to have that remembrance,” Stewart said, “And we feel that the community should have some sort of an iconic symbol of where it used to be.”\u003c/p>\n\u003cp>The building next to Esther’s, which held The Barn and where EBPREC now has its headquarters, will house a new museum to recount the story of Seventh Street, complete with oral histories, archival photos and other memorabilia, Session said. Some of Esther’s original furniture, gambling gear, signage, a clock — even one of Mabry’s hats — will be housed inside the Orbit Room.\u003c/p>\n\u003cp>EBPREC hopes the roughly $9 million restoration will become the cornerstone of a plan to revitalize the entire 13 blocks of the historic stretch in an initiative called \u003ca href=\"https://www.7thstreetoakland.com/\">7th Street Thrives\u003c/a>, which includes a coalition of other area residents, business and property owners and city officials.\u003c/p>\n\u003cp>The vision is to have “every commercial space leased up, the lights turned back on, the trash picked up regularly, and foot traffic and business at increasing levels,” Session said.\u003c/p>\n\u003cfigure id=\"attachment_12058751\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12058751\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251003_ORBIT_ROOM-_-5-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251003_ORBIT_ROOM-_-5-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251003_ORBIT_ROOM-_-5-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251003_ORBIT_ROOM-_-5-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Noni Session points to the spot where the first brick was removed from Esther’s Orbit Room during renovations on Seventh Street in Oakland on Oct. 2, 2025. The cooperative is seeking skilled masons to help preserve its original stone facade. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But more than that, she said it’s also about retaining community control of the corridor’s future and ensuring existing and returning residents can benefit from it.\u003c/p>\n\u003cp>“People don’t want something new,” Session said. “They want to recover what was lost.”\u003c/p>\n\u003cp>To her dying day, that’s what Mabry wanted, too, Stewart said. In her 2002 conversation with AAMLO, Mabry told her interviewers it was her “greatest ambition” to see Seventh Street, and all of West Oakland, revitalized.\u003c/p>\n\u003cp>After all, she told the Tribune in 1985, “This is where people’s roots are. We just try to take care of ‘em.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cem>\u003ca href=\"https://www.kqed.org/sundaymusicdrop\">The Sunday Music Drop is a weekly radio series hosted by the KQED weekend news team.\u003c/a> In each segment, we feature a song from a local musician or band with an upcoming show and hear about what inspires their music.\u003c/em>\u003c/p>\n\u003cp>Dion Thünder and Lucious Sandstone are the stage monikers for the two San Francisco artists that make up the dance music duo Top Secret Robot Alliance.\u003c/p>\n\u003cp>Formed in 2006 as the two members were at school in Michigan, at a time when the idea of a “secret robot alliance” sounded more playful and less evil than it does today, the band “united for the sole purpose of creating dance songs about dancing.” That mission is still alive and present in their music and performances.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>With “Dance Friends 2 the End,” their latest single from a two-volume EP they released earlier this month, the duo want listeners to do the most rebellious thing against the unease and tension that has taken over the world: “to dance on the dance floor with your dance pals.”\u003c/p>\n\u003cp>“What would \u003ca href=\"https://www.youtube.com/watch?v=CcNo07Xp8aQ\">Robyn\u003c/a> do?” is a guiding question for Top Secret Robot Alliance’s writing sessions. “That solves a lot of the disagreements we might have based on our personal tastes … that’s the one common place we can always meet,” Sandstone says.\u003c/p>\n\u003cp>Even though they identify as “full-time dancers,” the duo work regular full-time jobs in addition to pursuing their passion for dance music. “We wrote this record while our kids are sleeping, between 10 p.m. and midnight,” Thünder highlights, “while we’re exhausted, and it’s impossible to afford anything.” Still, living in San Francisco has fueled their creativity more than anything.\u003c/p>\n\u003cp>Top Secret Robot Alliance will co-headline a show at \u003ca href=\"https://www.bottomofthehill.com/20251101.html\">Bottom of the Hill\u003c/a> in San Francisco alongside Vancouver pop-rock band Fionn on Saturday, Nov. 1. Their latest EPs, \u003ca href=\"https://topsecretrobotalliance.bandcamp.com/album/gods-gift-iv-dance-book-i\">\u003ci>God’s Gift IV Dance — Books I & II\u003c/i>\u003c/a> are available to buy and stream on Bandcamp.\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003ca href=\"https://www.kqed.org/sundaymusicdrop\">The Sunday Music Drop is a weekly radio series hosted by the KQED weekend news team.\u003c/a> In each segment, we feature a song from a local musician or band with an upcoming show and hear about what inspires their music.\u003c/em>\u003c/p>\n\u003cp>Dion Thünder and Lucious Sandstone are the stage monikers for the two San Francisco artists that make up the dance music duo Top Secret Robot Alliance.\u003c/p>\n\u003cp>Formed in 2006 as the two members were at school in Michigan, at a time when the idea of a “secret robot alliance” sounded more playful and less evil than it does today, the band “united for the sole purpose of creating dance songs about dancing.” That mission is still alive and present in their music and performances.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>With “Dance Friends 2 the End,” their latest single from a two-volume EP they released earlier this month, the duo want listeners to do the most rebellious thing against the unease and tension that has taken over the world: “to dance on the dance floor with your dance pals.”\u003c/p>\n\u003cp>“What would \u003ca href=\"https://www.youtube.com/watch?v=CcNo07Xp8aQ\">Robyn\u003c/a> do?” is a guiding question for Top Secret Robot Alliance’s writing sessions. “That solves a lot of the disagreements we might have based on our personal tastes … that’s the one common place we can always meet,” Sandstone says.\u003c/p>\n\u003cp>Even though they identify as “full-time dancers,” the duo work regular full-time jobs in addition to pursuing their passion for dance music. “We wrote this record while our kids are sleeping, between 10 p.m. and midnight,” Thünder highlights, “while we’re exhausted, and it’s impossible to afford anything.” Still, living in San Francisco has fueled their creativity more than anything.\u003c/p>\n\u003cp>Top Secret Robot Alliance will co-headline a show at \u003ca href=\"https://www.bottomofthehill.com/20251101.html\">Bottom of the Hill\u003c/a> in San Francisco alongside Vancouver pop-rock band Fionn on Saturday, Nov. 1. Their latest EPs, \u003ca href=\"https://topsecretrobotalliance.bandcamp.com/album/gods-gift-iv-dance-book-i\">\u003ci>God’s Gift IV Dance — Books I & II\u003c/i>\u003c/a> are available to buy and stream on Bandcamp.\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"slug": "celebraciones-del-dia-de-muertos-2025-en-el-area-de-la-bahia",
"title": "Celebraciones del Día de Muertos 2025 en el Área de la Bahía",
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"headTitle": "Celebraciones del Día de Muertos 2025 en el Área de la Bahía | KQED",
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"content": "\u003cp>\u003ca href=\"https://www.kqed.org/news/12060264/2025-dia-de-los-muertos-events-around-the-bay-area\">Read in English\u003c/a>\u003c/p>\n\u003cp>Los pétalos brillantes del \u003ca href=\"https://www.npr.org/2021/10/30/1050726374/why-marigolds-or-cempasuchil-are-the-iconic-flower-of-dia-de-los-muertos\">cempasúchil\u003c/a>. Las velas que iluminan las fotografías de los seres queridos que ya no están. Y la calidez que se siente al comer deliciosos tamales.\u003c/p>\n\u003cp>En los hogares y en los espacios comunitarios, el Área de la Bahía se prepara para el Día de los Muertos, que se celebra tradicionalmente el 1 y el 2 de noviembre, y que este año cae en fin de semana.\u003c/p>\n\u003cp>Durante siglos, las familias de México y otros países latinoamericanos se han reunido en esta época para honrar a los difuntos, desde las pasadas generaciones hasta los que han fallecido recientemente.\u003c/p>\n\u003cp>Se colocan fotografías en las ofrendas: coloridos altares hechos a mano que albergan la comida o bebida favorita de un ser querido fallecido, junto con calaveras de azúcar minuciosamente detalladas y una gran cantidad de cempasúchil.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Ir directamente a los detalles de los eventos principales:\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>\u003ca href=\"#Oakland\">\u003cstrong>Festival del Día de los Muertos de Oakland\u003c/strong>\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"#Francisco\">\u003cstrong>Festival de Altares del Día de los Muertos en San Francisco\u003c/strong>\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"#ceremonial\">\u003cstrong>Procesión ceremonial del Día de los Muertos en San Francisco\u003c/strong>\u003c/a>\u003c/li>\n\u003c/ul>\n\u003cp>Gracias a la gran diáspora latina del Área de la Bahía, hay múltiples celebraciones comunitarias del Día de los Muertos en toda la región que son aptas para toda la familia y abiertas a todos, incluso a aquellos que están descubriendo esta tradición.\u003c/p>\n\u003cp>Tenga en cuenta que algunos eventos son celebraciones muy animadas con espacios para bailar y socializar, mientras que otros son ocasiones más solemnes que incluyen bendiciones tradicionales y expresiones orales.\u003c/p>\n\u003ch3>\u003ca id=\"Oakland\">\u003c/a>Festival del Día de los Muertos de Oakland\u003c/h3>\n\u003cp>\u003cstrong>Domingo, 2 de noviembre\u003c/strong>\u003c/p>\n\u003cp>En términos de asistencia y magnitud de la producción, esta celebración es, con diferencia, la más grande del Día de los Muertos en el Área de la Bahía. El domingo 2 de noviembre, nueve manzanas a lo largo de International Boulevard, en el distrito Fruitvale de la ciudad, se llenarán de ofrendas gigantes creadas por artistas locales, \u003ca href=\"https://www.kqed.org/news/12001199/the-provocative-and-flamboyant-origins-of-lowriding\">lowriders\u003c/a>, escenarios con música en vivo y decenas de puestos de grupos comunitarios y agencias gubernamentales locales.\u003c/p>\n\u003cp>El \u003ca href=\"https://diaoakland.com/\">Festival del Día de los Muertos de Oakland\u003c/a>, que celebra este año su trigésimo aniversario, es conocido por ser un espacio donde se puede bailar durante horas al son de bandas en vivo y reunirse con amigos que no se han visto en años, además de ser un evento que defiende firmemente los espacios públicos para las familias inmigrantes. El tema de este año es “Aquí Estamos y No Nos Vamos”\u003c/p>\n\u003cfigure id=\"attachment_12060282\" class=\"wp-caption aligncenter\" style=\"max-width: 1995px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12060282\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/Dia_photo.jpg\" alt=\"\" width=\"1995\" height=\"998\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/Dia_photo.jpg 1995w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/Dia_photo-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/Dia_photo-1536x768.jpg 1536w\" sizes=\"auto, (max-width: 1995px) 100vw, 1995px\">\u003cfigcaption class=\"wp-caption-text\">A map of Oakland’s Día de los Muertos Festival on International Blvd.\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca id=\"Francisco\">\u003c/a>Festival de Altares del Día de los Muertos en San Francisco\u003c/h3>\n\u003cp>\u003cstrong>Domingo, 2 de noviembre\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_12061162\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12061162\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/altar.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/altar.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/altar-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/altar-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Un altar creado por el Young Women’s Freedom Center (Centro para la Libertad de las Mujeres Jóvenes) en memoria de las personas fallecidas a causa de la brutalidad policial y la violencia de género, así como de las personas que pasaron por el programa, en una celebración del Día de los Muertos en el distrito Mission de San Francisco el 2 de noviembre de 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Las instalaciones se llevarán a cabo el 2 de noviembre, de 8:00 a. m. a 9:00 p. m. Se puede ingresar al parque por cualquier entrada y recorrer el espacio para observar las ofrendas.\u003c/p>\n\u003cp>Al mediodía habrá una ceremonia y, a las 5:00 p. m., comenzarán las presentaciones musicales y las lecturas de poesía.\u003c/p>\n\u003cp>\u003ca href=\"https://www.dayofthedeadsf.org/festival-of-altars/#honorsection\">También se puede registrar para hacer su propia ofrenda\u003c/a>.\u003c/p>\n\u003ch3>\u003ca id=\"ceremonial\">\u003c/a>Procesión ceremonial del Día de los Muertos en San Francisco\u003c/h3>\n\u003cp>\u003cstrong>Domingo, 2 de noviembre\u003c/strong>\u003c/p>\n\u003cp>A solo una cuadra de las ofrendas en el parque Potrero del Sol, músicos, artistas y conservadores de la cultura desfilarán por la calle 24, con miles de familias reunidas en la acera para verlos.\u003c/p>\n\u003cp>Organizado por el grupo comunitario El Colectivo del Rescate Cultural de La Misión, las ofrendas, el cempasúchil y los vendedores de artesanías llenan casi todas las cuadras en este evento.\u003c/p>\n\u003cfigure id=\"attachment_12061163\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12061163\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/girls-as-catrinas.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/girls-as-catrinas.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/girls-as-catrinas-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/girls-as-catrinas-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Mariah Cativo (izquierda) y Lucy Molina posan para una foto mientras caminan por la calle 24 en el distrito Mission de San Francisco durante la celebración del Día de los Muertos el 2 de noviembre de 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Y aunque algunas partes de la procesión son más tranquilas y solemnes, también habrá bandas en vivo, grupos de baile y lowriders, con presentaciones en todo el distrito de la Misión a lo largo de la noche.\u003c/p>\n\u003cp>La procesión comienza a las 7 p. m. del 2 de noviembre en la esquina de la calle 22 con Bryant Street, y luego se trasladará a la calle 24, donde los participantes permanecerán hasta llegar a la calle de la Misión. En cada intersección principal, los bailarines aztecas que encabezan la procesión se detendrán para realizar una danza ceremonial.\u003c/p>\n\u003ch3>Día de los Muertos en el Children’s Discovery Museum de San José\u003c/h3>\n\u003cp>\u003cstrong>Sábado, 1 de noviembre\u003c/strong>\u003c/p>\n\u003cp>El 1 de noviembre, el Children’s Discovery Museum, situado en el centro de San José, acogerá un evento familiar con motivo del Día de los Muertos, de 9:30 a. m. a 4:30 p. m.\u003c/p>\n\u003cp>Habrá cuentacuentos para niños, pintura con arena, actuaciones de marionetas gigantes con forma de esqueleto y una procesión que interactuará con las instalaciones del museo, incluido su esqueleto de mamut.\u003c/p>\n\u003cp>\u003ca href=\"https://14945.blackbaudhosting.com/14945/page.aspx?pid=196&tab=2&txobjid=196b56dd-e8aa-4160-bb0e-66cae3f3ed91\">Las entradas cuestan 18 dólares tanto para adultos como para niños\u003c/a>.\u003c/p>\n\u003ch3>Celebración del Día de Muertos al aire libre en el Distrito Tenderloin, San Francisco\u003c/h3>\n\u003cp>\u003cstrong>Sábado, 1 de noviembre\u003c/strong>\u003c/p>\n\u003cp>El distrito Tenderloin de San Francisco celebrará \u003ca href=\"https://www.eventbrite.com/e/tenderloin-street-fair-presents-dia-de-muertos-celebration-2025-tickets-1712459505479?aff=oddtdtcreator\">una feria al aire libre gratuita para toda la familia el 1 de noviembre, de 2 p. m. a 8 p. m.\u003c/a>, con motivo del Día de los Muertos, en la que habrá ofrendas, pintura facial, danza azteca, música en vivo y vendedores locales.\u003c/p>\n\u003cp>También habrá una “zona infantil” con lucha libre, castillos inflables y un zoológico interactivo.\u003c/p>\n\u003cp>Las entradas son gratuitas, pero \u003ca href=\"https://www.eventbrite.com/e/tenderloin-street-fair-presents-dia-de-muertos-celebration-2025-tickets-1712459505479?aff=oddtdtcreator\">puede registrarse para recibir una impresión sobre serigrafía gratuita de Evolved SF\u003c/a> cuando llegue (hasta agotar existencias).\u003c/p>\n\u003ch3>Baile de los Muertos en el Centro Cultural de la Misión para las Artes Latinas, San Francisco\u003c/h3>\n\u003cp>\u003cstrong>Viernes, 31 de octubre\u003c/strong>\u003c/p>\n\u003cp>Conocido por su exposición anual de ofrendas que se celebra durante la mayor parte de noviembre, el MCCLA (por sus siglas en inglés) \u003ca href=\"https://www.instagram.com/p/DP3z59YgdAD/\">también organiza una fiesta de baile en el distrito Mission\u003c/a> de San Francisco, a una cuadra de la estación de BART de la calle 24th en la Misión, el 31 de octubre de 7 p. m. a 11 p. m.\u003c/p>\n\u003cp>Este “festival del perreo” también incluirá diferentes concursos, entre ellos los de mejor disfraz y mejor catrina. La entrada cuesta 5 dólares para los mayores de 16 años.\u003c/p>\n\u003cp>\u003ca href=\"https://static1.squarespace.com/static/63cb3cd8c3f4173105d0917a/t/68f179aa46ba0625b4da642f/1760655789718/DOTD+-+All+Events+-+IG.jpg\">MCCLA organizará otros programas relacionados con el Día de los Muerto\u003c/a>s a lo largo de octubre y noviembre.\u003c/p>\n\u003ch3>Celebración del Día de los Muertos en Redwood City\u003c/h3>\n\u003cp>\u003cstrong>Domingo, 2 de noviembre\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"https://casacirculocultural.org/es/adult-initiative/dia-de-los-muertos/\">La mayor celebración del Día de los Muertos en el condado de San Mateo\u003c/a> tendrá lugar este año en la plaza del juzgado de Redwood City el 2 de noviembre, de 15:00 a 20:30.\u003c/p>\n\u003cp>La plaza se llenará de bailes y actuaciones musicales, con un énfasis especial este año en las tradiciones del estado mexicano de Puebla. Los voluntarios del puesto de pintar caras pintarán diseños tradicionales de calaveras a los asistentes.\u003c/p>\n\u003cp>El Museo de Historia del Condado de San Mateo también estará abierto en ese y las familias podrán entrar para decorar calaveras de azúcar y realizar sus propias decoraciones de papel picado.\u003c/p>\n\u003ch3>Celebración del Día de los Muertos en Healdsburg\u003c/h3>\n\u003cp>\u003cstrong>Domingo, 26 de octubre\u003c/strong>\u003c/p>\n\u003cp>El grupo comunitario Corazón Healdsburg organizará una \u003ca href=\"https://www.facebook.com/events/974029314866436\">celebración del Día de los Muertos\u003c/a> en la plaza principal de la ciudad el 26 de octubre, desde el mediodía hasta las 6 p. m.\u003c/p>\n\u003cp>Las familias pueden traer fotos de sus seres queridos para añadirlas a la ofrenda comunitaria. Habrá mucha música en vivo, espectáculos de danza y pintarán caras durante todo el día.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Este artículo fue traducido por la periodista, \u003ca href=\"https://twitter.com/soytapatia\">María Peña\u003c/a>\u003c/em>\u003c/p>\n\n",
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"title": "Celebraciones del Día de Muertos 2025 en el Área de la Bahía | KQED",
"description": "Read in English Los pétalos brillantes del cempasúchil. Las velas que iluminan las fotografías de los seres queridos que ya no están. Y la calidez que se siente al comer deliciosos tamales. En los hogares y en los espacios comunitarios, el Área de la Bahía se prepara para el Día de los Muertos, que se",
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"headline": "Celebraciones del Día de Muertos 2025 en el Área de la Bahía",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.kqed.org/news/12060264/2025-dia-de-los-muertos-events-around-the-bay-area\">Read in English\u003c/a>\u003c/p>\n\u003cp>Los pétalos brillantes del \u003ca href=\"https://www.npr.org/2021/10/30/1050726374/why-marigolds-or-cempasuchil-are-the-iconic-flower-of-dia-de-los-muertos\">cempasúchil\u003c/a>. Las velas que iluminan las fotografías de los seres queridos que ya no están. Y la calidez que se siente al comer deliciosos tamales.\u003c/p>\n\u003cp>En los hogares y en los espacios comunitarios, el Área de la Bahía se prepara para el Día de los Muertos, que se celebra tradicionalmente el 1 y el 2 de noviembre, y que este año cae en fin de semana.\u003c/p>\n\u003cp>Durante siglos, las familias de México y otros países latinoamericanos se han reunido en esta época para honrar a los difuntos, desde las pasadas generaciones hasta los que han fallecido recientemente.\u003c/p>\n\u003cp>Se colocan fotografías en las ofrendas: coloridos altares hechos a mano que albergan la comida o bebida favorita de un ser querido fallecido, junto con calaveras de azúcar minuciosamente detalladas y una gran cantidad de cempasúchil.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Ir directamente a los detalles de los eventos principales:\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>\u003ca href=\"#Oakland\">\u003cstrong>Festival del Día de los Muertos de Oakland\u003c/strong>\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"#Francisco\">\u003cstrong>Festival de Altares del Día de los Muertos en San Francisco\u003c/strong>\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"#ceremonial\">\u003cstrong>Procesión ceremonial del Día de los Muertos en San Francisco\u003c/strong>\u003c/a>\u003c/li>\n\u003c/ul>\n\u003cp>Gracias a la gran diáspora latina del Área de la Bahía, hay múltiples celebraciones comunitarias del Día de los Muertos en toda la región que son aptas para toda la familia y abiertas a todos, incluso a aquellos que están descubriendo esta tradición.\u003c/p>\n\u003cp>Tenga en cuenta que algunos eventos son celebraciones muy animadas con espacios para bailar y socializar, mientras que otros son ocasiones más solemnes que incluyen bendiciones tradicionales y expresiones orales.\u003c/p>\n\u003ch3>\u003ca id=\"Oakland\">\u003c/a>Festival del Día de los Muertos de Oakland\u003c/h3>\n\u003cp>\u003cstrong>Domingo, 2 de noviembre\u003c/strong>\u003c/p>\n\u003cp>En términos de asistencia y magnitud de la producción, esta celebración es, con diferencia, la más grande del Día de los Muertos en el Área de la Bahía. El domingo 2 de noviembre, nueve manzanas a lo largo de International Boulevard, en el distrito Fruitvale de la ciudad, se llenarán de ofrendas gigantes creadas por artistas locales, \u003ca href=\"https://www.kqed.org/news/12001199/the-provocative-and-flamboyant-origins-of-lowriding\">lowriders\u003c/a>, escenarios con música en vivo y decenas de puestos de grupos comunitarios y agencias gubernamentales locales.\u003c/p>\n\u003cp>El \u003ca href=\"https://diaoakland.com/\">Festival del Día de los Muertos de Oakland\u003c/a>, que celebra este año su trigésimo aniversario, es conocido por ser un espacio donde se puede bailar durante horas al son de bandas en vivo y reunirse con amigos que no se han visto en años, además de ser un evento que defiende firmemente los espacios públicos para las familias inmigrantes. El tema de este año es “Aquí Estamos y No Nos Vamos”\u003c/p>\n\u003cfigure id=\"attachment_12060282\" class=\"wp-caption aligncenter\" style=\"max-width: 1995px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12060282\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/Dia_photo.jpg\" alt=\"\" width=\"1995\" height=\"998\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/Dia_photo.jpg 1995w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/Dia_photo-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/Dia_photo-1536x768.jpg 1536w\" sizes=\"auto, (max-width: 1995px) 100vw, 1995px\">\u003cfigcaption class=\"wp-caption-text\">A map of Oakland’s Día de los Muertos Festival on International Blvd.\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca id=\"Francisco\">\u003c/a>Festival de Altares del Día de los Muertos en San Francisco\u003c/h3>\n\u003cp>\u003cstrong>Domingo, 2 de noviembre\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_12061162\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12061162\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/altar.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/altar.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/altar-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/altar-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Un altar creado por el Young Women’s Freedom Center (Centro para la Libertad de las Mujeres Jóvenes) en memoria de las personas fallecidas a causa de la brutalidad policial y la violencia de género, así como de las personas que pasaron por el programa, en una celebración del Día de los Muertos en el distrito Mission de San Francisco el 2 de noviembre de 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Las instalaciones se llevarán a cabo el 2 de noviembre, de 8:00 a. m. a 9:00 p. m. Se puede ingresar al parque por cualquier entrada y recorrer el espacio para observar las ofrendas.\u003c/p>\n\u003cp>Al mediodía habrá una ceremonia y, a las 5:00 p. m., comenzarán las presentaciones musicales y las lecturas de poesía.\u003c/p>\n\u003cp>\u003ca href=\"https://www.dayofthedeadsf.org/festival-of-altars/#honorsection\">También se puede registrar para hacer su propia ofrenda\u003c/a>.\u003c/p>\n\u003ch3>\u003ca id=\"ceremonial\">\u003c/a>Procesión ceremonial del Día de los Muertos en San Francisco\u003c/h3>\n\u003cp>\u003cstrong>Domingo, 2 de noviembre\u003c/strong>\u003c/p>\n\u003cp>A solo una cuadra de las ofrendas en el parque Potrero del Sol, músicos, artistas y conservadores de la cultura desfilarán por la calle 24, con miles de familias reunidas en la acera para verlos.\u003c/p>\n\u003cp>Organizado por el grupo comunitario El Colectivo del Rescate Cultural de La Misión, las ofrendas, el cempasúchil y los vendedores de artesanías llenan casi todas las cuadras en este evento.\u003c/p>\n\u003cfigure id=\"attachment_12061163\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12061163\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/girls-as-catrinas.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/girls-as-catrinas.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/girls-as-catrinas-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/girls-as-catrinas-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Mariah Cativo (izquierda) y Lucy Molina posan para una foto mientras caminan por la calle 24 en el distrito Mission de San Francisco durante la celebración del Día de los Muertos el 2 de noviembre de 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Y aunque algunas partes de la procesión son más tranquilas y solemnes, también habrá bandas en vivo, grupos de baile y lowriders, con presentaciones en todo el distrito de la Misión a lo largo de la noche.\u003c/p>\n\u003cp>La procesión comienza a las 7 p. m. del 2 de noviembre en la esquina de la calle 22 con Bryant Street, y luego se trasladará a la calle 24, donde los participantes permanecerán hasta llegar a la calle de la Misión. En cada intersección principal, los bailarines aztecas que encabezan la procesión se detendrán para realizar una danza ceremonial.\u003c/p>\n\u003ch3>Día de los Muertos en el Children’s Discovery Museum de San José\u003c/h3>\n\u003cp>\u003cstrong>Sábado, 1 de noviembre\u003c/strong>\u003c/p>\n\u003cp>El 1 de noviembre, el Children’s Discovery Museum, situado en el centro de San José, acogerá un evento familiar con motivo del Día de los Muertos, de 9:30 a. m. a 4:30 p. m.\u003c/p>\n\u003cp>Habrá cuentacuentos para niños, pintura con arena, actuaciones de marionetas gigantes con forma de esqueleto y una procesión que interactuará con las instalaciones del museo, incluido su esqueleto de mamut.\u003c/p>\n\u003cp>\u003ca href=\"https://14945.blackbaudhosting.com/14945/page.aspx?pid=196&tab=2&txobjid=196b56dd-e8aa-4160-bb0e-66cae3f3ed91\">Las entradas cuestan 18 dólares tanto para adultos como para niños\u003c/a>.\u003c/p>\n\u003ch3>Celebración del Día de Muertos al aire libre en el Distrito Tenderloin, San Francisco\u003c/h3>\n\u003cp>\u003cstrong>Sábado, 1 de noviembre\u003c/strong>\u003c/p>\n\u003cp>El distrito Tenderloin de San Francisco celebrará \u003ca href=\"https://www.eventbrite.com/e/tenderloin-street-fair-presents-dia-de-muertos-celebration-2025-tickets-1712459505479?aff=oddtdtcreator\">una feria al aire libre gratuita para toda la familia el 1 de noviembre, de 2 p. m. a 8 p. m.\u003c/a>, con motivo del Día de los Muertos, en la que habrá ofrendas, pintura facial, danza azteca, música en vivo y vendedores locales.\u003c/p>\n\u003cp>También habrá una “zona infantil” con lucha libre, castillos inflables y un zoológico interactivo.\u003c/p>\n\u003cp>Las entradas son gratuitas, pero \u003ca href=\"https://www.eventbrite.com/e/tenderloin-street-fair-presents-dia-de-muertos-celebration-2025-tickets-1712459505479?aff=oddtdtcreator\">puede registrarse para recibir una impresión sobre serigrafía gratuita de Evolved SF\u003c/a> cuando llegue (hasta agotar existencias).\u003c/p>\n\u003ch3>Baile de los Muertos en el Centro Cultural de la Misión para las Artes Latinas, San Francisco\u003c/h3>\n\u003cp>\u003cstrong>Viernes, 31 de octubre\u003c/strong>\u003c/p>\n\u003cp>Conocido por su exposición anual de ofrendas que se celebra durante la mayor parte de noviembre, el MCCLA (por sus siglas en inglés) \u003ca href=\"https://www.instagram.com/p/DP3z59YgdAD/\">también organiza una fiesta de baile en el distrito Mission\u003c/a> de San Francisco, a una cuadra de la estación de BART de la calle 24th en la Misión, el 31 de octubre de 7 p. m. a 11 p. m.\u003c/p>\n\u003cp>Este “festival del perreo” también incluirá diferentes concursos, entre ellos los de mejor disfraz y mejor catrina. La entrada cuesta 5 dólares para los mayores de 16 años.\u003c/p>\n\u003cp>\u003ca href=\"https://static1.squarespace.com/static/63cb3cd8c3f4173105d0917a/t/68f179aa46ba0625b4da642f/1760655789718/DOTD+-+All+Events+-+IG.jpg\">MCCLA organizará otros programas relacionados con el Día de los Muerto\u003c/a>s a lo largo de octubre y noviembre.\u003c/p>\n\u003ch3>Celebración del Día de los Muertos en Redwood City\u003c/h3>\n\u003cp>\u003cstrong>Domingo, 2 de noviembre\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"https://casacirculocultural.org/es/adult-initiative/dia-de-los-muertos/\">La mayor celebración del Día de los Muertos en el condado de San Mateo\u003c/a> tendrá lugar este año en la plaza del juzgado de Redwood City el 2 de noviembre, de 15:00 a 20:30.\u003c/p>\n\u003cp>La plaza se llenará de bailes y actuaciones musicales, con un énfasis especial este año en las tradiciones del estado mexicano de Puebla. Los voluntarios del puesto de pintar caras pintarán diseños tradicionales de calaveras a los asistentes.\u003c/p>\n\u003cp>El Museo de Historia del Condado de San Mateo también estará abierto en ese y las familias podrán entrar para decorar calaveras de azúcar y realizar sus propias decoraciones de papel picado.\u003c/p>\n\u003ch3>Celebración del Día de los Muertos en Healdsburg\u003c/h3>\n\u003cp>\u003cstrong>Domingo, 26 de octubre\u003c/strong>\u003c/p>\n\u003cp>El grupo comunitario Corazón Healdsburg organizará una \u003ca href=\"https://www.facebook.com/events/974029314866436\">celebración del Día de los Muertos\u003c/a> en la plaza principal de la ciudad el 26 de octubre, desde el mediodía hasta las 6 p. m.\u003c/p>\n\u003cp>Las familias pueden traer fotos de sus seres queridos para añadirlas a la ofrenda comunitaria. Habrá mucha música en vivo, espectáculos de danza y pintarán caras durante todo el día.\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>Este artículo fue traducido por la periodista, \u003ca href=\"https://twitter.com/soytapatia\">María Peña\u003c/a>\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"mindshift": {
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"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.",
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"possible": {
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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},
"radiolab": {
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"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
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