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"content": "\u003cp>Next weekend, \u003ca href=\"https://www.kqed.org/news/tag/carnaval\">Carnaval San Francisco\u003c/a> will take over the streets of San Francisco’s Mission District, bringing a flurry of colors, feathers and sequins — moving to the beats of samba, regional mexicano and reggaeton.\u003c/p>\n\u003cp>This community celebration, now in its 48th year, will fall on Memorial Day weekend: Saturday, May 23 and Sunday, May 24.\u003c/p>\n\u003cp>With \u003ca href=\"https://carnavalsanfrancisco.org/festival/\">a two-day festival\u003c/a> featuring headliner Mi Banda el Mexicano de Casimiro on Saturday and the \u003ca href=\"https://carnavalsanfrancisco.org/parade/\">Grand Parade\u003c/a> on Sunday, made up of over 70 different contingents, Carnaval is one of San Francisco’s most emblematic celebrations – and it’s all completely free.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Jump straight to:\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>\u003cstrong>\u003ca href=\"#WhattimedoesCarnavalSanFranciscostartonMemorialDayweekend\">What time does Carnaval San Francisco start on Memorial Day weekend?\u003c/a>\u003c/strong>\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"#MAPWherecanIwatchtheCarnavalSanFranciscoparade\">MAP: Where can I watch the Carnaval San Francisco parade?\u003c/a>\u003c/strong>\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"#WherecanIfindparkingatCarnavalSanFrancisco\">Where can I find parking at Carnaval San Francisco?\u003c/a>\u003c/strong>\u003c/li>\n\u003c/ul>\n\u003cp>Never seen the Grand Parade before? Picture Mission Street not full of the usual commuter traffic and Muni buses — but instead brimming with beautifully decorated floats accompanied by thousands of dancers and musicians representing the many cultures of Latin America and the Caribbean.\u003c/p>\n\u003cfigure id=\"attachment_11987833\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11987833\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-08-BL.jpg\" alt=\"A woman dressed in a colorful costume walks during a parade.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-08-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-08-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-08-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-08-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-08-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-08-BL-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A performer in the Carnaval Grand Parade in San Francisco’s Mission District on May 26, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And that’s just Sunday. With over 3,000 dancers, musicians and artists sharing their work throughout the entire weekend, it’s hard to run out of things to do at Carnaval.\u003c/p>\n\u003cp>Keep reading for all the information you need to make the most of Carnaval 2026.\u003c/p>\n\u003ch2>Carnaval 2026: Bringing soccer back to the people\u003c/h2>\n\u003cp>Back in 1979, Carnaval was first held in SF’s Precita Park as part of an effort by artists and organizers to pay homage to the historic Carnaval celebrations across Latin America and the Caribbean — while giving a platform for local musicians and dancers to come together and pass on their traditions.\u003c/p>\n\u003cp>Decades later, this community celebration has now grown to include over twenty blocks of the Mission District, making it one of the biggest celebrations of its kind on the West Coast.\u003c/p>\n\u003cfigure id=\"attachment_12044957\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12044957\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/06/SJEarthquakesGetty.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/06/SJEarthquakesGetty.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/06/SJEarthquakesGetty-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/06/SJEarthquakesGetty-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Nick Lima #24 of San José Earthquakes with the ball tackled by Jayden Reid #99 of St. Louis City SC during the second half of an MLS game between St. Louis City SC and San José Earthquakes at Energizer Park on May 31, 2025, in St Louis, Missouri. \u003ccite>(Bill Barrett/ISI Photos/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This year, Carnaval is embracing soccer as its theme, Executive Director Rodrigo Durán said. “Soccer is deeply ingrained in Latin American culture,” he said. “This is the people we serve. These are the people that we dance with. The World Cup coming to the Bay really meant a lot for the many people involved in Carnaval.”\u003c/p>\n\u003cp>As the Bay Area prepares to host \u003ca href=\"https://www.kqed.org/news/12083101/world-cup-2026-bay-area-games-where-is-fifa-world-cup-santa-clara-levis-stadium-tickets-fan-zone-watch-parties\">six World Cup games this summer\u003c/a>, Durán said that community events like Carnaval help keep soccer accessible to all. “You don’t need an expensive ticket to come to Carnaval, because it’s 100% free,” he said, adding that event organizers have partnered up with \u003ca href=\"https://www.kqed.org/news/12076503/mens-world-cup-soccer-san-francisco-bay-area-tickets-matches-santa-clara-levis-stadium\">multiple local teams\u003c/a> like the San José Earthquakes, the Oakland Roots and San Francisco City FC to host scrimmages, giveaways and soccer workshops all weekend long.\u003c/p>\n\u003cp>“Come play soccer, come see wonderful players, or reconnect yourself with that wonderful game of soccer,” he said. “We want this to be the cup of the people — la copa del pueblo.”\u003c/p>\n\u003ch2>\u003ca id=\"WhattimedoesCarnavalSanFranciscostartonMemorialDayweekend\">\u003c/a>Where is Carnaval San Francisco, and what’s the schedule?\u003c/h2>\n\u003cp>Carnaval has two main components: the festival and Sunday’s Grand Parade.\u003c/p>\n\u003cp>The festival happens on Saturday and Sunday: on both days, gates open at 11 a.m. and festivities wrap up by 6 p.m.\u003c/p>\n\u003cp>The festival will take place on Harrison Street, from 16th to 24th streets. Hundreds of artisans and food vendors fill up this space, with DJs playing at block parties on 18th, 20th and 21st streets.\u003c/p>\n\u003cfigure id=\"attachment_11987825\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11987825\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-18-BL.jpg\" alt=\"A man and woman dance in white clothing and colorful dresses in the street.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-18-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-18-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-18-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-18-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-18-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-18-BL-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Members of the group Mi Tierra Colombiana practice before the Carnaval Grand Parade in San Francisco’s Mission District on May 26, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Four stages will be set up throughout Harrison Street, featuring performances from headliner Mi Banda el Mexicano de Casimiro.\u003c/p>\n\u003cp>Led by Casimiro Zamudio, the band — whose signature sound blends traditional banda percussion with elements of electronic music — became a household name for many families in the 90s with hits like “Feliz Feliz,” “La Bota” and “No Bailes de Caballito.” If you’ve been to a quinceañera and this band comes on, that means you \u003cem>got \u003c/em>to go dance.\u003c/p>\n\u003cp>Dozens of other live performances are scheduled throughout the neighborhood on both days, including a tribute to the \u003ca href=\"https://www.kqed.org/arts/13986089/dr-loco-dies-jose-cuellar-chicano-scholar-bandleader-san-francisco\">late Bay Area rock icon and academic\u003c/a> José Cuéllar, also known as Dr. Loco: saxophonist, accordionist and vocalist of Dr. Loco’s Rockin’ Jalapeño Band. [aside postID=news_12083056 hero='https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/260511-KONDAMAY-03-BL-KQED.jpg']\u003ca href=\"https://carnavalsanfrancisco.org/festival/\">Check out the full Carnaval 2026 festival lineup.\u003c/a>\u003c/p>\n\u003cp>Perhaps the biggest addition to this year’s festival is the area entirely dedicated to soccer on Harrison between 19th and 20th streets, where \u003ca href=\"https://www.kqed.org/news/12076503/mens-world-cup-soccer-san-francisco-bay-area-tickets-matches-santa-clara-levis-stadium\">local soccer teams\u003c/a> will host scrimmages and giveaways throughout the weekend.\u003c/p>\n\u003cp>You can even \u003ca href=\"https://carnavalsanfrancisco.org/festival/#soccer-arena\">sign up ahead of time\u003c/a> to request a specific time for you and your team to play (3 vs. 3 and 5 vs. 5 options available). La Plaza del Fútbol — as organizers have named the space — is open to all genders and skill levels.\u003c/p>\n\u003cp>Throughout the weekend, \u003ca href=\"https://carnavalsanfrancisco.org/festival/\">there will also be four different block parties\u003c/a>, each with live DJs hitting different musical styles.\u003c/p>\n\u003cp>One of those block parties — Colores de Amor on 19th and Harrison streets — will feature drag performances on Sunday by \u003ca href=\"https://www.instagram.com/per_sia/\">Per Sia\u003c/a> and \u003ca href=\"https://www.instagram.com/sweetestmilksf/\">Dulce De Leche\u003c/a>, along with DJ sets from \u003ca href=\"https://www.instagram.com/djbrownangel/\">Brown Angel\u003c/a>.\u003c/p>\n\u003ch2>Where are the entrances to the Carnaval 2026 festival?\u003c/h2>\n\u003cp>You’ll find free entrances (and exits) on every street from 16th to 24th streets, located at:\u003c/p>\n\u003cul>\n\u003cli>16th and Harrison\u003c/li>\n\u003cli>17th and Alabama\u003c/li>\n\u003cli>18th and Folsom\u003c/li>\n\u003cli>19th and Alabama\u003c/li>\n\u003cli>20th and Folsom\u003c/li>\n\u003cli>20th and Alabama\u003c/li>\n\u003cli>21st and Folsom\u003c/li>\n\u003cli>23rd and Folsom\u003c/li>\n\u003cli>23rd and Alabama\u003c/li>\n\u003cli>24th and Harrison.\u003c/li>\n\u003c/ul>\n\u003cp>Visitors cannot bring \u003ca href=\"https://carnavalsanfrancisco.org/faq/#festival\">outside alcoholic beverages\u003c/a> into the festival space. Alcohol is available for purchase inside the festival, but only in specific enclosed areas requiring visitors to provide identification for access. Pets are also not permitted in the festival space — except if they’re service animals.\u003c/p>\n\u003cp>Remember: Security staff will be present at each entrance to check bags.\u003c/p>\n\u003ch2>\u003ca id=\"MAPWherecanIwatchtheCarnavalSanFranciscoparade\">\u003c/a>When does the Carnaval Grand Parade start, and what’s the parade route?\u003c/h2>\n\u003cp>The Carnaval Grand Parade takes place on Sunday, May 24. Starting at 10 a.m., the parade features dozens of floats and hundreds of dancers moving through the entire neighborhood.\u003c/p>\n\u003cp>The Carnaval parade route begins at Bryant and 24th streets, then moves through 24th Street, takes a right on Mission Street, stays on that street all the way to 15th Street, and wraps up at Harrison and 15th streets.\u003c/p>\n\u003cp>The dancers and musicians in the parade perform nonstop the whole way, which is a particularly impressive feat when you consider that some of the most elaborate outfits can weigh up to 40 pounds.\u003c/p>\n\u003cp>On top of that, there’s a contest element — as contingents, or comparsas, compete against each other in multiple categories. Judges will rank each comparsa on originality, choreography and production design.\u003c/p>\n\u003cfigure id=\"attachment_12083325\" class=\"wp-caption alignleft\" style=\"max-width: 547px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12083325\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/ParadeMap_2026-1.jpg\" alt=\"\" width=\"547\" height=\"708\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/ParadeMap_2026-1.jpg 547w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/ParadeMap_2026-1-160x207.jpg 160w\" sizes=\"auto, (max-width: 547px) 100vw, 547px\">\u003cfigcaption class=\"wp-caption-text\">The Grand Parade and festival map for the 2026 Carnaval San Francisco \u003ccite>(Carnaval San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If you can’t make it exactly at the 10 a.m. parade start time, don’t worry: The parade goes on for hours before finally wrapping up at 2 p.m.\u003c/p>\n\u003cp>Can’t make it in person at all? \u003ca href=\"https://www.cbsnews.com/sanfrancisco/live/\">KPIX will be streaming the parade online.\u003c/a>\u003c/p>\n\u003ch2>A few things to look for at the Carnaval San Francisco Grand Parade\u003c/h2>\n\u003cp>What makes San Francisco’s Carnaval distinct from other Carnaval celebrations you may see in Rio de Janeiro or Barranquilla is that it embraces the multiple traditions and histories of California’s Latin American and Caribbean diasporas.\u003c/p>\n\u003cp>One tradition that San Francisco has carried on for decades: a few weeks before Carnaval weekend, community members choose a new King and Queen of Carnaval. This year, Chris Cornelious and Mizzy Ng will wear the crowns during the parade.\u003c/p>\n\u003cp>The 70 different comparsas that make up this year’s parade include long-standing groups like Flavaz of D’ Caribbean, who’ve won multiple Carnaval categories year after year with high-energy choreography representing the music of Trinidad and Tobago.\u003c/p>\n\u003cp>You can also spot the contingent from Tradición Peruana Cultural Center — one of the oldest community-led groups nationwide dedicated to Peruvian culture, which, despite losing its San Francisco home \u003ca href=\"https://missionlocal.org/2026/01/sf-peruvian-cultural-center-closes/\">earlier this year\u003c/a>, has continued to work with public schools to promote Peruvian dance and drumming.\u003c/p>\n\u003cp>And while you dance to the music, make sure to pay close attention to what the performers are wearing. Many comparsas start preparing their parade outfits months in advance.\u003c/p>\n\u003cp>For example, dancers with Carnaval Putleco, a comparsa which \u003ca href=\"https://www.kqed.org/news/11987673/carnaval-putleco-brings-a-oaxacan-festival-of-colors-to-the-bay-area\">honors the culture of Putla, Oaxaca,\u003c/a> by dancing with tiliches: incredibly colorful and elaborate full-body suits made by hand with hundreds of ribbons, shells and beads.\u003c/p>\n\u003cp>\u003ca href=\"https://carnavalsanfrancisco.org/parade/\">See the full list of participating comparsas at Carnaval San Francisco.\u003c/a>\u003c/p>\n\u003ch2>If the Carnaval San Francisco Grand Parade is free, can I just show up?\u003c/h2>\n\u003cp>Yes: no tickets or registration are required for the Carnaval parade — or the festival itself. Just show up anywhere along the parade route and enjoy the show.\u003c/p>\n\u003cp>However, if you want a unique vantage point, \u003ca href=\"https://givebutter.com/2026GrandstandSeating\">you can purchase special Grand Stand seats for the Carnaval parade\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11987820\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11987820\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-22-BL.jpg\" alt=\"Several people dressed in decorative attire walk down the street during a parade.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-22-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-22-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-22-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-22-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-22-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-22-BL-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Amando Herrera Villa wears a tiliche handmade by his wife, Martha Cortés Rojas, with beads and ayoyote shells, during the Carnaval Grand Parade in San Francisco’s Mission District. Herrera Villa is part of the Oaxacan group Carnaval Putleco. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>These elevated bleachers, located along Mission Street between 22nd and 23rd streets, are next to the judges’ tables, where each contingent will pause and perform for an extra amount of time. Keep in mind that Grand Stand tickets will only be available before the parade and will not be sold day of.\u003c/p>\n\u003cp>There are no truly bad spots from which to watch the parade, but if you post up at 24th Street, you’ll be much closer to the performers — albeit a bit more cramped with foot traffic. If you’re on Mission Street, you’ll definitely have a lot more room to move around.\u003c/p>\n\u003ch2>Who’s headlining this year at Carnaval San Francisco?\u003c/h2>\n\u003cp>Over 50 musicians, DJs and dance groups will perform throughout the weekend across the four stages and five block parties located throughout Harrison Street.\u003c/p>\n\u003cp>This year’s headliner is Mi Banda el Mexicano de Casimiro — and getting the band to Carnaval is a dream come true, Durán said. When organizers made the announcement last month on social media, hundreds of fans quickly posted how excited they were about the group coming to the festival.\u003c/p>\n\u003cp>Even if you don’t know the group’s music just yet, stick around and watch how fans dance. Many of Banda El Mexicano’s greatest hits helped the \u003ca href=\"https://www.dazeddigital.com/art-photography/article/61840/1/quebradita-los-angeles-subculture-vaquero-cowboy-dance-james-pearson-howes-photo\">quebradita genre\u003c/a> of Mexican regional music reach wider audiences on both sides of the border throughout the 90s. And since dancing quebradita is an acrobatic feat, expect high kicks, flips in the air and backbends from within the crowd — all in one song.\u003c/p>\n\u003cp>\u003ca href=\"https://carnavalsanfrancisco.org/festival/\">See the full list of performers at Carnaval San Francisco.\u003c/a>\u003c/p>\n\u003ch2>Is Carnaval San Francisco family-friendly?\u003c/h2>\n\u003cp>Yes: For many Bay Area families, going to Carnaval with the kids, teens and grandparents is a decades-long tradition.\u003c/p>\n\u003cp>In the festival space, organizers have set up a Kids Zone at Harrison and 18th Street where families can paint, dance and play drums. Families are also welcome to join the different activities scheduled at La Plaza del Fútbol.\u003c/p>\n\u003cfigure id=\"attachment_11987821\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11987821\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-23-BL.jpg\" alt=\"Several people dressed in decorative attire walk down the street during a parade.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-23-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-23-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-23-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-23-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-23-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-23-BL-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Groups from Oaxaca dance on Mission Street during the Carnaval Grand Parade in San Francisco’s Mission District on May 26, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>You’ll also find an area set up for skateboarding on 23rd and Harrison, next to a health and wellness pavilion offering testing for both COVID-19 and blood pressure.\u003c/p>\n\u003cp>Event staff will be present at several points throughout the festival, including an information booth on 19th and Harrison.\u003c/p>\n\u003ch2>\u003ca id=\"WherecanIfindparkingatCarnavalSanFrancisco\">\u003c/a>How do I get to Carnaval San Francisco? What about parking?\u003c/h2>\n\u003cp>If you’re planning to drive into the Mission during Carnaval weekend, it’s not going to be easy.\u003c/p>\n\u003cp>The areas surrounding Harrison Street, from 16th to 24th streets, will be closed off to cars the whole weekend, which means a huge amount of the neighborhood’s parking spots will be off-limits. Even residents will have to move their cars to make way for the festival, so there’ll be a lot of competition for the few remaining spots left.\u003c/p>\n\u003cp>“Driving in is not the best idea,” said Durán, who recommends that attendees instead use public transit to get to the celebrations.\u003c/p>\n\u003cfigure id=\"attachment_11987822\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11987822\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-26-BL.jpg\" alt=\"Several people dance on the sidewalk during a parade.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-26-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-26-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-26-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-26-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-26-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-26-BL-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Spectators dance during the Carnaval Grand Parade in San Francisco’s Mission District on May 26, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But if you do need to drive, he suggested looking for a spot to the west of Harrison Street (past Valencia Street) as the streets on the eastern half of the Mission District will see the most competition for parking.\u003c/p>\n\u003cp>On Sunday, all cars parked along the Grand Parade route will have to move, including Mission Street from 24th Street to 15th Street, chunks of 24th and 15th streets as well, and sections of Bryant Street.\u003c/p>\n\u003cp>If you live on any of the streets that’ll be taken over by Carnaval this weekend and need to move your car in or out of your garage, look for a Carnaval staff member so they can escort your vehicle through the emergency access lanes.\u003c/p>\n\u003ch2>Taking public transit to Carnaval San Francisco\u003c/h2>\n\u003cp>BART will continue operating with a weekday schedule at both 16th and 24th Mission stations.\u003c/p>\n\u003cp>On Saturday, you can ride the 22, 33, 55 and 48 Muni bus routes, which will pass near the festival entrances, and the 9, 12, 14, 14R and 49 bus lines can drop you off a few blocks away. Prepare for your trip on Muni \u003ca href=\"https://www.sfmta.com/trip-planner\">using SFMTA’s online planning tool\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11911716\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11911716\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/04/RS42256_030_KQED_SanFrancisco_Mission_03202020_9678-qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/04/RS42256_030_KQED_SanFrancisco_Mission_03202020_9678-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/04/RS42256_030_KQED_SanFrancisco_Mission_03202020_9678-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/04/RS42256_030_KQED_SanFrancisco_Mission_03202020_9678-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/04/RS42256_030_KQED_SanFrancisco_Mission_03202020_9678-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/04/RS42256_030_KQED_SanFrancisco_Mission_03202020_9678-qut-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A bank of BART turnstiles at 24th Street Station. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>SFMTA officials confirmed with KQED that the complete list of Muni service affected by the festival and parade will be available a few days ahead of Carnaval.\u003c/p>\n\u003cp>If you want to avoid congestion caused by all the changes to Muni service, your best bet would be to take BART to either 16th or 24th Mission BART stations.\u003c/p>\n\u003cp>Prepare for your trip on BART \u003ca href=\"https://www.bart.gov/planner\">using the agency’s online planning tool\u003c/a>.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "The Mission District’s biggest party is almost here. Where to park, how to watch the parade, who’s headlining and what family activities are available.\r\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Next weekend, \u003ca href=\"https://www.kqed.org/news/tag/carnaval\">Carnaval San Francisco\u003c/a> will take over the streets of San Francisco’s Mission District, bringing a flurry of colors, feathers and sequins — moving to the beats of samba, regional mexicano and reggaeton.\u003c/p>\n\u003cp>This community celebration, now in its 48th year, will fall on Memorial Day weekend: Saturday, May 23 and Sunday, May 24.\u003c/p>\n\u003cp>With \u003ca href=\"https://carnavalsanfrancisco.org/festival/\">a two-day festival\u003c/a> featuring headliner Mi Banda el Mexicano de Casimiro on Saturday and the \u003ca href=\"https://carnavalsanfrancisco.org/parade/\">Grand Parade\u003c/a> on Sunday, made up of over 70 different contingents, Carnaval is one of San Francisco’s most emblematic celebrations – and it’s all completely free.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Jump straight to:\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>\u003cstrong>\u003ca href=\"#WhattimedoesCarnavalSanFranciscostartonMemorialDayweekend\">What time does Carnaval San Francisco start on Memorial Day weekend?\u003c/a>\u003c/strong>\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"#MAPWherecanIwatchtheCarnavalSanFranciscoparade\">MAP: Where can I watch the Carnaval San Francisco parade?\u003c/a>\u003c/strong>\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"#WherecanIfindparkingatCarnavalSanFrancisco\">Where can I find parking at Carnaval San Francisco?\u003c/a>\u003c/strong>\u003c/li>\n\u003c/ul>\n\u003cp>Never seen the Grand Parade before? Picture Mission Street not full of the usual commuter traffic and Muni buses — but instead brimming with beautifully decorated floats accompanied by thousands of dancers and musicians representing the many cultures of Latin America and the Caribbean.\u003c/p>\n\u003cfigure id=\"attachment_11987833\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11987833\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-08-BL.jpg\" alt=\"A woman dressed in a colorful costume walks during a parade.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-08-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-08-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-08-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-08-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-08-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-08-BL-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A performer in the Carnaval Grand Parade in San Francisco’s Mission District on May 26, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And that’s just Sunday. With over 3,000 dancers, musicians and artists sharing their work throughout the entire weekend, it’s hard to run out of things to do at Carnaval.\u003c/p>\n\u003cp>Keep reading for all the information you need to make the most of Carnaval 2026.\u003c/p>\n\u003ch2>Carnaval 2026: Bringing soccer back to the people\u003c/h2>\n\u003cp>Back in 1979, Carnaval was first held in SF’s Precita Park as part of an effort by artists and organizers to pay homage to the historic Carnaval celebrations across Latin America and the Caribbean — while giving a platform for local musicians and dancers to come together and pass on their traditions.\u003c/p>\n\u003cp>Decades later, this community celebration has now grown to include over twenty blocks of the Mission District, making it one of the biggest celebrations of its kind on the West Coast.\u003c/p>\n\u003cfigure id=\"attachment_12044957\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12044957\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/06/SJEarthquakesGetty.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/06/SJEarthquakesGetty.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/06/SJEarthquakesGetty-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/06/SJEarthquakesGetty-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Nick Lima #24 of San José Earthquakes with the ball tackled by Jayden Reid #99 of St. Louis City SC during the second half of an MLS game between St. Louis City SC and San José Earthquakes at Energizer Park on May 31, 2025, in St Louis, Missouri. \u003ccite>(Bill Barrett/ISI Photos/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This year, Carnaval is embracing soccer as its theme, Executive Director Rodrigo Durán said. “Soccer is deeply ingrained in Latin American culture,” he said. “This is the people we serve. These are the people that we dance with. The World Cup coming to the Bay really meant a lot for the many people involved in Carnaval.”\u003c/p>\n\u003cp>As the Bay Area prepares to host \u003ca href=\"https://www.kqed.org/news/12083101/world-cup-2026-bay-area-games-where-is-fifa-world-cup-santa-clara-levis-stadium-tickets-fan-zone-watch-parties\">six World Cup games this summer\u003c/a>, Durán said that community events like Carnaval help keep soccer accessible to all. “You don’t need an expensive ticket to come to Carnaval, because it’s 100% free,” he said, adding that event organizers have partnered up with \u003ca href=\"https://www.kqed.org/news/12076503/mens-world-cup-soccer-san-francisco-bay-area-tickets-matches-santa-clara-levis-stadium\">multiple local teams\u003c/a> like the San José Earthquakes, the Oakland Roots and San Francisco City FC to host scrimmages, giveaways and soccer workshops all weekend long.\u003c/p>\n\u003cp>“Come play soccer, come see wonderful players, or reconnect yourself with that wonderful game of soccer,” he said. “We want this to be the cup of the people — la copa del pueblo.”\u003c/p>\n\u003ch2>\u003ca id=\"WhattimedoesCarnavalSanFranciscostartonMemorialDayweekend\">\u003c/a>Where is Carnaval San Francisco, and what’s the schedule?\u003c/h2>\n\u003cp>Carnaval has two main components: the festival and Sunday’s Grand Parade.\u003c/p>\n\u003cp>The festival happens on Saturday and Sunday: on both days, gates open at 11 a.m. and festivities wrap up by 6 p.m.\u003c/p>\n\u003cp>The festival will take place on Harrison Street, from 16th to 24th streets. Hundreds of artisans and food vendors fill up this space, with DJs playing at block parties on 18th, 20th and 21st streets.\u003c/p>\n\u003cfigure id=\"attachment_11987825\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11987825\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-18-BL.jpg\" alt=\"A man and woman dance in white clothing and colorful dresses in the street.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-18-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-18-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-18-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-18-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-18-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-18-BL-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Members of the group Mi Tierra Colombiana practice before the Carnaval Grand Parade in San Francisco’s Mission District on May 26, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Four stages will be set up throughout Harrison Street, featuring performances from headliner Mi Banda el Mexicano de Casimiro.\u003c/p>\n\u003cp>Led by Casimiro Zamudio, the band — whose signature sound blends traditional banda percussion with elements of electronic music — became a household name for many families in the 90s with hits like “Feliz Feliz,” “La Bota” and “No Bailes de Caballito.” If you’ve been to a quinceañera and this band comes on, that means you \u003cem>got \u003c/em>to go dance.\u003c/p>\n\u003cp>Dozens of other live performances are scheduled throughout the neighborhood on both days, including a tribute to the \u003ca href=\"https://www.kqed.org/arts/13986089/dr-loco-dies-jose-cuellar-chicano-scholar-bandleader-san-francisco\">late Bay Area rock icon and academic\u003c/a> José Cuéllar, also known as Dr. Loco: saxophonist, accordionist and vocalist of Dr. Loco’s Rockin’ Jalapeño Band. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003ca href=\"https://carnavalsanfrancisco.org/festival/\">Check out the full Carnaval 2026 festival lineup.\u003c/a>\u003c/p>\n\u003cp>Perhaps the biggest addition to this year’s festival is the area entirely dedicated to soccer on Harrison between 19th and 20th streets, where \u003ca href=\"https://www.kqed.org/news/12076503/mens-world-cup-soccer-san-francisco-bay-area-tickets-matches-santa-clara-levis-stadium\">local soccer teams\u003c/a> will host scrimmages and giveaways throughout the weekend.\u003c/p>\n\u003cp>You can even \u003ca href=\"https://carnavalsanfrancisco.org/festival/#soccer-arena\">sign up ahead of time\u003c/a> to request a specific time for you and your team to play (3 vs. 3 and 5 vs. 5 options available). La Plaza del Fútbol — as organizers have named the space — is open to all genders and skill levels.\u003c/p>\n\u003cp>Throughout the weekend, \u003ca href=\"https://carnavalsanfrancisco.org/festival/\">there will also be four different block parties\u003c/a>, each with live DJs hitting different musical styles.\u003c/p>\n\u003cp>One of those block parties — Colores de Amor on 19th and Harrison streets — will feature drag performances on Sunday by \u003ca href=\"https://www.instagram.com/per_sia/\">Per Sia\u003c/a> and \u003ca href=\"https://www.instagram.com/sweetestmilksf/\">Dulce De Leche\u003c/a>, along with DJ sets from \u003ca href=\"https://www.instagram.com/djbrownangel/\">Brown Angel\u003c/a>.\u003c/p>\n\u003ch2>Where are the entrances to the Carnaval 2026 festival?\u003c/h2>\n\u003cp>You’ll find free entrances (and exits) on every street from 16th to 24th streets, located at:\u003c/p>\n\u003cul>\n\u003cli>16th and Harrison\u003c/li>\n\u003cli>17th and Alabama\u003c/li>\n\u003cli>18th and Folsom\u003c/li>\n\u003cli>19th and Alabama\u003c/li>\n\u003cli>20th and Folsom\u003c/li>\n\u003cli>20th and Alabama\u003c/li>\n\u003cli>21st and Folsom\u003c/li>\n\u003cli>23rd and Folsom\u003c/li>\n\u003cli>23rd and Alabama\u003c/li>\n\u003cli>24th and Harrison.\u003c/li>\n\u003c/ul>\n\u003cp>Visitors cannot bring \u003ca href=\"https://carnavalsanfrancisco.org/faq/#festival\">outside alcoholic beverages\u003c/a> into the festival space. Alcohol is available for purchase inside the festival, but only in specific enclosed areas requiring visitors to provide identification for access. Pets are also not permitted in the festival space — except if they’re service animals.\u003c/p>\n\u003cp>Remember: Security staff will be present at each entrance to check bags.\u003c/p>\n\u003ch2>\u003ca id=\"MAPWherecanIwatchtheCarnavalSanFranciscoparade\">\u003c/a>When does the Carnaval Grand Parade start, and what’s the parade route?\u003c/h2>\n\u003cp>The Carnaval Grand Parade takes place on Sunday, May 24. Starting at 10 a.m., the parade features dozens of floats and hundreds of dancers moving through the entire neighborhood.\u003c/p>\n\u003cp>The Carnaval parade route begins at Bryant and 24th streets, then moves through 24th Street, takes a right on Mission Street, stays on that street all the way to 15th Street, and wraps up at Harrison and 15th streets.\u003c/p>\n\u003cp>The dancers and musicians in the parade perform nonstop the whole way, which is a particularly impressive feat when you consider that some of the most elaborate outfits can weigh up to 40 pounds.\u003c/p>\n\u003cp>On top of that, there’s a contest element — as contingents, or comparsas, compete against each other in multiple categories. Judges will rank each comparsa on originality, choreography and production design.\u003c/p>\n\u003cfigure id=\"attachment_12083325\" class=\"wp-caption alignleft\" style=\"max-width: 547px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12083325\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/ParadeMap_2026-1.jpg\" alt=\"\" width=\"547\" height=\"708\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/ParadeMap_2026-1.jpg 547w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/ParadeMap_2026-1-160x207.jpg 160w\" sizes=\"auto, (max-width: 547px) 100vw, 547px\">\u003cfigcaption class=\"wp-caption-text\">The Grand Parade and festival map for the 2026 Carnaval San Francisco \u003ccite>(Carnaval San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If you can’t make it exactly at the 10 a.m. parade start time, don’t worry: The parade goes on for hours before finally wrapping up at 2 p.m.\u003c/p>\n\u003cp>Can’t make it in person at all? \u003ca href=\"https://www.cbsnews.com/sanfrancisco/live/\">KPIX will be streaming the parade online.\u003c/a>\u003c/p>\n\u003ch2>A few things to look for at the Carnaval San Francisco Grand Parade\u003c/h2>\n\u003cp>What makes San Francisco’s Carnaval distinct from other Carnaval celebrations you may see in Rio de Janeiro or Barranquilla is that it embraces the multiple traditions and histories of California’s Latin American and Caribbean diasporas.\u003c/p>\n\u003cp>One tradition that San Francisco has carried on for decades: a few weeks before Carnaval weekend, community members choose a new King and Queen of Carnaval. This year, Chris Cornelious and Mizzy Ng will wear the crowns during the parade.\u003c/p>\n\u003cp>The 70 different comparsas that make up this year’s parade include long-standing groups like Flavaz of D’ Caribbean, who’ve won multiple Carnaval categories year after year with high-energy choreography representing the music of Trinidad and Tobago.\u003c/p>\n\u003cp>You can also spot the contingent from Tradición Peruana Cultural Center — one of the oldest community-led groups nationwide dedicated to Peruvian culture, which, despite losing its San Francisco home \u003ca href=\"https://missionlocal.org/2026/01/sf-peruvian-cultural-center-closes/\">earlier this year\u003c/a>, has continued to work with public schools to promote Peruvian dance and drumming.\u003c/p>\n\u003cp>And while you dance to the music, make sure to pay close attention to what the performers are wearing. Many comparsas start preparing their parade outfits months in advance.\u003c/p>\n\u003cp>For example, dancers with Carnaval Putleco, a comparsa which \u003ca href=\"https://www.kqed.org/news/11987673/carnaval-putleco-brings-a-oaxacan-festival-of-colors-to-the-bay-area\">honors the culture of Putla, Oaxaca,\u003c/a> by dancing with tiliches: incredibly colorful and elaborate full-body suits made by hand with hundreds of ribbons, shells and beads.\u003c/p>\n\u003cp>\u003ca href=\"https://carnavalsanfrancisco.org/parade/\">See the full list of participating comparsas at Carnaval San Francisco.\u003c/a>\u003c/p>\n\u003ch2>If the Carnaval San Francisco Grand Parade is free, can I just show up?\u003c/h2>\n\u003cp>Yes: no tickets or registration are required for the Carnaval parade — or the festival itself. Just show up anywhere along the parade route and enjoy the show.\u003c/p>\n\u003cp>However, if you want a unique vantage point, \u003ca href=\"https://givebutter.com/2026GrandstandSeating\">you can purchase special Grand Stand seats for the Carnaval parade\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11987820\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11987820\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-22-BL.jpg\" alt=\"Several people dressed in decorative attire walk down the street during a parade.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-22-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-22-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-22-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-22-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-22-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-22-BL-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Amando Herrera Villa wears a tiliche handmade by his wife, Martha Cortés Rojas, with beads and ayoyote shells, during the Carnaval Grand Parade in San Francisco’s Mission District. Herrera Villa is part of the Oaxacan group Carnaval Putleco. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>These elevated bleachers, located along Mission Street between 22nd and 23rd streets, are next to the judges’ tables, where each contingent will pause and perform for an extra amount of time. Keep in mind that Grand Stand tickets will only be available before the parade and will not be sold day of.\u003c/p>\n\u003cp>There are no truly bad spots from which to watch the parade, but if you post up at 24th Street, you’ll be much closer to the performers — albeit a bit more cramped with foot traffic. If you’re on Mission Street, you’ll definitely have a lot more room to move around.\u003c/p>\n\u003ch2>Who’s headlining this year at Carnaval San Francisco?\u003c/h2>\n\u003cp>Over 50 musicians, DJs and dance groups will perform throughout the weekend across the four stages and five block parties located throughout Harrison Street.\u003c/p>\n\u003cp>This year’s headliner is Mi Banda el Mexicano de Casimiro — and getting the band to Carnaval is a dream come true, Durán said. When organizers made the announcement last month on social media, hundreds of fans quickly posted how excited they were about the group coming to the festival.\u003c/p>\n\u003cp>Even if you don’t know the group’s music just yet, stick around and watch how fans dance. Many of Banda El Mexicano’s greatest hits helped the \u003ca href=\"https://www.dazeddigital.com/art-photography/article/61840/1/quebradita-los-angeles-subculture-vaquero-cowboy-dance-james-pearson-howes-photo\">quebradita genre\u003c/a> of Mexican regional music reach wider audiences on both sides of the border throughout the 90s. And since dancing quebradita is an acrobatic feat, expect high kicks, flips in the air and backbends from within the crowd — all in one song.\u003c/p>\n\u003cp>\u003ca href=\"https://carnavalsanfrancisco.org/festival/\">See the full list of performers at Carnaval San Francisco.\u003c/a>\u003c/p>\n\u003ch2>Is Carnaval San Francisco family-friendly?\u003c/h2>\n\u003cp>Yes: For many Bay Area families, going to Carnaval with the kids, teens and grandparents is a decades-long tradition.\u003c/p>\n\u003cp>In the festival space, organizers have set up a Kids Zone at Harrison and 18th Street where families can paint, dance and play drums. Families are also welcome to join the different activities scheduled at La Plaza del Fútbol.\u003c/p>\n\u003cfigure id=\"attachment_11987821\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11987821\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-23-BL.jpg\" alt=\"Several people dressed in decorative attire walk down the street during a parade.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-23-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-23-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-23-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-23-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-23-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-23-BL-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Groups from Oaxaca dance on Mission Street during the Carnaval Grand Parade in San Francisco’s Mission District on May 26, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>You’ll also find an area set up for skateboarding on 23rd and Harrison, next to a health and wellness pavilion offering testing for both COVID-19 and blood pressure.\u003c/p>\n\u003cp>Event staff will be present at several points throughout the festival, including an information booth on 19th and Harrison.\u003c/p>\n\u003ch2>\u003ca id=\"WherecanIfindparkingatCarnavalSanFrancisco\">\u003c/a>How do I get to Carnaval San Francisco? What about parking?\u003c/h2>\n\u003cp>If you’re planning to drive into the Mission during Carnaval weekend, it’s not going to be easy.\u003c/p>\n\u003cp>The areas surrounding Harrison Street, from 16th to 24th streets, will be closed off to cars the whole weekend, which means a huge amount of the neighborhood’s parking spots will be off-limits. Even residents will have to move their cars to make way for the festival, so there’ll be a lot of competition for the few remaining spots left.\u003c/p>\n\u003cp>“Driving in is not the best idea,” said Durán, who recommends that attendees instead use public transit to get to the celebrations.\u003c/p>\n\u003cfigure id=\"attachment_11987822\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11987822\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-26-BL.jpg\" alt=\"Several people dance on the sidewalk during a parade.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-26-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-26-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-26-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-26-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-26-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-26-BL-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Spectators dance during the Carnaval Grand Parade in San Francisco’s Mission District on May 26, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But if you do need to drive, he suggested looking for a spot to the west of Harrison Street (past Valencia Street) as the streets on the eastern half of the Mission District will see the most competition for parking.\u003c/p>\n\u003cp>On Sunday, all cars parked along the Grand Parade route will have to move, including Mission Street from 24th Street to 15th Street, chunks of 24th and 15th streets as well, and sections of Bryant Street.\u003c/p>\n\u003cp>If you live on any of the streets that’ll be taken over by Carnaval this weekend and need to move your car in or out of your garage, look for a Carnaval staff member so they can escort your vehicle through the emergency access lanes.\u003c/p>\n\u003ch2>Taking public transit to Carnaval San Francisco\u003c/h2>\n\u003cp>BART will continue operating with a weekday schedule at both 16th and 24th Mission stations.\u003c/p>\n\u003cp>On Saturday, you can ride the 22, 33, 55 and 48 Muni bus routes, which will pass near the festival entrances, and the 9, 12, 14, 14R and 49 bus lines can drop you off a few blocks away. Prepare for your trip on Muni \u003ca href=\"https://www.sfmta.com/trip-planner\">using SFMTA’s online planning tool\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11911716\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11911716\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/04/RS42256_030_KQED_SanFrancisco_Mission_03202020_9678-qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/04/RS42256_030_KQED_SanFrancisco_Mission_03202020_9678-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/04/RS42256_030_KQED_SanFrancisco_Mission_03202020_9678-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/04/RS42256_030_KQED_SanFrancisco_Mission_03202020_9678-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/04/RS42256_030_KQED_SanFrancisco_Mission_03202020_9678-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/04/RS42256_030_KQED_SanFrancisco_Mission_03202020_9678-qut-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A bank of BART turnstiles at 24th Street Station. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>SFMTA officials confirmed with KQED that the complete list of Muni service affected by the festival and parade will be available a few days ahead of Carnaval.\u003c/p>\n\u003cp>If you want to avoid congestion caused by all the changes to Muni service, your best bet would be to take BART to either 16th or 24th Mission BART stations.\u003c/p>\n\u003cp>Prepare for your trip on BART \u003ca href=\"https://www.bart.gov/planner\">using the agency’s online planning tool\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "humidity-at-pge-substation-likely-cause-of-massive-december-san-francisco-blackout",
"title": "Humidity at PG&E Substation Likely Cause of Massive December San Francisco Blackout",
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"headTitle": "Humidity at PG&E Substation Likely Cause of Massive December San Francisco Blackout | KQED",
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"content": "\u003cp>The fire at a PG&E substation that \u003ca href=\"https://www.kqed.org/news/12068177/pge-outage-leaves-130000-across-san-francisco-without-power\">sparked a major outage\u003c/a> in December, cutting power for about a third of city residents during the holiday weekend, was likely caused by a buildup of humidity, among other factors, according to an independent report released Friday.\u003c/p>\n\u003cp>The 70-page analysis by engineering consulting firm Exponent found that the South of Market substation was prone to elevated humidity and moisture, which appears to have caused damage to critical equipment that could have prevented the blaze. This was worsened by sudden temperature swings, like the weather that preceded the December fire.\u003c/p>\n\u003cp>“The most likely failure mechanism is degradation of surface insulation of the Incident Insulating Board, likely assisted by moisture and surface contamination,” the report reads.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The report said the fire appears to have been caused by a buildup of condensation on a piece of equipment called a “barrier insulating board,” which is supposed to act as a protective barrier against moisture, air infiltration and fire.\u003c/p>\n\u003cp>The report said that a month before the fire, PG&E had observed “burned spots” and “warping” on the board, as well as metal erosion of a circuit breaker — a piece of equipment meant to halt the flow of electricity when a circuit becomes overloaded, preventing electrical fires. That circuit breaker failed a November test, and was replaced and reported as suspected “water damage,” though the Exponent report concluded that that damage was likely due to other causes related to the insulating board.\u003c/p>\n\u003cp>Exponent also said a heater in the room where the fire broke out — which can help mitigate humidity — was likely turned off. The Mission Street building is ventilated with unconditioned outside air, and its system lacks heating, cooling and humidity control — meaning its interior is highly affected by changes in the outside temperature.\u003c/p>\n\u003cfigure id=\"attachment_12000413\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12000413\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/08/240815-CITYATTORNEYDEEPFAKES-06-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/08/240815-CITYATTORNEYDEEPFAKES-06-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/08/240815-CITYATTORNEYDEEPFAKES-06-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/08/240815-CITYATTORNEYDEEPFAKES-06-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/08/240815-CITYATTORNEYDEEPFAKES-06-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/08/240815-CITYATTORNEYDEEPFAKES-06-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/08/240815-CITYATTORNEYDEEPFAKES-06-BL-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">City Attorney David Chiu speaks during a press conference at City Hall in San Francisco on Aug. 15, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>City Attorney David Chiu slammed the utility company over the report Friday, saying PG&E had knowledge of equipment damage prior to the fire, and “chose to do nothing about it.” He said the company has a pattern of failing to invest in aging infrastructure and fixing faulty equipment.\u003c/p>\n\u003cp>“San Franciscans paid the price for PG&E’s pattern of inaction and indifference during the December blackout,” Chiu said in a statement. “This report makes clear that meaningful improvements are essential to protect San Franciscans from future failures.”\u003c/p>\n\u003cp>The report comes as San Francisco renews efforts to transition away from the public utility, in favor of a city-controlled power grid. The December incident sparked backlash from city leaders, who probed PG&E leaders about the outage, \u003ca href=\"https://www.kqed.org/news/12070159/pge-plans-power-outages-for-san-francisco-neighborhoods-hit-by-major-blackout\">among other incidents\u003c/a>, earlier this year.[aside postID=science_2000835 hero='https://cdn.kqed.org/wp-content/uploads/sites/35/2026/04/260213-DiabloCanyonNuclearPowerPlant-62-BL_qed.jpg']Separately, a number of small businesses and residents are \u003ca href=\"https://www.kqed.org/news/12071937/san-francisco-small-businesses-to-sue-pge-over-losses-from-december-power-outages\">suing PG&E\u003c/a> over its response to the blackout.\u003c/p>\n\u003cp>PG&E spokesperson Lynsey Paulo said in a statement that the company had made $3 billion in capital upgrades in San Francisco over the last 20 years, and “continually invest[s] in the electric system with a focus on safety and reliability.”\u003c/p>\n\u003cp>“While this most recent outage was not the best reflection of our investment, that $3 billion has overall helped San Francisco to have one of the most reliable electric grids among California cities over the past decade,” she wrote. “We recognize that despite these substantial investments, there is still more to be done — and we are committed to delivering for San Francisco.”\u003c/p>\n\u003cp>After the fire, PG&E said, it completed thousands of inspections across its 31 substations in the city, and accelerated testing and maintenance work — including replacing circuit breakers and other electrical equipment.\u003c/p>\n\u003cp>It also installed humidity and temperature monitors, and is “weatherproofing” its indoor substations. Paulo said PG&E also added space heaters and dehumidifiers to the Mission Street substation, and is in the process of installing those at other locations.\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The fire at a PG&E substation that \u003ca href=\"https://www.kqed.org/news/12068177/pge-outage-leaves-130000-across-san-francisco-without-power\">sparked a major outage\u003c/a> in December, cutting power for about a third of city residents during the holiday weekend, was likely caused by a buildup of humidity, among other factors, according to an independent report released Friday.\u003c/p>\n\u003cp>The 70-page analysis by engineering consulting firm Exponent found that the South of Market substation was prone to elevated humidity and moisture, which appears to have caused damage to critical equipment that could have prevented the blaze. This was worsened by sudden temperature swings, like the weather that preceded the December fire.\u003c/p>\n\u003cp>“The most likely failure mechanism is degradation of surface insulation of the Incident Insulating Board, likely assisted by moisture and surface contamination,” the report reads.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The report said the fire appears to have been caused by a buildup of condensation on a piece of equipment called a “barrier insulating board,” which is supposed to act as a protective barrier against moisture, air infiltration and fire.\u003c/p>\n\u003cp>The report said that a month before the fire, PG&E had observed “burned spots” and “warping” on the board, as well as metal erosion of a circuit breaker — a piece of equipment meant to halt the flow of electricity when a circuit becomes overloaded, preventing electrical fires. That circuit breaker failed a November test, and was replaced and reported as suspected “water damage,” though the Exponent report concluded that that damage was likely due to other causes related to the insulating board.\u003c/p>\n\u003cp>Exponent also said a heater in the room where the fire broke out — which can help mitigate humidity — was likely turned off. The Mission Street building is ventilated with unconditioned outside air, and its system lacks heating, cooling and humidity control — meaning its interior is highly affected by changes in the outside temperature.\u003c/p>\n\u003cfigure id=\"attachment_12000413\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12000413\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/08/240815-CITYATTORNEYDEEPFAKES-06-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/08/240815-CITYATTORNEYDEEPFAKES-06-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/08/240815-CITYATTORNEYDEEPFAKES-06-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/08/240815-CITYATTORNEYDEEPFAKES-06-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/08/240815-CITYATTORNEYDEEPFAKES-06-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/08/240815-CITYATTORNEYDEEPFAKES-06-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/08/240815-CITYATTORNEYDEEPFAKES-06-BL-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">City Attorney David Chiu speaks during a press conference at City Hall in San Francisco on Aug. 15, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>City Attorney David Chiu slammed the utility company over the report Friday, saying PG&E had knowledge of equipment damage prior to the fire, and “chose to do nothing about it.” He said the company has a pattern of failing to invest in aging infrastructure and fixing faulty equipment.\u003c/p>\n\u003cp>“San Franciscans paid the price for PG&E’s pattern of inaction and indifference during the December blackout,” Chiu said in a statement. “This report makes clear that meaningful improvements are essential to protect San Franciscans from future failures.”\u003c/p>\n\u003cp>The report comes as San Francisco renews efforts to transition away from the public utility, in favor of a city-controlled power grid. The December incident sparked backlash from city leaders, who probed PG&E leaders about the outage, \u003ca href=\"https://www.kqed.org/news/12070159/pge-plans-power-outages-for-san-francisco-neighborhoods-hit-by-major-blackout\">among other incidents\u003c/a>, earlier this year.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Separately, a number of small businesses and residents are \u003ca href=\"https://www.kqed.org/news/12071937/san-francisco-small-businesses-to-sue-pge-over-losses-from-december-power-outages\">suing PG&E\u003c/a> over its response to the blackout.\u003c/p>\n\u003cp>PG&E spokesperson Lynsey Paulo said in a statement that the company had made $3 billion in capital upgrades in San Francisco over the last 20 years, and “continually invest[s] in the electric system with a focus on safety and reliability.”\u003c/p>\n\u003cp>“While this most recent outage was not the best reflection of our investment, that $3 billion has overall helped San Francisco to have one of the most reliable electric grids among California cities over the past decade,” she wrote. “We recognize that despite these substantial investments, there is still more to be done — and we are committed to delivering for San Francisco.”\u003c/p>\n\u003cp>After the fire, PG&E said, it completed thousands of inspections across its 31 substations in the city, and accelerated testing and maintenance work — including replacing circuit breakers and other electrical equipment.\u003c/p>\n\u003cp>It also installed humidity and temperature monitors, and is “weatherproofing” its indoor substations. Paulo said PG&E also added space heaters and dehumidifiers to the Mission Street substation, and is in the process of installing those at other locations.\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A fatal hit-and-run in \u003ca href=\"https://www.kqed.org/news/tag/san-francisco\">San Francisco’s\u003c/a> \u003ca href=\"https://www.kqed.org/news/tag/soma\">South of Market\u003c/a> neighborhood on Monday is being investigated as a homicide, according to police.\u003c/p>\n\u003cp>Valentino Amil, 30, was arrested on suspicion of murder after he allegedly struck a pedestrian with his car on Mission Street and South Van Ness Avenue on Monday afternoon.\u003c/p>\n\u003cp>San Francisco police said they responded just after 3:20 p.m. Monday, when first responders pronounced the victim dead on the scene. Officers identified the vehicle, located it on the freeway and arrested the driver on murder and felony hit-and-run charges. He is currently being held in San Francisco County Jail without bail.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Video footage obtained by the \u003ca href=\"https://sfstandard.com/2026/04/14/san-francisco-fatal-hit-and-run-soma/\">\u003cem>San Francisco Standard\u003c/em>\u003c/a> shows a black Mercedes sedan beginning to pull out of the Tower Car Wash parking lot onto Mission Street when a person approaches the front of the car.\u003c/p>\n\u003cp>The pedestrian stops briefly at the driver’s side window before moving in front of the vehicle. The video does not contain audio, and it’s unclear if the driver and pedestrian exchanged words.\u003c/p>\n\u003cp>As the person slowly walks in front of the sedan, the driver pauses, then accelerates onto Mission Street, knocking the pedestrian onto the hood of the car. The person appears to slide off to the front right side of the vehicle, which continues driving ahead, crushing the pedestrian under the car’s wheels before leaving them in the road and fleeing.\u003c/p>\n\u003cp>The Office of the Chief Medical Examiner identified the victim on Tuesday as Dannielle Spillman, 74.[aside postID=news_12077174 hero='https://cdn.kqed.org/wp-content/uploads/sites/10/2026/03/MaryFongLauGetty.jpg']According to Seth Morris, Amil’s defense attorney, he was departing with his wife and two children, aged 11 and four months, for a trip to Disneyland at the time of the incident. They had stopped to fill up on gas.\u003c/p>\n\u003cp>Morris said while at the car wash, an individual, “appearing homeless, intoxicated and belligerent,” aggressively approached the vehicle. He said that witnesses indicated the person pulled on the vehicle’s doors, climbed on the hood and appeared to douse the car with a liquid, which Amil feared was gasoline.\u003c/p>\n\u003cp>“At that moment, [Amil] believed his family was about to be violently attacked,” Morris said in a statement. “He acted out of instinct and fear, trying to remove his children from what he perceived to be an immediate and life-threatening situation.”\u003c/p>\n\u003cp>It’s unclear from the video footage whether the victim grabbed the car or poured a liquid on it. The police department has not provided any further details about what led to the incident, but said an investigation led by the homicide detail is ongoing.\u003c/p>\n\u003cp>San Francisco District Attorney Brooke Jenkins said her office was currently reviewing the case.\u003c/p>\n\u003cp>The death marks San Francisco’s \u003ca href=\"https://www.kqed.org/forum/2010101913450/san-francisco-has-tried-to-make-its-streets-safer-for-pedestrians-has-it-worked\">eighth pedestrian fatality\u003c/a> so far this year. The intersection of Mission Street and South Van Ness is along San Francisco’s High Injury Network, the 13% of streets where more than 75% of fatal and severe injury collisions occur. SoMa is a hotspot, according to pedestrian advocacy group WalkSF, because the streets are designed for industrial uses and have a high volume of vehicle traffic. It’s also one of the neighborhoods with the largest unhoused populations.\u003c/p>\n\u003cp>“This neighborhood and everyone who lives there deserves more solutions to keep them safe,” said Jodie Medeiros, the executive director of WalkSF. The hit-and-run marks the eighth pedestrian fatality so far this year.\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A fatal hit-and-run in \u003ca href=\"https://www.kqed.org/news/tag/san-francisco\">San Francisco’s\u003c/a> \u003ca href=\"https://www.kqed.org/news/tag/soma\">South of Market\u003c/a> neighborhood on Monday is being investigated as a homicide, according to police.\u003c/p>\n\u003cp>Valentino Amil, 30, was arrested on suspicion of murder after he allegedly struck a pedestrian with his car on Mission Street and South Van Ness Avenue on Monday afternoon.\u003c/p>\n\u003cp>San Francisco police said they responded just after 3:20 p.m. Monday, when first responders pronounced the victim dead on the scene. Officers identified the vehicle, located it on the freeway and arrested the driver on murder and felony hit-and-run charges. He is currently being held in San Francisco County Jail without bail.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Video footage obtained by the \u003ca href=\"https://sfstandard.com/2026/04/14/san-francisco-fatal-hit-and-run-soma/\">\u003cem>San Francisco Standard\u003c/em>\u003c/a> shows a black Mercedes sedan beginning to pull out of the Tower Car Wash parking lot onto Mission Street when a person approaches the front of the car.\u003c/p>\n\u003cp>The pedestrian stops briefly at the driver’s side window before moving in front of the vehicle. The video does not contain audio, and it’s unclear if the driver and pedestrian exchanged words.\u003c/p>\n\u003cp>As the person slowly walks in front of the sedan, the driver pauses, then accelerates onto Mission Street, knocking the pedestrian onto the hood of the car. The person appears to slide off to the front right side of the vehicle, which continues driving ahead, crushing the pedestrian under the car’s wheels before leaving them in the road and fleeing.\u003c/p>\n\u003cp>The Office of the Chief Medical Examiner identified the victim on Tuesday as Dannielle Spillman, 74.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>According to Seth Morris, Amil’s defense attorney, he was departing with his wife and two children, aged 11 and four months, for a trip to Disneyland at the time of the incident. They had stopped to fill up on gas.\u003c/p>\n\u003cp>Morris said while at the car wash, an individual, “appearing homeless, intoxicated and belligerent,” aggressively approached the vehicle. He said that witnesses indicated the person pulled on the vehicle’s doors, climbed on the hood and appeared to douse the car with a liquid, which Amil feared was gasoline.\u003c/p>\n\u003cp>“At that moment, [Amil] believed his family was about to be violently attacked,” Morris said in a statement. “He acted out of instinct and fear, trying to remove his children from what he perceived to be an immediate and life-threatening situation.”\u003c/p>\n\u003cp>It’s unclear from the video footage whether the victim grabbed the car or poured a liquid on it. The police department has not provided any further details about what led to the incident, but said an investigation led by the homicide detail is ongoing.\u003c/p>\n\u003cp>San Francisco District Attorney Brooke Jenkins said her office was currently reviewing the case.\u003c/p>\n\u003cp>The death marks San Francisco’s \u003ca href=\"https://www.kqed.org/forum/2010101913450/san-francisco-has-tried-to-make-its-streets-safer-for-pedestrians-has-it-worked\">eighth pedestrian fatality\u003c/a> so far this year. The intersection of Mission Street and South Van Ness is along San Francisco’s High Injury Network, the 13% of streets where more than 75% of fatal and severe injury collisions occur. SoMa is a hotspot, according to pedestrian advocacy group WalkSF, because the streets are designed for industrial uses and have a high volume of vehicle traffic. It’s also one of the neighborhoods with the largest unhoused populations.\u003c/p>\n\u003cp>“This neighborhood and everyone who lives there deserves more solutions to keep them safe,” said Jodie Medeiros, the executive director of WalkSF. The hit-and-run marks the eighth pedestrian fatality so far this year.\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"slug": "san-francisco-leaders-called-for-a-citywide-ceasefire-hours-later-a-shooting-erupted",
"title": "San Francisco Leaders Called for a Citywide Ceasefire. Hours Later, a Shooting Erupted",
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"content": "\u003cp>Just hours after San Francisco officials and advocates\u003ca href=\"https://www.kqed.org/news/12079232/after-14-homicides-in-2026-san-francisco-calls-for-ceasefire#:~:text=While%20every%20other%20crime%20in,the%20San%20Francisco%20Police%20Commission.\"> raised the alarm \u003c/a>on Thursday on a recent spike in city homicides, a shooting in the Mission District left one person with life-threatening injuries, police said.\u003c/p>\n\u003cp>The shooting occurred around 3 p.m, according to SFPD, near the busy intersection of 18th and Mission streets.\u003c/p>\n\u003cp>After the shooting, the victim ran into the nearby office of the nonprofit organization HOMEY, where youth staff “kept him alive … until the ambulance came,” the organization’s executive director, Roberto Eligio Alfaro, told \u003ca href=\"https://missionlocal.org/2026/04/shooting-big-fight-mission/\">\u003cem>Mission Local\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Police said they rendered aid before transporting the victim to a hospital. Officials said the investigation is ongoing and did not share any further details about what led up to the shooting or the status of the victim.\u003c/p>\n\u003cp>The shooting came on the heels of a gathering in front of City Hall, during which community leaders and local government officials expressed concern that homicides are up by 250% from last year, when the city saw record lows.[aside postID=news_12079232 hero='https://cdn.kqed.org/wp-content/uploads/sites/10/2025/12/DerrickLewKQED1.jpg']As of Thursday, San Francisco had documented 14 homicides in 2026, compared with just four by the same time in 2025.\u003c/p>\n\u003cp>San Francisco District Attorney Brooke Jenkins called it “a crisis point.”\u003c/p>\n\u003cp>“It takes us as leaders, as community members, elected officials, school staff and employees, educators, you name it, coming together to signal to our young people, youth and young adults, that this is not the way,” she said at Thursday’s press conference. “This is not the answer.”\u003c/p>\n\u003cp>In light of the surge of homicides, Rudy Corpuz Jr., founder and executive director of the nonprofit United Playaz, led the call for a 24-hour citywide ceasefire to begin Friday.\u003c/p>\n\u003cp>“We have a lot of work to do, but for one day, y’all, in San Francisco, let’s sit on our hands,” Corpuz said at the event on Thursday. “This is just a call to action for everybody from all over the city, wherever you’re at, to stand on business.”\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Just hours after San Francisco officials and advocates\u003ca href=\"https://www.kqed.org/news/12079232/after-14-homicides-in-2026-san-francisco-calls-for-ceasefire#:~:text=While%20every%20other%20crime%20in,the%20San%20Francisco%20Police%20Commission.\"> raised the alarm \u003c/a>on Thursday on a recent spike in city homicides, a shooting in the Mission District left one person with life-threatening injuries, police said.\u003c/p>\n\u003cp>The shooting occurred around 3 p.m, according to SFPD, near the busy intersection of 18th and Mission streets.\u003c/p>\n\u003cp>After the shooting, the victim ran into the nearby office of the nonprofit organization HOMEY, where youth staff “kept him alive … until the ambulance came,” the organization’s executive director, Roberto Eligio Alfaro, told \u003ca href=\"https://missionlocal.org/2026/04/shooting-big-fight-mission/\">\u003cem>Mission Local\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Police said they rendered aid before transporting the victim to a hospital. Officials said the investigation is ongoing and did not share any further details about what led up to the shooting or the status of the victim.\u003c/p>\n\u003cp>The shooting came on the heels of a gathering in front of City Hall, during which community leaders and local government officials expressed concern that homicides are up by 250% from last year, when the city saw record lows.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>As of Thursday, San Francisco had documented 14 homicides in 2026, compared with just four by the same time in 2025.\u003c/p>\n\u003cp>San Francisco District Attorney Brooke Jenkins called it “a crisis point.”\u003c/p>\n\u003cp>“It takes us as leaders, as community members, elected officials, school staff and employees, educators, you name it, coming together to signal to our young people, youth and young adults, that this is not the way,” she said at Thursday’s press conference. “This is not the answer.”\u003c/p>\n\u003cp>In light of the surge of homicides, Rudy Corpuz Jr., founder and executive director of the nonprofit United Playaz, led the call for a 24-hour citywide ceasefire to begin Friday.\u003c/p>\n\u003cp>“We have a lot of work to do, but for one day, y’all, in San Francisco, let’s sit on our hands,” Corpuz said at the event on Thursday. “This is just a call to action for everybody from all over the city, wherever you’re at, to stand on business.”\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"title": "In the Mission, a Bad Bunny Look-Alike Contest Becomes a Celebration of Identity",
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"content": "\u003cp>\u003ca href=\"https://www.kqed.org/arts/13986335/bad-bunny-super-bowl-halftime-show-conference-san-francisco\">Bad Bunny\u003c/a> fans and impersonators spilled out onto the sidewalk at Tacolicious in the San Francisco Mission District on Thursday night, in hopes of finding the Bay Area’s best Bad Bunny double. After all, the global superstar was once someone’s local grocery bagger.\u003c/p>\n\u003cp>The look-alike contest came just days before Bad Bunny is set to \u003ca href=\"https://www.kqed.org/arts/13986310/super-bowl-bad-bunny-celimar-rivera-cosme-lspr-puerto-rican-sign-language\">headline the Super Bowl halftime show\u003c/a>, one of the most-watched musical performances of the year.\u003c/p>\n\u003cp>Thirty-four contestants paraded through the restaurant, each offering their best Bad Bunny strut as the audience cheered.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The crowd ultimately crowned Abdul Arroyave, a Colombian man who’s been paying tribute to Bad Bunny through his impersonations for years, as the winner. Arroyave, a professional singer, wore a Puerto Rican \u003cem>pava\u003c/em> straw hat, crisp white pants and a red button-down shirt.\u003c/p>\n\u003cp>“I feel amazing now,” Arroyave said after winning $600 — a prize that was boosted by a $500 donation from fintech company Ramp. “Me siento super cabrón.”\u003c/p>\n\u003cfigure id=\"attachment_12072573\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12072573 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/02/260205-BADBUNNYLOOKALIKECONTEST-18-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/02/260205-BADBUNNYLOOKALIKECONTEST-18-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/02/260205-BADBUNNYLOOKALIKECONTEST-18-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/02/260205-BADBUNNYLOOKALIKECONTEST-18-BL-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Abdul Ramirez Arroyave, known as Abdul Bunny, a professional impersonator, competes in a Bad Bunny look-alike contest at Tacolicious in San Francisco on Thursday, Feb. 5, 2026. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bad Bunny’s rise from a working-class upbringing to global superstardom has made him more than a chart-topping artist. For many fans, he represents possibility, authenticity and cultural pride.\u003c/p>\n\u003cp>“With everything happening in our country right now, he’s just been inspiring,” said contestant Benjamin Butrago, who is Puerto Rican. “He’s a good idol, a good person to have to look up to.”\u003c/p>\n\u003cp>As Super Bowl week brings large NFL-affiliated events to the Bay Area, the look-alike contest, organized by Mission Lotería and the Bay Area Mexican restaurant chain Tacolicious, tried a more neighborhood-scale approach.\u003c/p>\n\u003cfigure id=\"attachment_12072583\" class=\"wp-caption aligncenter\" style=\"max-width: 2500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12072583\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/02/260205-BADBUNNYLOOKALIKECONTEST-QUAD-BL-KQED.jpg\" alt=\"\" width=\"2500\" height=\"1674\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/02/260205-BADBUNNYLOOKALIKECONTEST-QUAD-BL-KQED.jpg 2500w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/02/260205-BADBUNNYLOOKALIKECONTEST-QUAD-BL-KQED-2000x1339.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/02/260205-BADBUNNYLOOKALIKECONTEST-QUAD-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/02/260205-BADBUNNYLOOKALIKECONTEST-QUAD-BL-KQED-1536x1029.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/02/260205-BADBUNNYLOOKALIKECONTEST-QUAD-BL-KQED-2048x1371.jpg 2048w\" sizes=\"auto, (max-width: 2500px) 100vw, 2500px\">\u003cfigcaption class=\"wp-caption-text\">Bad Bunny look-alike competitors walk through the crowd during a contest at Tacolicious in San Francisco on Thursday, Feb. 5, 2026. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Organizers promoted the contest with flyers posted around San Francisco and on social media, promising a cash prize, a Tacolicious gift card and, perhaps most importantly, bragging rights.\u003c/p>\n\u003cp>“It’s not that often that we get a global superstar that happens to be Latino that’s hosting the Super Bowl halftime show in our own area, so I felt like it was only appropriate,” said Mission Loteria founder Luis Angel Quiroz. Still, he said he was surprised by the turnout.\u003c/p>\n\u003cp>The event drew hundreds of fans, so packed that organizers expanded the party out onto the sidewalk, where a DJ played Bad Bunny’s most popular hits and the crowd danced along.\u003c/p>\n\u003cfigure id=\"attachment_12072582\" class=\"wp-caption aligncenter\" style=\"max-width: 2500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12072582\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/02/260205-BADBUNNYLOOKALIKECONTEST-DIP1-BL-KQED.jpg\" alt=\"\" width=\"2500\" height=\"838\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/02/260205-BADBUNNYLOOKALIKECONTEST-DIP1-BL-KQED.jpg 2500w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/02/260205-BADBUNNYLOOKALIKECONTEST-DIP1-BL-KQED-2000x670.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/02/260205-BADBUNNYLOOKALIKECONTEST-DIP1-BL-KQED-160x54.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/02/260205-BADBUNNYLOOKALIKECONTEST-DIP1-BL-KQED-1536x515.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/02/260205-BADBUNNYLOOKALIKECONTEST-DIP1-BL-KQED-2048x686.jpg 2048w\" sizes=\"auto, (max-width: 2500px) 100vw, 2500px\">\u003cfigcaption class=\"wp-caption-text\">Left: Josie Dominguez-Chand waits to enter a Bad Bunny look-alike contest organized by Mission Lotería at Tacolicious in San Francisco on Thursday, Feb. 5, 2026, ahead of Bad Bunny’s halftime show on Sunday; Right: Bad Bunny look-alike contestants wait to enter the competition at Tacolicious in San Francisco on Thursday, Feb. 5, 2026. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It also unfolded against a more political backdrop. In recent days, Bad Bunny has drawn renewed attention for speaking out at the Grammys against Immigration and Customs Enforcement, using his platform to criticize the federal crackdown and express solidarity with immigrant communities. In \u003ca href=\"https://www.kqed.org/arts/13986280/bad-bunny-bay-area-imoact-sol-food-mural-pinatas-super-bowl-mission-district\">a neighborhood like the Mission\u003c/a>, that stance has only deepened his resonance.\u003c/p>\n\u003cp>“They can’t take our joy away,” Quiroz said. “This is an example of a community coming together, being unafraid, and our joy is our resistance.”\u003c/p>\n\u003cp>So what makes a good Bad Bunny?\u003c/p>\n\u003cp>“It’s about having aura, personality and being able to embody the male and female gaze,” said contestant James Mavo, who wore Bad Bunny’s signature curly hair and tinted glasses.\u003c/p>\n\u003cfigure id=\"attachment_12072580\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12072580\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/02/260205-BadBunnyLookalikeContest-37-BL_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/02/260205-BadBunnyLookalikeContest-37-BL_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/02/260205-BadBunnyLookalikeContest-37-BL_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/02/260205-BadBunnyLookalikeContest-37-BL_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Abdul Ramirez Arroyave, known as Abdul Bunny, a professional impersonator, competes in a Bad Bunny look-alike contest at Tacolicious in San Francisco on Thursday, Feb. 5, 2026. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_12072578\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12072578\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/02/260205-BADBUNNYLOOKALIKECONTEST-26-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/02/260205-BADBUNNYLOOKALIKECONTEST-26-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/02/260205-BADBUNNYLOOKALIKECONTEST-26-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/02/260205-BADBUNNYLOOKALIKECONTEST-26-BL-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Bad Bunny look-alike competitors walk through the crowd during a contest at Tacolicious in San Francisco on Thursday, Feb. 5, 2026. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_12072579\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12072579\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/02/260205-BADBUNNYLOOKALIKECONTEST-27-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/02/260205-BADBUNNYLOOKALIKECONTEST-27-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/02/260205-BADBUNNYLOOKALIKECONTEST-27-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/02/260205-BADBUNNYLOOKALIKECONTEST-27-BL-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Bad Bunny look-alike competitors walk through the crowd during a contest at Tacolicious in San Francisco on Thursday, Feb. 5, 2026. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_12072569\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12072569\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/02/260205-BADBUNNYLOOKALIKECONTEST-05-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/02/260205-BADBUNNYLOOKALIKECONTEST-05-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/02/260205-BADBUNNYLOOKALIKECONTEST-05-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/02/260205-BADBUNNYLOOKALIKECONTEST-05-BL-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Hundreds of fans line up for a Bad Bunny look-alike contest organized by Mission Lotería at Tacolicious in San Francisco on Thursday, Feb. 5, 2026, ahead of his halftime show on Sunday. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_12072581\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12072581\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/02/260205-BadBunnyLookalikeContest-39-BL_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/02/260205-BadBunnyLookalikeContest-39-BL_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/02/260205-BadBunnyLookalikeContest-39-BL_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/02/260205-BadBunnyLookalikeContest-39-BL_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Bad Bunny look-alike competitors interact with the crowd during a contest at Tacolicious in San Francisco on Thursday, Feb. 5, 2026. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.kqed.org/arts/13986335/bad-bunny-super-bowl-halftime-show-conference-san-francisco\">Bad Bunny\u003c/a> fans and impersonators spilled out onto the sidewalk at Tacolicious in the San Francisco Mission District on Thursday night, in hopes of finding the Bay Area’s best Bad Bunny double. After all, the global superstar was once someone’s local grocery bagger.\u003c/p>\n\u003cp>The look-alike contest came just days before Bad Bunny is set to \u003ca href=\"https://www.kqed.org/arts/13986310/super-bowl-bad-bunny-celimar-rivera-cosme-lspr-puerto-rican-sign-language\">headline the Super Bowl halftime show\u003c/a>, one of the most-watched musical performances of the year.\u003c/p>\n\u003cp>Thirty-four contestants paraded through the restaurant, each offering their best Bad Bunny strut as the audience cheered.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The crowd ultimately crowned Abdul Arroyave, a Colombian man who’s been paying tribute to Bad Bunny through his impersonations for years, as the winner. Arroyave, a professional singer, wore a Puerto Rican \u003cem>pava\u003c/em> straw hat, crisp white pants and a red button-down shirt.\u003c/p>\n\u003cp>“I feel amazing now,” Arroyave said after winning $600 — a prize that was boosted by a $500 donation from fintech company Ramp. “Me siento super cabrón.”\u003c/p>\n\u003cfigure id=\"attachment_12072573\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12072573 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/02/260205-BADBUNNYLOOKALIKECONTEST-18-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/02/260205-BADBUNNYLOOKALIKECONTEST-18-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/02/260205-BADBUNNYLOOKALIKECONTEST-18-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/02/260205-BADBUNNYLOOKALIKECONTEST-18-BL-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Abdul Ramirez Arroyave, known as Abdul Bunny, a professional impersonator, competes in a Bad Bunny look-alike contest at Tacolicious in San Francisco on Thursday, Feb. 5, 2026. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bad Bunny’s rise from a working-class upbringing to global superstardom has made him more than a chart-topping artist. For many fans, he represents possibility, authenticity and cultural pride.\u003c/p>\n\u003cp>“With everything happening in our country right now, he’s just been inspiring,” said contestant Benjamin Butrago, who is Puerto Rican. “He’s a good idol, a good person to have to look up to.”\u003c/p>\n\u003cp>As Super Bowl week brings large NFL-affiliated events to the Bay Area, the look-alike contest, organized by Mission Lotería and the Bay Area Mexican restaurant chain Tacolicious, tried a more neighborhood-scale approach.\u003c/p>\n\u003cfigure id=\"attachment_12072583\" class=\"wp-caption aligncenter\" style=\"max-width: 2500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12072583\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/02/260205-BADBUNNYLOOKALIKECONTEST-QUAD-BL-KQED.jpg\" alt=\"\" width=\"2500\" height=\"1674\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/02/260205-BADBUNNYLOOKALIKECONTEST-QUAD-BL-KQED.jpg 2500w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/02/260205-BADBUNNYLOOKALIKECONTEST-QUAD-BL-KQED-2000x1339.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/02/260205-BADBUNNYLOOKALIKECONTEST-QUAD-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/02/260205-BADBUNNYLOOKALIKECONTEST-QUAD-BL-KQED-1536x1029.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/02/260205-BADBUNNYLOOKALIKECONTEST-QUAD-BL-KQED-2048x1371.jpg 2048w\" sizes=\"auto, (max-width: 2500px) 100vw, 2500px\">\u003cfigcaption class=\"wp-caption-text\">Bad Bunny look-alike competitors walk through the crowd during a contest at Tacolicious in San Francisco on Thursday, Feb. 5, 2026. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Organizers promoted the contest with flyers posted around San Francisco and on social media, promising a cash prize, a Tacolicious gift card and, perhaps most importantly, bragging rights.\u003c/p>\n\u003cp>“It’s not that often that we get a global superstar that happens to be Latino that’s hosting the Super Bowl halftime show in our own area, so I felt like it was only appropriate,” said Mission Loteria founder Luis Angel Quiroz. Still, he said he was surprised by the turnout.\u003c/p>\n\u003cp>The event drew hundreds of fans, so packed that organizers expanded the party out onto the sidewalk, where a DJ played Bad Bunny’s most popular hits and the crowd danced along.\u003c/p>\n\u003cfigure id=\"attachment_12072582\" class=\"wp-caption aligncenter\" style=\"max-width: 2500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12072582\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/02/260205-BADBUNNYLOOKALIKECONTEST-DIP1-BL-KQED.jpg\" alt=\"\" width=\"2500\" height=\"838\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/02/260205-BADBUNNYLOOKALIKECONTEST-DIP1-BL-KQED.jpg 2500w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/02/260205-BADBUNNYLOOKALIKECONTEST-DIP1-BL-KQED-2000x670.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/02/260205-BADBUNNYLOOKALIKECONTEST-DIP1-BL-KQED-160x54.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/02/260205-BADBUNNYLOOKALIKECONTEST-DIP1-BL-KQED-1536x515.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/02/260205-BADBUNNYLOOKALIKECONTEST-DIP1-BL-KQED-2048x686.jpg 2048w\" sizes=\"auto, (max-width: 2500px) 100vw, 2500px\">\u003cfigcaption class=\"wp-caption-text\">Left: Josie Dominguez-Chand waits to enter a Bad Bunny look-alike contest organized by Mission Lotería at Tacolicious in San Francisco on Thursday, Feb. 5, 2026, ahead of Bad Bunny’s halftime show on Sunday; Right: Bad Bunny look-alike contestants wait to enter the competition at Tacolicious in San Francisco on Thursday, Feb. 5, 2026. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It also unfolded against a more political backdrop. In recent days, Bad Bunny has drawn renewed attention for speaking out at the Grammys against Immigration and Customs Enforcement, using his platform to criticize the federal crackdown and express solidarity with immigrant communities. In \u003ca href=\"https://www.kqed.org/arts/13986280/bad-bunny-bay-area-imoact-sol-food-mural-pinatas-super-bowl-mission-district\">a neighborhood like the Mission\u003c/a>, that stance has only deepened his resonance.\u003c/p>\n\u003cp>“They can’t take our joy away,” Quiroz said. “This is an example of a community coming together, being unafraid, and our joy is our resistance.”\u003c/p>\n\u003cp>So what makes a good Bad Bunny?\u003c/p>\n\u003cp>“It’s about having aura, personality and being able to embody the male and female gaze,” said contestant James Mavo, who wore Bad Bunny’s signature curly hair and tinted glasses.\u003c/p>\n\u003cfigure id=\"attachment_12072580\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12072580\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/02/260205-BadBunnyLookalikeContest-37-BL_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/02/260205-BadBunnyLookalikeContest-37-BL_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/02/260205-BadBunnyLookalikeContest-37-BL_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/02/260205-BadBunnyLookalikeContest-37-BL_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Abdul Ramirez Arroyave, known as Abdul Bunny, a professional impersonator, competes in a Bad Bunny look-alike contest at Tacolicious in San Francisco on Thursday, Feb. 5, 2026. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_12072578\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12072578\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/02/260205-BADBUNNYLOOKALIKECONTEST-26-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/02/260205-BADBUNNYLOOKALIKECONTEST-26-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/02/260205-BADBUNNYLOOKALIKECONTEST-26-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/02/260205-BADBUNNYLOOKALIKECONTEST-26-BL-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Bad Bunny look-alike competitors walk through the crowd during a contest at Tacolicious in San Francisco on Thursday, Feb. 5, 2026. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_12072579\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12072579\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/02/260205-BADBUNNYLOOKALIKECONTEST-27-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/02/260205-BADBUNNYLOOKALIKECONTEST-27-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/02/260205-BADBUNNYLOOKALIKECONTEST-27-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/02/260205-BADBUNNYLOOKALIKECONTEST-27-BL-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Bad Bunny look-alike competitors walk through the crowd during a contest at Tacolicious in San Francisco on Thursday, Feb. 5, 2026. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_12072569\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12072569\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/02/260205-BADBUNNYLOOKALIKECONTEST-05-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/02/260205-BADBUNNYLOOKALIKECONTEST-05-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/02/260205-BADBUNNYLOOKALIKECONTEST-05-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/02/260205-BADBUNNYLOOKALIKECONTEST-05-BL-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Hundreds of fans line up for a Bad Bunny look-alike contest organized by Mission Lotería at Tacolicious in San Francisco on Thursday, Feb. 5, 2026, ahead of his halftime show on Sunday. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_12072581\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12072581\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/02/260205-BadBunnyLookalikeContest-39-BL_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/02/260205-BadBunnyLookalikeContest-39-BL_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/02/260205-BadBunnyLookalikeContest-39-BL_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/02/260205-BadBunnyLookalikeContest-39-BL_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Bad Bunny look-alike competitors interact with the crowd during a contest at Tacolicious in San Francisco on Thursday, Feb. 5, 2026. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"title": "Financial Crisis Forces SF’s Mission Cultural Center for Latino Arts to Close",
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"headTitle": "Financial Crisis Forces SF’s Mission Cultural Center for Latino Arts to Close | KQED",
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"content": "\u003cp>The beloved Mission Cultural Center for the Latino Arts, a \u003ca href=\"https://www.kqed.org/news/tag/san-francisco\">San Francisco\u003c/a> nonprofit that has pulsed with Latino dance, theater, historic graphic arts and music for nearly five decades, collapsed under mounting financial distress.\u003c/p>\n\u003cp>Nearly all staff resigned or were fired in December. MCCLA ran out of operating funds Jan. 20, and its doors shuttered indefinitely Jan. 26, leaving the empty building in the hands of the San Francisco Arts Commission (SFAC), which represents the City, the building’s owner.\u003c/p>\n\u003cp>The closure followed months of financial strain, staff layoffs and reduced programming. MCCLA had previously planned to \u003ca href=\"https://missionlocal.org/2025/01/mission-cultural-center-for-latino-arts-slashes-staff-and-programs/\">reopen\u003c/a> in late January with limited hours, but the organization ran out of money before those plans could be realized.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Ideally, MCCLA would have continued,” said a staff member with the San Francisco Arts Commission. “But we received records stating it had no staff and was insolvent, which violates the lease.”\u003c/p>\n\u003cp>He spoke on Tuesday while inside the otherwise empty 37,000-square-foot building, explaining why the City stepped in to secure the building during the extended closure.\u003c/p>\n\u003cp>The building is expected to remain closed for at least two years. MCCLA had planned to relocate this June in preparation for the City retrofitting the building beginning in early 2027.\u003c/p>\n\u003cfigure id=\"attachment_12071531\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12071531\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/01/MissionCulturalCenterElTec2.jpg\" alt=\"\" width=\"1500\" height=\"998\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/01/MissionCulturalCenterElTec2.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/01/MissionCulturalCenterElTec2-160x106.jpg 160w\" sizes=\"auto, (max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Julián Díaz, 65, a 40-year Mission District resident, looks inside the closed Mission Cultural Center for the Latino Arts in San Francisco on Jan. 28, 2026. “It’s sad,” Díaz said. “I’ve always walked by the building and saw what it did for the kids.” \u003ccite>(Pablo Unzueta for El Tecolote/CatchLight Local)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Meanwhile, distraught Mission community leaders planned to meet next Monday to consider possible paths forward.\u003c/p>\n\u003cp>“This moment of transition is a wake-up call that we can’t sit on our laurels and just enjoy what other generations have worked for,” said Francisco Herrera, a day laborer leader whose nonprofit, Nuevo Sol, took shape in meetings held at the Mission Cultural Center.\u003c/p>\n\u003cp>“We have to work as hard, if not harder, than they did in the ’60s and ’70s to win and sustain institutions like the Mission Cultural Center for Latino Arts, Instituto Familiar de la Raza and so many Mission organizations that exist.”\u003c/p>\n\u003cp>“We’ll be OK,” said MCCLA board president and Mission businessman Bob Sánchez, even after interim Executive Director Dereck Jentzsch resigned Sunday after two weeks in the part-time role.\u003c/p>\n\u003cp>“There’s a lot of agitation in the community right now,” Sánchez admitted. “But our community has a lot of strengths. We’ll organize, and we’ll work together. We have great leadership in the community that we can tap from to form a new board.”[aside postID=arts_13985413 hero='https://ww2.kqed.org/app/uploads/sites/2/2023/03/CCA_COVER-1020x574.jpg']With no staff and no operating funds, MCCLA outlined several drastic options in an email sent to the Arts Commission and obtained by \u003cem>El Tecolote\u003c/em>.\u003c/p>\n\u003cp>Dated Jan. 14, the \u003ca href=\"https://eltecolote.org/content/wp-content/uploads/2026/01/FW_-Extreme-Scenario-Planning-from-MCCLA-Jan-14-2026_Redacted.pdf\">email\u003c/a>, titled “Extreme Scenario Planning from MCCLA,” lays out what its authors describe as “grim” facts in an attempt to persuade the City to advance grant funds so the center could remain open until June.\u003c/p>\n\u003cp>Signed by MCCLA’s interim, part-time executive director, Jentzsch, and Sánchez, the email describes a cash-flow crisis so severe that, without immediate funding, the organization warned it would collapse within days.\u003c/p>\n\u003cp>“MCCLA is burning $50k/mo ($12k/week) more than revenue and has no revenue,” wrote Jentzsch and Sánchez, adding that $300k would “keep the Center from folding before June 30, 2026.”\u003c/p>\n\u003cp>Even with the unlikely disbursement of all outstanding SFAC grants, the email warned, “MCCLA will not be able to easily resume programmatic activities or restart utilization of the space by the public for any purposes.”\u003c/p>\n\u003cp>To make matters worse, the authors wrote, “the current situation prevents MCCLA from generating revenue.”\u003c/p>\n\u003cp>“If SFAC can commit to eventually release even a portion of the outstanding grant amounts,” they added, “we can extend lines of credit OR begin to ask other potential donors in good faith for their support. Without new funding, MCCLA will be insolvent January 20th.”\u003c/p>\n\u003cfigure id=\"attachment_12071518\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12071518\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/01/MissionCulturalCenterElTec1.jpg\" alt=\"\" width=\"1500\" height=\"998\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/01/MissionCulturalCenterElTec1.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/01/MissionCulturalCenterElTec1-160x106.jpg 160w\" sizes=\"auto, (max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">The Mission Cultural Center for the Latino Arts stands closed in San Francisco on Jan. 28, 2026, days after the organization ran out of operating funds and shuttered its doors indefinitely. \u003ccite>(Pablo Unzueta for El Tecolote/CatchLight Local)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Without the requested funds, Sánchez and Jentzsch outlined four possible options: declaring bankruptcy; merging with other arts nonprofits such as SoMa Arts or Galería de la Raza; creating an interim oversight structure and fiscal sponsorship by a “mission-aligned organization or even SFAC itself”; or a complete “retool” of MCCLA.\u003c/p>\n\u003cp>At its height, MCCLA served approximately 20,000 students a year. Its historic legacy includes more than 10,000 prints documenting Mission District events over five decades, Day of the Dead celebrations, Carnaval and exhibitions honoring women artists.\u003c/p>\n\u003cp>In September, then-Executive Director Martina Ayala reported that flood damage in the building had forced her to lay off staff.\u003c/p>\n\u003cp>However, the City disputes that characterization. “The City covered a majority of flood repair costs,” said Coma Te, SFAC communications director. “To suggest the laying off of staff is related to the flood damage seems inaccurate.”\u003c/p>\n\u003cp>With the City’s planned 2027 retrofit approaching, Ayala said she needed to raise $4 million for the center’s relocation by this summer. She resigned on Dec. 15.\u003c/p>\n\u003cp>Te clarified that “SFAC granted MCCLA $490k in relocation funding to help MCCLA prepare for the move.” This amount was on top of their annual operating grant, which this past year was $682k,” he said.[aside postID=arts_13985512 hero='https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/260113-CounterPulse-07-BL_qed.jpg']“It was the responsibility of the organization to plan for and fundraise for any additional amount of funds the organization estimated they needed ($2-4m) to temporarily relocate for the duration of the planned retrofit work,” he said.\u003c/p>\n\u003cp>Since its founding in 1977, MCCLA has paid $1 a year in rent as part of an agreement between Latino activists and the City to reactivate a space that once housed a furniture store. In return, the organization was responsible for daily operations and building maintenance.\u003c/p>\n\u003cp>Over time, the arts and education hub became home to La Raza Graphics and later Mission Graphics, which produced posters and flyers by major artists including Calixto Robles, Ester Hernández, Juana Alicia and Herbert Sigüenza.\u003c/p>\n\u003cp>The posters documented history, announcing festivals, marches and concerts throughout the Mission District and San Francisco.\u003c/p>\n\u003cp>On Sunday, a small group of volunteers rushed to the center’s poster archives to pack and safeguard as much of the historic, and potentially revenue-generating, artwork as possible. The mood was somber, frantic and quietly purposeful.\u003c/p>\n\u003cp>“I just saw an ’80s immigration poster that could be so current,” said Eva Martínez, MCCLA’s volunteer lead archivist, underscoring the works’ enduring relevance. Martínez is also a volunteer archivist with Acción Latina, the nonprofit publisher of El Tecolote.\u003c/p>\n\u003cp>“We don’t know what’s going to happen,” Martínez said. “So we don’t want to take a chance of not being able to get documents, computers or organizational files.”\u003c/p>\n\u003cp>As he boxed posters, local historian Chris Carlsson reflected on the artwork in front of him.\u003c/p>\n\u003cp>“These are an essential part of this neighborhood,” said Carlsson, author of Hidden San Francisco, adding that the works represent “a huge legacy of the social struggles that define our place in the world.”\u003c/p>\n\u003cp>The archival collections will be temporarily rehoused in board president Sánchez’s warehouse in Hayward and at La Raza Community Resource Center, as organizers continue searching for additional local storage options.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "After months of financial strain, staff departures and scaled-back programming, the nearly 50-year-old nonprofit exhausted its operating funds, shuttering its Mission District building and leaving its future uncertain.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The beloved Mission Cultural Center for the Latino Arts, a \u003ca href=\"https://www.kqed.org/news/tag/san-francisco\">San Francisco\u003c/a> nonprofit that has pulsed with Latino dance, theater, historic graphic arts and music for nearly five decades, collapsed under mounting financial distress.\u003c/p>\n\u003cp>Nearly all staff resigned or were fired in December. MCCLA ran out of operating funds Jan. 20, and its doors shuttered indefinitely Jan. 26, leaving the empty building in the hands of the San Francisco Arts Commission (SFAC), which represents the City, the building’s owner.\u003c/p>\n\u003cp>The closure followed months of financial strain, staff layoffs and reduced programming. MCCLA had previously planned to \u003ca href=\"https://missionlocal.org/2025/01/mission-cultural-center-for-latino-arts-slashes-staff-and-programs/\">reopen\u003c/a> in late January with limited hours, but the organization ran out of money before those plans could be realized.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Ideally, MCCLA would have continued,” said a staff member with the San Francisco Arts Commission. “But we received records stating it had no staff and was insolvent, which violates the lease.”\u003c/p>\n\u003cp>He spoke on Tuesday while inside the otherwise empty 37,000-square-foot building, explaining why the City stepped in to secure the building during the extended closure.\u003c/p>\n\u003cp>The building is expected to remain closed for at least two years. MCCLA had planned to relocate this June in preparation for the City retrofitting the building beginning in early 2027.\u003c/p>\n\u003cfigure id=\"attachment_12071531\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12071531\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/01/MissionCulturalCenterElTec2.jpg\" alt=\"\" width=\"1500\" height=\"998\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/01/MissionCulturalCenterElTec2.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/01/MissionCulturalCenterElTec2-160x106.jpg 160w\" sizes=\"auto, (max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Julián Díaz, 65, a 40-year Mission District resident, looks inside the closed Mission Cultural Center for the Latino Arts in San Francisco on Jan. 28, 2026. “It’s sad,” Díaz said. “I’ve always walked by the building and saw what it did for the kids.” \u003ccite>(Pablo Unzueta for El Tecolote/CatchLight Local)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Meanwhile, distraught Mission community leaders planned to meet next Monday to consider possible paths forward.\u003c/p>\n\u003cp>“This moment of transition is a wake-up call that we can’t sit on our laurels and just enjoy what other generations have worked for,” said Francisco Herrera, a day laborer leader whose nonprofit, Nuevo Sol, took shape in meetings held at the Mission Cultural Center.\u003c/p>\n\u003cp>“We have to work as hard, if not harder, than they did in the ’60s and ’70s to win and sustain institutions like the Mission Cultural Center for Latino Arts, Instituto Familiar de la Raza and so many Mission organizations that exist.”\u003c/p>\n\u003cp>“We’ll be OK,” said MCCLA board president and Mission businessman Bob Sánchez, even after interim Executive Director Dereck Jentzsch resigned Sunday after two weeks in the part-time role.\u003c/p>\n\u003cp>“There’s a lot of agitation in the community right now,” Sánchez admitted. “But our community has a lot of strengths. We’ll organize, and we’ll work together. We have great leadership in the community that we can tap from to form a new board.”\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>With no staff and no operating funds, MCCLA outlined several drastic options in an email sent to the Arts Commission and obtained by \u003cem>El Tecolote\u003c/em>.\u003c/p>\n\u003cp>Dated Jan. 14, the \u003ca href=\"https://eltecolote.org/content/wp-content/uploads/2026/01/FW_-Extreme-Scenario-Planning-from-MCCLA-Jan-14-2026_Redacted.pdf\">email\u003c/a>, titled “Extreme Scenario Planning from MCCLA,” lays out what its authors describe as “grim” facts in an attempt to persuade the City to advance grant funds so the center could remain open until June.\u003c/p>\n\u003cp>Signed by MCCLA’s interim, part-time executive director, Jentzsch, and Sánchez, the email describes a cash-flow crisis so severe that, without immediate funding, the organization warned it would collapse within days.\u003c/p>\n\u003cp>“MCCLA is burning $50k/mo ($12k/week) more than revenue and has no revenue,” wrote Jentzsch and Sánchez, adding that $300k would “keep the Center from folding before June 30, 2026.”\u003c/p>\n\u003cp>Even with the unlikely disbursement of all outstanding SFAC grants, the email warned, “MCCLA will not be able to easily resume programmatic activities or restart utilization of the space by the public for any purposes.”\u003c/p>\n\u003cp>To make matters worse, the authors wrote, “the current situation prevents MCCLA from generating revenue.”\u003c/p>\n\u003cp>“If SFAC can commit to eventually release even a portion of the outstanding grant amounts,” they added, “we can extend lines of credit OR begin to ask other potential donors in good faith for their support. Without new funding, MCCLA will be insolvent January 20th.”\u003c/p>\n\u003cfigure id=\"attachment_12071518\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12071518\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/01/MissionCulturalCenterElTec1.jpg\" alt=\"\" width=\"1500\" height=\"998\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/01/MissionCulturalCenterElTec1.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/01/MissionCulturalCenterElTec1-160x106.jpg 160w\" sizes=\"auto, (max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">The Mission Cultural Center for the Latino Arts stands closed in San Francisco on Jan. 28, 2026, days after the organization ran out of operating funds and shuttered its doors indefinitely. \u003ccite>(Pablo Unzueta for El Tecolote/CatchLight Local)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Without the requested funds, Sánchez and Jentzsch outlined four possible options: declaring bankruptcy; merging with other arts nonprofits such as SoMa Arts or Galería de la Raza; creating an interim oversight structure and fiscal sponsorship by a “mission-aligned organization or even SFAC itself”; or a complete “retool” of MCCLA.\u003c/p>\n\u003cp>At its height, MCCLA served approximately 20,000 students a year. Its historic legacy includes more than 10,000 prints documenting Mission District events over five decades, Day of the Dead celebrations, Carnaval and exhibitions honoring women artists.\u003c/p>\n\u003cp>In September, then-Executive Director Martina Ayala reported that flood damage in the building had forced her to lay off staff.\u003c/p>\n\u003cp>However, the City disputes that characterization. “The City covered a majority of flood repair costs,” said Coma Te, SFAC communications director. “To suggest the laying off of staff is related to the flood damage seems inaccurate.”\u003c/p>\n\u003cp>With the City’s planned 2027 retrofit approaching, Ayala said she needed to raise $4 million for the center’s relocation by this summer. She resigned on Dec. 15.\u003c/p>\n\u003cp>Te clarified that “SFAC granted MCCLA $490k in relocation funding to help MCCLA prepare for the move.” This amount was on top of their annual operating grant, which this past year was $682k,” he said.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“It was the responsibility of the organization to plan for and fundraise for any additional amount of funds the organization estimated they needed ($2-4m) to temporarily relocate for the duration of the planned retrofit work,” he said.\u003c/p>\n\u003cp>Since its founding in 1977, MCCLA has paid $1 a year in rent as part of an agreement between Latino activists and the City to reactivate a space that once housed a furniture store. In return, the organization was responsible for daily operations and building maintenance.\u003c/p>\n\u003cp>Over time, the arts and education hub became home to La Raza Graphics and later Mission Graphics, which produced posters and flyers by major artists including Calixto Robles, Ester Hernández, Juana Alicia and Herbert Sigüenza.\u003c/p>\n\u003cp>The posters documented history, announcing festivals, marches and concerts throughout the Mission District and San Francisco.\u003c/p>\n\u003cp>On Sunday, a small group of volunteers rushed to the center’s poster archives to pack and safeguard as much of the historic, and potentially revenue-generating, artwork as possible. The mood was somber, frantic and quietly purposeful.\u003c/p>\n\u003cp>“I just saw an ’80s immigration poster that could be so current,” said Eva Martínez, MCCLA’s volunteer lead archivist, underscoring the works’ enduring relevance. Martínez is also a volunteer archivist with Acción Latina, the nonprofit publisher of El Tecolote.\u003c/p>\n\u003cp>“We don’t know what’s going to happen,” Martínez said. “So we don’t want to take a chance of not being able to get documents, computers or organizational files.”\u003c/p>\n\u003cp>As he boxed posters, local historian Chris Carlsson reflected on the artwork in front of him.\u003c/p>\n\u003cp>“These are an essential part of this neighborhood,” said Carlsson, author of Hidden San Francisco, adding that the works represent “a huge legacy of the social struggles that define our place in the world.”\u003c/p>\n\u003cp>The archival collections will be temporarily rehoused in board president Sánchez’s warehouse in Hayward and at La Raza Community Resource Center, as organizers continue searching for additional local storage options.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>One person was fatally shot in San Francisco’s \u003ca href=\"https://www.kqed.org/news/tag/mission-district\">Mission District\u003c/a> on Thursday night, marking the city’s first homicide of 2026.\u003c/p>\n\u003cp>The San Francisco Police Department said officers responded to the area of 16th Street and San Bruno Avenue around 9:40 p.m. and found a victim suffering from an apparent gunshot wound.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Officers rendered aid, including CPR, and paramedics were called to the scene, but “despite the lifesaving efforts of first responders, the victim was declared deceased on scene,” the department said in a statement.\u003c/p>\n\u003cp>The fatal shooting is the first in the city this year, and comes weeks after police officials announced that San Francisco’s homicide rate \u003ca href=\"https://www.sanfranciscopolice.org/news/san-francisco-has-lowest-homicide-rate-70-years-declines\">hit a 70-year low\u003c/a> in 2025.\u003c/p>\n\u003cp>Last year, the city recorded 28 homicides, a 20% year-over-year reduction. SFPD said its homicide detail was leading an investigation into the incident. Additional information about the identities of the victim or any suspects was not available on Friday morning.\u003c/p>\n\u003cp>\u003c/p>\n",
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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": "san-francisco-nail-artist-turns-manicures-into-wearable-art-rooted-in-mexican-heritage",
"title": "San Francisco Nail Artist Turns Manicures Into Wearable Art Rooted in Mexican Heritage",
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"headTitle": "San Francisco Nail Artist Turns Manicures Into Wearable Art Rooted in Mexican Heritage | KQED",
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"content": "\u003cp>\u003cem>Sign up for K Onda KQED, a monthly newsletter focused on the Bay Area’s Latinx community. \u003c/em>\u003ca href=\"https://www.kqed.org/newsletters/k-onda\">\u003cem>Click here to subscribe.\u003c/em>\u003c/a>\u003c/p>\n\u003cp>Against a sky blue backdrop, Laysa Cazares painted a series of \u003ca href=\"https://www.kqed.org/news/tag/california\">California\u003c/a> poppies. With a tiny brush, she used shades of orange to create petals just a few millimeters wide that looked like they were fluttering in a breeze.\u003c/p>\n\u003cp>A lifelong artist, Cazares’ favorite medium may seem unusual: fingernails.\u003c/p>\n\u003cp>“It’s a little canvas where you can put whatever you want, and it’s wearable art, which I think is really cool,” the 29-year-old said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Cazares, raised in Manteca and now based in San Francisco, is among a growing number of high-end nail artists elevating traditional manicures into works of art amid the booming multibillion-dollar beauty industry. She has built a following for her three-dimensional, airbrushed and hand-painted nail designs that incorporate fashion, her Mexican heritage and meticulous artistry.\u003c/p>\n\u003cp>On a recent morning, her right hand featured metallic charcoal gray adorned with polka dots, which she said are trending. Her left hand showed a light blue-hued design with three-dimensional spheres inspired by a bubble bath.\u003c/p>\n\u003cfigure id=\"attachment_12055054\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12055054\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/09/250904_K-ONDA-SEPTEMBER-NAIL-ARTIST-_GH-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/09/250904_K-ONDA-SEPTEMBER-NAIL-ARTIST-_GH-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/09/250904_K-ONDA-SEPTEMBER-NAIL-ARTIST-_GH-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/09/250904_K-ONDA-SEPTEMBER-NAIL-ARTIST-_GH-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Laysa Cazares pulls gel from a container during a nail-sculpting class at Sparkle SF in San Francisco on Sept. 4, 2025. Cazares, a Hayward native, is known for her detailed, three-dimensional nail art. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cazares, who goes by the moniker \u003ca href=\"https://www.instagram.com/nailbruja/\">Nail Bruja\u003c/a> — “nail witch” in Spanglish — uses a variety of gels to layer on clients’ nails, create longer nails and sculpt 3D objects from scratch. She then applies paints and polishes to create intricate designs and effects like a cat-eye shimmer or reflective shine.\u003c/p>\n\u003cp>For one client, she created a tiny cat that looked like it was poking out from behind a nail. For another, she shaped long, pointy nails to resemble plant leaves dotted with 3D ladybugs and raindrops.\u003c/p>\n\u003cp>“It’s almost like clay, so you can just mold it and then you paint it and you can do whatever,” she said. “That wasn’t a thing 10 years ago until recently, so it’s really cool to be able to make whatever you want on your nail.”[aside postID=arts_13981143 hero='https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_007-1020x680.jpg']Her love affair with nails started early. She remembers waking up early — and sometimes being late — because she painted her nails in the morning to match her outfit. She credits her older sister for introducing her to painting, ceramics and other crafts.\u003c/p>\n\u003cp>After high school, Cazares decided against college but wanted a career in art. She didn’t see a clear path until her sister suggested she become a licensed nail technician, which she did in 2015.\u003c/p>\n\u003cp>Her parents were skeptical at first, questioning how she could earn a living wage doing manicures and pedicures. Nail technicians \u003ca href=\"https://www.bls.gov/ooh/personal-care-and-service/manicurists-and-pedicurists.htm\">made an average\u003c/a> of $16.66 per hour or about $34,660 a year in 2024, according to the U.S. Bureau of Labor Statistics. The industry has a \u003ca href=\"https://www.kqed.org/news/11275303/nail-salon-workers-allege-wage-theft-indicate-larger-exploitation\">history of labor exploitation\u003c/a>.\u003c/p>\n\u003cp>“I have immigrant parents, they’re from Mexico, and my mom, one of her favorite sayings, ‘I didn’t cross a country for you to not be successful,’” Cazeres said. That made her more determined to pursue nail art in a way that would be lucrative.\u003c/p>\n\u003cp>Six years ago, she immersed herself in nail art while working at a Fremont salon specializing in designs with long acrylic tips, which were popular at the time.\u003c/p>\n\u003cp>“I had a full clientele and it just clicked like, ‘Oh, I really could actually live off of this and have it be my career full time,” she said. “Sometimes I’m like, ‘Oh, maybe going to school would have been cool, too.’ But I love nails and I love art. So being a nail artist just works. I get to combine both.”\u003c/p>\n\u003cp>In 2022, she moved to Miami, which also has a robust nail industry. She returned to California last December and now works at Sparkle SF, a salon in San Francisco’s Mission District.\u003c/p>\n\u003cfigure id=\"attachment_12055050\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12055050\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/09/250904_K-ONDA-SEPTEMBER-NAIL-ARTIST-_GH-5-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/09/250904_K-ONDA-SEPTEMBER-NAIL-ARTIST-_GH-5-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/09/250904_K-ONDA-SEPTEMBER-NAIL-ARTIST-_GH-5-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/09/250904_K-ONDA-SEPTEMBER-NAIL-ARTIST-_GH-5-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Polaroids of staff and visitors decorate a wall inside Sparkle SF in San Francisco on Sept. 4, 2025. The studio doubles as both a workplace and a creative hub for nail art. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“San Francisco is just such a fun, quirky, unique place where even the older generations are into nail art,” she said. “Younger people will do all the crazy stuff, and they’re not scared to get 3D. They’re not scared to like chrome or airbrush or anything. They’re down to try it all.”\u003c/p>\n\u003cp>Sparke SF is strictly for nail art and doesn’t offer pedicures, massages or facials, said owner Mia Rubie, who started the salon more than a decade ago and has watched nail art continuously evolve.\u003c/p>\n\u003cp>“Now, there’s so many possibilities with nail art,” thanks in part to social media, she said. Clients “are making it a very personalized experience, like something tailored to their own interests or something that they’re into or dedicating nails to somebody else or things like that. People are discovering that you can use it as a valid expression of art.”\u003c/p>\n\u003cp>“The history of nails is very multicultural,” said Jillian Hernandez, a professor of women’s studies at the University of Florida who leads the Full Set Project, a team of scholars researching the nail industry. The intricate nail designs innovated by Vietnamese nail techs caught on with Black and Latina women, who helped turn long, brightly decorated nails into bold fashion statements.\u003c/p>\n\u003cp>Her team plans to release a documentary, \u003ca href=\"https://historymiami.org/event/film-screening-panel-discussion-full-set-a-celebration-of-miami-nail-artistry/\">\u003cem>Nail Tech: Portrait of an Artist\u003c/em>\u003c/a>, in December, chronicling the career of Miami-based nail artist Kro Vargas.\u003c/p>\n\u003cfigure id=\"attachment_12055053\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12055053\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/09/250904_K-ONDA-SEPTEMBER-NAIL-ARTIST-_GH-21-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/09/250904_K-ONDA-SEPTEMBER-NAIL-ARTIST-_GH-21-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/09/250904_K-ONDA-SEPTEMBER-NAIL-ARTIST-_GH-21-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/09/250904_K-ONDA-SEPTEMBER-NAIL-ARTIST-_GH-21-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">An assortment of intricate nail designs displayed at Sparkle SF in San Francisco on Sept. 4, 2025. The salon is known for showcasing bold, colorful and three-dimensional nail artistry. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Over the last decade, particularly the last five years since COVID, there was increasing interest in self-care practices, but also famous women of color like Cardi B, for example, entered the mainstream and also entered spaces of fashion and brought their own aesthetics to these spaces,” Hernandez said.\u003c/p>\n\u003cp>The shift from seeing nails as simple grooming to fashionable art is slowly changing how workers in the industry are viewed, Hernandez said.\u003c/p>\n\u003cp>“It gets to this fundamental question of how do we value workers? We tend to undervalue care work because it’s associated with women and people of color,” she said. “All nail techs are artists, and they should be respected for their labor, whether they’re in the corner salon or whether they’re in these highly specialized studios doing nails for celebrities. That’s extremely important.”\u003c/p>\n\u003cp>The cost of nail art is also rising as designs require more expertise and time. At Sparkle, prices start around $60 for a basic manicure, but intricate designs can cost a few hundred dollars and take several hours. Cazares said her designs typically last about a month.\u003c/p>\n\u003cfigure id=\"attachment_12055052\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12055052\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/09/250904_K-ONDA-SEPTEMBER-NAIL-ARTIST-_GH-19-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/09/250904_K-ONDA-SEPTEMBER-NAIL-ARTIST-_GH-19-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/09/250904_K-ONDA-SEPTEMBER-NAIL-ARTIST-_GH-19-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/09/250904_K-ONDA-SEPTEMBER-NAIL-ARTIST-_GH-19-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Nail artist Laysa Cazares works at her station inside Sparkle SF in San Francisco on Sept. 4, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The most expensive set she has ever done took eight hours, covered both hands with Swarovski crystals and cost $1,400.\u003c/p>\n\u003cp>“Nails aren’t a necessity; they are a luxury,” Cazares said. “I love the feeling of feeling put together, and for a lot of people, this does that for them. For women who work corporate tech jobs, their jobs are so demanding; this is a form of self-expression.”\u003c/p>\n\u003cp>That resonates with San Mateo resident Cristina Medina, 30, who had her first manicure in middle school.\u003c/p>\n\u003cp>“My mom always had her nails done for as long as I can remember, so I think I got it from her, the habit of getting my nails done,” she said. “I’ve always correlated getting my nails done as a way of self-pampering, of taking care of myself. It helps me feel more put together.”\u003c/p>\n\u003cfigure id=\"attachment_12057050\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12057050\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/09/250919-K-ONDA-NAIL-ARTIST-DIPTYCH-1.jpg\" alt=\"\" width=\"2000\" height=\"1129\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/09/250919-K-ONDA-NAIL-ARTIST-DIPTYCH-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/09/250919-K-ONDA-NAIL-ARTIST-DIPTYCH-1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/09/250919-K-ONDA-NAIL-ARTIST-DIPTYCH-1-1536x867.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Specialty designs by San Francisco nail artist Laysa Cazares. \u003ccite>(Courtesy of Laysa Cazares)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Medina has a standing appointment every three weeks. Her designs range from a simple French tip to more seasonal creations.\u003c/p>\n\u003cp>“I like to spice it up during the holidays,” she said. “For example, Halloween and Dia de los Muertos are coming up, so I might mess with orange, brown colors or even pumpkin. It really gives me that creative freedom and gives me a way to express myself throughout the year.”\u003c/p>\n\u003cp>Cazares is hosting an event this month called \u003ca href=\"http://www.nomicreativestudios.com\">Hexed by Nail Bruja & Friends\u003c/a> to showcase nail art the way an art gallery exhibits paintings. The Friday event will also feature vendors, tarot card readings and cocktails, and will run from 6–9 p.m. at a retro pinball arcade at 1767 Waller St. in San Francisco. Tickets are $30.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Clarification:\u003c/strong> An earlier version of this story said “Latina and Black women pioneered long, brightly decorated nails as fashion statements well before the mainstream embraced the look, she said, while many Vietnamese women have worked in salons.” To clarify, the professor emphasized that Black and Latina women helped popularize and bring visibility to nail art as a cultural fashion statement, while Vietnamese women, many of them immigrants, played a central role in the nail salon industry where the style was widely practiced.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"title": "San Francisco Nail Artist Turns Manicures Into Wearable Art Rooted in Mexican Heritage | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Sign up for K Onda KQED, a monthly newsletter focused on the Bay Area’s Latinx community. \u003c/em>\u003ca href=\"https://www.kqed.org/newsletters/k-onda\">\u003cem>Click here to subscribe.\u003c/em>\u003c/a>\u003c/p>\n\u003cp>Against a sky blue backdrop, Laysa Cazares painted a series of \u003ca href=\"https://www.kqed.org/news/tag/california\">California\u003c/a> poppies. With a tiny brush, she used shades of orange to create petals just a few millimeters wide that looked like they were fluttering in a breeze.\u003c/p>\n\u003cp>A lifelong artist, Cazares’ favorite medium may seem unusual: fingernails.\u003c/p>\n\u003cp>“It’s a little canvas where you can put whatever you want, and it’s wearable art, which I think is really cool,” the 29-year-old said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Cazares, raised in Manteca and now based in San Francisco, is among a growing number of high-end nail artists elevating traditional manicures into works of art amid the booming multibillion-dollar beauty industry. She has built a following for her three-dimensional, airbrushed and hand-painted nail designs that incorporate fashion, her Mexican heritage and meticulous artistry.\u003c/p>\n\u003cp>On a recent morning, her right hand featured metallic charcoal gray adorned with polka dots, which she said are trending. Her left hand showed a light blue-hued design with three-dimensional spheres inspired by a bubble bath.\u003c/p>\n\u003cfigure id=\"attachment_12055054\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12055054\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/09/250904_K-ONDA-SEPTEMBER-NAIL-ARTIST-_GH-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/09/250904_K-ONDA-SEPTEMBER-NAIL-ARTIST-_GH-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/09/250904_K-ONDA-SEPTEMBER-NAIL-ARTIST-_GH-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/09/250904_K-ONDA-SEPTEMBER-NAIL-ARTIST-_GH-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Laysa Cazares pulls gel from a container during a nail-sculpting class at Sparkle SF in San Francisco on Sept. 4, 2025. Cazares, a Hayward native, is known for her detailed, three-dimensional nail art. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cazares, who goes by the moniker \u003ca href=\"https://www.instagram.com/nailbruja/\">Nail Bruja\u003c/a> — “nail witch” in Spanglish — uses a variety of gels to layer on clients’ nails, create longer nails and sculpt 3D objects from scratch. She then applies paints and polishes to create intricate designs and effects like a cat-eye shimmer or reflective shine.\u003c/p>\n\u003cp>For one client, she created a tiny cat that looked like it was poking out from behind a nail. For another, she shaped long, pointy nails to resemble plant leaves dotted with 3D ladybugs and raindrops.\u003c/p>\n\u003cp>“It’s almost like clay, so you can just mold it and then you paint it and you can do whatever,” she said. “That wasn’t a thing 10 years ago until recently, so it’s really cool to be able to make whatever you want on your nail.”\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Her love affair with nails started early. She remembers waking up early — and sometimes being late — because she painted her nails in the morning to match her outfit. She credits her older sister for introducing her to painting, ceramics and other crafts.\u003c/p>\n\u003cp>After high school, Cazares decided against college but wanted a career in art. She didn’t see a clear path until her sister suggested she become a licensed nail technician, which she did in 2015.\u003c/p>\n\u003cp>Her parents were skeptical at first, questioning how she could earn a living wage doing manicures and pedicures. Nail technicians \u003ca href=\"https://www.bls.gov/ooh/personal-care-and-service/manicurists-and-pedicurists.htm\">made an average\u003c/a> of $16.66 per hour or about $34,660 a year in 2024, according to the U.S. Bureau of Labor Statistics. The industry has a \u003ca href=\"https://www.kqed.org/news/11275303/nail-salon-workers-allege-wage-theft-indicate-larger-exploitation\">history of labor exploitation\u003c/a>.\u003c/p>\n\u003cp>“I have immigrant parents, they’re from Mexico, and my mom, one of her favorite sayings, ‘I didn’t cross a country for you to not be successful,’” Cazeres said. That made her more determined to pursue nail art in a way that would be lucrative.\u003c/p>\n\u003cp>Six years ago, she immersed herself in nail art while working at a Fremont salon specializing in designs with long acrylic tips, which were popular at the time.\u003c/p>\n\u003cp>“I had a full clientele and it just clicked like, ‘Oh, I really could actually live off of this and have it be my career full time,” she said. “Sometimes I’m like, ‘Oh, maybe going to school would have been cool, too.’ But I love nails and I love art. So being a nail artist just works. I get to combine both.”\u003c/p>\n\u003cp>In 2022, she moved to Miami, which also has a robust nail industry. She returned to California last December and now works at Sparkle SF, a salon in San Francisco’s Mission District.\u003c/p>\n\u003cfigure id=\"attachment_12055050\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12055050\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/09/250904_K-ONDA-SEPTEMBER-NAIL-ARTIST-_GH-5-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/09/250904_K-ONDA-SEPTEMBER-NAIL-ARTIST-_GH-5-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/09/250904_K-ONDA-SEPTEMBER-NAIL-ARTIST-_GH-5-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/09/250904_K-ONDA-SEPTEMBER-NAIL-ARTIST-_GH-5-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Polaroids of staff and visitors decorate a wall inside Sparkle SF in San Francisco on Sept. 4, 2025. The studio doubles as both a workplace and a creative hub for nail art. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“San Francisco is just such a fun, quirky, unique place where even the older generations are into nail art,” she said. “Younger people will do all the crazy stuff, and they’re not scared to get 3D. They’re not scared to like chrome or airbrush or anything. They’re down to try it all.”\u003c/p>\n\u003cp>Sparke SF is strictly for nail art and doesn’t offer pedicures, massages or facials, said owner Mia Rubie, who started the salon more than a decade ago and has watched nail art continuously evolve.\u003c/p>\n\u003cp>“Now, there’s so many possibilities with nail art,” thanks in part to social media, she said. Clients “are making it a very personalized experience, like something tailored to their own interests or something that they’re into or dedicating nails to somebody else or things like that. People are discovering that you can use it as a valid expression of art.”\u003c/p>\n\u003cp>“The history of nails is very multicultural,” said Jillian Hernandez, a professor of women’s studies at the University of Florida who leads the Full Set Project, a team of scholars researching the nail industry. The intricate nail designs innovated by Vietnamese nail techs caught on with Black and Latina women, who helped turn long, brightly decorated nails into bold fashion statements.\u003c/p>\n\u003cp>Her team plans to release a documentary, \u003ca href=\"https://historymiami.org/event/film-screening-panel-discussion-full-set-a-celebration-of-miami-nail-artistry/\">\u003cem>Nail Tech: Portrait of an Artist\u003c/em>\u003c/a>, in December, chronicling the career of Miami-based nail artist Kro Vargas.\u003c/p>\n\u003cfigure id=\"attachment_12055053\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12055053\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/09/250904_K-ONDA-SEPTEMBER-NAIL-ARTIST-_GH-21-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/09/250904_K-ONDA-SEPTEMBER-NAIL-ARTIST-_GH-21-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/09/250904_K-ONDA-SEPTEMBER-NAIL-ARTIST-_GH-21-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/09/250904_K-ONDA-SEPTEMBER-NAIL-ARTIST-_GH-21-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">An assortment of intricate nail designs displayed at Sparkle SF in San Francisco on Sept. 4, 2025. The salon is known for showcasing bold, colorful and three-dimensional nail artistry. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Over the last decade, particularly the last five years since COVID, there was increasing interest in self-care practices, but also famous women of color like Cardi B, for example, entered the mainstream and also entered spaces of fashion and brought their own aesthetics to these spaces,” Hernandez said.\u003c/p>\n\u003cp>The shift from seeing nails as simple grooming to fashionable art is slowly changing how workers in the industry are viewed, Hernandez said.\u003c/p>\n\u003cp>“It gets to this fundamental question of how do we value workers? We tend to undervalue care work because it’s associated with women and people of color,” she said. “All nail techs are artists, and they should be respected for their labor, whether they’re in the corner salon or whether they’re in these highly specialized studios doing nails for celebrities. That’s extremely important.”\u003c/p>\n\u003cp>The cost of nail art is also rising as designs require more expertise and time. At Sparkle, prices start around $60 for a basic manicure, but intricate designs can cost a few hundred dollars and take several hours. Cazares said her designs typically last about a month.\u003c/p>\n\u003cfigure id=\"attachment_12055052\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12055052\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/09/250904_K-ONDA-SEPTEMBER-NAIL-ARTIST-_GH-19-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/09/250904_K-ONDA-SEPTEMBER-NAIL-ARTIST-_GH-19-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/09/250904_K-ONDA-SEPTEMBER-NAIL-ARTIST-_GH-19-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/09/250904_K-ONDA-SEPTEMBER-NAIL-ARTIST-_GH-19-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Nail artist Laysa Cazares works at her station inside Sparkle SF in San Francisco on Sept. 4, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The most expensive set she has ever done took eight hours, covered both hands with Swarovski crystals and cost $1,400.\u003c/p>\n\u003cp>“Nails aren’t a necessity; they are a luxury,” Cazares said. “I love the feeling of feeling put together, and for a lot of people, this does that for them. For women who work corporate tech jobs, their jobs are so demanding; this is a form of self-expression.”\u003c/p>\n\u003cp>That resonates with San Mateo resident Cristina Medina, 30, who had her first manicure in middle school.\u003c/p>\n\u003cp>“My mom always had her nails done for as long as I can remember, so I think I got it from her, the habit of getting my nails done,” she said. “I’ve always correlated getting my nails done as a way of self-pampering, of taking care of myself. It helps me feel more put together.”\u003c/p>\n\u003cfigure id=\"attachment_12057050\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12057050\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/09/250919-K-ONDA-NAIL-ARTIST-DIPTYCH-1.jpg\" alt=\"\" width=\"2000\" height=\"1129\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/09/250919-K-ONDA-NAIL-ARTIST-DIPTYCH-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/09/250919-K-ONDA-NAIL-ARTIST-DIPTYCH-1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/09/250919-K-ONDA-NAIL-ARTIST-DIPTYCH-1-1536x867.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Specialty designs by San Francisco nail artist Laysa Cazares. \u003ccite>(Courtesy of Laysa Cazares)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Medina has a standing appointment every three weeks. Her designs range from a simple French tip to more seasonal creations.\u003c/p>\n\u003cp>“I like to spice it up during the holidays,” she said. “For example, Halloween and Dia de los Muertos are coming up, so I might mess with orange, brown colors or even pumpkin. It really gives me that creative freedom and gives me a way to express myself throughout the year.”\u003c/p>\n\u003cp>Cazares is hosting an event this month called \u003ca href=\"http://www.nomicreativestudios.com\">Hexed by Nail Bruja & Friends\u003c/a> to showcase nail art the way an art gallery exhibits paintings. The Friday event will also feature vendors, tarot card readings and cocktails, and will run from 6–9 p.m. at a retro pinball arcade at 1767 Waller St. in San Francisco. Tickets are $30.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Clarification:\u003c/strong> An earlier version of this story said “Latina and Black women pioneered long, brightly decorated nails as fashion statements well before the mainstream embraced the look, she said, while many Vietnamese women have worked in salons.” To clarify, the professor emphasized that Black and Latina women helped popularize and bring visibility to nail art as a cultural fashion statement, while Vietnamese women, many of them immigrants, played a central role in the nail salon industry where the style was widely practiced.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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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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"title": "Possible",
"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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"reveal": {
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},
"rightnowish": {
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"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
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