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"content": "\u003cp>\u003cem>This story was reported for K Onda KQED, a monthly newsletter focused on the Bay Area’s Latinx community. \u003ca href=\"https://www.kqed.org/newsletters/k-onda\">Click here to subscribe\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>Fabian Ramirez remembers going to \u003ca href=\"https://www.kqed.org/news/tag/carnaval\">Carnaval San Francisco\u003c/a> while growing up in the Mission District. He watched musicians perform throughout the festival and wanted to be just like them.\u003c/p>\n\u003cp>Ramirez is now the lead singer of Grupo 415, a regional Mexican music quartet that is among the 60 musical artists performing this year at Carnaval.\u003c/p>\n\u003cp>“Being from San Francisco, being from the Mission, performing at Carnaval means a lot,” the 19-year-old told me. “It’s an honor.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Personal connections like Ramirez’s illustrate why Carnaval embodies the Bay Area. The concept originated in Latin America, but it has taken on distinctly San Franciscan attributes by showcasing local talent and highlighting the many countries of origin that make up the region’s Latine community, all while building on a global tradition.\u003c/p>\n\u003cp>That ethos is even more relevant this year as the federal government has targeted and terrorized immigrant communities.\u003c/p>\n\u003cp>“We’ve been through economic upturns and downturns, gentrification, the pandemic. We’ve gone through these types of anti-immigration policies in the ‘90s in California,” said Rodrigo Durán, executive director of Carnaval San Francisco. “Carnaval was always there, and we’ll still be there to support, to provide a space where people feel protected. And so we’re ready.”\u003c/p>\n\u003cfigure id=\"attachment_12083187\" class=\"wp-caption aligncenter\" style=\"max-width: 1999px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12083187\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/240526-Carnaval-090-BL_qed.jpg\" alt=\"\" width=\"1999\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/240526-Carnaval-090-BL_qed.jpg 1999w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/240526-Carnaval-090-BL_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/240526-Carnaval-090-BL_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1999px) 100vw, 1999px\">\u003cfigcaption class=\"wp-caption-text\">Loco Bloco dancers perform 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>Carnaval draws about 500,000 people to the Mission each Memorial Day weekend for two days of music, food and arts. The festival, slated for 11 a.m.-6 p.m. May 23-24, will take over 17 city blocks and include a parade, five stages, a kid zone, 300 exhibitors and vendors, and a soccer pavilion to celebrate this year’s theme, “La Copa del Pueblo — The People’s Cup” in alignment with the upcoming World Cup.[aside postID=news_12072776 hero='https://cdn.kqed.org/wp-content/uploads/sites/10/2026/01/DULCETRICOLOR-10-JL-012526-KQED.jpg']The festival, now in its 48th year, is a celebration of Latino culture and immigrants who have infused the Bay Area with rich traditions, food and music. It’s the third-largest annual festival in San Francisco, following Pride and Lunar New Year.\u003c/p>\n\u003cp>This year’s headliner is Su Majestad Mi Banda El Mexicano de Casimiro, a group that popularized the “electrobanda” style of music in the 1990s.\u003c/p>\n\u003cp>“Selfishly, I’m reliving my childhood memories,” Durán said. “And then there’s this new generation that’s tapping into this vintage music and enjoying that rhythm that’s so energetic and that’s nostalgic at the same time.”\u003c/p>\n\u003cp>Mi Banda El Mexicano’s music blended various genres into danceable party bangers that I grew up listening to and still hit hard today. Songs include \u003cem>La Bota\u003c/em> (\u003cem>The Boot\u003c/em>), \u003cem>Feliz, Feliz\u003c/em> (\u003cem>Happy, Happy\u003c/em>) and \u003cem>Mambo Lupita\u003c/em>.\u003c/p>\n\u003cp>They were avant-garde for challenging social norms of the time and unapologetically pushing risqué dance styles such as “quebradita” and “caballito.” Their biggest hit is \u003cem>No Bailes de Caballito\u003c/em> (\u003cem>Don’t Dance to Caballito\u003c/em>), which includes the lyrics: “The king commands and orders you to dance the caballito — even if your mom gets mad!”\u003c/p>\n\u003cp>Banda El Mexicano “will give us a sense of liberty, a sense of freedom to breathe, to reflect, to enjoy, to have joy in a moment when we’re feeling so distressed and so antagonized,” Durán said.\u003c/p>\n\u003cfigure id=\"attachment_11987826\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11987826\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-02-BL.jpg\" alt=\"Two women dressed in decorative attire for a parade look at each other outside.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-02-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-02-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-02-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-02-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-02-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-02-BL-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Alma Mejia (left) and Sandra Sandoval, from the group Xiuhcoatl Danza Azteca, talk before the 2024 Carnaval Grand Parade in San Francisco’s Mission District. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Carnaval’s roots stretch deep into Latin America and Europe. The idea was to throw a big party and use up excess food and energy before Lent, a religious season promoting fasting and spiritual growth preceding Easter.\u003c/p>\n\u003cp>“In the 1970s, people found themselves realizing that there is this wealth of cultures that share similarities, but that have these distinct ways of expressing their traditions and their cultures,” Durán said.\u003c/p>\n\u003cp>Lent usually starts in February or March, which can be rainy in San Francisco, so early festival organizers decided Memorial Day weekend would be a better time of year, Durán said.[aside postID=news_12062734 hero='https://cdn.kqed.org/wp-content/uploads/sites/10/2025/11/231029_OAKDiadelosMuertosFestival_EG-38.jpg']Jose Carrasco, founder of San Francisco dance and arts organization Loco Bloco, started attending Carnaval as a spectator in the 1980s and organized his first parade performance in 1994. The festival brings back memories from his childhood growing up in Louisiana.\u003c/p>\n\u003cp>“My parents would take me and my siblings to the Mardi Gras parades in New Orleans,” he said. “Those were really astounding, especially as a child, to see these giant floats and the music that was playing and all the beads being thrown and the colors and the costumes. It left a lasting impression.”\u003c/p>\n\u003cp>For this year’s Carnaval, Loco Bloco has assembled about 150 dancers and performers, including a 12-piece band, 50 drummers and an elaborate float that will snake through 20 blocks in San Francisco’s Mission District.\u003c/p>\n\u003cp>Planning for the parade starts almost as soon as the previous parade ends. It takes several months to craft a theme, choreography and music followed by rehearsals.\u003c/p>\n\u003cp>Carnaval is about “expressing art and expressing joy and bringing community together and bringing together a lot of people, who aren’t necessarily professional artists or musicians or dancers,” Carrasco said. “It’s a community ritual in which everyone can participate or watch.”\u003c/p>\n\u003cfigure id=\"attachment_11987839\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11987839\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-33-BL.jpg\" alt=\"Several women dressed in colorful clothing dance and 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-33-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-33-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-33-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-33-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-33-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-33-BL-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Cathedral City High School Ballet Folklórico performs 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>Loco Bloco’s parade theme this year is “Uprising,” drawing inspiration from the native people of Hawaii and volcanoes, Carrasco said.\u003c/p>\n\u003cp>“Uprising also represents what volcanoes do, and the magma exploding and the magma flowing underground is the lifeblood of the planet,” he said. “We’re trying to provide a vehicle to let the steam off as if it’s magma, the heat, the boiling blood. We’re going to channel it and feel joy and move in the street and feel our power, and say something super important while we’re moving our bodies and our hips, legs, hands and our butts.”\u003c/p>\n\u003cp>For Carrasco, the broader purpose of Carnaval is to preserve cultural identity, fight erasure and empower the community, especially young people.\u003c/p>\n\u003cp>That is certainly the case for Ramirez of Grupo 415, who started playing music at age 7. He connected with his bandmates via social media after the pandemic, when posting about music served as an outlet.\u003c/p>\n\u003cp>The group, which plans to release its first album this summer, is performing at Carnaval for the second time this year.\u003c/p>\n\u003cp>“That was a dream for me: to perform at Carnaval, and then I thought, how am I going to get there?” Ramirez said. “I was like, ‘You know what? Let me reach out to Carnaval and see who I could get in touch with to make this happen,’ because that was always a goal for me and the band to get to perform on a big stage, especially for Carnaval.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Personal connections like Ramirez’s illustrate why Carnaval embodies the Bay Area. The concept originated in Latin America, but it has taken on distinctly San Franciscan attributes by showcasing local talent and highlighting the many countries of origin that make up the region’s Latine community, all while building on a global tradition.\u003c/p>\n\u003cp>That ethos is even more relevant this year as the federal government has targeted and terrorized immigrant communities.\u003c/p>\n\u003cp>“We’ve been through economic upturns and downturns, gentrification, the pandemic. We’ve gone through these types of anti-immigration policies in the ‘90s in California,” said Rodrigo Durán, executive director of Carnaval San Francisco. “Carnaval was always there, and we’ll still be there to support, to provide a space where people feel protected. And so we’re ready.”\u003c/p>\n\u003cfigure id=\"attachment_12083187\" class=\"wp-caption aligncenter\" style=\"max-width: 1999px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12083187\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/240526-Carnaval-090-BL_qed.jpg\" alt=\"\" width=\"1999\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/240526-Carnaval-090-BL_qed.jpg 1999w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/240526-Carnaval-090-BL_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/240526-Carnaval-090-BL_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1999px) 100vw, 1999px\">\u003cfigcaption class=\"wp-caption-text\">Loco Bloco dancers perform 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>Carnaval draws about 500,000 people to the Mission each Memorial Day weekend for two days of music, food and arts. The festival, slated for 11 a.m.-6 p.m. May 23-24, will take over 17 city blocks and include a parade, five stages, a kid zone, 300 exhibitors and vendors, and a soccer pavilion to celebrate this year’s theme, “La Copa del Pueblo — The People’s Cup” in alignment with the upcoming World Cup.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The festival, now in its 48th year, is a celebration of Latino culture and immigrants who have infused the Bay Area with rich traditions, food and music. It’s the third-largest annual festival in San Francisco, following Pride and Lunar New Year.\u003c/p>\n\u003cp>This year’s headliner is Su Majestad Mi Banda El Mexicano de Casimiro, a group that popularized the “electrobanda” style of music in the 1990s.\u003c/p>\n\u003cp>“Selfishly, I’m reliving my childhood memories,” Durán said. “And then there’s this new generation that’s tapping into this vintage music and enjoying that rhythm that’s so energetic and that’s nostalgic at the same time.”\u003c/p>\n\u003cp>Mi Banda El Mexicano’s music blended various genres into danceable party bangers that I grew up listening to and still hit hard today. Songs include \u003cem>La Bota\u003c/em> (\u003cem>The Boot\u003c/em>), \u003cem>Feliz, Feliz\u003c/em> (\u003cem>Happy, Happy\u003c/em>) and \u003cem>Mambo Lupita\u003c/em>.\u003c/p>\n\u003cp>They were avant-garde for challenging social norms of the time and unapologetically pushing risqué dance styles such as “quebradita” and “caballito.” Their biggest hit is \u003cem>No Bailes de Caballito\u003c/em> (\u003cem>Don’t Dance to Caballito\u003c/em>), which includes the lyrics: “The king commands and orders you to dance the caballito — even if your mom gets mad!”\u003c/p>\n\u003cp>Banda El Mexicano “will give us a sense of liberty, a sense of freedom to breathe, to reflect, to enjoy, to have joy in a moment when we’re feeling so distressed and so antagonized,” Durán said.\u003c/p>\n\u003cfigure id=\"attachment_11987826\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11987826\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-02-BL.jpg\" alt=\"Two women dressed in decorative attire for a parade look at each other outside.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-02-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-02-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-02-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-02-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-02-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-02-BL-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Alma Mejia (left) and Sandra Sandoval, from the group Xiuhcoatl Danza Azteca, talk before the 2024 Carnaval Grand Parade in San Francisco’s Mission District. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Carnaval’s roots stretch deep into Latin America and Europe. The idea was to throw a big party and use up excess food and energy before Lent, a religious season promoting fasting and spiritual growth preceding Easter.\u003c/p>\n\u003cp>“In the 1970s, people found themselves realizing that there is this wealth of cultures that share similarities, but that have these distinct ways of expressing their traditions and their cultures,” Durán said.\u003c/p>\n\u003cp>Lent usually starts in February or March, which can be rainy in San Francisco, so early festival organizers decided Memorial Day weekend would be a better time of year, Durán said.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Jose Carrasco, founder of San Francisco dance and arts organization Loco Bloco, started attending Carnaval as a spectator in the 1980s and organized his first parade performance in 1994. The festival brings back memories from his childhood growing up in Louisiana.\u003c/p>\n\u003cp>“My parents would take me and my siblings to the Mardi Gras parades in New Orleans,” he said. “Those were really astounding, especially as a child, to see these giant floats and the music that was playing and all the beads being thrown and the colors and the costumes. It left a lasting impression.”\u003c/p>\n\u003cp>For this year’s Carnaval, Loco Bloco has assembled about 150 dancers and performers, including a 12-piece band, 50 drummers and an elaborate float that will snake through 20 blocks in San Francisco’s Mission District.\u003c/p>\n\u003cp>Planning for the parade starts almost as soon as the previous parade ends. It takes several months to craft a theme, choreography and music followed by rehearsals.\u003c/p>\n\u003cp>Carnaval is about “expressing art and expressing joy and bringing community together and bringing together a lot of people, who aren’t necessarily professional artists or musicians or dancers,” Carrasco said. “It’s a community ritual in which everyone can participate or watch.”\u003c/p>\n\u003cfigure id=\"attachment_11987839\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11987839\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-33-BL.jpg\" alt=\"Several women dressed in colorful clothing dance and 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-33-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-33-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-33-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-33-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-33-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-33-BL-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Cathedral City High School Ballet Folklórico performs 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>Loco Bloco’s parade theme this year is “Uprising,” drawing inspiration from the native people of Hawaii and volcanoes, Carrasco said.\u003c/p>\n\u003cp>“Uprising also represents what volcanoes do, and the magma exploding and the magma flowing underground is the lifeblood of the planet,” he said. “We’re trying to provide a vehicle to let the steam off as if it’s magma, the heat, the boiling blood. We’re going to channel it and feel joy and move in the street and feel our power, and say something super important while we’re moving our bodies and our hips, legs, hands and our butts.”\u003c/p>\n\u003cp>For Carrasco, the broader purpose of Carnaval is to preserve cultural identity, fight erasure and empower the community, especially young people.\u003c/p>\n\u003cp>That is certainly the case for Ramirez of Grupo 415, who started playing music at age 7. He connected with his bandmates via social media after the pandemic, when posting about music served as an outlet.\u003c/p>\n\u003cp>The group, which plans to release its first album this summer, is performing at Carnaval for the second time this year.\u003c/p>\n\u003cp>“That was a dream for me: to perform at Carnaval, and then I thought, how am I going to get there?” Ramirez said. “I was like, ‘You know what? Let me reach out to Carnaval and see who I could get in touch with to make this happen,’ because that was always a goal for me and the band to get to perform on a big stage, especially for Carnaval.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Ballhalla Rising: Golden State Valkyries Cool Off Phoenix Mercury to Take Home Opener",
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"content": "\u003cp>The seats were packed with purple as the \u003ca href=\"https://www.kqed.org/news/12082769/the-valkyries-first-season-was-a-huge-success-can-they-take-it-to-the-next-level\">Golden State Valkyries \u003c/a>kicked off their second season in the WNBA at San Francisco’s Chase Center on Sunday.\u003c/p>\n\u003cp>“When I go in there, I just get goosebumps,” forward Kayla Thornton said in a postgame interview. “If I was on the other side, I would feel very intimidated.”\u003c/p>\n\u003cp>That home court advantage worked well for the team. Their opponents, the Phoenix Mercury, got a head start in the first quarter, but the Valkyries upped their game in the second, coming to a score of 48 to 31 at halftime.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The score got tighter going into the fourth quarter, as is typical for the team, but a strong defense helped the Valkyries finish with a 95-79 win in front of a characteristic loud and enthusiastic crowd.\u003c/p>\n\u003cp>As returning guard Veronica Burton put it, “We have the best home court in the WNBA.”\u003c/p>\n\u003cfigure id=\"attachment_12083065\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12083065\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/260510-VALKYRIESHOMEOPENER-29-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/260510-VALKYRIESHOMEOPENER-29-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/260510-VALKYRIESHOMEOPENER-29-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/260510-VALKYRIESHOMEOPENER-29-BL-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Ashley Richardson cheers during the Golden State Valkyries’ home opener against the Phoenix Mercury at Chase Center in San Francisco on May 10, 2026. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Last season, the Valkyries became the first WNBA team to make the playoffs in their expansion season. This year, Golden State faces high expectations to not only repeat that victory, but also take it further.\u003c/p>\n\u003cp>So far, the team and general manager Ohemaa Nyanin have made several controversial roster decisions, starting with a WNBA draft in April that saw a \u003ca href=\"https://www.nytimes.com/athletic/7262396/2026/05/08/flaujae-johnson-golden-state-valkyries-seattle-storm-trade/\">draft-day trade\u003c/a> of eighth-overall pick Flau’jae Johnson.\u003c/p>\n\u003cp>Most recently, before their first game against the Seattle Storm on Friday, the team waived fan-favorite Kate Martin.\u003c/p>\n\u003cfigure id=\"attachment_12083063\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12083063\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/260510-VALKYRIESHOMEOPENER-25-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/260510-VALKYRIESHOMEOPENER-25-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/260510-VALKYRIESHOMEOPENER-25-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/260510-VALKYRIESHOMEOPENER-25-BL-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The Golden State Valkyries play the Phoenix Mercury during their home opener at Chase Center in San Francisco on May 10, 2026. The game marked the start of the Valkyries’ second WNBA season. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s tough because you just grow to love everybody,” season-ticket-holder Rachel Dorney told KQED while waiting in line to get into the stadium. “Like last year when [Julie] Vanloo left, that was really hard. I had her jersey. But she’s still a part of the Valkyries even though she’s not on our team anymore.”\u003c/p>\n\u003cp>Even so, fans want to trust the process.\u003c/p>\n\u003cp>“It’s hard to listen to all the noise, all the people who are really upset,” Dorney said. “I think last year it worked out pretty well, so I think I trust the GM, I trust the coaches. It seems like they have a very good game plan.”\u003c/p>\n\u003cfigure id=\"attachment_12083067\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12083067\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/260510-VALKYRIESHOMEOPENER-37-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/260510-VALKYRIESHOMEOPENER-37-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/260510-VALKYRIESHOMEOPENER-37-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/260510-VALKYRIESHOMEOPENER-37-BL-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The Golden State Valkyries Kayla Thornton and Janelle Salaun talk to the press after the team’s win against the Phoenix Mercury during their home opener at Chase Center in San Francisco on May 10, 2026. The game marked the start of the Valkyries’ second WNBA season. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dorney came to the game with their mom, Gail, for Mother’s Day.\u003c/p>\n\u003cp>“I don’t really need flowers or brunch,” Gail Dorney said. “This is kind of our thing. And we’ve always done this together.”\u003c/p>\n\u003cp>The game was a \u003ca href=\"https://www.kqed.org/news/12047885/how-to-be-a-valkyries-fan-a-beginners-guide-to-bay-area-wnba-fandom\">family affair for many in Ballhalla\u003c/a>, as the arena is called — playing on the name of the place in Norse mythology where the Valkyries guide the souls of Warriors.\u003c/p>\n\u003cp>Andrea and Brian Roberts brought their two daughters.\u003c/p>\n\u003cfigure id=\"attachment_12083066\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12083066\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/260510-VALKYRIESHOMEOPENER-35-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/260510-VALKYRIESHOMEOPENER-35-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/260510-VALKYRIESHOMEOPENER-35-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/260510-VALKYRIESHOMEOPENER-35-BL-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The Golden State Valkyries celebrate the team’s win against the Phoenix Mercury during their home opener at Chase Center in San Francisco on May 10, 2026. The game marked the start of the Valkyries’ second WNBA season. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s really cool because we’re different than all the other WNBA teams because we don’t have one star player, we’re all amazing players,” said Katherine Roberts, 14.\u003c/p>\n\u003cp>The teen’s prediction for the Valkyries second season?\u003c/p>\n\u003cp>“We’re gonna win them all.”\u003c/p>\n\u003cp>The Valkyries host the Chicago Sky on Wednesday.\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The score got tighter going into the fourth quarter, as is typical for the team, but a strong defense helped the Valkyries finish with a 95-79 win in front of a characteristic loud and enthusiastic crowd.\u003c/p>\n\u003cp>As returning guard Veronica Burton put it, “We have the best home court in the WNBA.”\u003c/p>\n\u003cfigure id=\"attachment_12083065\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12083065\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/260510-VALKYRIESHOMEOPENER-29-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/260510-VALKYRIESHOMEOPENER-29-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/260510-VALKYRIESHOMEOPENER-29-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/260510-VALKYRIESHOMEOPENER-29-BL-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Ashley Richardson cheers during the Golden State Valkyries’ home opener against the Phoenix Mercury at Chase Center in San Francisco on May 10, 2026. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Last season, the Valkyries became the first WNBA team to make the playoffs in their expansion season. This year, Golden State faces high expectations to not only repeat that victory, but also take it further.\u003c/p>\n\u003cp>So far, the team and general manager Ohemaa Nyanin have made several controversial roster decisions, starting with a WNBA draft in April that saw a \u003ca href=\"https://www.nytimes.com/athletic/7262396/2026/05/08/flaujae-johnson-golden-state-valkyries-seattle-storm-trade/\">draft-day trade\u003c/a> of eighth-overall pick Flau’jae Johnson.\u003c/p>\n\u003cp>Most recently, before their first game against the Seattle Storm on Friday, the team waived fan-favorite Kate Martin.\u003c/p>\n\u003cfigure id=\"attachment_12083063\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12083063\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/260510-VALKYRIESHOMEOPENER-25-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/260510-VALKYRIESHOMEOPENER-25-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/260510-VALKYRIESHOMEOPENER-25-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/260510-VALKYRIESHOMEOPENER-25-BL-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The Golden State Valkyries play the Phoenix Mercury during their home opener at Chase Center in San Francisco on May 10, 2026. The game marked the start of the Valkyries’ second WNBA season. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s tough because you just grow to love everybody,” season-ticket-holder Rachel Dorney told KQED while waiting in line to get into the stadium. “Like last year when [Julie] Vanloo left, that was really hard. I had her jersey. But she’s still a part of the Valkyries even though she’s not on our team anymore.”\u003c/p>\n\u003cp>Even so, fans want to trust the process.\u003c/p>\n\u003cp>“It’s hard to listen to all the noise, all the people who are really upset,” Dorney said. “I think last year it worked out pretty well, so I think I trust the GM, I trust the coaches. It seems like they have a very good game plan.”\u003c/p>\n\u003cfigure id=\"attachment_12083067\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12083067\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/260510-VALKYRIESHOMEOPENER-37-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/260510-VALKYRIESHOMEOPENER-37-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/260510-VALKYRIESHOMEOPENER-37-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/260510-VALKYRIESHOMEOPENER-37-BL-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The Golden State Valkyries Kayla Thornton and Janelle Salaun talk to the press after the team’s win against the Phoenix Mercury during their home opener at Chase Center in San Francisco on May 10, 2026. The game marked the start of the Valkyries’ second WNBA season. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dorney came to the game with their mom, Gail, for Mother’s Day.\u003c/p>\n\u003cp>“I don’t really need flowers or brunch,” Gail Dorney said. “This is kind of our thing. And we’ve always done this together.”\u003c/p>\n\u003cp>The game was a \u003ca href=\"https://www.kqed.org/news/12047885/how-to-be-a-valkyries-fan-a-beginners-guide-to-bay-area-wnba-fandom\">family affair for many in Ballhalla\u003c/a>, as the arena is called — playing on the name of the place in Norse mythology where the Valkyries guide the souls of Warriors.\u003c/p>\n\u003cp>Andrea and Brian Roberts brought their two daughters.\u003c/p>\n\u003cfigure id=\"attachment_12083066\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12083066\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/260510-VALKYRIESHOMEOPENER-35-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/260510-VALKYRIESHOMEOPENER-35-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/260510-VALKYRIESHOMEOPENER-35-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/260510-VALKYRIESHOMEOPENER-35-BL-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The Golden State Valkyries celebrate the team’s win against the Phoenix Mercury during their home opener at Chase Center in San Francisco on May 10, 2026. The game marked the start of the Valkyries’ second WNBA season. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s really cool because we’re different than all the other WNBA teams because we don’t have one star player, we’re all amazing players,” said Katherine Roberts, 14.\u003c/p>\n\u003cp>The teen’s prediction for the Valkyries second season?\u003c/p>\n\u003cp>“We’re gonna win them all.”\u003c/p>\n\u003cp>The Valkyries host the Chicago Sky on Wednesday.\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"title": "Humidity at PG&E Substation Likely Cause of Massive December San Francisco Blackout",
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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>Service workers at \u003ca href=\"https://www.kqed.org/news/tag/san-francisco-international-airport\">San Francisco’s airport\u003c/a> called for a $30 an hour minimum wage and other improved benefits during a Board of Supervisors hearing on Thursday.\u003c/p>\n\u003cp>Workers at San Francisco International Airport who clean airplane cabins, handle baggage, work security, push wheelchairs and more currently make about $22 per hour. This translates to a little over $45,000, before taxes, for a 40-hour work week — well below the poverty line in San Francisco.\u003c/p>\n\u003cp>Nestor Dolde, 73, said he works two separate jobs at the airport — totalling 16 hours a day — to earn enough for his family of four to survive.\u003c/p>\n\u003cp>“I sacrifice the health and safety of myself just to give a decent living [to] my family because the transportation now is so expensive … I don’t sleep too much,” Dolde said at the hearing.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The hearing comes days after a \u003ca href=\"https://www.kqed.org/news/12082129/bay-area-elected-officials-among-several-arrested-at-may-day-protest-at-sfo\">May Day protest at the airport\u003c/a> over the labor fight ended in arrests of Supervisors Rafael Mandelman and Connie Chan, and state Sen. Josh Becker, D-San Mateo, along with around 20 others.\u003c/p>\n\u003cp>The officials had gathered with dozens of janitors, security officers and airport workers with Service Employees International Union United Service Workers West, who said at the rally that their stagnant pay could not keep up with the high cost of living in the Bay Area.\u003c/p>\n\u003cp>Mandelman scheduled Thursday’s hearing in April to check on the lengthy contract negotiations between nearly 2,000 SFO employees represented by SEIU-USWW and a group of multi-national corporate contractors that employ them, including G2/Menzies, PrimeFlight, Unifi, ABM and Compass/Flix.\u003c/p>\n\u003cfigure id=\"attachment_12082139\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12082139\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/MayDaySFGetty2.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/MayDaySFGetty2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/MayDaySFGetty2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/MayDaySFGetty2-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Supervisor Rafael Mandelman is arrested as he stands with other demonstrators blocking the road in front of San Francisco International terminal during ICE Out of San Francisco protest at SFO on May Day at San Francisco International Airport on Friday, May 1, 2026, in San Francisco. \u003ccite>(Lea Suzuki/San Francisco Chronicle via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The protest and the hearing follow a year of fruitless negotiations with the airport contractors, union representatives said. They also said that the airport contractors have not yet offered a full response to workers’demands.\u003c/p>\n\u003cp>None of the five contractors involved in the negotiations sent a representative to the hearing, nor did they respond to KQED’s requests for comment.\u003c/p>\n\u003cp>Throughout the hearing, airport workers shared emotional stories about struggling to make enough to survive in the Bay Area — doing everything from taking on second jobs to subsisting on diets of rice and oatmeal.\u003c/p>\n\u003cp>And yet, the employees displayed immense pride in their work, sporting T-shirts with the slogan “We Make SFO Fly” splashed across the back.[aside postID=news_12081923 hero='https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/20240426_DEPTOFLABORANNOUNCEMENT-16-GC-KQED-1020x680.jpg']Noyra Gonzalez, a wheelchair agent who spends her days helping people get to and from their gates, told KQED: “At the end of the day, it’s a very fulfilling job because we’re helping people that actually need the help.”\u003c/p>\n\u003cp>Gonzalez said that she cannot afford her own apartment and only recently upgraded from her aunt’s couch to a room in a shared home.\u003c/p>\n\u003cp>“I had to sleep on a couch in order to make ends meet … Many of my co-workers sleep at the parking lot in their cars, and some others sleep in the airport because they have two or three jobs, so they basically live at the airport,” Gonzalez said.\u003c/p>\n\u003cp>Last year, airport workers in Los Angeles won a $30 an hour wage, to be phased in by 2028. There, a coalition of airlines — along with other industry groups that employ service workers — tried to force a citywide vote on the new laws, claiming they would lead to layoffs and deliver a fresh blow to the tourism industry, after COVID-19 led to major losses, the \u003ca href=\"https://www.latimes.com/california/story/2025-05-14/council-hikes-hotel-minimum-wage-despite-warnings-from-tourism-companies\">\u003cem>Los Angeles Times\u003c/em>\u003c/a> reported.\u003c/p>\n\u003cp>Sanjay Garla, first vice president of SEIU-USWW, a 50,000-person union that fought for the gains in Los Angeles, said that the low wages are ultimately the airline’s responsibility. The airlines, which set the overall contracting prices, have pushed to keep them low despite record profits, Garla said.\u003c/p>\n\u003cp>A report by Airport Workers United, a national airport workers union, shared ahead of the meeting, stated that every individual domestic airline in the “Big Four” — American Airlines, Delta Air Lines, Southwest Airlines and United Airlines — saw record revenues in 2025 and net profits of about $39.5 billion.\u003c/p>\n\u003cp>“It is just such a contrast between the evident wealth of that airport and the working conditions of the lowest wage workers at the airport,” Mandelman told KQED after the hearing.\u003c/p>\n\u003cp>He confirmed that the board could step in, saying, “We have legislated around the airport in the past, and we could do it again.”\u003c/p>\n\u003cp>\u003cem>KQED’s \u003c/em>\u003ca href=\"https://www.kqed.org/author/adahlstromeckman\">\u003cem>Azul Dahlstrom-Eckman\u003c/em>\u003c/a>\u003cem> contributed to this report.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Service workers at \u003ca href=\"https://www.kqed.org/news/tag/san-francisco-international-airport\">San Francisco’s airport\u003c/a> called for a $30 an hour minimum wage and other improved benefits during a Board of Supervisors hearing on Thursday.\u003c/p>\n\u003cp>Workers at San Francisco International Airport who clean airplane cabins, handle baggage, work security, push wheelchairs and more currently make about $22 per hour. This translates to a little over $45,000, before taxes, for a 40-hour work week — well below the poverty line in San Francisco.\u003c/p>\n\u003cp>Nestor Dolde, 73, said he works two separate jobs at the airport — totalling 16 hours a day — to earn enough for his family of four to survive.\u003c/p>\n\u003cp>“I sacrifice the health and safety of myself just to give a decent living [to] my family because the transportation now is so expensive … I don’t sleep too much,” Dolde said at the hearing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The hearing comes days after a \u003ca href=\"https://www.kqed.org/news/12082129/bay-area-elected-officials-among-several-arrested-at-may-day-protest-at-sfo\">May Day protest at the airport\u003c/a> over the labor fight ended in arrests of Supervisors Rafael Mandelman and Connie Chan, and state Sen. Josh Becker, D-San Mateo, along with around 20 others.\u003c/p>\n\u003cp>The officials had gathered with dozens of janitors, security officers and airport workers with Service Employees International Union United Service Workers West, who said at the rally that their stagnant pay could not keep up with the high cost of living in the Bay Area.\u003c/p>\n\u003cp>Mandelman scheduled Thursday’s hearing in April to check on the lengthy contract negotiations between nearly 2,000 SFO employees represented by SEIU-USWW and a group of multi-national corporate contractors that employ them, including G2/Menzies, PrimeFlight, Unifi, ABM and Compass/Flix.\u003c/p>\n\u003cfigure id=\"attachment_12082139\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12082139\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/MayDaySFGetty2.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/MayDaySFGetty2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/MayDaySFGetty2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/MayDaySFGetty2-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Supervisor Rafael Mandelman is arrested as he stands with other demonstrators blocking the road in front of San Francisco International terminal during ICE Out of San Francisco protest at SFO on May Day at San Francisco International Airport on Friday, May 1, 2026, in San Francisco. \u003ccite>(Lea Suzuki/San Francisco Chronicle via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The protest and the hearing follow a year of fruitless negotiations with the airport contractors, union representatives said. They also said that the airport contractors have not yet offered a full response to workers’demands.\u003c/p>\n\u003cp>None of the five contractors involved in the negotiations sent a representative to the hearing, nor did they respond to KQED’s requests for comment.\u003c/p>\n\u003cp>Throughout the hearing, airport workers shared emotional stories about struggling to make enough to survive in the Bay Area — doing everything from taking on second jobs to subsisting on diets of rice and oatmeal.\u003c/p>\n\u003cp>And yet, the employees displayed immense pride in their work, sporting T-shirts with the slogan “We Make SFO Fly” splashed across the back.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Noyra Gonzalez, a wheelchair agent who spends her days helping people get to and from their gates, told KQED: “At the end of the day, it’s a very fulfilling job because we’re helping people that actually need the help.”\u003c/p>\n\u003cp>Gonzalez said that she cannot afford her own apartment and only recently upgraded from her aunt’s couch to a room in a shared home.\u003c/p>\n\u003cp>“I had to sleep on a couch in order to make ends meet … Many of my co-workers sleep at the parking lot in their cars, and some others sleep in the airport because they have two or three jobs, so they basically live at the airport,” Gonzalez said.\u003c/p>\n\u003cp>Last year, airport workers in Los Angeles won a $30 an hour wage, to be phased in by 2028. There, a coalition of airlines — along with other industry groups that employ service workers — tried to force a citywide vote on the new laws, claiming they would lead to layoffs and deliver a fresh blow to the tourism industry, after COVID-19 led to major losses, the \u003ca href=\"https://www.latimes.com/california/story/2025-05-14/council-hikes-hotel-minimum-wage-despite-warnings-from-tourism-companies\">\u003cem>Los Angeles Times\u003c/em>\u003c/a> reported.\u003c/p>\n\u003cp>Sanjay Garla, first vice president of SEIU-USWW, a 50,000-person union that fought for the gains in Los Angeles, said that the low wages are ultimately the airline’s responsibility. The airlines, which set the overall contracting prices, have pushed to keep them low despite record profits, Garla said.\u003c/p>\n\u003cp>A report by Airport Workers United, a national airport workers union, shared ahead of the meeting, stated that every individual domestic airline in the “Big Four” — American Airlines, Delta Air Lines, Southwest Airlines and United Airlines — saw record revenues in 2025 and net profits of about $39.5 billion.\u003c/p>\n\u003cp>“It is just such a contrast between the evident wealth of that airport and the working conditions of the lowest wage workers at the airport,” Mandelman told KQED after the hearing.\u003c/p>\n\u003cp>He confirmed that the board could step in, saying, “We have legislated around the airport in the past, and we could do it again.”\u003c/p>\n\u003cp>\u003cem>KQED’s \u003c/em>\u003ca href=\"https://www.kqed.org/author/adahlstromeckman\">\u003cem>Azul Dahlstrom-Eckman\u003c/em>\u003c/a>\u003cem> contributed to this report.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"slug": "a-vinyl-found-in-san-francisco-contains-echoes-of-a-filipino-american-love-story",
"title": "A Vinyl Found in San Francisco Contains Echoes of a Filipino American Love Story",
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"headTitle": "A Vinyl Found in San Francisco Contains Echoes of a Filipino American Love Story | KQED",
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"content": "\u003cp>\u003cem>\u003ca href=\"#Viewthefullepisodetranscript\">View the full episode transcript.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>Jess Garcia has a little game she and her husband like to play.\u003c/p>\n\u003cp>They’ll enjoy a big pitcher of margaritas on Valencia Street in \u003ca href=\"https://www.kqed.org/news/tag/san-francisco\">San Francisco\u003c/a>, and then wander over to the nearby thrift stores to see what kinds of treasures they’ll find. One day, they were rummaging through the vinyls when they found an album that caught their eye.\u003c/p>\n\u003cp>The cover had hand-painted illustrations of San Francisco landmarks, including cable cars, the Transamerica Building, Coit Tower, and the Golden Gate Bridge — all circling a portrait of a Filipino couple wearing a blue suit and a white lace dress. The album title was etched across the top in thick black letters: \u003cem>Cora and Santos, In Baghdad by the Bay.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We didn’t really understand what type of album this was at first,” Garcia said. Her first impression was that it was a 50th anniversary album given to their guests as gifts. But when she rushed home to play the record, she realized it was something else.\u003c/p>\n\u003cp>“[When] the music started playing, it just had this really nostalgic feeling to it,” she said. “Their voices were just so vibrant and sentimental. And I’ve never heard of Cora and Santos Beloy before.”\u003c/p>\n\u003cfigure id=\"attachment_12081475\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/04/042506CORASANTOSBELOY_GH_014-KQED.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12081475\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/04/042506CORASANTOSBELOY_GH_014-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/04/042506CORASANTOSBELOY_GH_014-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/04/042506CORASANTOSBELOY_GH_014-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/04/042506CORASANTOSBELOY_GH_014-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Memorabilia from Cora and Santos Beloy, including a 45 rpm record, photographs and album materials, are arranged together in San Francisco on April 25, 2026. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Garcia did a little research and discovered the Beloys recorded their album at \u003ca href=\"https://www.hydestreet.com/history.html\">Wally Heider Studio\u003c/a>, which had once hosted iconic Bay Area bands like Creedence Clearwater Revival, Jefferson Airplane, and the Grateful Dead. Garcia had heard of those bands, of course, which made her wonder if there was more to Cora and Santos Beloy’s story.\u003c/p>\n\u003cp>“I was just really interested to know what their life was like, the types of achievements that I can’t find on the internet, and just curious about their legacy overall,” she said.\u003c/p>\n\u003cp>Indeed, a simple internet search of Cora and Santos Beloy doesn’t yield much information. There’s a beautiful obituary for Cora, who died in 2022, but nothing about Santos’ funeral. You might also find a smattering of Facebook posts about the couple’s involvement in their Catholic parish. On the surface, it all feels pretty mundane. But then you’ll find a handful of links to Cora and Santos’ music, especially their rendition of the classic Filipino love song, “\u003ca href=\"https://www.youtube.com/watch?v=yY7o5weu-YE&list=RDiHI2RypmtmI&index=2\">Dahil Sa Iyo\u003c/a>” — an anthem among Filipinos.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=yY7o5weu-YE&list=RDyY7o5weu-YE&start_radio=1\u003c/p>\n\u003cp>Cora and Santos’ version is a duet, where Santos takes the classic Tagalog, while Cora croons in the lesser-known English translation. According to Cora and Santos’ daughter, Cissy Beloy Sherr, this arrangement was a kind of role reversal because Cora was fluent in Tagalog and Santos was not.\u003c/p>\n\u003cp>“She could sing in seven languages, and Dad could barely remember his Tagalog words in a song,” Sherr said. “So when you say that opposites attract, I think that they were meant to be together.”\u003c/p>\n\u003cp>Cora and Santos also grew up in dramatically different ways. Cora was raised on a sugar plantation in the Philippines, while Santos was raised in San Francisco’s Fillmore District. Cora sang to entertain the Japanese soldiers occupying her town during World War II. Santos was a young soprano who sang on the radio. Cora immigrated to the US alone at 18, while Santos was a veteran.\u003c/p>\n\u003cp>Their paths crossed in the early 1950s when Cora attended a mixer for Filipinos in San Francisco. One night, she heard Santos singing.\u003c/p>\n\u003cp>“I remember her saying, ‘Once I heard your dad’s voice, that was it,’” Sherr said. “It didn’t take a long time for them to fall in love with each other. I know that.”\u003c/p>\n\u003cp>[aside postID=news_12070415 hero='https://cdn.kqed.org/wp-content/uploads/sites/10/2025/12/20251221_JohnColtraneChurch_December_GH-15_qed.jpg']\u003c/p>\n\u003cp>Cora and Santos shared the kind of love where they forgot about everything else when they were together, Sherr said. They had a whole rolodex of special songs, just their own, and a little whistle to catch each other’s attention at parties.\u003c/p>\n\u003cp>After they married, the couple took a long honeymoon to the Philippines so Santos could meet Cora’s family. While there, Cora, under her maiden name “Cora Delfino,” recorded a handful of songs with her brother, who was a well-known musician in the Philippines. Overnight, she became a star. Songs like “\u003ca href=\"https://www.youtube.com/watch?v=HPgSFXm9DeI&list=RDHPgSFXm9DeI&start_radio=1\">Silver Moon\u003c/a>” took over Manila airwaves, and her single “\u003ca href=\"https://www.youtube.com/watch?v=M6bkjT4WQHE\">My Song of Love\u003c/a>” soared to the very top of the Filipino charts in the early 1950s.\u003c/p>\n\u003cp>“People to this day remember their grandparents singing it to them to sleep,” said Sherr. “I mean, I can see where my mom’s voice had that calming lullaby tone to it.”\u003c/p>\n\u003cp>Cora’s singing aligned with the \u003ca href=\"https://open.spotify.com/playlist/4FlxtqjkBY0tKRUUdjAcEb\">classic kundiman style\u003c/a>, a type of Filipino music — mostly smooth, romantic ballads — sung in Tagalog. Cora gave it a modern twist by singing in English, a common trend applied to Filipino folk songs at the time.\u003c/p>\n\u003cp>“There’s something about her songs,” Sherr said. “The way she sang, the minor key of it, the melody. There’s this bittersweet sadness of love and just the emotion with it. It’s kind of in your soul, you know?”\u003c/p>\n\u003ch2>\u003cstrong>‘Truly a performer’\u003c/strong>\u003c/h2>\n\u003cp>When Cora and Santos returned to San Francisco, Cora didn’t try to leverage her mega-hit in the Philippines into a flashy music career stateside. Instead, she prioritized motherhood. Cora was already pregnant with Sherr’s older brother, Chris Beloy, by the time she and Santos returned from their honeymoon. They settled down in the Inner Sunset neighborhood of San Francisco and Santos took a day job as a technician for Bank of America, working on the predecessor to the ATM machine. Cora stayed home, and Cissy came along a few years after Chris.\u003c/p>\n\u003cp>But between the hustle and bustle of potty training and school drop-offs, Cora never stopped playing music.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=M6bkjT4WQHE\u003c/p>\n\u003cp>“She was just truly a performer,” Sherr said.\u003c/p>\n\u003cp>Cora once confessed a secret to Cissy about this time when the kids were young. While Sherr and her brother were in school, Cora would get dressed up and sneak out to perform for the shoppers at the Hillsdale Mall in San Mateo with a group of musicians. That surprised Sherr, who had no idea of her mom’s secret performances.\u003c/p>\n\u003cp>“Maybe it wasn’t sneaking out,” Cissy said. “Maybe it was fitting it into everything else, you know? Maybe her love of singing … she got to do that as well as be a mom.”\u003c/p>\n\u003cp>The mall gigs were also surprising to Sherr because at the time, her mom was getting offers for other glamorous, high-profile jobs. At one point, the comedian Phyllis Diller approached Cora for a nightly stint at a legendary comedy club in San Francisco called \u003ca href=\"https://www.comedyhistory101.com/comedy-history-101/2019/3/4/history-of-the-purple-onion-comedy-club-in-san-francisco\">The Purple Onion\u003c/a>.\u003c/p>\n\u003cp>But Cissy said her mother turned the job down, claiming it would interfere with her ability to be present with her family. Instead, Cora only took the so-called “casuals,” referring to gigs that were short-term and close to home.\u003c/p>\n\u003cp>Her niche became performing at local hotels, the lead vocalist for big bands.\u003c/p>\n\u003cp>“I never got to see her perform because I was just too little,” Sherr said. “I got to see her get dressed. That was the show for me.”\u003c/p>\n\u003cp>Depending on the night, Cora would don Filipino formalwear or a sparkly evening gown. Sherr’s favorite, though, was her mom’s \u003ca href=\"https://www.imdb.com/name/nm0000544/\">Carmen Miranda\u003c/a> outfit, a reference to the Brazilian pop star famous for wearing a massive hat with fake fruit piled on top. “I don’t know how she even got in the car with that thing,” Sherr said.\u003c/p>\n\u003cp>Her father, Santos, loved the spotlight as much as Cora. Back then he would work a full day, come home, throw on a Hawaiian shirt or a matching band suit and join his wife onstage. Over the years, Cora and Santos played restaurants, weddings, and anniversary parties. In 1964, they even decided to record their music. This record had just two tracks, including their famous duet of “Dahil Sa Iyo.”\u003c/p>\n\u003cp>“To this day people tell me ‘Oh, Cora and Santos, ‘Dahil Sa Iyo,’ that was my favorite,’” Sherr said.\u003c/p>\n\u003cfigure id=\"attachment_12081486\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/04/260427-CORA-SANTOS-BELOY-04-KQED.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12081486\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/04/260427-CORA-SANTOS-BELOY-04-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1545\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/04/260427-CORA-SANTOS-BELOY-04-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/04/260427-CORA-SANTOS-BELOY-04-KQED-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/04/260427-CORA-SANTOS-BELOY-04-KQED-1536x1187.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Cora Beloy poses with fellow musicians. \u003ccite>(Courtesy of Cissy Beloy Sherr)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Beloys worked on the record with Tom Spinosa, a bandleader who had opened a small music label in the 1950s. To this day, Spinosa is the one typically credited with popularizing “Dahil Sa Iyo” to English speakers in the U.S.\u003c/p>\n\u003cp>“I don’t really want to give him credit because I don’t know that I have a positive recollection of him,” Sherr said.\u003c/p>\n\u003cp>Though her parents loved everybody, they had no desire to work with Spinosa again, Sherr said. Even now, she has a feeling that Spinosa could have helped put her parents on the map in a bigger way.\u003c/p>\n\u003cp>“I feel like that record should have probably made them some money. I don’t think it did,” she said. “Here’s my impression, they were naive about whatever the business of it was. And it wouldn’t surprise me if they just said, ‘Okay, we did it for the love of music.’”\u003c/p>\n\u003cp>Cora and Santos doubled down on their love of music, expanding their reach as a family band around the state, and even performing on cruise ships around the world. Eventually, Cora and Santos landed their most iconic gig as the house band at San Francisco’s Fairmont Hotel.\u003c/p>\n\u003ch2>\u003cstrong>Performing alongside stars\u003c/strong>\u003c/h2>\n\u003cp>From the 1940s to the 1970s, the Fairmont was a nightly destination for live music. Some of the world’s biggest stars performed at the hotel’s Venetian Room, including Ella Fitzgerald and Tony Bennett, who \u003ca href=\"https://www.sfchronicle.com/oursf/article/story-tony-bennett-i-left-heart-san-francisco-18254163.php?utm_source=marketing&utm_medium=google&utm_campaign=content_acquisition&gad_source=1&gad_campaignid=23286310966&gbraid=0AAAAADfW6kE7McpsTc-vgAQgwHkuK5L3i&gclid=CjwKCAiA-__MBhAKEiwASBmsBNb_pn1CBbHh_3UtFLZeN_yEKTDE-9A3pfyvO0TIBS8KFkEkRbrKXhoCWbUQAvD_BwE\">famously sang\u003c/a> “I Left My Heart in San Francisco” during his 1961 residency there.\u003c/p>\n\u003cp>Cora and Santos performed five nights a week at the New Orleans Room, a cocktail lounge adjacent to the Venetian Room. Its high profile location allowed them to befriend people such as Tony Bennett himself.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Ysw4svDmcxc\u003c/p>\n\u003cp>Sherr’s godsister, Tisha Ofalsa-Nutter, still remembers arriving at the Beloys’ house for dinner one night, decades ago, to find the music legend sitting in the Beloys’ living room.\u003c/p>\n\u003cp>“[Tony Bennett] just hung out and we were all laughing” she said. “We had Auntie’s chili; she made lumpias and she treated him just like family. It could have been any other night.” And to top it all off, Cora Santos and Tony Bennet played a duet at the living room piano. Ofalsa-Nutter also said that she’d witnessed a similar experience with The Lettermen, whose lead singer \u003ca href=\"https://www.imdb.com/name/nm0124650/bio/?ref_=nm_ov_bio_sm\">Tony Butala\u003c/a> became a good friend to the Beloys. And one night while performing at the Fairmont, the Beloys invited Sammy Davis Jr. to perform onstage with them.\u003c/p>\n\u003cp>Despite never achieving the level of mega stardom that surrounded them, Cora and Santos became “San Francisco famous,” especially through their performances at The Fairmont Hotel’s Polynesian-themed tiki bar, the Tonga Room.\u003c/p>\n\u003cp>Cora and Santos performed their showstopping set on a barge that floated over the Tonga Rooms’s indoor swimming pool, as a synthetic thunderstorm poured around them. Cora knew how to work a crowd, and Santos entranced the audience by playing multiple instruments at once. The performance was so elaborate, it garnered a kind of cult following. One of their fans included the man their niece, Ange Beloy Wesley, was dating.\u003c/p>\n\u003cp>“He went in there once and saw them, and so he just kept going back,” Wesley said. She hadn’t known that her now-husband was a fan of her aunt and uncle until she introduced them for the first time. “‘[Are they] the little Filipino couple on the boat,’” she recalled him asking her. “He’s going, ‘They are a bad ass couple!’”\u003c/p>\n\u003cfigure id=\"attachment_12081484\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/04/260427-CORA-SANTOS-BELOY-02-KQED.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12081484\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/04/260427-CORA-SANTOS-BELOY-02-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1545\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/04/260427-CORA-SANTOS-BELOY-02-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/04/260427-CORA-SANTOS-BELOY-02-KQED-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/04/260427-CORA-SANTOS-BELOY-02-KQED-1536x1187.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Cora and Santos Beloy performing the traditional Filipino bamboo dance. \u003ccite>(Courtesy of Cissy Beloy Sherr)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Wesley’s husband wasn’t the only one taken by Cora and Santos. Sherr said that more than once, her parents would return from a night at the Tonga Room, and tell her about the customers who had jumped into the indoor swimming pool.\u003c/p>\n\u003cp>“They’d have to fish them out of the water because they drank too much,” she said.\u003c/p>\n\u003cp>Though Sherr remembers these performances with nostalgia, she also admits it was a heavy lift for her dad, who was still working his day job at the bank.\u003c/p>\n\u003cp>“It must have been hard to come home, power nap, and then go 9 to 1 at the Fairmont Hotel,” she said. “I think a lot of it he did for Mom because it was Mom’s dream.”\u003c/p>\n\u003ch2>\u003cstrong>Building community out of music\u003c/strong>\u003c/h2>\n\u003cp>Aside from music, Sherr said her mom’s other dream was to have a big family. But since Cora and Santos couldn’t have more children, they volunteered all their free time to St. Anne’s Catholic Church, several blocks away from their house in the Inner Sunset. In the early 1960s, Cora and Santos became advisors for the church teen program, chaperoning dozens of kids to bowling nights and ski trips. Cora also ran the children’s choir, and together, she and Santos taught Filipino folk dancing.\u003c/p>\n\u003cp>“There weren’t any Filipinos – very few Filipino people in the parish,” Sherr said. “So they were really involved in trying to bring the Philippine culture to all those white people,” Cissy said.\u003c/p>\n\u003cp>[aside postID=news_12080794 hero='https://cdn.kqed.org/wp-content/uploads/sites/10/2026/04/260408-baycurioustacobell01913_TV.jpg']\u003c/p>\n\u003cp>Together, Cora and Santos also provided music lessons to countless children around the neighborhood. Oftentimes, the couple would give away instruments for free, just to ensure their students had access to music all the time.\u003c/p>\n\u003cp>Of course, they also taught music to their family.\u003c/p>\n\u003cp>“We had specific lessons. They made sure of that,” said Cora and Santos’ niece, Chelle Lindahl. “There was a set time and then we practiced every day.”\u003c/p>\n\u003cp>Lindahl’s parents divorced when she was about 8 years old. Soon after, her mom left, and her dad was overwhelmed raising three young girls. So Lindahl and her sisters, including Wesley, went to live with their Auntie Cora and Uncle Santos.\u003c/p>\n\u003cp>“They took on the parent roles,” Lindahl said. “They had two children of their own, and to take on three even younger children who are struggling with their mother leaving and all of that … That was incredibly generous on their part.”\u003c/p>\n\u003cp>“Auntie and uncle had taken over so fiercely,” Wesley agreed. “We were living in a good environment, we were fed and clothed, and all our needs were met.”\u003c/p>\n\u003cp>Lindahl and Wesley said that their aunt and uncle made them feel special during a time when they especially needed love and tending to. They performed alongside Cora and Santos at weddings and The Tonga Room. And Cora, who had begun writing jingles for local businesses, invited the girls to record what she had written for a popular local burger chain — Doggie Diner.\u003c/p>\n\u003cp>“They just brought a joy to all of this that we wouldn’t have had otherwise in our life,” said Lindahl. “Just no way. And it was just them.”\u003c/p>\n\u003ch2>\u003cstrong>Recording an album on their own terms\u003c/strong>\u003c/h2>\n\u003cp>In 1974, after several years performing at the Fairmont Hotel, Cora and Santos released their only full-length record — In Baghdad By The Bay. The title is a reference to a nickname for San Francisco given by beloved \u003cem>San Francisco Chronicle\u003c/em> columnist \u003ca href=\"https://www.norcalmediamuseum.org/?page_id=218\">Herb Caen\u003c/a>.\u003c/p>\n\u003cp>The Beloys decided to produce this record on their own terms — no middlemen — under the label Cora & Santos Enterprise. The whole record is a homage to the city where they fell in love and raised their children.\u003c/p>\n\u003cp>Cora and Santos asked a friend to design the cover and invited local musicians to perform with them. Lindahl and Wesley recalled celebrating the album’s release at Cora and Santos’ home in the Inner Sunset.“That was a big, big deal,” Lindahl said. “But Auntie and Uncle singing together, that’s some kind of magic there. They were beautiful together.”\u003c/p>\n\u003cp>Cora and Santos continued singing love songs to each other until Santos died of cancer in 1997.\u003c/p>\n\u003cp>“You know, Mom just sadly carried on,” Sherr said.\u003c/p>\n\u003cfigure id=\"attachment_12081474\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/04/042506CORASANTOSBELOY_GH_006-KQED.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12081474\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/04/042506CORASANTOSBELOY_GH_006-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/04/042506CORASANTOSBELOY_GH_006-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/04/042506CORASANTOSBELOY_GH_006-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/04/042506CORASANTOSBELOY_GH_006-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">(From left) Ange Westly, Cissy Sherr and Tisha Nutter, relatives of Cora and Santos Beloy, are photographed with the album In Baghdad By the Bay in the Inner Sunset neighborhood of San Francisco on April 25, 2026. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But Cora never stopped performing, taking the stage at nursing homes, birthday parties, and anywhere else she could get her hands on a microphone. Into her nineties, Cora would ask to play the piano at restaurants with in-house entertainment, rather than eat her food. Cora performed her last song in 2022, just weeks before she passed away at 93-years-old.\u003c/p>\n\u003cp>Throughout Cora and Santos’ musical careers in San Francisco, they brushed elbows with the stars that have become household names, but that lifestyle wasn’t what called to them. They wanted their music to make the people around them happy.\u003c/p>\n\u003cp>Sherr acknowledged that people may not have stories about “the famous Cora and Santos,” but they do have stories about the generous couple who wouldn’t accept payment for playing at a wedding or the skillful teachers who instilled a love of music.\u003c/p>\n\u003cp>Cora and Santos Beloy were legends at the Tonga Room and larger than life figures at home. Their legacy may not have made it to the internet, but for the people who knew them, they were stars.\u003c/p>\n\u003cp>[baycuriousquestion]\u003c/p>\n\u003ch2>\u003ca id=\"Viewthefullepisodetranscript\">\u003c/a>Episode transcript\u003c/h2>\n\u003cp>\u003cstrong>Olivia Allen-Price:\u003c/strong> Jess Garcia, has a little game she and her husband like to play…\u003c/p>\n\u003cp>\u003cem>Music starts\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Olivia Allen-Price: \u003c/strong>They’ll enjoy a big ole pitcher of margaritas on Valencia St in San Francisco, and then wander over to the nearby thrift stores to see what kinds of treasures they’ll find. They were rummaging through the vinyls one day when they saw something that caught their eye.\u003c/p>\n\u003cp>\u003cstrong>Jess Garcia: \u003c/strong>So when we saw this album, obviously it attracted our attention.\u003c/p>\n\u003cp>\u003cstrong>Olivia Allen-Price: \u003c/strong>The album cover has these hand-painted illustrations of San Francisco landmarks. Cable cars, the Transamerica Building, Coit Tower, the Golden Gate Bridge – and they’re all circling this portrait of a Filipino couple. It looks like a wedding photo from the 70s or 80s, maybe. He’s in a blue suit with a purple ruffled shirt underneath. She’s in a white lace dress. And in thick black letters, the album title reads “Cora and Santos, In Baghdad by the Bay.”\u003c/p>\n\u003cp>\u003cem>Music ends\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Jess Garcia: \u003c/strong>We didn’t really understand like what type of album this was at first. My first impression was that, like maybe it was like a 50th anniversary album that, like they gave out to like friends and family with like just like their favorite songs on it which I thought was like such a cute idea. And then we actually did kind of rush home because we were eager to listen to the album. So when we put it on and the music started playing it just had this like really nostalgic feeling to it.\u003c/p>\n\u003cp>\u003cem>“Spanish Eyes” starts\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Jess Garcia: \u003c/strong>The very first track is Spanish Eyes. And you know, a couple of seconds into the track, Cora and Santos start singing.\u003c/p>\n\u003cp>\u003cem>“Spanish Eyes” in the clear: “Spanish Eyes. Teardrops are falling from your Spanish Eyes.”\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Jess Garcia: \u003c/strong>Their voices were just so vibrant and sentimental. And I just thought they were so sweet and I’ve never, you know, I’ve never heard of Cora and Santos Beloy before.\u003c/p>\n\u003cp>\u003cstrong>Olivia Allen-Price: \u003c/strong>The couple recorded at a studio called Wally Heider. Some other Iconic Bay Area bands have recorded there. Like Creedence Clearwater Revival, Jefferson Airplane, the Grateful Dead. Jess had heard of those bands, of course, which made her wonder if there was more to Cora and Santos Beloy’s story.\u003c/p>\n\u003cp>\u003cstrong>Jess Garcia: \u003c/strong>I was just really interested to know what their life was like, the types of achievements that I can’t find on the internet, and just curious about their legacy overall.\u003c/p>\n\u003cp>\u003cstrong>Asal Ehsanipour:\u003c/strong> Jess is right, if you search the names “Cora and Santos Beloy,” you probably won’t find much.\u003c/p>\n\u003cp>\u003cstrong>Olivia Allen-Price:\u003c/strong> Reporter Asal Ehsanipour loves a good mystery.\u003c/p>\n\u003cp>\u003cstrong>Asal Ehsanipour: \u003c/strong>There’s a beautiful obituary for Cora, who died in 2022, but not much about Santos’ funeral. A few Facebook posts about the couple’s involvement in their Catholic parish. It all feels pretty mundane. But then… you’ll find a handful of links to Cora and Santos’ music.\u003c/p>\n\u003cp>\u003cstrong>Olivia Allen-Price:\u003c/strong> And music was everything to this couple. Today we’re digging into the lives and legacy…big and small…of Cora and Santos Beloy. Take it away, Asal.\u003c/p>\n\u003cp>\u003cstrong>Asal Ehsanipour: \u003c/strong>The song that comes up most is Cora and Santos Beloy’s biggest hit – a rendition of the classic Filippino love song, “\u003ca href=\"https://www.youtube.com/watch?v=yY7o5weu-YE&list=RDiHI2RypmtmI&index=2\">Dahil Sa Iyo\u003c/a>.”\u003c/p>\n\u003cp>\u003cem>“Dahil Sa Iyo” in the clear for a moment \u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Asal Ehsanipour: \u003c/strong>Dahil Sa Iyo is a kind of anthem among Filipinos. Cora and Santos’ version is a duet, where Santos takes the classic Tagalog, while Cora croons in the lesser-known English translation… It’s a kind of role reversal – because Cora was fluent in Tagalog, and Santos wasn’t.\u003c/p>\n\u003cp>\u003cstrong>Cissy Beloy Sherr: \u003c/strong>She could sing in seven languages, // And Dad could barely remember his Tagalog words in a song.\u003c/p>\n\u003cp>\u003cstrong>Asal Ehsanipour: \u003c/strong>This is Cora and Santos’ daughter, Cissy Beloy Sherr.\u003c/p>\n\u003cp>\u003cstrong>Cissy Beloy Sherr: \u003c/strong>So, when you say that opposites attract, in some ways, I think that they were meant to be together.\u003c/p>\n\u003cp>\u003cstrong>Asal Ehsanipour: \u003c/strong>Cissy’s parents were also opposite in the way they’d grown up. Cora was raised on a sugar plantation in the Philippines, Santos was raised in the Fillmore. She sang to entertain the Japanese soldiers occupying her town during World War II. He was a young soprano, who sang on the radio. Cora was an immigrant, Santos was a veteran.\u003c/p>\n\u003cp>\u003cstrong>Cissy Beloy Sherr: \u003c/strong>So dad grew up so different from mom.\u003c/p>\n\u003cp>\u003cstrong>Asal Ehsanipour: \u003c/strong>Their paths finally crossed in the early 50s, when Cora attended a mixer for Filipinos in San Francisco. And one night… she heard Santos singing.\u003c/p>\n\u003cp>\u003cstrong>Cissy Beloy Sherr: \u003c/strong>I remember her saying, “once I heard your dad’s voice, that was it.”\u003c/p>\n\u003cp>\u003cem>Cora and Santos’ song “Hawaiian Wedding Song” starts\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Cissy Beloy Sherr:\u003c/strong> It didn’t take a long time for them to fall in love with each other. I knew that.\u003c/p>\n\u003cp>\u003cstrong>Asal Ehsanipour: \u003c/strong>Cora and Santos were crazy about each other. Cissy says it was the kind of love where they forgot about everything else when they were together… The kind where they had a whole rolodex of special songs, just their own… and a little whistle so they could get each other’s attention at a party. .\u003c/p>\n\u003cp>After they married, the couple took a long honeymoon to the Philippines, so Santos could meet Cora’s family. And while they were there, Cora recorded a handful of songs with her brother – a well-known musician in the Philippines. Overnight, Cora became a star.\u003c/p>\n\u003cp>\u003cem>“My Song of Love” starts\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Asal Ehsanipour: \u003c/strong>Her single, “\u003ca href=\"https://www.youtube.com/watch?v=M6bkjT4WQHE\">My Song of Love\u003c/a>,” soared to the very top of the Filipino charts in the early 50s.\u003c/p>\n\u003cp>\u003cem>Cora Delphino singing: “My Song of Love”\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Cissy Beloy Sherr: \u003c/strong>People to this day remember their grandparents singing it to them to sleep. I mean, I can see where my mom’s voice had that calming lullaby tone to it.\u003c/p>\n\u003cp>\u003cstrong>Asal Ehsanipour: \u003c/strong>Cora’s singing was very much in the classic kundiman style. A type of Filipino music – mostly smooth, romantic ballads – sung in Tagalog. Cora gave it a modern twist, singing in English.\u003c/p>\n\u003cp>\u003cstrong>Cissy Beloy Sherr: \u003c/strong>There’s something about her songs. The way she sang, the minor key of it, the melody. There’s this bittersweet sadness of love and just the emotion with it. It’s kind of in your soul, you know?\u003c/p>\n\u003cp>\u003cem>“My Song of Love” ends\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Asal Ehsanipour:\u003c/strong>Despite her mega hit in the Phillipines, Cora didn’t try to leverage her success into a flashy music career back in San Francisco. Instead, she immediately shifted into mom mode. This was the 1950s. Corae was already pregnant by the time she and Santos got back from their honeymoon. They settled down in the Inner Sunset neighborhood of San Francisco, and Santos took a day job as a technician for Bank of America. He worked on the predecessor to the ATM machine. Cora stayed home, and Cissy came along 14 months later.\u003c/p>\n\u003cp>But between the hustle and bustle of potty training and school drop-offs – Cora never stopped playing music. \u003cstrong> \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Cissy Beloy Sherr: \u003c/strong>She was like just truly a performer.\u003c/p>\n\u003cp>\u003cstrong>Asal Ehsanipour: \u003c/strong>Cora once told Cissy a secret about this time. When the kids were in school, she confessed almost wistfully… that she’d sneak out and perform at the Hillsdale Mall in San Mateo with a group of musicians.\u003cstrong> \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Cissy Beloy Sherr: \u003c/strong>\u003cstrong> \u003c/strong>They’d pick her up, bring her down to the mall and they’d be all set up for her to sing for the shoppers going through the mall.I would get home before you did and we never knew she did this.\u003c/p>\n\u003cp>\u003cstrong>Asal Ehsanipour: \u003c/strong>Cissy had always thought her mom was doing the dishes and baking cookies while she was in school.\u003c/p>\n\u003cp>\u003cstrong>Cissy Beloy Sherr: \u003c/strong>Maybe it wasn’t sneaking out, maybe it was fitting it into everything else, you know. Maybe her love of singing, she got to do that as well as be a mom.\u003c/p>\n\u003cp>\u003cstrong>Asal Ehsanipour: \u003c/strong>But it wasn’t just mall jobs. Cora also got offers for glamorous, higher profile jobs. At one point, Cissy said her mom had been approached by the comedian Phyllis Diller for a nightly stint at a legendary comedy club in the city, called The Purple Onion.\u003c/p>\n\u003cp>\u003cstrong>Cissy Beloy Sherr: \u003c/strong>I do remember that, because Phylliss Diller, she’s famous, you know. Oh, but mommy’s not gonna do that because that means she won’t be home to cook dinner for us\u003cem>.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Asal Ehsanipour: \u003c/strong>Instead, Cora took the so-called “casuals.” Gigs that were short-term and close to home. She started performing at local hotels, singing with the big bands.\u003c/p>\n\u003cp>\u003cem>Big band music starts\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Cissy Beloy Sherr: \u003c/strong>Oh… my mom sounded great with a big band.\u003cem> \u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Asal Ehsanipour: \u003c/strong>Those huge jazz ensembles – a dozen or more musicians packed onstage together playing a big brassy sound. This was Cora’s niche.\u003c/p>\n\u003cp>\u003cstrong>Cissy Beloy Sherr:\u003c/strong> I never got to see her perform because I was just too little, you know. I got to see her get dressed that was the show for me.\u003c/p>\n\u003cp>\u003cstrong>Asal Ehsanipour: \u003c/strong>Depending on the night, Cora would dress in Filipino formalwear or a sparkly evening gown. Cissy’s favorite, though, was her mom’s Carmen Miranda outfit.\u003c/p>\n\u003cp>\u003cstrong>Cissy Beloy Sherr: \u003c/strong>Because that big hat had a whole bowl of fruit on the top. And I don’t know how she even got in the car with that thing.\u003c/p>\n\u003cp>\u003cstrong>Asal Ehsanipour: \u003c/strong>And Santos loved the spotlight as much as Cora. He would work a full day at the bank, come home, throw on a Hawaiian shirt or a matching band suit – and join his wife on stage. And eventually… once the kids got older… they became the house band at San Francisco’s Fairmont Hotel.\u003c/p>\n\u003cp>\u003cem>Piano music starts\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Asal Ehsanipour: \u003c/strong>This was during the Fairmont’s heyday… back when it was a nightly destination for live music. The main attraction was the Venetian Room, a glamorous concert hall where some of the world’s biggest stars performed – people like Ella Fitzgerald and Tony Bennett. In fact, \u003ca href=\"https://www.sfchronicle.com/oursf/article/story-tony-bennett-i-left-heart-san-francisco-18254163.php?utm_source=marketing&utm_medium=google&utm_campaign=content_acquisition&gad_source=1&gad_campaignid=23286310966&gbraid=0AAAAADfW6kE7McpsTc-vgAQgwHkuK5L3i&gclid=CjwKCAiA-__MBhAKEiwASBmsBNb_pn1CBbHh_3UtFLZeN_yEKTDE-9A3pfyvO0TIBS8KFkEkRbrKXhoCWbUQAvD_BwE\">Tony Bennett first sang “I Left My Heart in San Francisco” during his 1961 residency at the Venetian Room.\u003c/a>\u003c/p>\n\u003cp>\u003cem>Tony Bennet singing “I Left My Heart In San Francisco”\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Cissy Beloy Sherr: \u003c/strong>\u003cstrong>\u003cem> \u003c/em>\u003c/strong>And then there was, uh, I think there was a little lounge on each side. There was one to the right, a cocktail lounge with live music. And that’s the one mom and dad played in. And it was called the New Orleans Room. And I feel like it was kind of a staging or maybe a waiting area for either if you couldn’t get tickets for the main show or you were waiting to go in that main show.\u003c/p>\n\u003cp>\u003cstrong>Asal Ehsanipour: \u003c/strong>This regular gig adjacent to the Venetian Room meant Cora and Santos befriended all kinds of people. Including…\u003c/p>\n\u003cp>\u003cstrong>Tisha Ofalsa-Nutter: \u003c/strong>Tony, just Tony.\u003cstrong> \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Asal Ehsanipour: \u003c/strong>Cissy’s god sister, Tisha Ofalsa-Nutter, is talking about that very same Tony Bennett. She still remembers one night, decades ago, when her Auntie Cora invited the family over for dinner.\u003c/p>\n\u003cp>\u003cstrong>Tisha Ofalsa-Nutter: \u003c/strong>Just come on over, it’s Monday. Except Tony Bennett was sitting there in the living room. And he just hung out and we were all just laughing. We had Auntie’s chili. She made lumpias and // it was like she treated him just like family. It could have been any other night.\u003c/p>\n\u003cp>\u003cstrong>Asal Ehsanipour: \u003c/strong>Except on this night, Cora sang a duet with Tony Bennet at the piano in her living room. Casual.\u003c/p>\n\u003cp>\u003cstrong>Tisha Ofalsa-Nutter: \u003c/strong>And this not only happened with Tony Bennett, this happened with The Letterman.\u003c/p>\n\u003cp>\u003cstrong>Asal Ehsanipour: \u003c/strong>Cora and Santos became longtime friends with the pop group’s lead singer, Tony Butala. One night, they invited Sammy Davis Jr. to perform onstage with them.\u003c/p>\n\u003cp>Despite never achieving THAT level of stardom, Cora and Santos became “San Francisco famous” … especially through their performances at The Fairmont Hotel’s Tonga Room.\u003c/p>\n\u003cp>\u003cem>Rumbling music begins\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Asal Ehsanipour: \u003c/strong>For the uninitiated, The Tonga Room is a Polynesian-themed tiki bar known for extravagant umbrella drinks and an indoor thunderstorm.\u003c/p>\n\u003cp>\u003cstrong>Tisha Ofalsa-Nutter: \u003c/strong>When they were about to come out and perform, they would start this thunder and lightning. And then the rain would start coming down. And there would be Auntie Cora, Uncle Santos and they would be on this barge and the barge would come out on this little waterway then the rain would stop and then they would start performing.\u003c/p>\n\u003cp>\u003cem>Cora and Santos start singing: “When I Hear the Church Bells Ringing”\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Chelle Lindahl: \u003c/strong>I mean, it was just gobsmacking.\u003c/p>\n\u003cp>\u003cstrong>Asal Ehsanipour:\u003c/strong>This is Chelle Lindahl, Cora and Santos’ niece.\u003c/p>\n\u003cp>\u003cstrong>Chelle Lindahl:\u003c/strong> I know we were just all like, oh, oh my God, look at this. And then Auntie and Uncle are on this thing.\u003c/p>\n\u003cp>\u003cstrong> Asal Ehsanipour: \u003c/strong>People would go to the Tonga Room FOR Cora and Santos…they had a bit of a cult following.\u003c/p>\n\u003cp>Cora knew how to work a crowd. And when Santos sang… you couldn’t help but pay attention.\u003c/p>\n\u003cp>\u003cem>Cora and Santos song “Now That Summer Is Gone” starts\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Cissy Beloy Sherr: \u003c/strong>Oh, he’s so fun. My dad had this way of playing like three instruments at once. Like three quarters of a one-man band. It was great.\u003c/p>\n\u003cp>\u003cstrong>Asal Ehsanipour: \u003c/strong>Cissy says that more than once, her parents would come from a night at the Tonga Room, and tell her about the customers who got a little too swept up in the music, and would jump into the indoor swimming pool.\u003c/p>\n\u003cp>\u003cstrong>Cissy Beloy Sherr: \u003c/strong>They’d have to fish them out of the water because they drank too much.\u003c/p>\n\u003cp>\u003cstrong>Asal Ehsanipour: \u003c/strong>Cissy remembers it all with nostalgia. But she also admits it was a heavy lift for her dad, who was still working his day job.\u003c/p>\n\u003cp>\u003cstrong>Cissy Beloy Sherr: \u003c/strong>\u003cem> \u003c/em>It must have been hard to come home power nap and then go nine to one at the Fairmont hotel or something // and I think a lot of it he did it for mom because it was mom’s dream.\u003c/p>\n\u003cp>\u003cstrong>Asal Ehsanipour: \u003c/strong>But more than anything, they loved to perform together. Cora and Santos played restaurants, anniversary parties, and cruise ships around the world. Back in 1964, they even decided to record their music – this was before the album our question asker found. This one had just two tracks, including their famous duet of “Dahil Sa Iyo.”\u003c/p>\n\u003cp>\u003cstrong>Cissy Beloy Sherr:\u003c/strong> To this day people tell me “Oh, Cora and Santos, “Dahil Sa Iyo” – that was my favorite, you know.”\u003c/p>\n\u003cp>\u003cstrong>Asal Ehsanipour: \u003c/strong>They worked with Tom Spinosa, a big-deal bandleader who’d opened a small music label in the 1950s. To this day, Spinosa – not Cora and Santos – is typically credited with popularizing “Dahil Sa Iyo” to English speakers in the US…\u003c/p>\n\u003cp>\u003cstrong>Cissy Beloy Sherr: \u003c/strong>\u003cem> \u003c/em>I don’t really want to give him credit. Because I don’t know that I have a positive recollection of him to be honest with you.\u003c/p>\n\u003cp>\u003cstrong>Asal Ehsanipour: \u003c/strong>Cissy says her parents loved everybody, but had no desire to work with Spinosa again. She’s got this feeling that the record could have put her parents on the map in a bigger way… Spinosa could have helped with that.\u003c/p>\n\u003cp>\u003cstrong>Cissy Beloy Sherr: \u003c/strong>I feel like that record should have probably made them some money. I don’t think it did\u003cem>. \u003c/em>So I think that maybe they were…here’s my impression, that they were naive about whatever the business of it was. And it wouldn’t surprise me if they just said, okay, you know, we did it for the love of music.\u003c/p>\n\u003cp>\u003cstrong>Asal Ehsanipour:\u003c/strong>And as it turns out…. their love of music, their desire to build community out of music, would be the \u003cem>\u003cu>real\u003c/u>\u003c/em> legacy of their lives.\u003c/p>\n\u003cp>\u003cstrong>Olivia Allen-Price:\u003c/strong> More after this quick break. Stay with us.\u003c/p>\n\u003cp>\u003cem>Sponsor message\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Olivia Allen-Price: \u003c/strong>Cora and Santos may have had a glamorous onstage life at the Fairmount hotel, befriending famous singers and sparkling under the lights, but Asal Ehsanipour tells us their most lasting legacy may have been on their local community.\u003c/p>\n\u003cp>\u003cstrong>Asal Ehsanipour:\u003c/strong> Cissy says her mom had always dreamt of having a big family. But since Cora and Santos couldn’t have more children, they volunteered all their free time to St. Anne’s Catholic Church – just a few blocks away from their house in the Inner Sunset.\u003c/p>\n\u003cp>Cora ran the children’s choir and together, she and Santos taught Filipino folk dancing.\u003c/p>\n\u003cp>\u003cstrong>Cissy Beloy Sherr: \u003c/strong>There weren’t any Filipinos, very few Filipino people in the parish, so they were teaching the bamboo dance to people, those kids and their parents.\u003c/p>\n\u003cp>\u003cstrong>Asal Ehsanipour: \u003c/strong>By the 1960s, San Francisco had a sizable Filipino population, but not many lived in the Inner Sunset.\u003c/p>\n\u003cp>\u003cstrong>Cissy Beloy Sherr: \u003c/strong>So they were really involved in trying to bring the Philippine culture to all those white people.\u003c/p>\n\u003cp>\u003cstrong>Asal Ehsanipour: \u003c/strong>Cora would teach the moms how to make lumpia, while Santos played poker with the dads. And together the couple gave music lessons to kids all around the neighborhood.\u003c/p>\n\u003cp>\u003cstrong>Asal Ehsanipour: \u003c/strong>How many students would you say they had?\u003c/p>\n\u003cp>\u003cstrong>Cissy Beloy Sherr: \u003c/strong>Oh I could not keep, I have no idea. Countless I would say.\u003c/p>\n\u003cp>\u003cstrong>Asal Ehsanipour: \u003c/strong>Teaching them bass, banjo, piano…\u003c/p>\n\u003cp>\u003cstrong>Cissy Beloy Sherr: \u003c/strong>Guitar, ukulele.\u003c/p>\n\u003cp>Oftentimes, they’d give away instruments for free, just to ensure kids had access to music all the time. And of course, they made sure their nieces knew music.\u003c/p>\n\u003cp>\u003cstrong>Chelle Lindahl: \u003c/strong>We had specific lessons. I mean they made sure of that.\u003c/p>\n\u003cp>\u003cstrong>Asal Ehsanipour: \u003c/strong>Cissy’s cousin, Chelle Lindahl again.\u003c/p>\n\u003cp>\u003cstrong>Chelle Lindahl: \u003c/strong>There was a set time and then we practiced every day.\u003c/p>\n\u003cp>\u003cstrong>Asal Ehsanipour: \u003c/strong>Chelle was Santos’ brother’s kid. Her parents divorced when she was about eight. Then her mom left, and her dad was overwhelmed. So the girls went to live with their Auntie Cora and Uncle Santos.\u003c/p>\n\u003cp>\u003cstrong>Chelle Lindahl: \u003c/strong>And they took on the parent roles. I mean they had two children of their own and to take on three even younger children who are struggling with their mother leaving and all of that. That was incredibly generous on their part.\u003c/p>\n\u003cp>\u003cstrong>Asal Ehsanipour: \u003c/strong>Chelle said her aunt and uncle made the girls feel special during a time when they really needed love and tending to. Music was a big part of that.\u003c/p>\n\u003cp>\u003cstrong>Chelle Lindahl: \u003c/strong>I think the thing that I enjoyed the most was the singing, // And they gave us that opportunity.\u003c/p>\n\u003cp>\u003cstrong>Asal Ehsanipour: \u003c/strong>Cora had started writing jingles for local businesses. So she invited the girls to record what she’d written for a very popular local burger chain, Doggie Diner.\u003c/p>\n\u003cp>\u003cstrong>Chelle Lindahl and Ange Wesley sing together: \u003c/strong>Doggie Diner, nothing’s finer, doggy diners, dog gone good!\u003c/p>\n\u003cp>\u003cstrong>Chelle Lindahl: \u003c/strong>We went down to a radio station and recorded it, and then we were kind of famous at school.\u003c/p>\n\u003cp>\u003cstrong>Asal Ehsanipour: \u003c/strong>Under the care of Cora and Santos, the ragged edges of their broken family began to smooth.\u003c/p>\n\u003cp>\u003cstrong>Chelle Lindahl: \u003c/strong>They, they just brought a joy to all of this that we wouldn’t have had otherwise in our life. Just no way. And it was just them.\u003c/p>\n\u003cp>\u003cstrong>Asal Ehsanipour: \u003c/strong>They modeled what a loving relationship and happy family looks like… It really set the bar for Chelle and her sisters.\u003c/p>\n\u003cp>\u003cstrong>Chelle Lindahl: \u003c/strong>I mean, it sounds corny these days, but. They really were it, you know, they embodied it. They really did.\u003cem> \u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Asal Ehsanipour: \u003c/strong>In 1974… a full decade after “Dahil Sa Iyo” came out, Cora and Santos decided to release their music again.\u003c/p>\n\u003cp>\u003cem>Music starts\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Asal Ehsanipour: \u003c/strong>This time, they produced it on their own terms… no middlemen… under the label Cora & Santos Enterprise. They called it “In Baghdad By The Bay.”\u003c/p>\n\u003cp>\u003cem>Cora singing: “I know a great old city down California Way. They call it San Francisco or Baghdad By The Bay.” \u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Asal Ehsanipour: \u003c/strong>This is the very same record our question asker Jess Garcia found at the thrift store.\u003c/p>\n\u003cp>\u003cstrong>Chelle Lindahl: \u003cem> \u003c/em>\u003c/strong>I remember just admiring the cover art and they had the cable car on there and I think the bridge is on there.\u003c/p>\n\u003cp>\u003cstrong>Asal Ehsanipour: \u003c/strong>Cora and Santos asked a friend to design the cover, and invited local musicians to perform with them. The whole record is a homage to the city where they fell in love and raised their children. They celebrated in classic Beloy fashion, with a huge party at home.\u003c/p>\n\u003cp>\u003cstrong>Chelle Lindahl: \u003c/strong>I remember being in the living room and like having it presented and everybody’s like ‘oh my god this is amazing.’ you know I mean this was, in this day and age of you can record anything and this and that like to get your songs pressed onto vinyl. That was a big, big deal. But Auntie and Uncle singing together, that’s some kind of magic there. Like their voices, they were beautiful together.\u003c/p>\n\u003cp>\u003cem>“In Baghdad by the Bay” ends \u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Asal Ehsanipour: \u003c/strong>I hope it pans to your parents. I want to see them.\u003c/p>\n\u003cp>\u003cstrong>Cissy Beloy Sherr: \u003c/strong>\u003cstrong>\u003cem> \u003c/em>\u003c/strong>Come on, pan out, pan it out.\u003cem> \u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Asal Ehsanipour: \u003c/strong>Back at Cissy’s house, she’s showing me a home video of her parents in their later years. They’re performing on a lawn together. It’s a stark contrast to the drama of The Tonga Room… This feels light and casual. No pretenses.\u003c/p>\n\u003cp>\u003cstrong>Cissy Beloy Sherr: \u003c/strong>Always the last song they play, this one.\u003c/p>\n\u003cp>\u003cstrong>Asal Ehsanipour: \u003c/strong>What’s this one?\u003c/p>\n\u003cp>\u003cstrong>Cissy Beloy Sherr singing: \u003c/strong>Have I told you lately that I love you? Dear, have I told you…\u003c/p>\n\u003cp>\u003cstrong>Asal Ehsanipour: \u003c/strong>Your mom was looking at your dad.\u003c/p>\n\u003cp>\u003cstrong>Cissy Beloy Sherr: \u003cem> \u003c/em>\u003c/strong>Always. Lookit. Watch.\u003c/p>\n\u003cp>\u003cem>Home movie sound fades out\u003c/em>\u003c/p>\n\u003cp>Cora and Santos continued singing love songs to each other until Santos died of cancer in 1997.\u003c/p>\n\u003cp>\u003cstrong>Cissy Beloy Sherr: \u003cem> \u003c/em>\u003c/strong>You know? Mom just sadly carried on.\u003c/p>\n\u003cp>\u003cstrong>Asal Ehsanipour: \u003c/strong>But she never stopped performing. She played at nursing homes, birthday parties — wherever she could get her hands on a microphone, really.\u003c/p>\n\u003cp>\u003cstrong>Cissy Beloy Sherr: \u003c/strong>We go to a brunch. Boy, my mom was drooling over the piano before the food. She would ask can I play? can I play for everybody? She wanted to play that piano for everybody at the brunch rather than eat, in her 90s.\u003c/p>\n\u003cp>\u003cstrong>Asal Ehsanipour: \u003c/strong>Cora performed her last song in 2022… just weeks before she died at 93 years old.\u003c/p>\n\u003cp>Music fades out\u003c/p>\n\u003cp>\u003cstrong>Asal Ehsanipour:\u003c/strong>Throughout Cora and Santos’ musical career in San Francisco, they brushed elbows with the stars that have become household names. But that lifestyle wasn’t what called to them…they wanted their music to make the people around them happy.\u003c/p>\n\u003cp>\u003cstrong>Cissy Beloy Sherr: \u003c/strong>You will talk to so many people and they might not have this story about, oh, the famous Cora and Santos, but they will have a great story. Oh gosh, they played at my wedding and I couldn’t afford to pay them or they wouldn’t let me pay them, but it made it so special.\u003c/p>\n\u003cp>\u003cstrong>Asal Ehsanipour: \u003c/strong>They were legends at the Tonga Room…larger than life figures at home… their legacy may not have made it to the internet, but for the people who knew them, they were stars.\u003c/p>\n\u003cp>\u003cstrong>Olivia Allen-Price:\u003c/strong> That was reporter Asal Ehsanipour.\u003c/p>\n\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "Cora and Santos Beloy were talented local AAPI musicians, who played regularly at the Fairmount Hotel’s Tonga Room in the 1970s. But their most lasting legacy is on their family and friends.\r\n\r\n",
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"title": "A Vinyl Found in San Francisco Contains Echoes of a Filipino American Love Story | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003ca href=\"#Viewthefullepisodetranscript\">View the full episode transcript.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>Jess Garcia has a little game she and her husband like to play.\u003c/p>\n\u003cp>They’ll enjoy a big pitcher of margaritas on Valencia Street in \u003ca href=\"https://www.kqed.org/news/tag/san-francisco\">San Francisco\u003c/a>, and then wander over to the nearby thrift stores to see what kinds of treasures they’ll find. One day, they were rummaging through the vinyls when they found an album that caught their eye.\u003c/p>\n\u003cp>The cover had hand-painted illustrations of San Francisco landmarks, including cable cars, the Transamerica Building, Coit Tower, and the Golden Gate Bridge — all circling a portrait of a Filipino couple wearing a blue suit and a white lace dress. The album title was etched across the top in thick black letters: \u003cem>Cora and Santos, In Baghdad by the Bay.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We didn’t really understand what type of album this was at first,” Garcia said. Her first impression was that it was a 50th anniversary album given to their guests as gifts. But when she rushed home to play the record, she realized it was something else.\u003c/p>\n\u003cp>“[When] the music started playing, it just had this really nostalgic feeling to it,” she said. “Their voices were just so vibrant and sentimental. And I’ve never heard of Cora and Santos Beloy before.”\u003c/p>\n\u003cfigure id=\"attachment_12081475\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/04/042506CORASANTOSBELOY_GH_014-KQED.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12081475\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/04/042506CORASANTOSBELOY_GH_014-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/04/042506CORASANTOSBELOY_GH_014-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/04/042506CORASANTOSBELOY_GH_014-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/04/042506CORASANTOSBELOY_GH_014-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Memorabilia from Cora and Santos Beloy, including a 45 rpm record, photographs and album materials, are arranged together in San Francisco on April 25, 2026. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Garcia did a little research and discovered the Beloys recorded their album at \u003ca href=\"https://www.hydestreet.com/history.html\">Wally Heider Studio\u003c/a>, which had once hosted iconic Bay Area bands like Creedence Clearwater Revival, Jefferson Airplane, and the Grateful Dead. Garcia had heard of those bands, of course, which made her wonder if there was more to Cora and Santos Beloy’s story.\u003c/p>\n\u003cp>“I was just really interested to know what their life was like, the types of achievements that I can’t find on the internet, and just curious about their legacy overall,” she said.\u003c/p>\n\u003cp>Indeed, a simple internet search of Cora and Santos Beloy doesn’t yield much information. There’s a beautiful obituary for Cora, who died in 2022, but nothing about Santos’ funeral. You might also find a smattering of Facebook posts about the couple’s involvement in their Catholic parish. On the surface, it all feels pretty mundane. But then you’ll find a handful of links to Cora and Santos’ music, especially their rendition of the classic Filipino love song, “\u003ca href=\"https://www.youtube.com/watch?v=yY7o5weu-YE&list=RDiHI2RypmtmI&index=2\">Dahil Sa Iyo\u003c/a>” — an anthem among Filipinos.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/yY7o5weu-YE'\n title='//www.youtube.com/embed/yY7o5weu-YE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Cora and Santos’ version is a duet, where Santos takes the classic Tagalog, while Cora croons in the lesser-known English translation. According to Cora and Santos’ daughter, Cissy Beloy Sherr, this arrangement was a kind of role reversal because Cora was fluent in Tagalog and Santos was not.\u003c/p>\n\u003cp>“She could sing in seven languages, and Dad could barely remember his Tagalog words in a song,” Sherr said. “So when you say that opposites attract, I think that they were meant to be together.”\u003c/p>\n\u003cp>Cora and Santos also grew up in dramatically different ways. Cora was raised on a sugar plantation in the Philippines, while Santos was raised in San Francisco’s Fillmore District. Cora sang to entertain the Japanese soldiers occupying her town during World War II. Santos was a young soprano who sang on the radio. Cora immigrated to the US alone at 18, while Santos was a veteran.\u003c/p>\n\u003cp>Their paths crossed in the early 1950s when Cora attended a mixer for Filipinos in San Francisco. One night, she heard Santos singing.\u003c/p>\n\u003cp>“I remember her saying, ‘Once I heard your dad’s voice, that was it,’” Sherr said. “It didn’t take a long time for them to fall in love with each other. I know that.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Cora and Santos shared the kind of love where they forgot about everything else when they were together, Sherr said. They had a whole rolodex of special songs, just their own, and a little whistle to catch each other’s attention at parties.\u003c/p>\n\u003cp>After they married, the couple took a long honeymoon to the Philippines so Santos could meet Cora’s family. While there, Cora, under her maiden name “Cora Delfino,” recorded a handful of songs with her brother, who was a well-known musician in the Philippines. Overnight, she became a star. Songs like “\u003ca href=\"https://www.youtube.com/watch?v=HPgSFXm9DeI&list=RDHPgSFXm9DeI&start_radio=1\">Silver Moon\u003c/a>” took over Manila airwaves, and her single “\u003ca href=\"https://www.youtube.com/watch?v=M6bkjT4WQHE\">My Song of Love\u003c/a>” soared to the very top of the Filipino charts in the early 1950s.\u003c/p>\n\u003cp>“People to this day remember their grandparents singing it to them to sleep,” said Sherr. “I mean, I can see where my mom’s voice had that calming lullaby tone to it.”\u003c/p>\n\u003cp>Cora’s singing aligned with the \u003ca href=\"https://open.spotify.com/playlist/4FlxtqjkBY0tKRUUdjAcEb\">classic kundiman style\u003c/a>, a type of Filipino music — mostly smooth, romantic ballads — sung in Tagalog. Cora gave it a modern twist by singing in English, a common trend applied to Filipino folk songs at the time.\u003c/p>\n\u003cp>“There’s something about her songs,” Sherr said. “The way she sang, the minor key of it, the melody. There’s this bittersweet sadness of love and just the emotion with it. It’s kind of in your soul, you know?”\u003c/p>\n\u003ch2>\u003cstrong>‘Truly a performer’\u003c/strong>\u003c/h2>\n\u003cp>When Cora and Santos returned to San Francisco, Cora didn’t try to leverage her mega-hit in the Philippines into a flashy music career stateside. Instead, she prioritized motherhood. Cora was already pregnant with Sherr’s older brother, Chris Beloy, by the time she and Santos returned from their honeymoon. They settled down in the Inner Sunset neighborhood of San Francisco and Santos took a day job as a technician for Bank of America, working on the predecessor to the ATM machine. Cora stayed home, and Cissy came along a few years after Chris.\u003c/p>\n\u003cp>But between the hustle and bustle of potty training and school drop-offs, Cora never stopped playing music.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/M6bkjT4WQHE'\n title='//www.youtube.com/embed/M6bkjT4WQHE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“She was just truly a performer,” Sherr said.\u003c/p>\n\u003cp>Cora once confessed a secret to Cissy about this time when the kids were young. While Sherr and her brother were in school, Cora would get dressed up and sneak out to perform for the shoppers at the Hillsdale Mall in San Mateo with a group of musicians. That surprised Sherr, who had no idea of her mom’s secret performances.\u003c/p>\n\u003cp>“Maybe it wasn’t sneaking out,” Cissy said. “Maybe it was fitting it into everything else, you know? Maybe her love of singing … she got to do that as well as be a mom.”\u003c/p>\n\u003cp>The mall gigs were also surprising to Sherr because at the time, her mom was getting offers for other glamorous, high-profile jobs. At one point, the comedian Phyllis Diller approached Cora for a nightly stint at a legendary comedy club in San Francisco called \u003ca href=\"https://www.comedyhistory101.com/comedy-history-101/2019/3/4/history-of-the-purple-onion-comedy-club-in-san-francisco\">The Purple Onion\u003c/a>.\u003c/p>\n\u003cp>But Cissy said her mother turned the job down, claiming it would interfere with her ability to be present with her family. Instead, Cora only took the so-called “casuals,” referring to gigs that were short-term and close to home.\u003c/p>\n\u003cp>Her niche became performing at local hotels, the lead vocalist for big bands.\u003c/p>\n\u003cp>“I never got to see her perform because I was just too little,” Sherr said. “I got to see her get dressed. That was the show for me.”\u003c/p>\n\u003cp>Depending on the night, Cora would don Filipino formalwear or a sparkly evening gown. Sherr’s favorite, though, was her mom’s \u003ca href=\"https://www.imdb.com/name/nm0000544/\">Carmen Miranda\u003c/a> outfit, a reference to the Brazilian pop star famous for wearing a massive hat with fake fruit piled on top. “I don’t know how she even got in the car with that thing,” Sherr said.\u003c/p>\n\u003cp>Her father, Santos, loved the spotlight as much as Cora. Back then he would work a full day, come home, throw on a Hawaiian shirt or a matching band suit and join his wife onstage. Over the years, Cora and Santos played restaurants, weddings, and anniversary parties. In 1964, they even decided to record their music. This record had just two tracks, including their famous duet of “Dahil Sa Iyo.”\u003c/p>\n\u003cp>“To this day people tell me ‘Oh, Cora and Santos, ‘Dahil Sa Iyo,’ that was my favorite,’” Sherr said.\u003c/p>\n\u003cfigure id=\"attachment_12081486\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/04/260427-CORA-SANTOS-BELOY-04-KQED.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12081486\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/04/260427-CORA-SANTOS-BELOY-04-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1545\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/04/260427-CORA-SANTOS-BELOY-04-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/04/260427-CORA-SANTOS-BELOY-04-KQED-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/04/260427-CORA-SANTOS-BELOY-04-KQED-1536x1187.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Cora Beloy poses with fellow musicians. \u003ccite>(Courtesy of Cissy Beloy Sherr)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Beloys worked on the record with Tom Spinosa, a bandleader who had opened a small music label in the 1950s. To this day, Spinosa is the one typically credited with popularizing “Dahil Sa Iyo” to English speakers in the U.S.\u003c/p>\n\u003cp>“I don’t really want to give him credit because I don’t know that I have a positive recollection of him,” Sherr said.\u003c/p>\n\u003cp>Though her parents loved everybody, they had no desire to work with Spinosa again, Sherr said. Even now, she has a feeling that Spinosa could have helped put her parents on the map in a bigger way.\u003c/p>\n\u003cp>“I feel like that record should have probably made them some money. I don’t think it did,” she said. “Here’s my impression, they were naive about whatever the business of it was. And it wouldn’t surprise me if they just said, ‘Okay, we did it for the love of music.’”\u003c/p>\n\u003cp>Cora and Santos doubled down on their love of music, expanding their reach as a family band around the state, and even performing on cruise ships around the world. Eventually, Cora and Santos landed their most iconic gig as the house band at San Francisco’s Fairmont Hotel.\u003c/p>\n\u003ch2>\u003cstrong>Performing alongside stars\u003c/strong>\u003c/h2>\n\u003cp>From the 1940s to the 1970s, the Fairmont was a nightly destination for live music. Some of the world’s biggest stars performed at the hotel’s Venetian Room, including Ella Fitzgerald and Tony Bennett, who \u003ca href=\"https://www.sfchronicle.com/oursf/article/story-tony-bennett-i-left-heart-san-francisco-18254163.php?utm_source=marketing&utm_medium=google&utm_campaign=content_acquisition&gad_source=1&gad_campaignid=23286310966&gbraid=0AAAAADfW6kE7McpsTc-vgAQgwHkuK5L3i&gclid=CjwKCAiA-__MBhAKEiwASBmsBNb_pn1CBbHh_3UtFLZeN_yEKTDE-9A3pfyvO0TIBS8KFkEkRbrKXhoCWbUQAvD_BwE\">famously sang\u003c/a> “I Left My Heart in San Francisco” during his 1961 residency there.\u003c/p>\n\u003cp>Cora and Santos performed five nights a week at the New Orleans Room, a cocktail lounge adjacent to the Venetian Room. Its high profile location allowed them to befriend people such as Tony Bennett himself.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Ysw4svDmcxc'\n title='//www.youtube.com/embed/Ysw4svDmcxc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Sherr’s godsister, Tisha Ofalsa-Nutter, still remembers arriving at the Beloys’ house for dinner one night, decades ago, to find the music legend sitting in the Beloys’ living room.\u003c/p>\n\u003cp>“[Tony Bennett] just hung out and we were all laughing” she said. “We had Auntie’s chili; she made lumpias and she treated him just like family. It could have been any other night.” And to top it all off, Cora Santos and Tony Bennet played a duet at the living room piano. Ofalsa-Nutter also said that she’d witnessed a similar experience with The Lettermen, whose lead singer \u003ca href=\"https://www.imdb.com/name/nm0124650/bio/?ref_=nm_ov_bio_sm\">Tony Butala\u003c/a> became a good friend to the Beloys. And one night while performing at the Fairmont, the Beloys invited Sammy Davis Jr. to perform onstage with them.\u003c/p>\n\u003cp>Despite never achieving the level of mega stardom that surrounded them, Cora and Santos became “San Francisco famous,” especially through their performances at The Fairmont Hotel’s Polynesian-themed tiki bar, the Tonga Room.\u003c/p>\n\u003cp>Cora and Santos performed their showstopping set on a barge that floated over the Tonga Rooms’s indoor swimming pool, as a synthetic thunderstorm poured around them. Cora knew how to work a crowd, and Santos entranced the audience by playing multiple instruments at once. The performance was so elaborate, it garnered a kind of cult following. One of their fans included the man their niece, Ange Beloy Wesley, was dating.\u003c/p>\n\u003cp>“He went in there once and saw them, and so he just kept going back,” Wesley said. She hadn’t known that her now-husband was a fan of her aunt and uncle until she introduced them for the first time. “‘[Are they] the little Filipino couple on the boat,’” she recalled him asking her. “He’s going, ‘They are a bad ass couple!’”\u003c/p>\n\u003cfigure id=\"attachment_12081484\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/04/260427-CORA-SANTOS-BELOY-02-KQED.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12081484\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/04/260427-CORA-SANTOS-BELOY-02-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1545\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/04/260427-CORA-SANTOS-BELOY-02-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/04/260427-CORA-SANTOS-BELOY-02-KQED-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/04/260427-CORA-SANTOS-BELOY-02-KQED-1536x1187.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Cora and Santos Beloy performing the traditional Filipino bamboo dance. \u003ccite>(Courtesy of Cissy Beloy Sherr)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Wesley’s husband wasn’t the only one taken by Cora and Santos. Sherr said that more than once, her parents would return from a night at the Tonga Room, and tell her about the customers who had jumped into the indoor swimming pool.\u003c/p>\n\u003cp>“They’d have to fish them out of the water because they drank too much,” she said.\u003c/p>\n\u003cp>Though Sherr remembers these performances with nostalgia, she also admits it was a heavy lift for her dad, who was still working his day job at the bank.\u003c/p>\n\u003cp>“It must have been hard to come home, power nap, and then go 9 to 1 at the Fairmont Hotel,” she said. “I think a lot of it he did for Mom because it was Mom’s dream.”\u003c/p>\n\u003ch2>\u003cstrong>Building community out of music\u003c/strong>\u003c/h2>\n\u003cp>Aside from music, Sherr said her mom’s other dream was to have a big family. But since Cora and Santos couldn’t have more children, they volunteered all their free time to St. Anne’s Catholic Church, several blocks away from their house in the Inner Sunset. In the early 1960s, Cora and Santos became advisors for the church teen program, chaperoning dozens of kids to bowling nights and ski trips. Cora also ran the children’s choir, and together, she and Santos taught Filipino folk dancing.\u003c/p>\n\u003cp>“There weren’t any Filipinos – very few Filipino people in the parish,” Sherr said. “So they were really involved in trying to bring the Philippine culture to all those white people,” Cissy said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Together, Cora and Santos also provided music lessons to countless children around the neighborhood. Oftentimes, the couple would give away instruments for free, just to ensure their students had access to music all the time.\u003c/p>\n\u003cp>Of course, they also taught music to their family.\u003c/p>\n\u003cp>“We had specific lessons. They made sure of that,” said Cora and Santos’ niece, Chelle Lindahl. “There was a set time and then we practiced every day.”\u003c/p>\n\u003cp>Lindahl’s parents divorced when she was about 8 years old. Soon after, her mom left, and her dad was overwhelmed raising three young girls. So Lindahl and her sisters, including Wesley, went to live with their Auntie Cora and Uncle Santos.\u003c/p>\n\u003cp>“They took on the parent roles,” Lindahl said. “They had two children of their own, and to take on three even younger children who are struggling with their mother leaving and all of that … That was incredibly generous on their part.”\u003c/p>\n\u003cp>“Auntie and uncle had taken over so fiercely,” Wesley agreed. “We were living in a good environment, we were fed and clothed, and all our needs were met.”\u003c/p>\n\u003cp>Lindahl and Wesley said that their aunt and uncle made them feel special during a time when they especially needed love and tending to. They performed alongside Cora and Santos at weddings and The Tonga Room. And Cora, who had begun writing jingles for local businesses, invited the girls to record what she had written for a popular local burger chain — Doggie Diner.\u003c/p>\n\u003cp>“They just brought a joy to all of this that we wouldn’t have had otherwise in our life,” said Lindahl. “Just no way. And it was just them.”\u003c/p>\n\u003ch2>\u003cstrong>Recording an album on their own terms\u003c/strong>\u003c/h2>\n\u003cp>In 1974, after several years performing at the Fairmont Hotel, Cora and Santos released their only full-length record — In Baghdad By The Bay. The title is a reference to a nickname for San Francisco given by beloved \u003cem>San Francisco Chronicle\u003c/em> columnist \u003ca href=\"https://www.norcalmediamuseum.org/?page_id=218\">Herb Caen\u003c/a>.\u003c/p>\n\u003cp>The Beloys decided to produce this record on their own terms — no middlemen — under the label Cora & Santos Enterprise. The whole record is a homage to the city where they fell in love and raised their children.\u003c/p>\n\u003cp>Cora and Santos asked a friend to design the cover and invited local musicians to perform with them. Lindahl and Wesley recalled celebrating the album’s release at Cora and Santos’ home in the Inner Sunset.“That was a big, big deal,” Lindahl said. “But Auntie and Uncle singing together, that’s some kind of magic there. They were beautiful together.”\u003c/p>\n\u003cp>Cora and Santos continued singing love songs to each other until Santos died of cancer in 1997.\u003c/p>\n\u003cp>“You know, Mom just sadly carried on,” Sherr said.\u003c/p>\n\u003cfigure id=\"attachment_12081474\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/04/042506CORASANTOSBELOY_GH_006-KQED.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12081474\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/04/042506CORASANTOSBELOY_GH_006-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/04/042506CORASANTOSBELOY_GH_006-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/04/042506CORASANTOSBELOY_GH_006-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/04/042506CORASANTOSBELOY_GH_006-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">(From left) Ange Westly, Cissy Sherr and Tisha Nutter, relatives of Cora and Santos Beloy, are photographed with the album In Baghdad By the Bay in the Inner Sunset neighborhood of San Francisco on April 25, 2026. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But Cora never stopped performing, taking the stage at nursing homes, birthday parties, and anywhere else she could get her hands on a microphone. Into her nineties, Cora would ask to play the piano at restaurants with in-house entertainment, rather than eat her food. Cora performed her last song in 2022, just weeks before she passed away at 93-years-old.\u003c/p>\n\u003cp>Throughout Cora and Santos’ musical careers in San Francisco, they brushed elbows with the stars that have become household names, but that lifestyle wasn’t what called to them. They wanted their music to make the people around them happy.\u003c/p>\n\u003cp>Sherr acknowledged that people may not have stories about “the famous Cora and Santos,” but they do have stories about the generous couple who wouldn’t accept payment for playing at a wedding or the skillful teachers who instilled a love of music.\u003c/p>\n\u003cp>Cora and Santos Beloy were legends at the Tonga Room and larger than life figures at home. Their legacy may not have made it to the internet, but for the people who knew them, they were stars.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch2>\u003ca id=\"Viewthefullepisodetranscript\">\u003c/a>Episode transcript\u003c/h2>\n\u003cp>\u003cstrong>Olivia Allen-Price:\u003c/strong> Jess Garcia, has a little game she and her husband like to play…\u003c/p>\n\u003cp>\u003cem>Music starts\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Olivia Allen-Price: \u003c/strong>They’ll enjoy a big ole pitcher of margaritas on Valencia St in San Francisco, and then wander over to the nearby thrift stores to see what kinds of treasures they’ll find. They were rummaging through the vinyls one day when they saw something that caught their eye.\u003c/p>\n\u003cp>\u003cstrong>Jess Garcia: \u003c/strong>So when we saw this album, obviously it attracted our attention.\u003c/p>\n\u003cp>\u003cstrong>Olivia Allen-Price: \u003c/strong>The album cover has these hand-painted illustrations of San Francisco landmarks. Cable cars, the Transamerica Building, Coit Tower, the Golden Gate Bridge – and they’re all circling this portrait of a Filipino couple. It looks like a wedding photo from the 70s or 80s, maybe. He’s in a blue suit with a purple ruffled shirt underneath. She’s in a white lace dress. And in thick black letters, the album title reads “Cora and Santos, In Baghdad by the Bay.”\u003c/p>\n\u003cp>\u003cem>Music ends\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Jess Garcia: \u003c/strong>We didn’t really understand like what type of album this was at first. My first impression was that, like maybe it was like a 50th anniversary album that, like they gave out to like friends and family with like just like their favorite songs on it which I thought was like such a cute idea. And then we actually did kind of rush home because we were eager to listen to the album. So when we put it on and the music started playing it just had this like really nostalgic feeling to it.\u003c/p>\n\u003cp>\u003cem>“Spanish Eyes” starts\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Jess Garcia: \u003c/strong>The very first track is Spanish Eyes. And you know, a couple of seconds into the track, Cora and Santos start singing.\u003c/p>\n\u003cp>\u003cem>“Spanish Eyes” in the clear: “Spanish Eyes. Teardrops are falling from your Spanish Eyes.”\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Jess Garcia: \u003c/strong>Their voices were just so vibrant and sentimental. And I just thought they were so sweet and I’ve never, you know, I’ve never heard of Cora and Santos Beloy before.\u003c/p>\n\u003cp>\u003cstrong>Olivia Allen-Price: \u003c/strong>The couple recorded at a studio called Wally Heider. Some other Iconic Bay Area bands have recorded there. Like Creedence Clearwater Revival, Jefferson Airplane, the Grateful Dead. Jess had heard of those bands, of course, which made her wonder if there was more to Cora and Santos Beloy’s story.\u003c/p>\n\u003cp>\u003cstrong>Jess Garcia: \u003c/strong>I was just really interested to know what their life was like, the types of achievements that I can’t find on the internet, and just curious about their legacy overall.\u003c/p>\n\u003cp>\u003cstrong>Asal Ehsanipour:\u003c/strong> Jess is right, if you search the names “Cora and Santos Beloy,” you probably won’t find much.\u003c/p>\n\u003cp>\u003cstrong>Olivia Allen-Price:\u003c/strong> Reporter Asal Ehsanipour loves a good mystery.\u003c/p>\n\u003cp>\u003cstrong>Asal Ehsanipour: \u003c/strong>There’s a beautiful obituary for Cora, who died in 2022, but not much about Santos’ funeral. A few Facebook posts about the couple’s involvement in their Catholic parish. It all feels pretty mundane. But then… you’ll find a handful of links to Cora and Santos’ music.\u003c/p>\n\u003cp>\u003cstrong>Olivia Allen-Price:\u003c/strong> And music was everything to this couple. Today we’re digging into the lives and legacy…big and small…of Cora and Santos Beloy. Take it away, Asal.\u003c/p>\n\u003cp>\u003cstrong>Asal Ehsanipour: \u003c/strong>The song that comes up most is Cora and Santos Beloy’s biggest hit – a rendition of the classic Filippino love song, “\u003ca href=\"https://www.youtube.com/watch?v=yY7o5weu-YE&list=RDiHI2RypmtmI&index=2\">Dahil Sa Iyo\u003c/a>.”\u003c/p>\n\u003cp>\u003cem>“Dahil Sa Iyo” in the clear for a moment \u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Asal Ehsanipour: \u003c/strong>Dahil Sa Iyo is a kind of anthem among Filipinos. Cora and Santos’ version is a duet, where Santos takes the classic Tagalog, while Cora croons in the lesser-known English translation… It’s a kind of role reversal – because Cora was fluent in Tagalog, and Santos wasn’t.\u003c/p>\n\u003cp>\u003cstrong>Cissy Beloy Sherr: \u003c/strong>She could sing in seven languages, // And Dad could barely remember his Tagalog words in a song.\u003c/p>\n\u003cp>\u003cstrong>Asal Ehsanipour: \u003c/strong>This is Cora and Santos’ daughter, Cissy Beloy Sherr.\u003c/p>\n\u003cp>\u003cstrong>Cissy Beloy Sherr: \u003c/strong>So, when you say that opposites attract, in some ways, I think that they were meant to be together.\u003c/p>\n\u003cp>\u003cstrong>Asal Ehsanipour: \u003c/strong>Cissy’s parents were also opposite in the way they’d grown up. Cora was raised on a sugar plantation in the Philippines, Santos was raised in the Fillmore. She sang to entertain the Japanese soldiers occupying her town during World War II. He was a young soprano, who sang on the radio. Cora was an immigrant, Santos was a veteran.\u003c/p>\n\u003cp>\u003cstrong>Cissy Beloy Sherr: \u003c/strong>So dad grew up so different from mom.\u003c/p>\n\u003cp>\u003cstrong>Asal Ehsanipour: \u003c/strong>Their paths finally crossed in the early 50s, when Cora attended a mixer for Filipinos in San Francisco. And one night… she heard Santos singing.\u003c/p>\n\u003cp>\u003cstrong>Cissy Beloy Sherr: \u003c/strong>I remember her saying, “once I heard your dad’s voice, that was it.”\u003c/p>\n\u003cp>\u003cem>Cora and Santos’ song “Hawaiian Wedding Song” starts\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Cissy Beloy Sherr:\u003c/strong> It didn’t take a long time for them to fall in love with each other. I knew that.\u003c/p>\n\u003cp>\u003cstrong>Asal Ehsanipour: \u003c/strong>Cora and Santos were crazy about each other. Cissy says it was the kind of love where they forgot about everything else when they were together… The kind where they had a whole rolodex of special songs, just their own… and a little whistle so they could get each other’s attention at a party. .\u003c/p>\n\u003cp>After they married, the couple took a long honeymoon to the Philippines, so Santos could meet Cora’s family. And while they were there, Cora recorded a handful of songs with her brother – a well-known musician in the Philippines. Overnight, Cora became a star.\u003c/p>\n\u003cp>\u003cem>“My Song of Love” starts\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Asal Ehsanipour: \u003c/strong>Her single, “\u003ca href=\"https://www.youtube.com/watch?v=M6bkjT4WQHE\">My Song of Love\u003c/a>,” soared to the very top of the Filipino charts in the early 50s.\u003c/p>\n\u003cp>\u003cem>Cora Delphino singing: “My Song of Love”\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Cissy Beloy Sherr: \u003c/strong>People to this day remember their grandparents singing it to them to sleep. I mean, I can see where my mom’s voice had that calming lullaby tone to it.\u003c/p>\n\u003cp>\u003cstrong>Asal Ehsanipour: \u003c/strong>Cora’s singing was very much in the classic kundiman style. A type of Filipino music – mostly smooth, romantic ballads – sung in Tagalog. Cora gave it a modern twist, singing in English.\u003c/p>\n\u003cp>\u003cstrong>Cissy Beloy Sherr: \u003c/strong>There’s something about her songs. The way she sang, the minor key of it, the melody. There’s this bittersweet sadness of love and just the emotion with it. It’s kind of in your soul, you know?\u003c/p>\n\u003cp>\u003cem>“My Song of Love” ends\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Asal Ehsanipour:\u003c/strong>Despite her mega hit in the Phillipines, Cora didn’t try to leverage her success into a flashy music career back in San Francisco. Instead, she immediately shifted into mom mode. This was the 1950s. Corae was already pregnant by the time she and Santos got back from their honeymoon. They settled down in the Inner Sunset neighborhood of San Francisco, and Santos took a day job as a technician for Bank of America. He worked on the predecessor to the ATM machine. Cora stayed home, and Cissy came along 14 months later.\u003c/p>\n\u003cp>But between the hustle and bustle of potty training and school drop-offs – Cora never stopped playing music. \u003cstrong> \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Cissy Beloy Sherr: \u003c/strong>She was like just truly a performer.\u003c/p>\n\u003cp>\u003cstrong>Asal Ehsanipour: \u003c/strong>Cora once told Cissy a secret about this time. When the kids were in school, she confessed almost wistfully… that she’d sneak out and perform at the Hillsdale Mall in San Mateo with a group of musicians.\u003cstrong> \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Cissy Beloy Sherr: \u003c/strong>\u003cstrong> \u003c/strong>They’d pick her up, bring her down to the mall and they’d be all set up for her to sing for the shoppers going through the mall.I would get home before you did and we never knew she did this.\u003c/p>\n\u003cp>\u003cstrong>Asal Ehsanipour: \u003c/strong>Cissy had always thought her mom was doing the dishes and baking cookies while she was in school.\u003c/p>\n\u003cp>\u003cstrong>Cissy Beloy Sherr: \u003c/strong>Maybe it wasn’t sneaking out, maybe it was fitting it into everything else, you know. Maybe her love of singing, she got to do that as well as be a mom.\u003c/p>\n\u003cp>\u003cstrong>Asal Ehsanipour: \u003c/strong>But it wasn’t just mall jobs. Cora also got offers for glamorous, higher profile jobs. At one point, Cissy said her mom had been approached by the comedian Phyllis Diller for a nightly stint at a legendary comedy club in the city, called The Purple Onion.\u003c/p>\n\u003cp>\u003cstrong>Cissy Beloy Sherr: \u003c/strong>I do remember that, because Phylliss Diller, she’s famous, you know. Oh, but mommy’s not gonna do that because that means she won’t be home to cook dinner for us\u003cem>.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Asal Ehsanipour: \u003c/strong>Instead, Cora took the so-called “casuals.” Gigs that were short-term and close to home. She started performing at local hotels, singing with the big bands.\u003c/p>\n\u003cp>\u003cem>Big band music starts\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Cissy Beloy Sherr: \u003c/strong>Oh… my mom sounded great with a big band.\u003cem> \u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Asal Ehsanipour: \u003c/strong>Those huge jazz ensembles – a dozen or more musicians packed onstage together playing a big brassy sound. This was Cora’s niche.\u003c/p>\n\u003cp>\u003cstrong>Cissy Beloy Sherr:\u003c/strong> I never got to see her perform because I was just too little, you know. I got to see her get dressed that was the show for me.\u003c/p>\n\u003cp>\u003cstrong>Asal Ehsanipour: \u003c/strong>Depending on the night, Cora would dress in Filipino formalwear or a sparkly evening gown. Cissy’s favorite, though, was her mom’s Carmen Miranda outfit.\u003c/p>\n\u003cp>\u003cstrong>Cissy Beloy Sherr: \u003c/strong>Because that big hat had a whole bowl of fruit on the top. And I don’t know how she even got in the car with that thing.\u003c/p>\n\u003cp>\u003cstrong>Asal Ehsanipour: \u003c/strong>And Santos loved the spotlight as much as Cora. He would work a full day at the bank, come home, throw on a Hawaiian shirt or a matching band suit – and join his wife on stage. And eventually… once the kids got older… they became the house band at San Francisco’s Fairmont Hotel.\u003c/p>\n\u003cp>\u003cem>Piano music starts\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Asal Ehsanipour: \u003c/strong>This was during the Fairmont’s heyday… back when it was a nightly destination for live music. The main attraction was the Venetian Room, a glamorous concert hall where some of the world’s biggest stars performed – people like Ella Fitzgerald and Tony Bennett. In fact, \u003ca href=\"https://www.sfchronicle.com/oursf/article/story-tony-bennett-i-left-heart-san-francisco-18254163.php?utm_source=marketing&utm_medium=google&utm_campaign=content_acquisition&gad_source=1&gad_campaignid=23286310966&gbraid=0AAAAADfW6kE7McpsTc-vgAQgwHkuK5L3i&gclid=CjwKCAiA-__MBhAKEiwASBmsBNb_pn1CBbHh_3UtFLZeN_yEKTDE-9A3pfyvO0TIBS8KFkEkRbrKXhoCWbUQAvD_BwE\">Tony Bennett first sang “I Left My Heart in San Francisco” during his 1961 residency at the Venetian Room.\u003c/a>\u003c/p>\n\u003cp>\u003cem>Tony Bennet singing “I Left My Heart In San Francisco”\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Cissy Beloy Sherr: \u003c/strong>\u003cstrong>\u003cem> \u003c/em>\u003c/strong>And then there was, uh, I think there was a little lounge on each side. There was one to the right, a cocktail lounge with live music. And that’s the one mom and dad played in. And it was called the New Orleans Room. And I feel like it was kind of a staging or maybe a waiting area for either if you couldn’t get tickets for the main show or you were waiting to go in that main show.\u003c/p>\n\u003cp>\u003cstrong>Asal Ehsanipour: \u003c/strong>This regular gig adjacent to the Venetian Room meant Cora and Santos befriended all kinds of people. Including…\u003c/p>\n\u003cp>\u003cstrong>Tisha Ofalsa-Nutter: \u003c/strong>Tony, just Tony.\u003cstrong> \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Asal Ehsanipour: \u003c/strong>Cissy’s god sister, Tisha Ofalsa-Nutter, is talking about that very same Tony Bennett. She still remembers one night, decades ago, when her Auntie Cora invited the family over for dinner.\u003c/p>\n\u003cp>\u003cstrong>Tisha Ofalsa-Nutter: \u003c/strong>Just come on over, it’s Monday. Except Tony Bennett was sitting there in the living room. And he just hung out and we were all just laughing. We had Auntie’s chili. She made lumpias and // it was like she treated him just like family. It could have been any other night.\u003c/p>\n\u003cp>\u003cstrong>Asal Ehsanipour: \u003c/strong>Except on this night, Cora sang a duet with Tony Bennet at the piano in her living room. Casual.\u003c/p>\n\u003cp>\u003cstrong>Tisha Ofalsa-Nutter: \u003c/strong>And this not only happened with Tony Bennett, this happened with The Letterman.\u003c/p>\n\u003cp>\u003cstrong>Asal Ehsanipour: \u003c/strong>Cora and Santos became longtime friends with the pop group’s lead singer, Tony Butala. One night, they invited Sammy Davis Jr. to perform onstage with them.\u003c/p>\n\u003cp>Despite never achieving THAT level of stardom, Cora and Santos became “San Francisco famous” … especially through their performances at The Fairmont Hotel’s Tonga Room.\u003c/p>\n\u003cp>\u003cem>Rumbling music begins\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Asal Ehsanipour: \u003c/strong>For the uninitiated, The Tonga Room is a Polynesian-themed tiki bar known for extravagant umbrella drinks and an indoor thunderstorm.\u003c/p>\n\u003cp>\u003cstrong>Tisha Ofalsa-Nutter: \u003c/strong>When they were about to come out and perform, they would start this thunder and lightning. And then the rain would start coming down. And there would be Auntie Cora, Uncle Santos and they would be on this barge and the barge would come out on this little waterway then the rain would stop and then they would start performing.\u003c/p>\n\u003cp>\u003cem>Cora and Santos start singing: “When I Hear the Church Bells Ringing”\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Chelle Lindahl: \u003c/strong>I mean, it was just gobsmacking.\u003c/p>\n\u003cp>\u003cstrong>Asal Ehsanipour:\u003c/strong>This is Chelle Lindahl, Cora and Santos’ niece.\u003c/p>\n\u003cp>\u003cstrong>Chelle Lindahl:\u003c/strong> I know we were just all like, oh, oh my God, look at this. And then Auntie and Uncle are on this thing.\u003c/p>\n\u003cp>\u003cstrong> Asal Ehsanipour: \u003c/strong>People would go to the Tonga Room FOR Cora and Santos…they had a bit of a cult following.\u003c/p>\n\u003cp>Cora knew how to work a crowd. And when Santos sang… you couldn’t help but pay attention.\u003c/p>\n\u003cp>\u003cem>Cora and Santos song “Now That Summer Is Gone” starts\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Cissy Beloy Sherr: \u003c/strong>Oh, he’s so fun. My dad had this way of playing like three instruments at once. Like three quarters of a one-man band. It was great.\u003c/p>\n\u003cp>\u003cstrong>Asal Ehsanipour: \u003c/strong>Cissy says that more than once, her parents would come from a night at the Tonga Room, and tell her about the customers who got a little too swept up in the music, and would jump into the indoor swimming pool.\u003c/p>\n\u003cp>\u003cstrong>Cissy Beloy Sherr: \u003c/strong>They’d have to fish them out of the water because they drank too much.\u003c/p>\n\u003cp>\u003cstrong>Asal Ehsanipour: \u003c/strong>Cissy remembers it all with nostalgia. But she also admits it was a heavy lift for her dad, who was still working his day job.\u003c/p>\n\u003cp>\u003cstrong>Cissy Beloy Sherr: \u003c/strong>\u003cem> \u003c/em>It must have been hard to come home power nap and then go nine to one at the Fairmont hotel or something // and I think a lot of it he did it for mom because it was mom’s dream.\u003c/p>\n\u003cp>\u003cstrong>Asal Ehsanipour: \u003c/strong>But more than anything, they loved to perform together. Cora and Santos played restaurants, anniversary parties, and cruise ships around the world. Back in 1964, they even decided to record their music – this was before the album our question asker found. This one had just two tracks, including their famous duet of “Dahil Sa Iyo.”\u003c/p>\n\u003cp>\u003cstrong>Cissy Beloy Sherr:\u003c/strong> To this day people tell me “Oh, Cora and Santos, “Dahil Sa Iyo” – that was my favorite, you know.”\u003c/p>\n\u003cp>\u003cstrong>Asal Ehsanipour: \u003c/strong>They worked with Tom Spinosa, a big-deal bandleader who’d opened a small music label in the 1950s. To this day, Spinosa – not Cora and Santos – is typically credited with popularizing “Dahil Sa Iyo” to English speakers in the US…\u003c/p>\n\u003cp>\u003cstrong>Cissy Beloy Sherr: \u003c/strong>\u003cem> \u003c/em>I don’t really want to give him credit. Because I don’t know that I have a positive recollection of him to be honest with you.\u003c/p>\n\u003cp>\u003cstrong>Asal Ehsanipour: \u003c/strong>Cissy says her parents loved everybody, but had no desire to work with Spinosa again. She’s got this feeling that the record could have put her parents on the map in a bigger way… Spinosa could have helped with that.\u003c/p>\n\u003cp>\u003cstrong>Cissy Beloy Sherr: \u003c/strong>I feel like that record should have probably made them some money. I don’t think it did\u003cem>. \u003c/em>So I think that maybe they were…here’s my impression, that they were naive about whatever the business of it was. And it wouldn’t surprise me if they just said, okay, you know, we did it for the love of music.\u003c/p>\n\u003cp>\u003cstrong>Asal Ehsanipour:\u003c/strong>And as it turns out…. their love of music, their desire to build community out of music, would be the \u003cem>\u003cu>real\u003c/u>\u003c/em> legacy of their lives.\u003c/p>\n\u003cp>\u003cstrong>Olivia Allen-Price:\u003c/strong> More after this quick break. Stay with us.\u003c/p>\n\u003cp>\u003cem>Sponsor message\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Olivia Allen-Price: \u003c/strong>Cora and Santos may have had a glamorous onstage life at the Fairmount hotel, befriending famous singers and sparkling under the lights, but Asal Ehsanipour tells us their most lasting legacy may have been on their local community.\u003c/p>\n\u003cp>\u003cstrong>Asal Ehsanipour:\u003c/strong> Cissy says her mom had always dreamt of having a big family. But since Cora and Santos couldn’t have more children, they volunteered all their free time to St. Anne’s Catholic Church – just a few blocks away from their house in the Inner Sunset.\u003c/p>\n\u003cp>Cora ran the children’s choir and together, she and Santos taught Filipino folk dancing.\u003c/p>\n\u003cp>\u003cstrong>Cissy Beloy Sherr: \u003c/strong>There weren’t any Filipinos, very few Filipino people in the parish, so they were teaching the bamboo dance to people, those kids and their parents.\u003c/p>\n\u003cp>\u003cstrong>Asal Ehsanipour: \u003c/strong>By the 1960s, San Francisco had a sizable Filipino population, but not many lived in the Inner Sunset.\u003c/p>\n\u003cp>\u003cstrong>Cissy Beloy Sherr: \u003c/strong>So they were really involved in trying to bring the Philippine culture to all those white people.\u003c/p>\n\u003cp>\u003cstrong>Asal Ehsanipour: \u003c/strong>Cora would teach the moms how to make lumpia, while Santos played poker with the dads. And together the couple gave music lessons to kids all around the neighborhood.\u003c/p>\n\u003cp>\u003cstrong>Asal Ehsanipour: \u003c/strong>How many students would you say they had?\u003c/p>\n\u003cp>\u003cstrong>Cissy Beloy Sherr: \u003c/strong>Oh I could not keep, I have no idea. Countless I would say.\u003c/p>\n\u003cp>\u003cstrong>Asal Ehsanipour: \u003c/strong>Teaching them bass, banjo, piano…\u003c/p>\n\u003cp>\u003cstrong>Cissy Beloy Sherr: \u003c/strong>Guitar, ukulele.\u003c/p>\n\u003cp>Oftentimes, they’d give away instruments for free, just to ensure kids had access to music all the time. And of course, they made sure their nieces knew music.\u003c/p>\n\u003cp>\u003cstrong>Chelle Lindahl: \u003c/strong>We had specific lessons. I mean they made sure of that.\u003c/p>\n\u003cp>\u003cstrong>Asal Ehsanipour: \u003c/strong>Cissy’s cousin, Chelle Lindahl again.\u003c/p>\n\u003cp>\u003cstrong>Chelle Lindahl: \u003c/strong>There was a set time and then we practiced every day.\u003c/p>\n\u003cp>\u003cstrong>Asal Ehsanipour: \u003c/strong>Chelle was Santos’ brother’s kid. Her parents divorced when she was about eight. Then her mom left, and her dad was overwhelmed. So the girls went to live with their Auntie Cora and Uncle Santos.\u003c/p>\n\u003cp>\u003cstrong>Chelle Lindahl: \u003c/strong>And they took on the parent roles. I mean they had two children of their own and to take on three even younger children who are struggling with their mother leaving and all of that. That was incredibly generous on their part.\u003c/p>\n\u003cp>\u003cstrong>Asal Ehsanipour: \u003c/strong>Chelle said her aunt and uncle made the girls feel special during a time when they really needed love and tending to. Music was a big part of that.\u003c/p>\n\u003cp>\u003cstrong>Chelle Lindahl: \u003c/strong>I think the thing that I enjoyed the most was the singing, // And they gave us that opportunity.\u003c/p>\n\u003cp>\u003cstrong>Asal Ehsanipour: \u003c/strong>Cora had started writing jingles for local businesses. So she invited the girls to record what she’d written for a very popular local burger chain, Doggie Diner.\u003c/p>\n\u003cp>\u003cstrong>Chelle Lindahl and Ange Wesley sing together: \u003c/strong>Doggie Diner, nothing’s finer, doggy diners, dog gone good!\u003c/p>\n\u003cp>\u003cstrong>Chelle Lindahl: \u003c/strong>We went down to a radio station and recorded it, and then we were kind of famous at school.\u003c/p>\n\u003cp>\u003cstrong>Asal Ehsanipour: \u003c/strong>Under the care of Cora and Santos, the ragged edges of their broken family began to smooth.\u003c/p>\n\u003cp>\u003cstrong>Chelle Lindahl: \u003c/strong>They, they just brought a joy to all of this that we wouldn’t have had otherwise in our life. Just no way. And it was just them.\u003c/p>\n\u003cp>\u003cstrong>Asal Ehsanipour: \u003c/strong>They modeled what a loving relationship and happy family looks like… It really set the bar for Chelle and her sisters.\u003c/p>\n\u003cp>\u003cstrong>Chelle Lindahl: \u003c/strong>I mean, it sounds corny these days, but. They really were it, you know, they embodied it. They really did.\u003cem> \u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Asal Ehsanipour: \u003c/strong>In 1974… a full decade after “Dahil Sa Iyo” came out, Cora and Santos decided to release their music again.\u003c/p>\n\u003cp>\u003cem>Music starts\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Asal Ehsanipour: \u003c/strong>This time, they produced it on their own terms… no middlemen… under the label Cora & Santos Enterprise. They called it “In Baghdad By The Bay.”\u003c/p>\n\u003cp>\u003cem>Cora singing: “I know a great old city down California Way. They call it San Francisco or Baghdad By The Bay.” \u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Asal Ehsanipour: \u003c/strong>This is the very same record our question asker Jess Garcia found at the thrift store.\u003c/p>\n\u003cp>\u003cstrong>Chelle Lindahl: \u003cem> \u003c/em>\u003c/strong>I remember just admiring the cover art and they had the cable car on there and I think the bridge is on there.\u003c/p>\n\u003cp>\u003cstrong>Asal Ehsanipour: \u003c/strong>Cora and Santos asked a friend to design the cover, and invited local musicians to perform with them. The whole record is a homage to the city where they fell in love and raised their children. They celebrated in classic Beloy fashion, with a huge party at home.\u003c/p>\n\u003cp>\u003cstrong>Chelle Lindahl: \u003c/strong>I remember being in the living room and like having it presented and everybody’s like ‘oh my god this is amazing.’ you know I mean this was, in this day and age of you can record anything and this and that like to get your songs pressed onto vinyl. That was a big, big deal. But Auntie and Uncle singing together, that’s some kind of magic there. Like their voices, they were beautiful together.\u003c/p>\n\u003cp>\u003cem>“In Baghdad by the Bay” ends \u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Asal Ehsanipour: \u003c/strong>I hope it pans to your parents. I want to see them.\u003c/p>\n\u003cp>\u003cstrong>Cissy Beloy Sherr: \u003c/strong>\u003cstrong>\u003cem> \u003c/em>\u003c/strong>Come on, pan out, pan it out.\u003cem> \u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Asal Ehsanipour: \u003c/strong>Back at Cissy’s house, she’s showing me a home video of her parents in their later years. They’re performing on a lawn together. It’s a stark contrast to the drama of The Tonga Room… This feels light and casual. No pretenses.\u003c/p>\n\u003cp>\u003cstrong>Cissy Beloy Sherr: \u003c/strong>Always the last song they play, this one.\u003c/p>\n\u003cp>\u003cstrong>Asal Ehsanipour: \u003c/strong>What’s this one?\u003c/p>\n\u003cp>\u003cstrong>Cissy Beloy Sherr singing: \u003c/strong>Have I told you lately that I love you? Dear, have I told you…\u003c/p>\n\u003cp>\u003cstrong>Asal Ehsanipour: \u003c/strong>Your mom was looking at your dad.\u003c/p>\n\u003cp>\u003cstrong>Cissy Beloy Sherr: \u003cem> \u003c/em>\u003c/strong>Always. Lookit. Watch.\u003c/p>\n\u003cp>\u003cem>Home movie sound fades out\u003c/em>\u003c/p>\n\u003cp>Cora and Santos continued singing love songs to each other until Santos died of cancer in 1997.\u003c/p>\n\u003cp>\u003cstrong>Cissy Beloy Sherr: \u003cem> \u003c/em>\u003c/strong>You know? Mom just sadly carried on.\u003c/p>\n\u003cp>\u003cstrong>Asal Ehsanipour: \u003c/strong>But she never stopped performing. She played at nursing homes, birthday parties — wherever she could get her hands on a microphone, really.\u003c/p>\n\u003cp>\u003cstrong>Cissy Beloy Sherr: \u003c/strong>We go to a brunch. Boy, my mom was drooling over the piano before the food. She would ask can I play? can I play for everybody? She wanted to play that piano for everybody at the brunch rather than eat, in her 90s.\u003c/p>\n\u003cp>\u003cstrong>Asal Ehsanipour: \u003c/strong>Cora performed her last song in 2022… just weeks before she died at 93 years old.\u003c/p>\n\u003cp>Music fades out\u003c/p>\n\u003cp>\u003cstrong>Asal Ehsanipour:\u003c/strong>Throughout Cora and Santos’ musical career in San Francisco, they brushed elbows with the stars that have become household names. But that lifestyle wasn’t what called to them…they wanted their music to make the people around them happy.\u003c/p>\n\u003cp>\u003cstrong>Cissy Beloy Sherr: \u003c/strong>You will talk to so many people and they might not have this story about, oh, the famous Cora and Santos, but they will have a great story. Oh gosh, they played at my wedding and I couldn’t afford to pay them or they wouldn’t let me pay them, but it made it so special.\u003c/p>\n\u003cp>\u003cstrong>Asal Ehsanipour: \u003c/strong>They were legends at the Tonga Room…larger than life figures at home… their legacy may not have made it to the internet, but for the people who knew them, they were stars.\u003c/p>\n\u003cp>\u003cstrong>Olivia Allen-Price:\u003c/strong> That was reporter Asal Ehsanipour.\u003c/p>\n\n\u003cp>\u003c/p>\u003c/div>",
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"title": "19th Avenue Closure: What to Know About Travel Through San Francisco This Weekend",
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"content": "\u003cp>People passing through \u003ca href=\"https://www.kqed.org/news/tag/san-francisco\">San Francisco\u003c/a> will face another traffic test as Caltrans rolls out its latest planned weekend closure of a major artery near Golden Gate Park.\u003c/p>\n\u003cp>From Friday to Monday, Caltrans will close two lanes of southbound 19th Avenue from Lincoln Way to Sloat Boulevard for asphalt resurfacing work, following an initial weekend-long closure at the end of April.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The artery doubles as State Highway 1 and is a primary way for drivers to access the Golden Gate Bridge from the south.\u003c/p>\n\u003cp>Keep reading for what to know about the 19th Avenue closure and how it could affect your weekend.\u003c/p>\n\u003ch2>What part of 19th Avenue will be closed this weekend?\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">Matt O’Donnell, a spokesperson for Caltrans, said crews will pave the southbound lanes of 19th Avenue during the 74-hour closure, after repairing northbound lanes at the end of April.\u003c/span>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=X_jGlcUAMVs\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Crews will start at Lincoln Way and then head south to Sloat Boulevard by Stonestown Galleria.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">O’Donnell said additional crews will be deployed this weekend to ensure maintenance is as “efficient as possible.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">One lane will remain open on 19th Avenue for public transit, emergency responders and local access. Parking on 19th Avenue will also be restricted in work zones. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_12082801\" class=\"wp-caption alignleft\" style=\"max-width: 619px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12082801\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/04/traffic-advisory-2026-05-04-19th_ave_repaving_work_detour_map.jpeg\" alt=\"\" width=\"619\" height=\"801\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/04/traffic-advisory-2026-05-04-19th_ave_repaving_work_detour_map.jpeg 619w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/04/traffic-advisory-2026-05-04-19th_ave_repaving_work_detour_map-160x207.jpeg 160w\" sizes=\"auto, (max-width: 619px) 100vw, 619px\">\u003cfigcaption class=\"wp-caption-text\">Caltrans suggested a detour route for drivers navigating the southbound 19th Avenue partial closure. \u003ccite>(Courtesy of Caltrans)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">“ This is a really busy area in San Francisco. There’s a lot going on,” O’Donnell said, adding that Caltrans has canvassed the area to alert residents and businesses of the upcoming work.\u003c/span>\u003c/p>\n\u003ch2>When exactly will the 19th Avenue closure start and end?\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">This weekend’s closure will start at 3 a.m. Friday, May 8, and end at 5:00 a.m. Monday, May 11.\u003c/span>\u003c/p>\n\u003ch2>What detours and alternative routes are recommended during the 19th Avenue closure?\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">Caltrans recommended three main alternate routes for circumventing the lane shutdowns, each using Sunset Boulevard. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“One of the things we found last time was the traffic [on Sunset] was really flowing very, very well,” O’Donnell said. “So that’s a very good way to get around the closure.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Caltrans said the work is needed to improve driver safety, upgrade facilities to the Americans with Disabilities Act standards and extend the life of the existing pavement. \u003c/span>\u003c/p>\n\u003ch2>\u003cspan style=\"font-size: 24px\">Will this 19th Avenue closure end this weekend?\u003c/span>\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">No: This weekend’s work is the second of three planned weekend closures on 19th Avenue over roughly the next month. A final closure is planned for Memorial Day weekend. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">When completed, Caltrans said it will have repaved more than 18 lane miles of 19th Avenue, stretching from Lincoln Way to Holloway Avenue, by San Francisco State University.\u003c/span>\u003c/p>\n\u003ch2>\u003cspan style=\"font-size: 24px\">Will public transit be affected by the 19th Avenue closure?\u003c/span>\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">San Francisco Municipal Transportation Agency Director Julie Kirschbaum said in April that the agency worked with Caltrans to schedule the work over three long weekends, dramatically shortening the timeline for completion from an estimated 40 days to nine.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">During the repaving work, the SFMTA is \u003c/span>\u003ca href=\"https://www.sfmta.com/travel-updates/northbound-19th-avenue-repaving-friday-april-24-monday-april-27-2026\">\u003cspan style=\"font-weight: 400\">adjusting \u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">stops for the 28, 28R, 48, 66, and 91 Muni routes and said the 7, 29, L-Owl, N-Owl, N Bus, L Taraval, and N Judah may experience delays. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_12060014\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12060014\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/20231128-Muni-025-JY_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/20231128-Muni-025-JY_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/20231128-Muni-025-JY_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/20231128-Muni-025-JY_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Muni riders wait for the bus outside West Portal Station in San Francisco on Tuesday, Nov. 28, 2023. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">At the time, Kirschbaum said she expected travel to be slow on the corridor during construction.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“This is a major construction project, and it will inconvenience people who travel on 19th Avenue,” Kirschbaum said. “We know Muni riders and drivers will appreciate the smooth ride they’ll experience after the repaving work is done.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The 19th Avenue repaving project is part of Caltrans’ “Fab 4 Rehab,” four \u003ca href=\"https://dot.ca.gov/caltrans-near-me/district-4/d4-projects/d4-san-francisco-freeway-and-road-rehabilitation/d4-fab-4-rehabilitation-projects-toolkit\">major\u003c/a> road rehabilitation projects in San Francisco County that are planned or currently underway.\u003c/span>\u003c/p>\n\u003ch2>Will the Golden Gate Bridge be affected by the 19th Avenue closure?\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">O’Donnell said that travelers who typically use the thoroughfare to access the Golden Gate Bridge and the North Bay should “stay off of 19th Avenue, use the alternate routes.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The Golden Gate Bridge, Highway and Transportation District said in April it does not anticipate major traffic impacts due to the closure, but said it will be ready to respond if the need arises. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Residents can reach out to Caltrans at the project’s hotline at 510-286-0319 to ask questions and share feedback. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">KQED’s \u003c/span>\u003c/i>\u003ca href=\"https://www.kqed.org/author/aemslie\">\u003ci>\u003cspan style=\"font-weight: 400\">Alex Emslie\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\"> and \u003c/span>\u003c/i>\u003ca href=\"https://www.kqed.org/author/emanoukian\">\u003ci>\u003cspan style=\"font-weight: 400\">Elize Manoukian\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\"> contributed to this report. \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The artery doubles as State Highway 1 and is a primary way for drivers to access the Golden Gate Bridge from the south.\u003c/p>\n\u003cp>Keep reading for what to know about the 19th Avenue closure and how it could affect your weekend.\u003c/p>\n\u003ch2>What part of 19th Avenue will be closed this weekend?\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">Matt O’Donnell, a spokesperson for Caltrans, said crews will pave the southbound lanes of 19th Avenue during the 74-hour closure, after repairing northbound lanes at the end of April.\u003c/span>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/X_jGlcUAMVs'\n title='//www.youtube.com/embed/X_jGlcUAMVs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">Crews will start at Lincoln Way and then head south to Sloat Boulevard by Stonestown Galleria.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">O’Donnell said additional crews will be deployed this weekend to ensure maintenance is as “efficient as possible.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">One lane will remain open on 19th Avenue for public transit, emergency responders and local access. Parking on 19th Avenue will also be restricted in work zones. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_12082801\" class=\"wp-caption alignleft\" style=\"max-width: 619px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12082801\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/04/traffic-advisory-2026-05-04-19th_ave_repaving_work_detour_map.jpeg\" alt=\"\" width=\"619\" height=\"801\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/04/traffic-advisory-2026-05-04-19th_ave_repaving_work_detour_map.jpeg 619w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/04/traffic-advisory-2026-05-04-19th_ave_repaving_work_detour_map-160x207.jpeg 160w\" sizes=\"auto, (max-width: 619px) 100vw, 619px\">\u003cfigcaption class=\"wp-caption-text\">Caltrans suggested a detour route for drivers navigating the southbound 19th Avenue partial closure. \u003ccite>(Courtesy of Caltrans)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">“ This is a really busy area in San Francisco. There’s a lot going on,” O’Donnell said, adding that Caltrans has canvassed the area to alert residents and businesses of the upcoming work.\u003c/span>\u003c/p>\n\u003ch2>When exactly will the 19th Avenue closure start and end?\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">This weekend’s closure will start at 3 a.m. Friday, May 8, and end at 5:00 a.m. Monday, May 11.\u003c/span>\u003c/p>\n\u003ch2>What detours and alternative routes are recommended during the 19th Avenue closure?\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">Caltrans recommended three main alternate routes for circumventing the lane shutdowns, each using Sunset Boulevard. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“One of the things we found last time was the traffic [on Sunset] was really flowing very, very well,” O’Donnell said. “So that’s a very good way to get around the closure.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Caltrans said the work is needed to improve driver safety, upgrade facilities to the Americans with Disabilities Act standards and extend the life of the existing pavement. \u003c/span>\u003c/p>\n\u003ch2>\u003cspan style=\"font-size: 24px\">Will this 19th Avenue closure end this weekend?\u003c/span>\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">No: This weekend’s work is the second of three planned weekend closures on 19th Avenue over roughly the next month. A final closure is planned for Memorial Day weekend. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">When completed, Caltrans said it will have repaved more than 18 lane miles of 19th Avenue, stretching from Lincoln Way to Holloway Avenue, by San Francisco State University.\u003c/span>\u003c/p>\n\u003ch2>\u003cspan style=\"font-size: 24px\">Will public transit be affected by the 19th Avenue closure?\u003c/span>\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">San Francisco Municipal Transportation Agency Director Julie Kirschbaum said in April that the agency worked with Caltrans to schedule the work over three long weekends, dramatically shortening the timeline for completion from an estimated 40 days to nine.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">During the repaving work, the SFMTA is \u003c/span>\u003ca href=\"https://www.sfmta.com/travel-updates/northbound-19th-avenue-repaving-friday-april-24-monday-april-27-2026\">\u003cspan style=\"font-weight: 400\">adjusting \u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">stops for the 28, 28R, 48, 66, and 91 Muni routes and said the 7, 29, L-Owl, N-Owl, N Bus, L Taraval, and N Judah may experience delays. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_12060014\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12060014\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/20231128-Muni-025-JY_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/20231128-Muni-025-JY_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/20231128-Muni-025-JY_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/20231128-Muni-025-JY_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Muni riders wait for the bus outside West Portal Station in San Francisco on Tuesday, Nov. 28, 2023. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">At the time, Kirschbaum said she expected travel to be slow on the corridor during construction.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“This is a major construction project, and it will inconvenience people who travel on 19th Avenue,” Kirschbaum said. “We know Muni riders and drivers will appreciate the smooth ride they’ll experience after the repaving work is done.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The 19th Avenue repaving project is part of Caltrans’ “Fab 4 Rehab,” four \u003ca href=\"https://dot.ca.gov/caltrans-near-me/district-4/d4-projects/d4-san-francisco-freeway-and-road-rehabilitation/d4-fab-4-rehabilitation-projects-toolkit\">major\u003c/a> road rehabilitation projects in San Francisco County that are planned or currently underway.\u003c/span>\u003c/p>\n\u003ch2>Will the Golden Gate Bridge be affected by the 19th Avenue closure?\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">O’Donnell said that travelers who typically use the thoroughfare to access the Golden Gate Bridge and the North Bay should “stay off of 19th Avenue, use the alternate routes.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The Golden Gate Bridge, Highway and Transportation District said in April it does not anticipate major traffic impacts due to the closure, but said it will be ready to respond if the need arises. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Residents can reach out to Caltrans at the project’s hotline at 510-286-0319 to ask questions and share feedback. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">KQED’s \u003c/span>\u003c/i>\u003ca href=\"https://www.kqed.org/author/aemslie\">\u003ci>\u003cspan style=\"font-weight: 400\">Alex Emslie\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\"> and \u003c/span>\u003c/i>\u003ca href=\"https://www.kqed.org/author/emanoukian\">\u003ci>\u003cspan style=\"font-weight: 400\">Elize Manoukian\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\"> contributed to this report. \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"title": "San Francisco Zoo Asks for $8.5M Loan After Audit Reveals Millions in Unapproved Spending",
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"content": "\u003cp>San Francisco officials appear poised to award \u003ca href=\"https://www.kqed.org/news/tag/san-francisco-zoo\">the city’s zoo\u003c/a> a multimillion-dollar bailout days after a recent audit revealed millions of dollars in unauthorized spending.\u003c/p>\n\u003cp>The $8.5 million loan to the San Francisco Zoological Society, the nonprofit that manages the zoo, would keep the zoo open as it works to implement recommendations and improvements outlined in the \u003ca href=\"https://media.api.sf.gov/documents/050126_Performance_and_Management_Audit_of_San_Francisco_Zoo.pdf\">recent audit\u003c/a> by the city’s Budget and Legislative Analyst. It comes after years of turmoil for the nearly century-old San Francisco Zoo, which has weathered everything from drops in attendance and revenue to controversies over zoo management, worker safety and \u003ca href=\"https://www.sf.gov/sites/default/files/2024-10/DRAFT%20Joint%20Zoo%20Committee%20Notes_0.pdf\">animal welfare\u003c/a>.\u003c/p>\n\u003cp>“The zoo is a very important institution for San Francisco and for the economy for the west side. It brings visitors from the downtown core to the west side, they eat at our restaurants and engage with our residents,” Supervisor Myrna Melgar, whose district encompasses the zoo and who is spearheading the loan, said at a recent hearing to discuss the funds. “The audit is a really important roadmap to success.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Supervisors at the city’s Budget and Finance Committee on Wednesday agreed to vote on the loan next week, and those in attendance appeared supportive.\u003c/p>\n\u003cp>The zoo has struggled with decreased attendance since the COVID-19 pandemic and costs of operation have meanwhile increased by roughly $3 million, according to the zoo’s new CEO, Cassandra Costello.\u003c/p>\n\u003cp>“Attendance is our main form of revenue. So when this is down, not only is our gate revenue down, our parking revenue is down. Our retail food and beverage is also down in sales,” said Costello, who took over in February after roles at the San Francisco Travel Association and the San Francisco Recreation and Park Department. She replaced former embattled director Tanya Peterson, who faced criticism for mismanagement, along with worker and animal safety. “At the same time, we have this attendance decrease, our cost of doing business also went up significantly.”\u003c/p>\n\u003cfigure id=\"attachment_12042161\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/05/SanFranciscoZoo.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12042161\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/05/SanFranciscoZoo.jpg\" alt=\"\" width=\"2000\" height=\"1378\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/05/SanFranciscoZoo.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/05/SanFranciscoZoo-800x551.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/05/SanFranciscoZoo-1020x703.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/05/SanFranciscoZoo-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/05/SanFranciscoZoo-1536x1058.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/05/SanFranciscoZoo-1920x1323.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A bicyclist rolls past the San Francisco Zoo on Sloat Boulevard in San Francisco, California, on March 20, 2020. \u003ccite>(Paul Chinn/The San Francisco Chronicle via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At Wednesday’s meeting, the CEO said the loan would allow the zoo to continue to care for its animals and remain open to visitors, field trips and summer camps, as well as proceed with other structural changes like a facilities assessment.\u003c/p>\n\u003cp>Costello said the loan would buy time to prepare for its next accreditation cycle in 2027, and continue efforts to bring giant pandas to the zoo with the aim of boosting tourism and membership.\u003c/p>\n\u003cp>“Of course, we are all hopeful for the pandas,” said Supervisor Danny Sauter. “It’s something we all support and want to help you get there.”\u003c/p>\n\u003cp>Melgar, along with Supervisor Connie Chan, urged zoo leadership to also revisit their agreement with workers, who raised concerns about safety conditions to zoo management for years.\u003c/p>\n\u003cp>“One of the things I think is really important out of the recommendations that we have from the [Budget and Legislative Analyst] is that the MOU that we had for the zoo dates back to the 1990s,” Melgar said. “It doesn’t meet our modern standards in terms of transparency and accountability.”[aside postID=news_12046822 hero='https://cdn.kqed.org/wp-content/uploads/sites/10/2025/07/SFZooGetty4.jpg']But the vote on the loan comes as critics like the activist group In Defense of Animals say the recent audit paints a scathing picture of a nonprofit that shouldn’t be trusted to manage more funds.\u003c/p>\n\u003cp>The more than 200-page audit highlights the many challenges the zoo has faced in recent years, including how the SF Zoological Society spent at least $12 million on unapproved capital improvement projects.\u003c/p>\n\u003cp>“SFZS lacks a current strategic plan, a current campus master plan, or an animal collection plan that articulates a strategic, forward-looking vision for SFZS’s animal collection. SFZS also does not have a capital budget or written plans, budgets, or timelines for its major capital projects,” the most recent audit reads.\u003c/p>\n\u003cp>Some residents and animal rights activists who spoke during public comment urged the city to consider alternative visions for the zoo space, such as an \u003ca href=\"https://www.ecoparksf.com/\">EcoPark\u003c/a>.\u003c/p>\n\u003cp>“We acknowledge that the CEO has stepped down, but changing the captain does not salvage a sinking ship,” said Fleur Dawes, who is advocating against the loan with In Defense of Animals. “The city’s own audit proves that this operator fractured public trust. When accountability is raised, public money is laid to waste.”\u003c/p>\n\u003cp>If approved, the loan would be tied to specific milestones, including creating a five-year strategic plan, reducing expenses by at least 10%, reshaping the board of the SF Zoological Society and quarterly reporting on areas like attendance, membership and progress on giant pandas.\u003c/p>\n\u003cp>On Wednesday, supervisors agreed to deappropriate $2.5 million from the Open Space Acquisition Fund and appropriate that money toward the first loan payment. The overall $8.5 million loan is slated to go up for a vote with the budget committee next week.\u003c/p>\n\u003cfigure id=\"attachment_12017694\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12017694\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/12/SFZooGetty.jpg\" alt=\"\" width=\"2000\" height=\"1818\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/12/SFZooGetty.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/12/SFZooGetty-800x727.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/12/SFZooGetty-1020x927.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/12/SFZooGetty-160x145.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/12/SFZooGetty-1536x1396.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/12/SFZooGetty-1920x1745.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A pair of macaws perch on a tree inside the newly renovated South American Tropical Forest exhibit at the San Francisco Zoo in San Francisco, California, on Sept. 17, 2010. \u003ccite>(Paul Chinn/The San Francisco Chronicle via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If successful, the zoo would begin paying back the loan to the city by 2028.\u003c/p>\n\u003cp>A Budget and Legislative Analyst \u003ca href=\"https://drive.google.com/file/d/1VbmDqg6WtEENC367yFxpU-rcl0xaekIP/view\">report in April\u003c/a> found that issuing the loan to the SF Zoological Society would be more cost-effective than having the city manage and operate the zoo to keep it open. The city owns the zoo and its grounds, facilities and animals, but they are all managed by the SF Zoological Society. The Rec and Park Department pays the SF Zoological Society $4 million annually for management.\u003c/p>\n\u003cp>Still, officials from the Budget and Legislative Analysts warned of the risks involved, even as zoo leadership insisted their future is looking brighter.\u003c/p>\n\u003cp>“There’s no collateral to secure this loan. And the entire financial turnaround is premised on them getting pandas and the pandas juicing attendance to levels that they saw about 20 years ago,” said Nicolas Menard, of the Budget and Legislative Analyst’s Office. “There’s a lot of things that need to come together for it to happen. So I think that there’s a risk that the loan will not be paid back.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco officials appear poised to award \u003ca href=\"https://www.kqed.org/news/tag/san-francisco-zoo\">the city’s zoo\u003c/a> a multimillion-dollar bailout days after a recent audit revealed millions of dollars in unauthorized spending.\u003c/p>\n\u003cp>The $8.5 million loan to the San Francisco Zoological Society, the nonprofit that manages the zoo, would keep the zoo open as it works to implement recommendations and improvements outlined in the \u003ca href=\"https://media.api.sf.gov/documents/050126_Performance_and_Management_Audit_of_San_Francisco_Zoo.pdf\">recent audit\u003c/a> by the city’s Budget and Legislative Analyst. It comes after years of turmoil for the nearly century-old San Francisco Zoo, which has weathered everything from drops in attendance and revenue to controversies over zoo management, worker safety and \u003ca href=\"https://www.sf.gov/sites/default/files/2024-10/DRAFT%20Joint%20Zoo%20Committee%20Notes_0.pdf\">animal welfare\u003c/a>.\u003c/p>\n\u003cp>“The zoo is a very important institution for San Francisco and for the economy for the west side. It brings visitors from the downtown core to the west side, they eat at our restaurants and engage with our residents,” Supervisor Myrna Melgar, whose district encompasses the zoo and who is spearheading the loan, said at a recent hearing to discuss the funds. “The audit is a really important roadmap to success.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Supervisors at the city’s Budget and Finance Committee on Wednesday agreed to vote on the loan next week, and those in attendance appeared supportive.\u003c/p>\n\u003cp>The zoo has struggled with decreased attendance since the COVID-19 pandemic and costs of operation have meanwhile increased by roughly $3 million, according to the zoo’s new CEO, Cassandra Costello.\u003c/p>\n\u003cp>“Attendance is our main form of revenue. So when this is down, not only is our gate revenue down, our parking revenue is down. Our retail food and beverage is also down in sales,” said Costello, who took over in February after roles at the San Francisco Travel Association and the San Francisco Recreation and Park Department. She replaced former embattled director Tanya Peterson, who faced criticism for mismanagement, along with worker and animal safety. “At the same time, we have this attendance decrease, our cost of doing business also went up significantly.”\u003c/p>\n\u003cfigure id=\"attachment_12042161\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/05/SanFranciscoZoo.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12042161\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/05/SanFranciscoZoo.jpg\" alt=\"\" width=\"2000\" height=\"1378\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/05/SanFranciscoZoo.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/05/SanFranciscoZoo-800x551.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/05/SanFranciscoZoo-1020x703.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/05/SanFranciscoZoo-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/05/SanFranciscoZoo-1536x1058.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/05/SanFranciscoZoo-1920x1323.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A bicyclist rolls past the San Francisco Zoo on Sloat Boulevard in San Francisco, California, on March 20, 2020. \u003ccite>(Paul Chinn/The San Francisco Chronicle via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At Wednesday’s meeting, the CEO said the loan would allow the zoo to continue to care for its animals and remain open to visitors, field trips and summer camps, as well as proceed with other structural changes like a facilities assessment.\u003c/p>\n\u003cp>Costello said the loan would buy time to prepare for its next accreditation cycle in 2027, and continue efforts to bring giant pandas to the zoo with the aim of boosting tourism and membership.\u003c/p>\n\u003cp>“Of course, we are all hopeful for the pandas,” said Supervisor Danny Sauter. “It’s something we all support and want to help you get there.”\u003c/p>\n\u003cp>Melgar, along with Supervisor Connie Chan, urged zoo leadership to also revisit their agreement with workers, who raised concerns about safety conditions to zoo management for years.\u003c/p>\n\u003cp>“One of the things I think is really important out of the recommendations that we have from the [Budget and Legislative Analyst] is that the MOU that we had for the zoo dates back to the 1990s,” Melgar said. “It doesn’t meet our modern standards in terms of transparency and accountability.”\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But the vote on the loan comes as critics like the activist group In Defense of Animals say the recent audit paints a scathing picture of a nonprofit that shouldn’t be trusted to manage more funds.\u003c/p>\n\u003cp>The more than 200-page audit highlights the many challenges the zoo has faced in recent years, including how the SF Zoological Society spent at least $12 million on unapproved capital improvement projects.\u003c/p>\n\u003cp>“SFZS lacks a current strategic plan, a current campus master plan, or an animal collection plan that articulates a strategic, forward-looking vision for SFZS’s animal collection. SFZS also does not have a capital budget or written plans, budgets, or timelines for its major capital projects,” the most recent audit reads.\u003c/p>\n\u003cp>Some residents and animal rights activists who spoke during public comment urged the city to consider alternative visions for the zoo space, such as an \u003ca href=\"https://www.ecoparksf.com/\">EcoPark\u003c/a>.\u003c/p>\n\u003cp>“We acknowledge that the CEO has stepped down, but changing the captain does not salvage a sinking ship,” said Fleur Dawes, who is advocating against the loan with In Defense of Animals. “The city’s own audit proves that this operator fractured public trust. When accountability is raised, public money is laid to waste.”\u003c/p>\n\u003cp>If approved, the loan would be tied to specific milestones, including creating a five-year strategic plan, reducing expenses by at least 10%, reshaping the board of the SF Zoological Society and quarterly reporting on areas like attendance, membership and progress on giant pandas.\u003c/p>\n\u003cp>On Wednesday, supervisors agreed to deappropriate $2.5 million from the Open Space Acquisition Fund and appropriate that money toward the first loan payment. The overall $8.5 million loan is slated to go up for a vote with the budget committee next week.\u003c/p>\n\u003cfigure id=\"attachment_12017694\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12017694\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/12/SFZooGetty.jpg\" alt=\"\" width=\"2000\" height=\"1818\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/12/SFZooGetty.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/12/SFZooGetty-800x727.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/12/SFZooGetty-1020x927.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/12/SFZooGetty-160x145.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/12/SFZooGetty-1536x1396.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/12/SFZooGetty-1920x1745.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A pair of macaws perch on a tree inside the newly renovated South American Tropical Forest exhibit at the San Francisco Zoo in San Francisco, California, on Sept. 17, 2010. \u003ccite>(Paul Chinn/The San Francisco Chronicle via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If successful, the zoo would begin paying back the loan to the city by 2028.\u003c/p>\n\u003cp>A Budget and Legislative Analyst \u003ca href=\"https://drive.google.com/file/d/1VbmDqg6WtEENC367yFxpU-rcl0xaekIP/view\">report in April\u003c/a> found that issuing the loan to the SF Zoological Society would be more cost-effective than having the city manage and operate the zoo to keep it open. The city owns the zoo and its grounds, facilities and animals, but they are all managed by the SF Zoological Society. The Rec and Park Department pays the SF Zoological Society $4 million annually for management.\u003c/p>\n\u003cp>Still, officials from the Budget and Legislative Analysts warned of the risks involved, even as zoo leadership insisted their future is looking brighter.\u003c/p>\n\u003cp>“There’s no collateral to secure this loan. And the entire financial turnaround is premised on them getting pandas and the pandas juicing attendance to levels that they saw about 20 years ago,” said Nicolas Menard, of the Budget and Legislative Analyst’s Office. “There’s a lot of things that need to come together for it to happen. So I think that there’s a risk that the loan will not be paid back.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "SF’s E-Scooter Complaints Have More Than Doubled. The City Moves to Extend Lime, Spin Permits Anyway",
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"headTitle": "SF’s E-Scooter Complaints Have More Than Doubled. The City Moves to Extend Lime, Spin Permits Anyway | KQED",
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"content": "\u003cp>Complaints about scooters in \u003ca href=\"https://www.kqed.org/news/tag/san-francisco\">San Francisco\u003c/a> more than doubled last year, with residents primarily frustrated by haphazardly parked e-scooters blocking sidewalks and driveways, even as the popularity of the electric vehicles continues to grow.\u003c/p>\n\u003cp>Amid these two competing trends, city transit officials on Tuesday paved the way to extend operating permits for two scooter share companies for up to two more years.\u003c/p>\n\u003cp>The city’s Powered Scooter Share Permit Program currently allows the companies Lime and Spin, both headquartered in San Francisco, to operate fleets of no more than 3,250 scooters each.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>With those permits previously set to expire on June 30, the San Francisco Municipal Transportation Agency (SFMTA) Board of Directors voted unanimously to authorize an extension of the permits up to June 2028, without having the companies formally reapply. Lime and Spin have both operated in the city since 2019 and had fleets of roughly 2,600 and 2,100 scooters on average in 2025, respectively.\u003c/p>\n\u003cp>Ridership on Lime more than doubled between 2024 and 2025, said Monica DiLullo, a spokesperson at Lime. But, according to a KQED analysis of data from the city’s 311 Customer Service center, so too have complaints about illegally parked e-scooters and unsafe riding, which rose from over 5,000 to more than 11,000 during the same time frame.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" title=\"Scooter 311 Complaints, January through April\" aria-label=\"Grouped column chart\" id=\"datawrapper-chart-tsl66\" src=\"https://datawrapper.dwcdn.net/tsl66/2/\" scrolling=\"no\" frameborder=\"0\" style=\"border: none;\" width=\"600\" height=\"503\" data-external=\"1\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>“More activity commensurate with that rise does make sense,” DiLullo said of the 311 complaints. SFMTA data shows Lime logged over 260,000 trips in October 2025, the highest recorded for the scooter share program. “As we continue to grow, we always want to do better, and we’ll keep working on improving service for riders and non-riders alike.”\u003c/p>\n\u003cp>Spin did not respond to requests for comment.\u003c/p>\n\u003cp>Kate Toran, SFMTA’s Director of the Taxis, Access & Mobility Services Division, said the rise in complaints could be attributed to several factors, including changes made to the 311 reporting process, as well as confusion by members of the public as to what is or isn’t a scooter.\u003c/p>\n\u003cp>“ There are a whole lot of new e-device types, and people may be referring to those as scooters. It could be a reflection of the growing micromobility category and the looseness with which we use the term ‘scooter’ to define a range of micromobility types,” Toran said.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"700\" height=\"600\" allow=\"local-network-access; geolocation\" title=\"San Francisco 311 Scooter Complaints in 2025\" src=\"https://kqedsf.maps.arcgis.com/apps/mapviewer/index.html?configurableview=true&webmap=c2448430afcc4a428fd720613d7652f7&theme=light&heading=true&legend=true&scroll=false¢er=-122.44719999423074,37.761386048658764&scale=72223.819286\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Some neighborhoods, however, feel the pain of improperly parked scooters more than others, with the majority of 311 complaints originating in the city’s North Beach neighborhood.\u003c/p>\n\u003cp>“It’s scooter-geddon down here,” said former San Francisco Supervisor Aaron Peskin, who lives in North Beach and is the treasurer of the North Beach Business Association.\u003c/p>\n\u003cp>Peskin singled out Lime specifically, accusing the company of routinely redistributing scooters in the middle of sidewalks or blocking ADA-accessible ramps. Spin, he said, generally tethers scooters to a bicycle rack or a pole at the edge of a sidewalk.\u003c/p>\n\u003cfigure id=\"attachment_12082576\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12082576\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/SF-Scooters_Peskin1.jpg\" alt=\"\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/SF-Scooters_Peskin1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/SF-Scooters_Peskin1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/SF-Scooters_Peskin1-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Lime scooters crowd the sidewalk in San Francisco’s North Beach neighborhood. \u003ccite>(Courtesy of Aaron Peskin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“ It is an ADA lawsuit waiting to happen because of out-of-control behavior by a city-permitted, for-profit organization that is thumbing their nose at the city,” Peskin said. “ They should put these companies on a short leash and hold them accountable.”\u003c/p>\n\u003cp>DiLullo said photos shared by Peskin of improperly parked scooters were “rider misparked vehicles.” She noted the company only deploys vehicles to bike racks and strictly adheres to city requirements, which allow workers to park two scooters per rack.\u003c/p>\n\u003cp>DiLullo said Lime employs foot patrol teams who actively work to fix misparked vehicles. She added that the company is launching a new campaign later this week, called “Parking Wardens,” which discourages sidewalk riding and bad parking by offering discounts to riders who follow the rules, among other incentives.\u003c/p>\n\u003cfigure id=\"attachment_12082574\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12082574\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/Lime_escooter1.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/Lime_escooter1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/Lime_escooter1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/Lime_escooter1-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A member of Lime’s foot patrol parks vehicles at bike racks in San Francisco. \u003ccite>(Courtesy of Lime)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Anyone with complaints about vehicles in the wrong locations should come directly to Lime, and we will get right on fixing the problem,” DiLullo said.\u003c/p>\n\u003cp>By providing the option to travel by a small, electric motorized scooter instead of a private car, the SFMTA cites shared scooters as a way to improve public health and safety and to reduce traffic. And for street safety advocates like Robin Pam, San Francisco director at Streets For All, the program is an important tool for the city to meet its transit goals.\u003c/p>\n\u003cp>If there are issues with parking, Pam said the city should build scooter parking corrals in existing no-parking zones, such as those made available by the state’s recent \u003ca href=\"https://www.kqed.org/news/12019725/daylighting-laws-will-be-enforced-in-the-bay-area-in-2025-heres-how-to-avoid-a-ticket\">daylighting \u003c/a>law.\u003c/p>\n\u003cp>“We can clear sidewalks and improve intersection safety at the same time by turning these daylighting spaces into organized parking for bikes and scooters,” Pam said.[aside postID=news_12078969 hero='https://ww2.kqed.org/app/uploads/sites/10/2020/01/marketstreetscooter-1020x669.jpg']Instead of making the companies reapply for permits, SFMTA staff said extending the term of the permits would make more efficient use of limited staff resources, and any changes to the program would be minimal.\u003c/p>\n\u003cp>Under its permit rules, the SFMTA may cite scooter share companies for improperly parked scooters and other violations. The agency may also waive fines if the companies consistently address parking-related violations quickly. According to an SFMTA \u003ca href=\"https://www.sfmta.com/scooter-and-bike-citations-issued-san-francisco\">dashboard\u003c/a>, since Dec. 31, 2023, the agency has handed out 16,950 parking citations to Lime and 7,150 to Spin, but both companies are considered to be in good standing.\u003c/p>\n\u003cp>”Now that the program is mature, we thought this was a good time to request the permit term extension so we can focus on some of the larger micromobility issues,” Toran said, citing demand for the SFMTA to weigh in on “various e-bikes, e-motos, one-wheel devices and everything in between.”\u003c/p>\n\u003cp>Toran said the agency meets with Lime and Spin regularly to share issues, and it can restrict parking in certain areas as the need arises. The SFMTA updated parking restrictions for the program as recently as September 2025, prohibiting riders from parking scooters at the city’s Fisherman’s Wharf and other areas.\u003c/p>\n\u003cp>Toran said that while the SFMTA does not have jurisdiction to regulate private scooters or other micromobility modes, the scooter share program allows the SFMTA to hold Lime and Spin accountable.\u003c/p>\n\u003cp>“We do want to emphasize that having a regulated service that fills that transportation need is something that we find important and want to focus on,” Toran said.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Correction:\u003c/strong> An earlier version of this story incorrectly spelled the surname of the SFMTA’s Director of the Taxis, Access & Mobility Services Division. It is Kate Toran. \u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Complaints about scooters in \u003ca href=\"https://www.kqed.org/news/tag/san-francisco\">San Francisco\u003c/a> more than doubled last year, with residents primarily frustrated by haphazardly parked e-scooters blocking sidewalks and driveways, even as the popularity of the electric vehicles continues to grow.\u003c/p>\n\u003cp>Amid these two competing trends, city transit officials on Tuesday paved the way to extend operating permits for two scooter share companies for up to two more years.\u003c/p>\n\u003cp>The city’s Powered Scooter Share Permit Program currently allows the companies Lime and Spin, both headquartered in San Francisco, to operate fleets of no more than 3,250 scooters each.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>With those permits previously set to expire on June 30, the San Francisco Municipal Transportation Agency (SFMTA) Board of Directors voted unanimously to authorize an extension of the permits up to June 2028, without having the companies formally reapply. Lime and Spin have both operated in the city since 2019 and had fleets of roughly 2,600 and 2,100 scooters on average in 2025, respectively.\u003c/p>\n\u003cp>Ridership on Lime more than doubled between 2024 and 2025, said Monica DiLullo, a spokesperson at Lime. But, according to a KQED analysis of data from the city’s 311 Customer Service center, so too have complaints about illegally parked e-scooters and unsafe riding, which rose from over 5,000 to more than 11,000 during the same time frame.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" title=\"Scooter 311 Complaints, January through April\" aria-label=\"Grouped column chart\" id=\"datawrapper-chart-tsl66\" src=\"https://datawrapper.dwcdn.net/tsl66/2/\" scrolling=\"no\" frameborder=\"0\" style=\"border: none;\" width=\"600\" height=\"503\" data-external=\"1\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>“More activity commensurate with that rise does make sense,” DiLullo said of the 311 complaints. SFMTA data shows Lime logged over 260,000 trips in October 2025, the highest recorded for the scooter share program. “As we continue to grow, we always want to do better, and we’ll keep working on improving service for riders and non-riders alike.”\u003c/p>\n\u003cp>Spin did not respond to requests for comment.\u003c/p>\n\u003cp>Kate Toran, SFMTA’s Director of the Taxis, Access & Mobility Services Division, said the rise in complaints could be attributed to several factors, including changes made to the 311 reporting process, as well as confusion by members of the public as to what is or isn’t a scooter.\u003c/p>\n\u003cp>“ There are a whole lot of new e-device types, and people may be referring to those as scooters. It could be a reflection of the growing micromobility category and the looseness with which we use the term ‘scooter’ to define a range of micromobility types,” Toran said.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"700\" height=\"600\" allow=\"local-network-access; geolocation\" title=\"San Francisco 311 Scooter Complaints in 2025\" src=\"https://kqedsf.maps.arcgis.com/apps/mapviewer/index.html?configurableview=true&webmap=c2448430afcc4a428fd720613d7652f7&theme=light&heading=true&legend=true&scroll=false¢er=-122.44719999423074,37.761386048658764&scale=72223.819286\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Some neighborhoods, however, feel the pain of improperly parked scooters more than others, with the majority of 311 complaints originating in the city’s North Beach neighborhood.\u003c/p>\n\u003cp>“It’s scooter-geddon down here,” said former San Francisco Supervisor Aaron Peskin, who lives in North Beach and is the treasurer of the North Beach Business Association.\u003c/p>\n\u003cp>Peskin singled out Lime specifically, accusing the company of routinely redistributing scooters in the middle of sidewalks or blocking ADA-accessible ramps. Spin, he said, generally tethers scooters to a bicycle rack or a pole at the edge of a sidewalk.\u003c/p>\n\u003cfigure id=\"attachment_12082576\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12082576\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/SF-Scooters_Peskin1.jpg\" alt=\"\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/SF-Scooters_Peskin1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/SF-Scooters_Peskin1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/SF-Scooters_Peskin1-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Lime scooters crowd the sidewalk in San Francisco’s North Beach neighborhood. \u003ccite>(Courtesy of Aaron Peskin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“ It is an ADA lawsuit waiting to happen because of out-of-control behavior by a city-permitted, for-profit organization that is thumbing their nose at the city,” Peskin said. “ They should put these companies on a short leash and hold them accountable.”\u003c/p>\n\u003cp>DiLullo said photos shared by Peskin of improperly parked scooters were “rider misparked vehicles.” She noted the company only deploys vehicles to bike racks and strictly adheres to city requirements, which allow workers to park two scooters per rack.\u003c/p>\n\u003cp>DiLullo said Lime employs foot patrol teams who actively work to fix misparked vehicles. She added that the company is launching a new campaign later this week, called “Parking Wardens,” which discourages sidewalk riding and bad parking by offering discounts to riders who follow the rules, among other incentives.\u003c/p>\n\u003cfigure id=\"attachment_12082574\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12082574\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/Lime_escooter1.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/Lime_escooter1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/Lime_escooter1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/Lime_escooter1-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A member of Lime’s foot patrol parks vehicles at bike racks in San Francisco. \u003ccite>(Courtesy of Lime)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Anyone with complaints about vehicles in the wrong locations should come directly to Lime, and we will get right on fixing the problem,” DiLullo said.\u003c/p>\n\u003cp>By providing the option to travel by a small, electric motorized scooter instead of a private car, the SFMTA cites shared scooters as a way to improve public health and safety and to reduce traffic. And for street safety advocates like Robin Pam, San Francisco director at Streets For All, the program is an important tool for the city to meet its transit goals.\u003c/p>\n\u003cp>If there are issues with parking, Pam said the city should build scooter parking corrals in existing no-parking zones, such as those made available by the state’s recent \u003ca href=\"https://www.kqed.org/news/12019725/daylighting-laws-will-be-enforced-in-the-bay-area-in-2025-heres-how-to-avoid-a-ticket\">daylighting \u003c/a>law.\u003c/p>\n\u003cp>“We can clear sidewalks and improve intersection safety at the same time by turning these daylighting spaces into organized parking for bikes and scooters,” Pam said.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Instead of making the companies reapply for permits, SFMTA staff said extending the term of the permits would make more efficient use of limited staff resources, and any changes to the program would be minimal.\u003c/p>\n\u003cp>Under its permit rules, the SFMTA may cite scooter share companies for improperly parked scooters and other violations. The agency may also waive fines if the companies consistently address parking-related violations quickly. According to an SFMTA \u003ca href=\"https://www.sfmta.com/scooter-and-bike-citations-issued-san-francisco\">dashboard\u003c/a>, since Dec. 31, 2023, the agency has handed out 16,950 parking citations to Lime and 7,150 to Spin, but both companies are considered to be in good standing.\u003c/p>\n\u003cp>”Now that the program is mature, we thought this was a good time to request the permit term extension so we can focus on some of the larger micromobility issues,” Toran said, citing demand for the SFMTA to weigh in on “various e-bikes, e-motos, one-wheel devices and everything in between.”\u003c/p>\n\u003cp>Toran said the agency meets with Lime and Spin regularly to share issues, and it can restrict parking in certain areas as the need arises. The SFMTA updated parking restrictions for the program as recently as September 2025, prohibiting riders from parking scooters at the city’s Fisherman’s Wharf and other areas.\u003c/p>\n\u003cp>Toran said that while the SFMTA does not have jurisdiction to regulate private scooters or other micromobility modes, the scooter share program allows the SFMTA to hold Lime and Spin accountable.\u003c/p>\n\u003cp>“We do want to emphasize that having a regulated service that fills that transportation need is something that we find important and want to focus on,” Toran said.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Correction:\u003c/strong> An earlier version of this story incorrectly spelled the surname of the SFMTA’s Director of the Taxis, Access & Mobility Services Division. It is Kate Toran. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Trump Closes San Francisco’s Immigration Court for Good",
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"content": "\u003cp>San Francisco’s \u003ca href=\"https://www.kqed.org/news/12068969/sf-immigration-courts-looming-closure-raises-concerns-about-path-to-asylum\">immigration court stopped hearing cases \u003c/a>last week, threatening to leave a major hole in California’s immigration judicial system.\u003c/p>\n\u003cp>Once one of the busiest courts in the country, the closure of the 100 Montgomery Street courthouse comes after more than a year of firings and retirements have whittled down its bench and worsened a massive case backlog.\u003c/p>\n\u003cp>“This was a court that actually had a reputation for really strong legal reasoning,” said former Judge Shira Levine, who was fired from the \u003ca href=\"https://www.kqed.org/news/12054620/despite-a-growing-case-backlog-trump-fires-6th-san-francisco-immigration-judge\">court by the Trump administration\u003c/a> last year. “The judges did not all have the same perspectives. People sometimes lost their cases, people sometimes won their cases, but it was a place that upheld due process. You really see a targeting of a court that … stood for full and fair hearings in the immigration system.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The courthouse, which serves immigrant cases spanning from Bakersfield to the Oregon border, was expected to shutter after its lease ends in January 2027, but in April, it announced it would cease hearing cases months earlier.\u003c/p>\n\u003cp>In a statement, the Executive Office of Immigration Review — the branch of the U.S. Department of Justice that handles removals and appeals — said that it was more cost-effective to move court operations to Concord.\u003c/p>\n\u003cfigure id=\"attachment_12003275\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12003275\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/USDeptofJusticeGetty.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/USDeptofJusticeGetty.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/USDeptofJusticeGetty-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/USDeptofJusticeGetty-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/USDeptofJusticeGetty-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/USDeptofJusticeGetty-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/USDeptofJusticeGetty-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The U.S. Department of Justice headquarters, pictured on Sept. 5, 2024. \u003ccite>(J. David Ake/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Milli Atkinson, director of the Immigrant Legal Defense Program at the San Francisco Bar Association, said the timeline isn’t necessarily out of line with the EOIR’s schedule.\u003c/p>\n\u003cp>The court remains open for case filing as staff prepares to move thousands of cases to a smaller court in Concord over the summer.\u003c/p>\n\u003cp>Atkinson said she hopes that by the end of the year, most people with pending cases at Montgomery Street will be notified that their next hearings will be in Concord.\u003c/p>\n\u003cp>Last year, the court’s bench shrank from more than 20 judges down to two, many through unprecedented firings.[aside postID=news_12081173 hero='https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/GettyImages-2216992312-2000x1334.jpg']Four former judges also retired at the end of the year, some under pressure, attorneys told KQED at the time. The court currently has a backlog of more than 117,000 cases.\u003c/p>\n\u003cp>The majority of those cases will be transferred to the Contra Costa County site, which opened in 2024 to help handle overflow from San Francisco. Concord’s bench has also lost several judges since last year, Atkinson said.\u003c/p>\n\u003cp>Some cases will continue in San Francisco at a second federally owned immigration building on Sansome Street, under two judges. Both previously worked primarily at Montgomery Street, but relocated in January.\u003c/p>\n\u003cp>Both Atkinson and Levine said that reshuffling and significantly fewer judges hearing cases across the Bay Area could increase the case backlog. But, Levine said, there’s also an increasing number of cases being dismissed pre-trial — either through an increase of “in absentia” hearings, preterminations and deportations.\u003c/p>\n\u003cp>“Those all will reduce the backlog,” she said. “But will they reduce the backlog in a way that complies with our laws and with our constitutional requirements? I would say no.”\u003c/p>\n\u003cfigure id=\"attachment_12042200\" class=\"wp-caption aligncenter\" style=\"max-width: 1999px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12042200\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/05/008_KQED_630Sansome_02052020_1470_qed.jpg\" alt=\"\" width=\"1999\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/05/008_KQED_630Sansome_02052020_1470_qed.jpg 1999w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/05/008_KQED_630Sansome_02052020_1470_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/05/008_KQED_630Sansome_02052020_1470_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/05/008_KQED_630Sansome_02052020_1470_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/05/008_KQED_630Sansome_02052020_1470_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/05/008_KQED_630Sansome_02052020_1470_qed-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 1999px) 100vw, 1999px\">\u003cfigcaption class=\"wp-caption-text\">The U.S. Immigration & Customs Enforcement building at 630 Sansome St. in San Francisco, California, on Feb. 5, 2020. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In recent months, there’ve been many cases where people didn’t realize their hearing was rescheduled or moved, usually because their original judge was fired or let go, she said. Still, if a person does not appear at their appointment, they can automatically lose their case and be ordered removed “in absentia.”\u003c/p>\n\u003cp>In March, the San Francisco court \u003ca href=\"https://www.kqed.org/news/12077372/san-francisco-immigration-courts-order-800-removals-in-absentia-in-1-week\">issued 800 removal notices\u003c/a> in just one week, after chaos from the firings and retirements led to the rescheduling of many appointments.\u003c/p>\n\u003cp>“They will order you removed, and you’re at very, very high risk of being detained and removed from the United States,” Atkinson told KQED.\u003c/p>\n\u003cp>Atkinson said in the short term, the Immigrant Legal Defense Program’s goal will be to ensure people know where their next hearing is and when.\u003c/p>\n\u003cp>While some cases have been moved up, others are also being rescheduled years into the future, in 2028 or 2029. Atkinson said those delays are stressful and difficult for people preparing to give testimony in their cases.\u003c/p>\n\u003cp>The move to Concord also means a vast network of legal service and resource providers that’s been built up over decades will have to shift from San Francisco to the East Bay.\u003c/p>\n\u003cfigure id=\"attachment_11975030\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11975030\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240206-IMMIGRATIONCOURT-26-BL-KQED.jpg\" alt=\"A view looking up at a building.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240206-IMMIGRATIONCOURT-26-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240206-IMMIGRATIONCOURT-26-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240206-IMMIGRATIONCOURT-26-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240206-IMMIGRATIONCOURT-26-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240206-IMMIGRATIONCOURT-26-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240206-IMMIGRATIONCOURT-26-BL-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The site of a new immigration court at 1855 Concord Gateway in Concord on Feb. 6, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“They just don’t have as many organizations, as many lawyers, as many resources dedicated to people going to court in Concord,” Atkinson said.\u003c/p>\n\u003cp>The end result, both Atkinson and Levine warned, means it will be harder for asylum seekers to receive due process.\u003c/p>\n\u003cp>“The bigger strain is on the ability to have cases heard by judges who are not under pressure to make decisions a certain way or dismiss cases because they have too many cases pending,” Atkinson said. “Not giving people the opportunity for their asylum case to be adjudicated in a way that’s fair.”\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The courthouse, which serves immigrant cases spanning from Bakersfield to the Oregon border, was expected to shutter after its lease ends in January 2027, but in April, it announced it would cease hearing cases months earlier.\u003c/p>\n\u003cp>In a statement, the Executive Office of Immigration Review — the branch of the U.S. Department of Justice that handles removals and appeals — said that it was more cost-effective to move court operations to Concord.\u003c/p>\n\u003cfigure id=\"attachment_12003275\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12003275\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/USDeptofJusticeGetty.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/USDeptofJusticeGetty.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/USDeptofJusticeGetty-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/USDeptofJusticeGetty-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/USDeptofJusticeGetty-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/USDeptofJusticeGetty-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/USDeptofJusticeGetty-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The U.S. Department of Justice headquarters, pictured on Sept. 5, 2024. \u003ccite>(J. David Ake/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Milli Atkinson, director of the Immigrant Legal Defense Program at the San Francisco Bar Association, said the timeline isn’t necessarily out of line with the EOIR’s schedule.\u003c/p>\n\u003cp>The court remains open for case filing as staff prepares to move thousands of cases to a smaller court in Concord over the summer.\u003c/p>\n\u003cp>Atkinson said she hopes that by the end of the year, most people with pending cases at Montgomery Street will be notified that their next hearings will be in Concord.\u003c/p>\n\u003cp>Last year, the court’s bench shrank from more than 20 judges down to two, many through unprecedented firings.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Four former judges also retired at the end of the year, some under pressure, attorneys told KQED at the time. The court currently has a backlog of more than 117,000 cases.\u003c/p>\n\u003cp>The majority of those cases will be transferred to the Contra Costa County site, which opened in 2024 to help handle overflow from San Francisco. Concord’s bench has also lost several judges since last year, Atkinson said.\u003c/p>\n\u003cp>Some cases will continue in San Francisco at a second federally owned immigration building on Sansome Street, under two judges. Both previously worked primarily at Montgomery Street, but relocated in January.\u003c/p>\n\u003cp>Both Atkinson and Levine said that reshuffling and significantly fewer judges hearing cases across the Bay Area could increase the case backlog. But, Levine said, there’s also an increasing number of cases being dismissed pre-trial — either through an increase of “in absentia” hearings, preterminations and deportations.\u003c/p>\n\u003cp>“Those all will reduce the backlog,” she said. “But will they reduce the backlog in a way that complies with our laws and with our constitutional requirements? I would say no.”\u003c/p>\n\u003cfigure id=\"attachment_12042200\" class=\"wp-caption aligncenter\" style=\"max-width: 1999px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12042200\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/05/008_KQED_630Sansome_02052020_1470_qed.jpg\" alt=\"\" width=\"1999\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/05/008_KQED_630Sansome_02052020_1470_qed.jpg 1999w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/05/008_KQED_630Sansome_02052020_1470_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/05/008_KQED_630Sansome_02052020_1470_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/05/008_KQED_630Sansome_02052020_1470_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/05/008_KQED_630Sansome_02052020_1470_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/05/008_KQED_630Sansome_02052020_1470_qed-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 1999px) 100vw, 1999px\">\u003cfigcaption class=\"wp-caption-text\">The U.S. Immigration & Customs Enforcement building at 630 Sansome St. in San Francisco, California, on Feb. 5, 2020. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In recent months, there’ve been many cases where people didn’t realize their hearing was rescheduled or moved, usually because their original judge was fired or let go, she said. Still, if a person does not appear at their appointment, they can automatically lose their case and be ordered removed “in absentia.”\u003c/p>\n\u003cp>In March, the San Francisco court \u003ca href=\"https://www.kqed.org/news/12077372/san-francisco-immigration-courts-order-800-removals-in-absentia-in-1-week\">issued 800 removal notices\u003c/a> in just one week, after chaos from the firings and retirements led to the rescheduling of many appointments.\u003c/p>\n\u003cp>“They will order you removed, and you’re at very, very high risk of being detained and removed from the United States,” Atkinson told KQED.\u003c/p>\n\u003cp>Atkinson said in the short term, the Immigrant Legal Defense Program’s goal will be to ensure people know where their next hearing is and when.\u003c/p>\n\u003cp>While some cases have been moved up, others are also being rescheduled years into the future, in 2028 or 2029. Atkinson said those delays are stressful and difficult for people preparing to give testimony in their cases.\u003c/p>\n\u003cp>The move to Concord also means a vast network of legal service and resource providers that’s been built up over decades will have to shift from San Francisco to the East Bay.\u003c/p>\n\u003cfigure id=\"attachment_11975030\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11975030\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240206-IMMIGRATIONCOURT-26-BL-KQED.jpg\" alt=\"A view looking up at a building.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240206-IMMIGRATIONCOURT-26-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240206-IMMIGRATIONCOURT-26-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240206-IMMIGRATIONCOURT-26-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240206-IMMIGRATIONCOURT-26-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240206-IMMIGRATIONCOURT-26-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240206-IMMIGRATIONCOURT-26-BL-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The site of a new immigration court at 1855 Concord Gateway in Concord on Feb. 6, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“They just don’t have as many organizations, as many lawyers, as many resources dedicated to people going to court in Concord,” Atkinson said.\u003c/p>\n\u003cp>The end result, both Atkinson and Levine warned, means it will be harder for asylum seekers to receive due process.\u003c/p>\n\u003cp>“The bigger strain is on the ability to have cases heard by judges who are not under pressure to make decisions a certain way or dismiss cases because they have too many cases pending,” Atkinson said. “Not giving people the opportunity for their asylum case to be adjudicated in a way that’s fair.”\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>May 4 is now Star Wars Day in San Francisco, according to the \u003ca href=\"https://www.kqed.org/news/tag/san-francisco-supervisors\">Board of Supervisors\u003c/a>, who announced the christening on Monday morning.\u003c/p>\n\u003cp>The proclamation recognizes the film franchise’s longstanding history in San Francisco — George Lucas, the creator of the \u003cem>Star Wars\u003c/em> and \u003cem>Indiana Jones\u003c/em> movies, based his studio Lucasfilm in the Presidio.\u003c/p>\n\u003cp>“\u003cem>Star Wars\u003c/em> has played such a significant role in San Francisco, and San Francisco has played such a significant role in \u003cem>Star Wars,\u003c/em>” Supervisor Bilal Mahmood told KQED on Monday.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Mahmood, along with Supervisors Stephen Sherrill, Danny Sauter, Myrna Melgar and Alan Wong, celebrated the holiday in an \u003ca href=\"https://www.instagram.com/reel/DX61XXqyBpD/?utm_source=ig_web_copy_link&igsh=MzRlODBiNWFlZA==\">Instagram video\u003c/a>, wishing city residents a happy Star Wars Day from City Hall.\u003c/p>\n\u003cp>The declaration came hours ahead of a screening at the 69th annual San Francisco International Film Festival, with the Castro Theatre slated for a special viewing of \u003cem>Star Wars: Episode V – The Empire Strikes Back.\u003c/em>\u003c/p>\n\u003cp>Superfans across San Francisco geared up for the screening, which was also set to feature an onstage discussion between C-3PO actor Anthony Daniels and Howard Roffman, the vice president of SFFILM’s board.[aside postID=news_11637723 hero='https://ww2.kqed.org/app/uploads/sites/10/2017/12/IMG_1541-1180x885.jpg']One of those fans, Alameda resident Eric Stroker, said he’ll attend the event in his Darth Vader jacket and equipped with a lightsaber.\u003c/p>\n\u003cp>As a Connecticut native who moved to the Bay Area in 2010, Stroker recalled his childhood awe when visiting California and seeing certain areas that once showed up in the background of \u003cem>Star Wars\u003c/em> films. A standout memory was in San Rafael, once home to Lucas’ editing and sound operations.\u003c/p>\n\u003cp>“It really explores our humanity,” he said of \u003cem>The Empire Strikes Back\u003c/em>. “That was one which was really formative for me.”\u003c/p>\n\u003cp>As for city officials’ efforts to cement Star Wars Day, Stroker acknowledged the positivity and appreciation behind the declaration. “But, you know, when I drive down Market Street, I’d rather the supervisors be doing something else,” he said.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Astrid Kane, a San Francisco resident whose \u003cem>Star Wars\u003c/em> collection includes two tattoos, said that they once went to a screening at the Alamo Drafthouse in the Mission, during which all nine \u003cem>Star Wars\u003c/em> films were screened. \u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">Kane said it took roughly 20 hours, jokingly referring to the experience as “This amazing thing that I’m never doing ever again.” \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_12082321\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12082321\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/starwarstattoos.png\" alt=\"\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/starwarstattoos.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/starwarstattoos-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/starwarstattoos-1536x864.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/starwarstattoos-1200x675.png 1200w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Left: A tattoo featuring the “Star Wars” rebel insignia. Right: A tattoo with an LCD Soundsystem “Death Star” disco ball. \u003ccite>(Courtesy of Astrid Kane)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Also bringing a lightsaber to \u003cem>The Empire Strikes Back\u003c/em> screening Monday, as well as a replica of Luke Skywalker’s fighter helmet, Kane said that this particular movie is the most meaningful for them out of the trilogies.\u003c/span> \u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">“It’s the movie where Harrison Ford looks the hottest,” Kane said. “He’s the original bad boy from outer space.”\u003c/span>\u003c/p>\n\u003cp>Today marks nearly 50 years since the original \u003cem>Star Wars\u003c/em> film premiered at San Francisco’s now-defunct North Point Theater.\u003c/p>\n\u003cp>“It’s a story about hope, resilience, and the fight for justice,” Mahmood wrote in a statement on Monday morning. “Those values resonate deeply here in San Francisco, and this recognition celebrates both the franchise and our city’s role in its history.”\u003c/p>\n\u003cp>\u003c/p>\n",
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"excerpt": "The Board of Supervisors paid homage to the holiday for superfans across San Francisco and recognized Lucasfilm, the Presidio-based studio behind the iconic franchise.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>May 4 is now Star Wars Day in San Francisco, according to the \u003ca href=\"https://www.kqed.org/news/tag/san-francisco-supervisors\">Board of Supervisors\u003c/a>, who announced the christening on Monday morning.\u003c/p>\n\u003cp>The proclamation recognizes the film franchise’s longstanding history in San Francisco — George Lucas, the creator of the \u003cem>Star Wars\u003c/em> and \u003cem>Indiana Jones\u003c/em> movies, based his studio Lucasfilm in the Presidio.\u003c/p>\n\u003cp>“\u003cem>Star Wars\u003c/em> has played such a significant role in San Francisco, and San Francisco has played such a significant role in \u003cem>Star Wars,\u003c/em>” Supervisor Bilal Mahmood told KQED on Monday.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Mahmood, along with Supervisors Stephen Sherrill, Danny Sauter, Myrna Melgar and Alan Wong, celebrated the holiday in an \u003ca href=\"https://www.instagram.com/reel/DX61XXqyBpD/?utm_source=ig_web_copy_link&igsh=MzRlODBiNWFlZA==\">Instagram video\u003c/a>, wishing city residents a happy Star Wars Day from City Hall.\u003c/p>\n\u003cp>The declaration came hours ahead of a screening at the 69th annual San Francisco International Film Festival, with the Castro Theatre slated for a special viewing of \u003cem>Star Wars: Episode V – The Empire Strikes Back.\u003c/em>\u003c/p>\n\u003cp>Superfans across San Francisco geared up for the screening, which was also set to feature an onstage discussion between C-3PO actor Anthony Daniels and Howard Roffman, the vice president of SFFILM’s board.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>One of those fans, Alameda resident Eric Stroker, said he’ll attend the event in his Darth Vader jacket and equipped with a lightsaber.\u003c/p>\n\u003cp>As a Connecticut native who moved to the Bay Area in 2010, Stroker recalled his childhood awe when visiting California and seeing certain areas that once showed up in the background of \u003cem>Star Wars\u003c/em> films. A standout memory was in San Rafael, once home to Lucas’ editing and sound operations.\u003c/p>\n\u003cp>“It really explores our humanity,” he said of \u003cem>The Empire Strikes Back\u003c/em>. “That was one which was really formative for me.”\u003c/p>\n\u003cp>As for city officials’ efforts to cement Star Wars Day, Stroker acknowledged the positivity and appreciation behind the declaration. “But, you know, when I drive down Market Street, I’d rather the supervisors be doing something else,” he said.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Astrid Kane, a San Francisco resident whose \u003cem>Star Wars\u003c/em> collection includes two tattoos, said that they once went to a screening at the Alamo Drafthouse in the Mission, during which all nine \u003cem>Star Wars\u003c/em> films were screened. \u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">Kane said it took roughly 20 hours, jokingly referring to the experience as “This amazing thing that I’m never doing ever again.” \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_12082321\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12082321\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/starwarstattoos.png\" alt=\"\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/starwarstattoos.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/starwarstattoos-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/starwarstattoos-1536x864.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/starwarstattoos-1200x675.png 1200w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Left: A tattoo featuring the “Star Wars” rebel insignia. Right: A tattoo with an LCD Soundsystem “Death Star” disco ball. \u003ccite>(Courtesy of Astrid Kane)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Also bringing a lightsaber to \u003cem>The Empire Strikes Back\u003c/em> screening Monday, as well as a replica of Luke Skywalker’s fighter helmet, Kane said that this particular movie is the most meaningful for them out of the trilogies.\u003c/span> \u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">“It’s the movie where Harrison Ford looks the hottest,” Kane said. “He’s the original bad boy from outer space.”\u003c/span>\u003c/p>\n\u003cp>Today marks nearly 50 years since the original \u003cem>Star Wars\u003c/em> film premiered at San Francisco’s now-defunct North Point Theater.\u003c/p>\n\u003cp>“It’s a story about hope, resilience, and the fight for justice,” Mahmood wrote in a statement on Monday morning. “Those values resonate deeply here in San Francisco, and this recognition celebrates both the franchise and our city’s role in its history.”\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"title": "Following Newsom’s Veto, Lawmaker Returns With Drug-Free Homeless Housing Bill",
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"content": "\u003cp>San Francisco Assemblymember Matt Haney is reviving a proposal to allow drug-free housing for people transitioning out of homelessness, months after Gov. Gavin Newsom vetoed a similar bill.\u003c/p>\n\u003cp>Haney’s new proposal, AB 1556, would set rules for how “recovery residences” can operate within California’s Housing First framework, the \u003ca href=\"https://legiscan.com/CA/text/AB1556/id/3425398\">state’s policy\u003c/a> of offering permanent housing without first requiring people to meet conditions like sobriety, mental health treatment or employment.\u003c/p>\n\u003cp>“We should give people who are ready to take the steps to get to recovery and stability an opportunity to do so,” Haney said at a press conference in San Francisco on Monday. “People want to live in housing where they receive the support to be off of and away from drugs with people who will support them in that process.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The legislation comes after Newsom \u003ca href=\"https://www.gov.ca.gov/wp-content/uploads/2025/10/AB-255-Veto.pdf\">rejected \u003c/a>Haney’s \u003ca href=\"https://www.kqed.org/news/12058779/newsoms-veto-of-sober-housing-bill-sparks-a-backlash-in-sf\">AB 255 last year\u003c/a>. That bill would have allowed some state homelessness dollars to support sober housing programs.\u003c/p>\n\u003cp>In his veto message, Newsom said recovery-focused housing is already allowed under state law and argued the bill “wrongly suggests incompatibility with Housing First.” He also raised concerns about creating a separate certification and oversight process that could cost taxpayers money.\u003c/p>\n\u003cp>Housing First has been \u003ca href=\"https://www.kqed.org/news/12054270/trumps-tectonic-shift-on-homelessness-could-have-dire-impacts-in-california\">credited with reducing barriers\u003c/a> for people who might otherwise be denied housing because of substance use, mental health challenges or other issues. But some local officials and advocates argue the policy has also made it harder to fund housing where residents can live away from active drug use.[aside postID=news_12034006 hero='https://cdn.kqed.org/wp-content/uploads/sites/10/2025/03/20250327_SoberHousing_GC-9-1020x680.jpg']Supporters of sober housing have said those environments are especially important as cities like San Francisco continue to \u003ca href=\"https://www.kqed.org/news/12034006/san-francisco-mans-housing-struggle-relapse-put-him-back-on-streets\">confront homelessness and addiction\u003c/a>, including its ongoing fentanyl crisis. But the proposal is likely to face pushback from some homelessness advocates, who have long warned that sobriety requirements can become a pathway to eviction.\u003c/p>\n\u003cp>Haney said the new bill is meant to provide clarity for housing providers, local governments and people in recovery who want a sober living environment. According to Haney’s office, AB 1556 would allow recovery residences to maintain sobriety standards, while requiring a “non-punitive” response when someone relapses, including connecting residents to alternative housing and services rather than kicking them out of the program and pushing them back into homelessness.\u003c/p>\n\u003cp>Housing California, a statewide affordable housing advocacy group, has already listed its opposition to AB 1556, \u003ca href=\"https://housingca.org/policy/policy-priorities-2026/\">citing concerns\u003c/a> about residents being required to choose recovery housing and harm-reduction housing options.\u003c/p>\n\u003cp>Newsom’s veto last year did not dismiss recovery housing outright. Instead, he said the state should continue working on ways to support recovery-focused models without undermining Housing First.\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco Assemblymember Matt Haney is reviving a proposal to allow drug-free housing for people transitioning out of homelessness, months after Gov. Gavin Newsom vetoed a similar bill.\u003c/p>\n\u003cp>Haney’s new proposal, AB 1556, would set rules for how “recovery residences” can operate within California’s Housing First framework, the \u003ca href=\"https://legiscan.com/CA/text/AB1556/id/3425398\">state’s policy\u003c/a> of offering permanent housing without first requiring people to meet conditions like sobriety, mental health treatment or employment.\u003c/p>\n\u003cp>“We should give people who are ready to take the steps to get to recovery and stability an opportunity to do so,” Haney said at a press conference in San Francisco on Monday. “People want to live in housing where they receive the support to be off of and away from drugs with people who will support them in that process.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The legislation comes after Newsom \u003ca href=\"https://www.gov.ca.gov/wp-content/uploads/2025/10/AB-255-Veto.pdf\">rejected \u003c/a>Haney’s \u003ca href=\"https://www.kqed.org/news/12058779/newsoms-veto-of-sober-housing-bill-sparks-a-backlash-in-sf\">AB 255 last year\u003c/a>. That bill would have allowed some state homelessness dollars to support sober housing programs.\u003c/p>\n\u003cp>In his veto message, Newsom said recovery-focused housing is already allowed under state law and argued the bill “wrongly suggests incompatibility with Housing First.” He also raised concerns about creating a separate certification and oversight process that could cost taxpayers money.\u003c/p>\n\u003cp>Housing First has been \u003ca href=\"https://www.kqed.org/news/12054270/trumps-tectonic-shift-on-homelessness-could-have-dire-impacts-in-california\">credited with reducing barriers\u003c/a> for people who might otherwise be denied housing because of substance use, mental health challenges or other issues. But some local officials and advocates argue the policy has also made it harder to fund housing where residents can live away from active drug use.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Supporters of sober housing have said those environments are especially important as cities like San Francisco continue to \u003ca href=\"https://www.kqed.org/news/12034006/san-francisco-mans-housing-struggle-relapse-put-him-back-on-streets\">confront homelessness and addiction\u003c/a>, including its ongoing fentanyl crisis. But the proposal is likely to face pushback from some homelessness advocates, who have long warned that sobriety requirements can become a pathway to eviction.\u003c/p>\n\u003cp>Haney said the new bill is meant to provide clarity for housing providers, local governments and people in recovery who want a sober living environment. According to Haney’s office, AB 1556 would allow recovery residences to maintain sobriety standards, while requiring a “non-punitive” response when someone relapses, including connecting residents to alternative housing and services rather than kicking them out of the program and pushing them back into homelessness.\u003c/p>\n\u003cp>Housing California, a statewide affordable housing advocacy group, has already listed its opposition to AB 1556, \u003ca href=\"https://housingca.org/policy/policy-priorities-2026/\">citing concerns\u003c/a> about residents being required to choose recovery housing and harm-reduction housing options.\u003c/p>\n\u003cp>Newsom’s veto last year did not dismiss recovery housing outright. Instead, he said the state should continue working on ways to support recovery-focused models without undermining Housing First.\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"slug": "bay-area-elected-officials-among-several-arrested-at-may-day-protest-at-sfo",
"title": "Arrests at SFO as May Day Protests Kick Into Gear Across the Bay Area",
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"headTitle": "Arrests at SFO as May Day Protests Kick Into Gear Across the Bay Area | KQED",
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"content": "\u003cp>No work, no school, no shopping and no billionaires: That was the message at \u003ca href=\"https://www.kqed.org/news/12081912/trumps-immigration-crackdown-draws-out-may-day-crowds-in-the-bay-area\">May Day protests across the Bay Area\u003c/a> on Friday, as activists gathered to fight for workers’ rights over those of the nation’s ultra-wealthy.\u003c/p>\n\u003cp>This year’s protests in the U.S. on International Workers’ Day are also taking aim at the Trump administration’s aggressive immigration agenda and high living costs — exacerbated by the U.S. war in Iran — that threaten to upend the lives of workers worldwide.\u003c/p>\n\u003cp>Local elected officials were among several arrested Friday morning at a rally at San Francisco International Airport. Supervisors Rafael Mandelman and Connie Chan, as well as state Sen. Josh Becker, D–Menlo Park, were detained by police, who planned to cite 20 to 25 protesters, according to an officer at the scene. Mandelman told KQED that they were cited for blocking a roadway and failing to disperse.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The rally at SFO, which demanded U.S. Immigration and Customs Enforcement officers out of the city, was led by the airport’s passenger service workers, who are preparing for a Board of Supervisors hearing next week over low wages.\u003c/p>\n\u003cp>“They move bags, they assist the elderly, disabled passengers, they clean airport cabins … and I was there to stand with them in solidarity as they push for a new contract,” Becker said. “But also I think it’s part of a larger moment today on International Workers’ Day to say that one job should be enough here in the Bay Area. Unfortunately, for many workers, that’s not the case.”\u003c/p>\n\u003cfigure id=\"attachment_12082139\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12082139 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/MayDaySFGetty2.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/MayDaySFGetty2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/MayDaySFGetty2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/MayDaySFGetty2-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Supervisor Rafael Mandelman is arrested as he stands with other demonstrators blocking the road in front of San Francisco International terminal during the ICE Out of San Francisco protest at SFO on May Day at San Francisco International Airport on Friday, May 1, 2026, in San Francisco. \u003ccite>(Lea Suzuki/San Francisco Chronicle via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>SFO was also the site of a \u003ca href=\"https://www.kqed.org/news/12077292/is-ice-at-sfo-heres-what-we-know-about-videos-of-woman-being-forcefully-detained\">high-profile altercation with ICE\u003c/a> last month in which officers forcefully detained a woman and her young child.\u003c/p>\n\u003cp>The demonstrators who were detained and being processed Friday afternoon appear to have been among a group blocking the street outside the airport’s International Terminal.\u003c/p>\n\u003cp>“It’s a good day for the movement,” Sanjay Garla, first vice president at SEIU United Service Workers West, said as he was escorted through the terminal by police. “ICE out of SFO!”\u003c/p>\n\u003ch2>San Francisco Civic Center\u003c/h2>\n\u003cp>At 2 p.m., Mission Action, a group that advocates for the city’s immigrant and low-income residents, held a rally at Civic Center, which was followed by a march to Embarcadero Plaza.\u003c/p>\n\u003cfigure id=\"attachment_12082197\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12082197\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/260501-MayDayProtest-10-BL.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/260501-MayDayProtest-10-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/260501-MayDayProtest-10-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/260501-MayDayProtest-10-BL-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Justice Robinson, a student at KIPP San Francisco College Preparatory, marches during a May Day protest near Civic Center Plaza in San Francisco on May 1, 2026. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_12082168\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12082168\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/260501-MayDayProtest-03-BL.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/260501-MayDayProtest-03-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/260501-MayDayProtest-03-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/260501-MayDayProtest-03-BL-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco and Oakland school of the arts students cheer as they listen to speakers during a May Day rally at Civic Center Plaza in San Francisco on May 1, 2026. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We’re walking out of our schools because we need to show up and be there for the people — because we are the people,” said Max Navarro Serrano, a high school student at Ruth Asawa San Francisco School of the Arts. “We have the power, not the f— billionaires.”\u003c/p>\n\u003cp>Among the May Day Coalition’s demands are that leaders support a ballot measure that would impose a one-time, 5% tax on the assets of California’s roughly 200 billionaires, which \u003ca href=\"https://www.kqed.org/news/12081502\">qualified for the November ballot\u003c/a> this week.\u003c/p>\n\u003cfigure id=\"attachment_12082194\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12082194\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/260501-MayDayProtest-07-BL.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/260501-MayDayProtest-07-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/260501-MayDayProtest-07-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/260501-MayDayProtest-07-BL-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Demonstrators march during a May Day protest at Civic Center Plaza in San Francisco on May 1, 2026. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_12082167\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12082167\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/260501-MayDayProtest-02-BL.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/260501-MayDayProtest-02-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/260501-MayDayProtest-02-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/260501-MayDayProtest-02-BL-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco high school students cheer as they listen to speakers during a May Day rally at Civic Center Plaza in San Francisco on May 1, 2026. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>San José\u003c/h2>\n\u003cp>In East San José, local and state labor groups joined hundreds of progressive activists at a rally at Story and King roads.\u003c/p>\n\u003cfigure id=\"attachment_12082214\" class=\"wp-caption aligncenter\" style=\"max-width: 1999px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12082214\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/260501-MAYDAYSJ-KQED-2_qed.jpg\" alt=\"\" width=\"1999\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/260501-MAYDAYSJ-KQED-2_qed.jpg 1999w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/260501-MAYDAYSJ-KQED-2_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/260501-MAYDAYSJ-KQED-2_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1999px) 100vw, 1999px\">\u003cfigcaption class=\"wp-caption-text\">Several hundred people held signs and chanted slogans in support of workers, against ICE, and against wars during a large May Day rally and march in East San José. \u003ccite>(Joseph Geha/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_12082216\" class=\"wp-caption aligncenter\" style=\"max-width: 1999px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12082216\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/260501-MAYDAYSJ-KQED-8_qed.jpg\" alt=\"\" width=\"1999\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/260501-MAYDAYSJ-KQED-8_qed.jpg 1999w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/260501-MAYDAYSJ-KQED-8_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/260501-MAYDAYSJ-KQED-8_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1999px) 100vw, 1999px\">\u003cfigcaption class=\"wp-caption-text\">Billionaire and candidate for California governor Tom Steyer speaks with Lorena Gonzalez Fletcher, president of the California Federation of Labor Unions, and Doug Moore, executive director of the United Domestic Workers of America, during a May Day rally in East San José. \u003ccite>(Joseph Geha/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Among the crowd was Lorena Gonzalez Fletcher, president of the California Federation of Labor Unions, who directly called out Big Tech for trying to “buy elections” in San José.\u003c/p>\n\u003cp>“It is the epicenter of what we’re fighting here, when we say ‘Workers over billionaires.’ We’re going to fight back and we’re going to do it right here on their turf,” she said.\u003c/p>\n\u003cfigure id=\"attachment_12082219\" class=\"wp-caption aligncenter\" style=\"max-width: 1999px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12082219\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/260501-MAYDAYSJ-KQED-6_qed.jpg\" alt=\"\" width=\"1999\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/260501-MAYDAYSJ-KQED-6_qed.jpg 1999w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/260501-MAYDAYSJ-KQED-6_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/260501-MAYDAYSJ-KQED-6_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1999px) 100vw, 1999px\">\u003cfigcaption class=\"wp-caption-text\">Fareed F. holds up an American flag during a May Day rally in East San José. \u003ccite>(Joseph Geha/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_12082221\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12082221\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/260501-MAYDAYSJ-KQED-7_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/260501-MAYDAYSJ-KQED-7_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/260501-MAYDAYSJ-KQED-7_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/260501-MAYDAYSJ-KQED-7_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Several hundred gathered to support workers, immigrants and anti-war policies near Story and King roads in East San José on May 1, 2026. \u003ccite>(Joseph Geha/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Oakland\u003c/h2>\n\u003cp>Hundreds rallied and marched from Fruitvale Plaza through the East Oakland neighborhood to show solidarity with immigrant workers. Oakland resident Andrea Byers held a sign that said: “I support my immigrant neighbors.”\u003c/p>\n\u003cp>“I support my immigrant neighbors because my immigrant neighbors support me, and support this economy,” Byers said. “It’s what our economy has always been based on.”\u003c/p>\n\u003cfigure id=\"attachment_12082227\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12082227\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/260501-OAKLAND-MAY-DAY-MD-01-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/260501-OAKLAND-MAY-DAY-MD-01-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/260501-OAKLAND-MAY-DAY-MD-01-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/260501-OAKLAND-MAY-DAY-MD-01-KQED-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Maria Alejo dances with the Teokali dance group at a rally proceeding the Oakland Sin Fronteras May Day march in Oakland on May 1, 2026. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_12082229\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12082229\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/260501-OAKLAND-MAY-DAY-MD-03-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/260501-OAKLAND-MAY-DAY-MD-03-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/260501-OAKLAND-MAY-DAY-MD-03-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/260501-OAKLAND-MAY-DAY-MD-03-KQED-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Harriet Shange – Watkins (left), and Savannah Shange (center) cheer for the speakers at a rally proceeding the Oakland Sin Fronteras May Day march in Oakland on May 1, 2026. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Melissa Guzman Garcia, an associate Ethnic Studies professor at San Francisco State University, said she came to Oakland alongside some students and colleagues to remind herself that “there are so many things to fight for in this country, even when it feels like so many things are going wrong.”\u003c/p>\n\u003cp>“It’s nice to see so many people, so many different generations showing up to Fruitvale, Oakland, and coming here to celebrate together,” Guzman Garcia said.\u003c/p>\n\u003cfigure id=\"attachment_12082231\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12082231\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/260501-OAKLAND-MAY-DAY-MD-05-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/260501-OAKLAND-MAY-DAY-MD-05-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/260501-OAKLAND-MAY-DAY-MD-05-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/260501-OAKLAND-MAY-DAY-MD-05-KQED-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Oree Originol carries a sign demanding justice for Renee Good at the Oakland Sin Fronteras May Day march in Oakland on May 1, 2026. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_12082238\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12082238 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/260501-OAKLAND-MAY-DAY-MD-06-KQED-1.jpg\" alt=\"\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/260501-OAKLAND-MAY-DAY-MD-06-KQED-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/260501-OAKLAND-MAY-DAY-MD-06-KQED-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/260501-OAKLAND-MAY-DAY-MD-06-KQED-1-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Maria C. with Mujeres Unidas en Acción and others chant while marching in the Oakland Sin Fronteras May Day march in Oakland on May 1, 2026. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>May Day, or International Workers’ Day, is a public holiday honoring labor in many countries.\u003c/p>\n\u003cp>In the Bay Area, the first May Day was celebrated in 1890 in Emeryville’s Shellmound Park, organized by carpenters and joiners unions, according to activist historians \u003ca href=\"https://leftinthebay.com/\">Left in the Bay\u003c/a>. The labor celebrations overlapped with the festival celebrating the change of the seasons, commemorated throughout the northern hemisphere.\u003c/p>\n\u003cfigure id=\"attachment_12082239\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12082239 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/260501-OAKLAND-MAY-DAY-MD-09-KQED-1.jpg\" alt=\"\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/260501-OAKLAND-MAY-DAY-MD-09-KQED-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/260501-OAKLAND-MAY-DAY-MD-09-KQED-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/260501-OAKLAND-MAY-DAY-MD-09-KQED-1-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">An onlooker cheers from a window as protesters march at the Oakland Sin Fronteras May Day march in Oakland on May 1, 2026.\u003c/figcaption>\u003c/figure>\n\u003cp>That May Day used to be a \u003ca href=\"https://www.sfchronicle.com/chronicle_vault/article/SF-s-May-Day-How-a-once-popular-children-s-13827340.php\">public holiday\u003c/a> in San Francisco for schoolchildren, who danced around \u003ca href=\"https://www.sfheritage.org/heritage-in-the-neighborhoods/may-day-history-in-the-parkside/\">May Poles\u003c/a> and were given free milk and cookies in city parks.\u003c/p>\n\u003cp>\u003cem>KQED’s \u003c/em>\u003ca href=\"https://www.kqed.org/author/mbernal\">\u003cem>María Fernanda Bernal\u003c/em>\u003c/a>\u003cem>,\u003c/em>\u003ca href=\"https://www.kqed.org/author/fjhabvala\">\u003cem>Farida Jhabvala Romero\u003c/em>\u003c/a>\u003cem>, \u003c/em>\u003ca href=\"https://www.kqed.org/author/sjohnson\">\u003cem>Sydney Johnson\u003c/em>\u003c/a>\u003cem>, \u003c/em>\u003ca href=\"https://www.kqed.org/author/daisynguyen\">\u003cem>Daisy Nguyen \u003c/em>\u003c/a>\u003cem>and \u003c/em>\u003ca href=\"https://www.kqed.org/author/jgeha\">\u003cem>Joseph Geha\u003c/em>\u003c/a>\u003cem> contributed to this report.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "No work, no school, no shopping and no billionaires: That was the message at workers’ rights protests Friday. At San Francisco International Airport, elected officials were among several detained by police.",
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"title": "Arrests at SFO as May Day Protests Kick Into Gear Across the Bay Area | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>No work, no school, no shopping and no billionaires: That was the message at \u003ca href=\"https://www.kqed.org/news/12081912/trumps-immigration-crackdown-draws-out-may-day-crowds-in-the-bay-area\">May Day protests across the Bay Area\u003c/a> on Friday, as activists gathered to fight for workers’ rights over those of the nation’s ultra-wealthy.\u003c/p>\n\u003cp>This year’s protests in the U.S. on International Workers’ Day are also taking aim at the Trump administration’s aggressive immigration agenda and high living costs — exacerbated by the U.S. war in Iran — that threaten to upend the lives of workers worldwide.\u003c/p>\n\u003cp>Local elected officials were among several arrested Friday morning at a rally at San Francisco International Airport. Supervisors Rafael Mandelman and Connie Chan, as well as state Sen. Josh Becker, D–Menlo Park, were detained by police, who planned to cite 20 to 25 protesters, according to an officer at the scene. Mandelman told KQED that they were cited for blocking a roadway and failing to disperse.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The rally at SFO, which demanded U.S. Immigration and Customs Enforcement officers out of the city, was led by the airport’s passenger service workers, who are preparing for a Board of Supervisors hearing next week over low wages.\u003c/p>\n\u003cp>“They move bags, they assist the elderly, disabled passengers, they clean airport cabins … and I was there to stand with them in solidarity as they push for a new contract,” Becker said. “But also I think it’s part of a larger moment today on International Workers’ Day to say that one job should be enough here in the Bay Area. Unfortunately, for many workers, that’s not the case.”\u003c/p>\n\u003cfigure id=\"attachment_12082139\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12082139 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/MayDaySFGetty2.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/MayDaySFGetty2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/MayDaySFGetty2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/MayDaySFGetty2-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Supervisor Rafael Mandelman is arrested as he stands with other demonstrators blocking the road in front of San Francisco International terminal during the ICE Out of San Francisco protest at SFO on May Day at San Francisco International Airport on Friday, May 1, 2026, in San Francisco. \u003ccite>(Lea Suzuki/San Francisco Chronicle via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>SFO was also the site of a \u003ca href=\"https://www.kqed.org/news/12077292/is-ice-at-sfo-heres-what-we-know-about-videos-of-woman-being-forcefully-detained\">high-profile altercation with ICE\u003c/a> last month in which officers forcefully detained a woman and her young child.\u003c/p>\n\u003cp>The demonstrators who were detained and being processed Friday afternoon appear to have been among a group blocking the street outside the airport’s International Terminal.\u003c/p>\n\u003cp>“It’s a good day for the movement,” Sanjay Garla, first vice president at SEIU United Service Workers West, said as he was escorted through the terminal by police. “ICE out of SFO!”\u003c/p>\n\u003ch2>San Francisco Civic Center\u003c/h2>\n\u003cp>At 2 p.m., Mission Action, a group that advocates for the city’s immigrant and low-income residents, held a rally at Civic Center, which was followed by a march to Embarcadero Plaza.\u003c/p>\n\u003cfigure id=\"attachment_12082197\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12082197\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/260501-MayDayProtest-10-BL.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/260501-MayDayProtest-10-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/260501-MayDayProtest-10-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/260501-MayDayProtest-10-BL-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Justice Robinson, a student at KIPP San Francisco College Preparatory, marches during a May Day protest near Civic Center Plaza in San Francisco on May 1, 2026. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_12082168\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12082168\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/260501-MayDayProtest-03-BL.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/260501-MayDayProtest-03-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/260501-MayDayProtest-03-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/260501-MayDayProtest-03-BL-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco and Oakland school of the arts students cheer as they listen to speakers during a May Day rally at Civic Center Plaza in San Francisco on May 1, 2026. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We’re walking out of our schools because we need to show up and be there for the people — because we are the people,” said Max Navarro Serrano, a high school student at Ruth Asawa San Francisco School of the Arts. “We have the power, not the f— billionaires.”\u003c/p>\n\u003cp>Among the May Day Coalition’s demands are that leaders support a ballot measure that would impose a one-time, 5% tax on the assets of California’s roughly 200 billionaires, which \u003ca href=\"https://www.kqed.org/news/12081502\">qualified for the November ballot\u003c/a> this week.\u003c/p>\n\u003cfigure id=\"attachment_12082194\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12082194\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/260501-MayDayProtest-07-BL.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/260501-MayDayProtest-07-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/260501-MayDayProtest-07-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/260501-MayDayProtest-07-BL-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Demonstrators march during a May Day protest at Civic Center Plaza in San Francisco on May 1, 2026. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_12082167\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12082167\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/260501-MayDayProtest-02-BL.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/260501-MayDayProtest-02-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/260501-MayDayProtest-02-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/260501-MayDayProtest-02-BL-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco high school students cheer as they listen to speakers during a May Day rally at Civic Center Plaza in San Francisco on May 1, 2026. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>San José\u003c/h2>\n\u003cp>In East San José, local and state labor groups joined hundreds of progressive activists at a rally at Story and King roads.\u003c/p>\n\u003cfigure id=\"attachment_12082214\" class=\"wp-caption aligncenter\" style=\"max-width: 1999px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12082214\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/260501-MAYDAYSJ-KQED-2_qed.jpg\" alt=\"\" width=\"1999\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/260501-MAYDAYSJ-KQED-2_qed.jpg 1999w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/260501-MAYDAYSJ-KQED-2_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/260501-MAYDAYSJ-KQED-2_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1999px) 100vw, 1999px\">\u003cfigcaption class=\"wp-caption-text\">Several hundred people held signs and chanted slogans in support of workers, against ICE, and against wars during a large May Day rally and march in East San José. \u003ccite>(Joseph Geha/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_12082216\" class=\"wp-caption aligncenter\" style=\"max-width: 1999px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12082216\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/260501-MAYDAYSJ-KQED-8_qed.jpg\" alt=\"\" width=\"1999\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/260501-MAYDAYSJ-KQED-8_qed.jpg 1999w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/260501-MAYDAYSJ-KQED-8_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/260501-MAYDAYSJ-KQED-8_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1999px) 100vw, 1999px\">\u003cfigcaption class=\"wp-caption-text\">Billionaire and candidate for California governor Tom Steyer speaks with Lorena Gonzalez Fletcher, president of the California Federation of Labor Unions, and Doug Moore, executive director of the United Domestic Workers of America, during a May Day rally in East San José. \u003ccite>(Joseph Geha/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Among the crowd was Lorena Gonzalez Fletcher, president of the California Federation of Labor Unions, who directly called out Big Tech for trying to “buy elections” in San José.\u003c/p>\n\u003cp>“It is the epicenter of what we’re fighting here, when we say ‘Workers over billionaires.’ We’re going to fight back and we’re going to do it right here on their turf,” she said.\u003c/p>\n\u003cfigure id=\"attachment_12082219\" class=\"wp-caption aligncenter\" style=\"max-width: 1999px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12082219\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/260501-MAYDAYSJ-KQED-6_qed.jpg\" alt=\"\" width=\"1999\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/260501-MAYDAYSJ-KQED-6_qed.jpg 1999w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/260501-MAYDAYSJ-KQED-6_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/260501-MAYDAYSJ-KQED-6_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1999px) 100vw, 1999px\">\u003cfigcaption class=\"wp-caption-text\">Fareed F. holds up an American flag during a May Day rally in East San José. \u003ccite>(Joseph Geha/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_12082221\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12082221\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/260501-MAYDAYSJ-KQED-7_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/260501-MAYDAYSJ-KQED-7_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/260501-MAYDAYSJ-KQED-7_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/260501-MAYDAYSJ-KQED-7_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Several hundred gathered to support workers, immigrants and anti-war policies near Story and King roads in East San José on May 1, 2026. \u003ccite>(Joseph Geha/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Oakland\u003c/h2>\n\u003cp>Hundreds rallied and marched from Fruitvale Plaza through the East Oakland neighborhood to show solidarity with immigrant workers. Oakland resident Andrea Byers held a sign that said: “I support my immigrant neighbors.”\u003c/p>\n\u003cp>“I support my immigrant neighbors because my immigrant neighbors support me, and support this economy,” Byers said. “It’s what our economy has always been based on.”\u003c/p>\n\u003cfigure id=\"attachment_12082227\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12082227\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/260501-OAKLAND-MAY-DAY-MD-01-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/260501-OAKLAND-MAY-DAY-MD-01-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/260501-OAKLAND-MAY-DAY-MD-01-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/260501-OAKLAND-MAY-DAY-MD-01-KQED-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Maria Alejo dances with the Teokali dance group at a rally proceeding the Oakland Sin Fronteras May Day march in Oakland on May 1, 2026. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_12082229\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12082229\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/260501-OAKLAND-MAY-DAY-MD-03-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/260501-OAKLAND-MAY-DAY-MD-03-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/260501-OAKLAND-MAY-DAY-MD-03-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/260501-OAKLAND-MAY-DAY-MD-03-KQED-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Harriet Shange – Watkins (left), and Savannah Shange (center) cheer for the speakers at a rally proceeding the Oakland Sin Fronteras May Day march in Oakland on May 1, 2026. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Melissa Guzman Garcia, an associate Ethnic Studies professor at San Francisco State University, said she came to Oakland alongside some students and colleagues to remind herself that “there are so many things to fight for in this country, even when it feels like so many things are going wrong.”\u003c/p>\n\u003cp>“It’s nice to see so many people, so many different generations showing up to Fruitvale, Oakland, and coming here to celebrate together,” Guzman Garcia said.\u003c/p>\n\u003cfigure id=\"attachment_12082231\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12082231\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/260501-OAKLAND-MAY-DAY-MD-05-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/260501-OAKLAND-MAY-DAY-MD-05-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/260501-OAKLAND-MAY-DAY-MD-05-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/260501-OAKLAND-MAY-DAY-MD-05-KQED-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Oree Originol carries a sign demanding justice for Renee Good at the Oakland Sin Fronteras May Day march in Oakland on May 1, 2026. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_12082238\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12082238 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/260501-OAKLAND-MAY-DAY-MD-06-KQED-1.jpg\" alt=\"\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/260501-OAKLAND-MAY-DAY-MD-06-KQED-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/260501-OAKLAND-MAY-DAY-MD-06-KQED-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/260501-OAKLAND-MAY-DAY-MD-06-KQED-1-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Maria C. with Mujeres Unidas en Acción and others chant while marching in the Oakland Sin Fronteras May Day march in Oakland on May 1, 2026. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>May Day, or International Workers’ Day, is a public holiday honoring labor in many countries.\u003c/p>\n\u003cp>In the Bay Area, the first May Day was celebrated in 1890 in Emeryville’s Shellmound Park, organized by carpenters and joiners unions, according to activist historians \u003ca href=\"https://leftinthebay.com/\">Left in the Bay\u003c/a>. The labor celebrations overlapped with the festival celebrating the change of the seasons, commemorated throughout the northern hemisphere.\u003c/p>\n\u003cfigure id=\"attachment_12082239\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12082239 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/260501-OAKLAND-MAY-DAY-MD-09-KQED-1.jpg\" alt=\"\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/260501-OAKLAND-MAY-DAY-MD-09-KQED-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/260501-OAKLAND-MAY-DAY-MD-09-KQED-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/260501-OAKLAND-MAY-DAY-MD-09-KQED-1-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">An onlooker cheers from a window as protesters march at the Oakland Sin Fronteras May Day march in Oakland on May 1, 2026.\u003c/figcaption>\u003c/figure>\n\u003cp>That May Day used to be a \u003ca href=\"https://www.sfchronicle.com/chronicle_vault/article/SF-s-May-Day-How-a-once-popular-children-s-13827340.php\">public holiday\u003c/a> in San Francisco for schoolchildren, who danced around \u003ca href=\"https://www.sfheritage.org/heritage-in-the-neighborhoods/may-day-history-in-the-parkside/\">May Poles\u003c/a> and were given free milk and cookies in city parks.\u003c/p>\n\u003cp>\u003cem>KQED’s \u003c/em>\u003ca href=\"https://www.kqed.org/author/mbernal\">\u003cem>María Fernanda Bernal\u003c/em>\u003c/a>\u003cem>,\u003c/em>\u003ca href=\"https://www.kqed.org/author/fjhabvala\">\u003cem>Farida Jhabvala Romero\u003c/em>\u003c/a>\u003cem>, \u003c/em>\u003ca href=\"https://www.kqed.org/author/sjohnson\">\u003cem>Sydney Johnson\u003c/em>\u003c/a>\u003cem>, \u003c/em>\u003ca href=\"https://www.kqed.org/author/daisynguyen\">\u003cem>Daisy Nguyen \u003c/em>\u003c/a>\u003cem>and \u003c/em>\u003ca href=\"https://www.kqed.org/author/jgeha\">\u003cem>Joseph Geha\u003c/em>\u003c/a>\u003cem> contributed to this report.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
"airtime": "SUN 9pm-10pm",
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"meta": {
"site": "radio",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"id": "here-and-now",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
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"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"rss": "https://feeds.npr.org/510313/podcast.xml"
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
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"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
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