Mission Cultural Center - Revision history

Ccarlsson at 04:41, 22 November 2021

2021-11-22T04:41:21Z

← Older revision		Revision as of 21:41, 21 November 2021
Line 57:		Line 57:
	[[INS Raids in the Mission \|Prev. Document]] [[Dolores Park - 1906 \|Next Document]]		[[INS Raids in the Mission \|Prev. Document]] [[Dolores Park - 1906 \|Next Document]]

	[[category:Mission]] [[category:Latino]] [[category:Nicaraguan]] [[category:Salvadoran]] [[category:1970s]] [[category:1980s]] [[category:Literary San Francisco]]		[[category:Mission]] [[category:Latino]] [[category:Nicaraguan]] [[category:Salvadoran]] [[category:1970s]] [[category:1980s]] [[category:Literary San Francisco]] [[category:Reclaiming San Francisco]]

Ccarlsson: added photo

2020-04-15T22:58:55Z

added photo

← Older revision		Revision as of 15:58, 15 April 2020
Line 12:		Line 12:

	'''Murals fading, but the building continues to be a dynamic center of local culture, seen here in 2013.'''		'''Murals fading, but the building continues to be a dynamic center of local culture, seen here in 2013.'''

			''Photo: Chris Carlsson''

			[[Image:Mission-Cultural-Center 20180514 140414.jpg]]

			'''By 2018, the building's murals had been restored.'''

	''Photo: Chris Carlsson''		''Photo: Chris Carlsson''

Ccarlsson: fixed formatting

2018-09-14T20:59:11Z

fixed formatting

← Older revision		Revision as of 13:59, 14 September 2018
Line 1:		Line 1:
	'''<font face = Papyrus> <font color = maroon> <font size = 4>Historical Essay</font></font> </font>'''		'''<font face = Papyrus> <font color = maroon> <font size = 4>Historical Essay</font></font> </font>'''

	''by Juan Felipe Herrera'' ~~excerpted from "Riffs on Mission District Raza Writers," in ''Reclaiming San Francisco: History, Politics, Culture'' City Lights Books, San Francisco, CA, 1998.~~		''by Juan Felipe Herrera''

	[[Image:mission$mission-cultural-center-photo.jpg]]		[[Image:mission$mission-cultural-center-photo.jpg]]
Line 17:		Line 17:
	The establishment of ''El Centro Cultural de la Mision,'' a Latino arts center in the Mission was the ongoing mission that the ''Pocho-Che'' group along with members of the ''Gaceta ''envisioned and one which would be broadcast through the pages of [[El Sexto Sol Shines For You\|''Tin-Tan]].'' The idea of having an arts center in the Mission had been in debate since 1972. At the time the City Council was funding a major arts complex in the city--the Davies Performing and Arts Center--and felt that every "ethnic" neighborhood should have a separate neighborhood mini-arts center. By 1976 the idea was being debated by competing Mission cultural arts leaders. After heated debates and the formation of a united front, the Mission Arts Alliance, led by Gato Murguia began to formulate the actual ''Centro'' proposal. The coalition met at St. Peters church on Alabama Street for its first meeting. Alejandro Murguia remembers:		The establishment of ''El Centro Cultural de la Mision,'' a Latino arts center in the Mission was the ongoing mission that the ''Pocho-Che'' group along with members of the ''Gaceta ''envisioned and one which would be broadcast through the pages of [[El Sexto Sol Shines For You\|''Tin-Tan]].'' The idea of having an arts center in the Mission had been in debate since 1972. At the time the City Council was funding a major arts complex in the city--the Davies Performing and Arts Center--and felt that every "ethnic" neighborhood should have a separate neighborhood mini-arts center. By 1976 the idea was being debated by competing Mission cultural arts leaders. After heated debates and the formation of a united front, the Mission Arts Alliance, led by Gato Murguia began to formulate the actual ''Centro'' proposal. The coalition met at St. Peters church on Alabama Street for its first meeting. Alejandro Murguia remembers:

	''"The first meeting was held at St. Peters where representatives from the Arts Commission came down and many community artists attended and spoke up; what we wanted--the big dream to build a pyramid and have ceremonies at the altar. The first scheme was to buy the [[Armory\|Armory]] at 14th and Mission Street and turn that into a cultural center, but it was too big. Some people liked the Armory because it had firing ranges on one floor. There were several groups that submitted proposals for a cultural arts center. One group was led by a reactionary woman on the Arts Commission, Elvira Martinez. She was pushing for an old mortuary building, along with the group from the Palmetto Museum. Other people wanted little sites like the Precita Park Center. We formed a coalition that included everybody in the Mission and said ' No, we want to pick out the spot, we don't want the Palmetto Museum.' At first people thought that that was going to be the cultural center. We said. 'Chale, no, with the mortuary, we want a place for theatre, a place for a gallery and anything that comes with the plan.' We gave them a manifesto." ''		<blockquote>''"The first meeting was held at [[St. Peter's Church\|St. Peters]] where representatives from the Arts Commission came down and many community artists attended and spoke up; what we wanted--the big dream to build a pyramid and have ceremonies at the altar. The first scheme was to buy the [[Armory\|Armory]] at 14th and Mission Street and turn that into a cultural center, but it was too big. Some people liked the Armory because it had firing ranges on one floor. There were several groups that submitted proposals for a cultural arts center. One group was led by a reactionary woman on the Arts Commission, Elvira Martinez. She was pushing for an old mortuary building, along with the group from the Palmetto Museum. Other people wanted little sites like the Precita Park Center. We formed a coalition that included everybody in the Mission and said ' No, we want to pick out the spot, we don't want the Palmetto Museum.' At first people thought that that was going to be the cultural center. We said. 'Chale, no, with the mortuary, we want a place for theatre, a place for a gallery and anything that comes with the plan.' We gave them a manifesto." ''</blockquote>

	The City gave way to the well organized Alliance and purchased the "Shaft," an old four story furniture store between 24th and 25th on Mission Street. In the Summer of '77 the fifth issue of ''Tin-Tan'' celebrated the opening of the ''Centro Cultural de La Mission,'' attended by over two thousand Mission residents and inaugurated by featured Nicaraguan poet, Ernesto Cardenal who baptized children at the site. ''Tin-Tan'' as well as other Mission publications--''El Tecolote'', ''El Pulgarcito'' and'' La Gaceta Sandinista''--were housed in the third floor. Alejandro "Gato" Murguia was the director of the center--the "Third Form" seemed to be in place.		The City gave way to the well organized Alliance and purchased the "Shaft," an old four story furniture store between 24th and 25th on Mission Street. In the Summer of '77 the fifth issue of ''Tin-Tan'' celebrated the opening of the ''Centro Cultural de La Mission,'' attended by over two thousand Mission residents and inaugurated by featured Nicaraguan poet, Ernesto Cardenal who baptized children at the site. ''Tin-Tan'' as well as other Mission publications--''El Tecolote'', ''El Pulgarcito'' and'' La Gaceta Sandinista''--were housed in the third floor. Alejandro "Gato" Murguia was the director of the center--the "Third Form" seemed to be in place.
Line 27:		Line 27:
	When the ''Pocho-Che'' cadre reunited in '79, having come home from the Nicaraguan offensive they found that the ''Centro ''had been transformed, had a new director; to their surprise, they also found that their political activities had been denounced in one of the major local art tabloids--''City Arts'' monthly. Murguia recalls:		When the ''Pocho-Che'' cadre reunited in '79, having come home from the Nicaraguan offensive they found that the ''Centro ''had been transformed, had a new director; to their surprise, they also found that their political activities had been denounced in one of the major local art tabloids--''City Arts'' monthly. Murguia recalls:

	''"It was the biggest ~~mistake--how~~ the separation was made. The Centro was turned over to someone who had no political experience and who, in fact, would up being a staunch reactionary who denounced us to the State Department. He wrote in City Arts that the Nicaraguan government had divided the Mission and that he was able to unify it by expelling politics from the Mission Cultural Center." ''		<blockquote>''"It was the biggest mistake—how the separation was made. The Centro was turned over to someone who had no political experience and who, in fact, would up being a staunch reactionary who denounced us to the State Department. He wrote in City Arts that the Nicaraguan government had divided the Mission and that he was able to unify it by expelling politics from the Mission Cultural Center." ''</blockquote>

	The tropical vision had met its odd end at the highest peak of its development -- the actual participation of Latino Mission poets in Nicaraguan revolutionary practice. By the end of the seventies, the Pocho-Che affiliates went back to their apartments in the Mission wondering what had gone wrong. Everything that they had labored for the last decade seemed to slip away. The Mission Cultural center was hostile territory, their make-shift books and tabloids and presses were out of print, the green ''tropicalismo'' wavered and faded. In 1980 ''Pocho-Che'' finally disbanded and within a short time, Roberto Vargas moved to Washington D.C. as Nicaragua's cultural attach and Gato went underground in the Mission and co-founded a new group, The'' Roque Dalton Cultural Brigade'', with Magaly Fernandez and colleagues such as Wilfredo Castaño, Jack Hirshman, Jorge Herrera, myself, Francisco X. Alarcon, Victor Martinez and Tina Alvarez. The Pocho-Che poets had accomplished much. What new missions would rise from the ashes?		The tropical vision had met its odd end at the highest peak of its development -- the actual participation of Latino Mission poets in Nicaraguan revolutionary practice. By the end of the seventies, the Pocho-Che affiliates went back to their apartments in the Mission wondering what had gone wrong. Everything that they had labored for the last decade seemed to slip away. The Mission Cultural center was hostile territory, their make-shift books and tabloids and presses were out of print, the green ''tropicalismo'' wavered and faded. In 1980 ''Pocho-Che'' finally disbanded and within a short time, Roberto Vargas moved to Washington D.C. as Nicaragua's cultural attach and Gato went underground in the Mission and co-founded a new group, The'' Roque Dalton Cultural Brigade'', with Magaly Fernandez and colleagues such as Wilfredo Castaño, Jack Hirshman, Jorge Herrera, myself, Francisco X. Alarcon, Victor Martinez and Tina Alvarez. The Pocho-Che poets had accomplished much. What new missions would rise from the ashes?

	''~~--Juan Felipe Herrera~~''		''excerpted from "Riffs on Mission District Raza Writers," in ''Reclaiming San Francisco: History, Politics, Culture'' City Lights Books, San Francisco, CA, 1998.''

	<font size=4>'''The Tropicalized Mission Palms'''</font>		<font size=4>'''The Tropicalized Mission Palms'''</font>
Line 37:		Line 37:
	The new tropical mission begins with the image of a palm tree as it sways over Alejandro Murgía's apartment. "Gato" Murguia, publishes "Palms outside my window" in ''Time to Greeze'', the landmark anthology edited by the Mission poets of the [[The Tropics of Pocho-Ché \|Pocho-Che Collective]] in 1974.		The new tropical mission begins with the image of a palm tree as it sways over Alejandro Murgía's apartment. "Gato" Murguia, publishes "Palms outside my window" in ''Time to Greeze'', the landmark anthology edited by the Mission poets of the [[The Tropics of Pocho-Ché \|Pocho-Che Collective]] in 1974.

	''Palms sway outside my windows, the sky is like that over the tropics on a ''		:::''Palms sway outside my windows, the sky is like that over the tropics on a ''<br>
			:::''hot day. Walking into my room, a parrot greets me from a corner and a<br>
			:::''mayna & guacamayo are outside, where an iguana hides in the grass.

	~~''hot day. Walking into my room, a parrot greets me from a corner and a~~		The palm tree is the radical image, the voice and language that heightens and colors the new vision, the new Latino aesthetic mission — a ''tropicalization'' of our lives. A new poetics of political, cultural and literary "greenness" emerges with the new works of the Pocho-Che poets, underscored by Victor Hernandez-Cruz's own book, ''Tropicalization,'' published in the same year.

	~~''mayna & guacamayo are outside, where an iguana hides in the grass.~~

	The palm tree is the radical image, the voice and language that heightens and colors the new vision, the new Latino aesthetic mission -- a ''tropicalization'' of our lives. A new poetics of political, cultural and literary "greenness" emerges with the new works of the Pocho-Che poets, underscored by Victor Hernandez-Cruz's own book, ''Tropicalization,'' published in the same year.

	The tropical metaphor refracts our world -- tropical peoples stripped of their homelands - purple corduroys, saris, Sonora ranch hats, black shawls, pedal-pushers, sawed of levis pants, catholic pleated dresses, khaki trench coats, flowered muslin tank tops, laundry pressed polyester slacks, maroon turbans, Club jackets, Latino/as, Filipinos, Afro-Americans, Cubans, Asians and Indians. Hindi, Samoan, Tongan, Chicana and Salvadoreña talk, all in a be-bop stream of "green" sounds, neon and elastic, polished, bilingual and re-souled with adolescent first generation speech play, Nicaragüense, Salvadoreño, Guatemalteco, Hondureña, Peruana, Brasileira and Chicana rap. There is a palm tree outside our windows, the Pocho-Che poets seemed to say, we are that green barrio palm, we are that green earth flame star sparkle.		The tropical metaphor refracts our world -- tropical peoples stripped of their homelands - purple corduroys, saris, Sonora ranch hats, black shawls, pedal-pushers, sawed of levis pants, catholic pleated dresses, khaki trench coats, flowered muslin tank tops, laundry pressed polyester slacks, maroon turbans, Club jackets, Latino/as, Filipinos, Afro-Americans, Cubans, Asians and Indians. Hindi, Samoan, Tongan, Chicana and Salvadoreña talk, all in a be-bop stream of "green" sounds, neon and elastic, polished, bilingual and re-souled with adolescent first generation speech play, Nicaragüense, Salvadoreño, Guatemalteco, Hondureña, Peruana, Brasileira and Chicana rap. There is a palm tree outside our windows, the Pocho-Che poets seemed to say, we are that green barrio palm, we are that green earth flame star sparkle.

	~~--Juan~~ Felipe Herrera		—Juan Felipe Herrera

Lisaruth at 20:24, 28 January 2016

2016-01-28T20:24:52Z

← Older revision		Revision as of 13:24, 28 January 2016
Line 1:		Line 1:
	'''<font face = Papyrus> <font color = maroon> <font size = 4>Historical Essay</font></font> </font>'''		'''<font face = Papyrus> <font color = maroon> <font size = 4>Historical Essay</font></font> </font>'''

	''by Juan Felipe Herrera'' excerpted from "Riffs on Mission District Raza Writers," in ''Reclaiming San Francisco: History, Politics, Culture'' City Lights Books, San Francisco, CA, ~~1978~~.		''by Juan Felipe Herrera'' excerpted from "Riffs on Mission District Raza Writers," in ''Reclaiming San Francisco: History, Politics, Culture'' City Lights Books, San Francisco, CA, 1998.

	[[Image:mission$mission-cultural-center-photo.jpg]]		[[Image:mission$mission-cultural-center-photo.jpg]]

Ccarlsson at 00:00, 18 February 2015

2015-02-18T00:00:38Z

← Older revision		Revision as of 17:00, 17 February 2015
Line 5:		Line 5:
	[[Image:mission$mission-cultural-center-photo.jpg]]		[[Image:mission$mission-cultural-center-photo.jpg]]

	'''The "Shaft," an old four story furniture store between 24th and 25th on Mission Street, became the ''Centro Cultural de la Mission'' in 1977.''' ''Photo: Chris Carlsson''		'''The "Shaft," an old four story furniture store between 24th and 25th on Mission Street, became the ''Centro Cultural de la Mission'' in 1977. This photo is from approximately 1996.'''

			''Photo: Chris Carlsson''

			[[Image:Mission-Cultural-Center 6203.jpg]]

			'''Murals fading, but the building continues to be a dynamic center of local culture, seen here in 2013.'''

			''Photo: Chris Carlsson''

	The establishment of ''El Centro Cultural de la Mision,'' a Latino arts center in the Mission was the ongoing mission that the ''Pocho-Che'' group along with members of the ''Gaceta ''envisioned and one which would be broadcast through the pages of [[El Sexto Sol Shines For You\|''Tin-Tan]].'' The idea of having an arts center in the Mission had been in debate since 1972. At the time the City Council was funding a major arts complex in the city--the Davies Performing and Arts Center--and felt that every "ethnic" neighborhood should have a separate neighborhood mini-arts center. By 1976 the idea was being debated by competing Mission cultural arts leaders. After heated debates and the formation of a united front, the Mission Arts Alliance, led by Gato Murguia began to formulate the actual ''Centro'' proposal. The coalition met at St. Peters church on Alabama Street for its first meeting. Alejandro Murguia remembers:		The establishment of ''El Centro Cultural de la Mision,'' a Latino arts center in the Mission was the ongoing mission that the ''Pocho-Che'' group along with members of the ''Gaceta ''envisioned and one which would be broadcast through the pages of [[El Sexto Sol Shines For You\|''Tin-Tan]].'' The idea of having an arts center in the Mission had been in debate since 1972. At the time the City Council was funding a major arts complex in the city--the Davies Performing and Arts Center--and felt that every "ethnic" neighborhood should have a separate neighborhood mini-arts center. By 1976 the idea was being debated by competing Mission cultural arts leaders. After heated debates and the formation of a united front, the Mission Arts Alliance, led by Gato Murguia began to formulate the actual ''Centro'' proposal. The coalition met at St. Peters church on Alabama Street for its first meeting. Alejandro Murguia remembers:
Line 25:		Line 33:
	''--Juan Felipe Herrera''		''--Juan Felipe Herrera''

	'''The Tropicalized Mission Palms'''		<font size=4>'''The Tropicalized Mission Palms'''</font>

	The new tropical mission begins with the image of a palm tree as it sways over Alejandro Murgía's apartment. "Gato" Murguia, publishes "Palms outside my window" in ''Time to Greeze'', the landmark anthology edited by the Mission poets of the [[The Tropics of Pocho-Ché \|Pocho-Che Collective]] in 1974.		The new tropical mission begins with the image of a palm tree as it sways over Alejandro Murgía's apartment. "Gato" Murguia, publishes "Palms outside my window" in ''Time to Greeze'', the landmark anthology edited by the Mission poets of the [[The Tropics of Pocho-Ché \|Pocho-Che Collective]] in 1974.

Ccarlsson: Protected "Mission Cultural Center": finished essay [edit=sysop:move=sysop]

2009-01-02T08:37:33Z

Protected "Mission Cultural Center": finished essay [edit=sysop:move=sysop]

← Older revision	Revision as of 01:37, 2 January 2009
(No difference)

Ccarlsson: tagged as historical essay

2008-12-03T22:44:09Z

tagged as historical essay

← Older revision		Revision as of 15:44, 3 December 2008
Line 1:		Line 1:
			'''<font face = Papyrus> <font color = maroon> <font size = 4>Historical Essay</font></font> </font>'''

			''by Juan Felipe Herrera'' excerpted from "Riffs on Mission District Raza Writers," in ''Reclaiming San Francisco: History, Politics, Culture'' City Lights Books, San Francisco, CA, 1978.

	[[Image:mission$mission-cultural-center-photo.jpg]]		[[Image:mission$mission-cultural-center-photo.jpg]]

Line 19:		Line 23:
	The tropical vision had met its odd end at the highest peak of its development -- the actual participation of Latino Mission poets in Nicaraguan revolutionary practice. By the end of the seventies, the Pocho-Che affiliates went back to their apartments in the Mission wondering what had gone wrong. Everything that they had labored for the last decade seemed to slip away. The Mission Cultural center was hostile territory, their make-shift books and tabloids and presses were out of print, the green ''tropicalismo'' wavered and faded. In 1980 ''Pocho-Che'' finally disbanded and within a short time, Roberto Vargas moved to Washington D.C. as Nicaragua's cultural attach and Gato went underground in the Mission and co-founded a new group, The'' Roque Dalton Cultural Brigade'', with Magaly Fernandez and colleagues such as Wilfredo Castaño, Jack Hirshman, Jorge Herrera, myself, Francisco X. Alarcon, Victor Martinez and Tina Alvarez. The Pocho-Che poets had accomplished much. What new missions would rise from the ashes?		The tropical vision had met its odd end at the highest peak of its development -- the actual participation of Latino Mission poets in Nicaraguan revolutionary practice. By the end of the seventies, the Pocho-Che affiliates went back to their apartments in the Mission wondering what had gone wrong. Everything that they had labored for the last decade seemed to slip away. The Mission Cultural center was hostile territory, their make-shift books and tabloids and presses were out of print, the green ''tropicalismo'' wavered and faded. In 1980 ''Pocho-Che'' finally disbanded and within a short time, Roberto Vargas moved to Washington D.C. as Nicaragua's cultural attach and Gato went underground in the Mission and co-founded a new group, The'' Roque Dalton Cultural Brigade'', with Magaly Fernandez and colleagues such as Wilfredo Castaño, Jack Hirshman, Jorge Herrera, myself, Francisco X. Alarcon, Victor Martinez and Tina Alvarez. The Pocho-Che poets had accomplished much. What new missions would rise from the ashes?

	''--Juan Felipe Herrera'' ~~excerpted from "Riffs on Mission District Raza Writers," in ''Reclaiming San Francisco: History, Politics, Culture'' City Lights Books, San Francisco, CA, 1978.~~		''--Juan Felipe Herrera''

	'''The Tropicalized Mission Palms'''		'''The Tropicalized Mission Palms'''

Lisaruth at 21:02, 21 October 2008

2008-10-21T21:02:36Z

← Older revision		Revision as of 14:02, 21 October 2008
Line 41:		Line 41:
	[[INS Raids in the Mission \|Prev. Document]] [[Dolores Park - 1906 \|Next Document]]		[[INS Raids in the Mission \|Prev. Document]] [[Dolores Park - 1906 \|Next Document]]

	[[category:Mission]] [[category:Latino]] [[category:Nicaraguan]] [[category:El Salvadoran]] [[category:1970s]] [[category:1980s]] [[category:Literary San Francisco]]		[[category:Mission]] [[category:Latino]] [[category:Nicaraguan]] [[category:Salvadoran]] [[category:1970s]] [[category:1980s]] [[category:Literary San Francisco]]

Ccarlsson at 05:28, 14 October 2008

2008-10-14T05:28:21Z

← Older revision		Revision as of 22:28, 13 October 2008
Line 20:		Line 20:

	''--Juan Felipe Herrera'' excerpted from "Riffs on Mission District Raza Writers," in ''Reclaiming San Francisco: History, Politics, Culture'' City Lights Books, San Francisco, CA, 1978.		''--Juan Felipe Herrera'' excerpted from "Riffs on Mission District Raza Writers," in ''Reclaiming San Francisco: History, Politics, Culture'' City Lights Books, San Francisco, CA, 1978.

			'''The Tropicalized Mission Palms'''

			The new tropical mission begins with the image of a palm tree as it sways over Alejandro Murgía's apartment. "Gato" Murguia, publishes "Palms outside my window" in ''Time to Greeze'', the landmark anthology edited by the Mission poets of the [[The Tropics of Pocho-Ché \|Pocho-Che Collective]] in 1974.

			''Palms sway outside my windows, the sky is like that over the tropics on a ''

			''hot day. Walking into my room, a parrot greets me from a corner and a

			''mayna & guacamayo are outside, where an iguana hides in the grass.

			The palm tree is the radical image, the voice and language that heightens and colors the new vision, the new Latino aesthetic mission -- a ''tropicalization'' of our lives. A new poetics of political, cultural and literary "greenness" emerges with the new works of the Pocho-Che poets, underscored by Victor Hernandez-Cruz's own book, ''Tropicalization,'' published in the same year.

			The tropical metaphor refracts our world -- tropical peoples stripped of their homelands - purple corduroys, saris, Sonora ranch hats, black shawls, pedal-pushers, sawed of levis pants, catholic pleated dresses, khaki trench coats, flowered muslin tank tops, laundry pressed polyester slacks, maroon turbans, Club jackets, Latino/as, Filipinos, Afro-Americans, Cubans, Asians and Indians. Hindi, Samoan, Tongan, Chicana and Salvadoreña talk, all in a be-bop stream of "green" sounds, neon and elastic, polished, bilingual and re-souled with adolescent first generation speech play, Nicaragüense, Salvadoreño, Guatemalteco, Hondureña, Peruana, Brasileira and Chicana rap. There is a palm tree outside our windows, the Pocho-Che poets seemed to say, we are that green barrio palm, we are that green earth flame star sparkle.

			--Juan Felipe Herrera

Ccarlsson at 07:24, 29 September 2008

2008-09-29T07:24:34Z

← Older revision		Revision as of 00:24, 29 September 2008
Line 24:		Line 24:
	[[INS Raids in the Mission \|Prev. Document]] [[Dolores Park - 1906 \|Next Document]]		[[INS Raids in the Mission \|Prev. Document]] [[Dolores Park - 1906 \|Next Document]]

	[[category:Mission]] [[category:Latino]] [[category:Nicaraguan]] [[category:~~ElSalvadoran~~]] [[category:1970s]] [[category:1980s]] [[category:Literary San Francisco]]		[[category:Mission]] [[category:Latino]] [[category:Nicaraguan]] [[category:El Salvadoran]] [[category:1970s]] [[category:1980s]] [[category:Literary San Francisco]]