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Mardi Gras: Last Tipsy Revelers Sent Home, Trash Swept Up

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Revelers dance to a brass band in the French Quarter on Mardi Gras in New Orleans, Tuesday, Feb. 17, 2015. Revelers in glitzy costumes filled the streets of New Orleans for the annual fat Tuesday bash, opening a day of partying, parades and good-natured jostling for beads and trinkets tossed from passing floats. (AP Photo/Gerald Herbert)

Revelers dance to a brass band in the French Quarter on Mardi Gras in New Orleans, Tuesday, Feb. 17, 2015. Revelers in glitzy costumes filled the streets of New Orleans for the annual fat Tuesday bash, opening a day of partying, parades and good-natured jostling for beads and trinkets tossed from passing floats. (AP Photo/Gerald Herbert)

JANET McCONNAUGHEY, Associated Press

NEW ORLEANS (AP) — Mardi Gras 2015 is officially over and the last tipsy revelers in New Orleans have been cleared from city streets.

At the stroke of midnight, New Orleans police on horseback rode down the French Quarter’s main tourist thoroughfare, Bourbon Street, sending home the last revelers from the “Fat Tuesday” bash in this Mississippi River port city.

City crews before dawn Wednesday began sweeping up tons of trash, discarded food and plastic beads that had been tossed from the Mardi Gras floats during parades the day before. City officials have said up to 150 tons of trash would be collected — making it appear as if the parades never happened.

Each year, the unabashed Mardi Gras celebrations by costumed revelers mark the prelude to the solemn Catholic religious season of Lent.

And with temperatures near freezing on Tuesday, almost everyone was bundled up even along Bourbon Street, where costumes usually tend toward the skimpy during Mardi Gras.

“You can’t tell, but we’ve got Mardi Gras shirts on,” said Tiffany Cannon, watching Tuesday’s first big parade with her 8-year-old son, Eli, tucked up in warm layers. The youngster had a blue scarf over his chin and mouth and a large fuzzy hat to ward off temperatures Tuesday that began in the mid-30s.

No major incidents were reported Tuesday by police. But a 23-year-old man and a 24-year-old woman fell from different floats in a truck parade in the New Orleans suburb of Metairie, the Jefferson Parish Sheriff’s Office said. The man was in stable condition and the woman was expected to be treated and released, said Col. John Fortunato, the sheriff’s spokesman.

Tuesday’s main celebration kicked off when a retired musician, Pete Fountain, launched a 10-mile stroll by his Half-Fast Walking Club through the city. Many fortified themselves agains the cold with a breakfast of sandwiches, coffee and brandy-fortified milk punch.

“There was beer and water, too. But most people stuck with the milk punch,” said Ralph Jukkola, on his fourth walk with Fountain’s club.

After Fountain’s group, major parades of Zulu, Rex and others followed down the streets, their costumed participants tossing trinkets and plastic bead necklaces to revelers lining the sidewalks and median strips.

The crowd was thick along the main St. Charles Avenue, where Zulu’s parade route merged with that of Rex, one of the most elaborate. Rex was followed by two long “truck parades” — floats built up from flatbed trailers and decorated by costumed riders.

Matching gray quilted jackets hid the gowns worn by young women on the “maids” float in the Zulu Social Aid and Pleasure Club’s popular parade.

As Zulu passed, Ashley English said she was too cold to show off her costume.

“I have a corset on. You just can’t see it,” she said, pulling at the neck of her leather jacket. The corset was purple, she said, to go with her green and gold leggings.

Purple, green and gold were introduced as the colors of Mardi Gras in 1872, when a group of businessmen first crowned one of their own “Rex, king of Carnival.”

Because of the cold weather, many wore extra layers of sweat shirts and jeans under costumes made to look like clowns or animals.

Erin Buran of New Orleans wore a white jacket and feathery angel wings but didn’t mind the cold.

“My angel wings have tequila in them,” she said, showing off the mouthpiece of a hydration backpack covered by the wings.

___

Associated Press writer Stacey Plaisance contributed to this report.

Copyright 2015 The Associated Press. All rights reserved. This material may not be published, broadcast, rewritten or redistributed.

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Oakland Post: Week of February 11 = 17, 2026

The printed Weekly Edition of the Oakland Post: Week of – February 11 – 17, 2026

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Arts and Culture

Book Review: Books on Black History and Black Life for Kids

For the youngest reader, “As You Are: A Hope for Black Sons” by Kimberly A. Gordon Biddle, illustrated by David Wilkerson (Magination Press, $18.99) is a book for young Black boys and for their mothers. It’s a hope inside a prayer that the world treats a child gently, and it could make a great baby shower gift.

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Photo of Black History Month book covers by Terri Schlichenmeyer.
Photo of Black History Month book covers by Terri Schlichenmeyer.

By Terri Schlichenmeyer

Authors: Various, Copyright: c. 2025, 2026, Publishers: Various, SRPs: $17.99-$18.99, Page Counts: Various, 

Everybody in your family has stories to share.

Your parents have told you some, no doubt. Your grandparents have offered a few, too, and aunties and uncles have spun some good tales. But there’s so much more to know, so grab one of these great books and learn about Black History and Black life.

For the youngest reader, “As You Are: A Hope for Black Sons” by Kimberly A. Gordon Biddle, illustrated by David Wilkerson (Magination Press, $18.99) is a book for young Black boys and for their mothers. It’s a hope inside a prayer that the world treats a child gently, and it could make a great baby shower gift.

If someone said you couldn’t do something that you were clearly able to do, would you fight to do it anyhow?  In the new book, “Remember Her Name! Debbie Allen’s Rise to Fame” by Tami Charles, illustrated by Meredith Lucius (Charlesbridge, $17.99), a young girl in the Jim Crow South is told that she can’t dance because of the color of her skin.

She didn’t listen, though, and neither did her mother, who took her daughter to Mexico, where the girl soared! This is an inspiration for any 5-to-7-year-old; be sure to check out the back-of-the-book information, if you’re an adult fan.

Do you often hear your elders say things that sound like lessons?  They might be, so “Where There is Love: A Story of African Proverbs” by Shauntay Grant, illustrated by Leticia Moreno (Penguin Workshop, $18.99) is a book you’ll like. It’s a quick-to-read collection of short proverbs that you can say every day. Kids ages 4-to-6 will easily remember what they find in this book; again, look in the back for more information.

Surely, you love your neighborhood, which is why the tale inside “Main Street: A Community Story about Redlining” by Britt Hawthorne and Tiffany Jewell, illustrated by David Wilkerson (Penguin Kokila, $18.99) is a book for you.

Olivia’s neighborhood is having a block party, but she’s sad when no one shows up. That’s when she learns that “the government” is discriminating against the people and businesses near where she lives. So, what can she and her neighbors do? The answer might inspire 6-to-8-year-old kids to stand up to wrongs they see, and to help make their neighborhoods stronger and safer.

And finally, if a kid wants a book, where can they go to find it? In “I’m So Happy You’re Here: A Celebration of Library Joy” by Mychal Threets, illustrated by Lorraine Nam (Random House, $18.99) is a good introduction to the best of what a library has to offer. The freedom to walk into a library and borrow a book is the theme here, as is the sheer happiness of being welcomed, no matter who you are.  This is an easy book for kids as young as two and as old as five to enjoy.

On that note, if you want more, head to that library, or a nearby bookstore. They’ll be glad to see you. They’ve got stories to share.

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Activism

Art of the African Diaspora Celebrates Legacy and Community at Richmond Art Center

Now in its 29th year, Art of the African Diaspora is the Bay Area’s longest-running exhibition of its kind. Its roots stretch back to 1989, when artist and educator Marie Johnson Calloway founded Colors of Black, a salon for African American artists. That gathering inspired artists Jan Hart-Schuyers and Rae Louise Hayward to establish The Art of Living Black at the Richmond Art Center in 1996.

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‘Be Still...’ by Virginia Jourdan is on display at the Richmond Art Center (RAC), in Richmond, CA. Photo by Carla Thomas.
‘Be Still...’ by Virginia Jourdan is on display at the Richmond Art Center (RAC), in Richmond, CA. Photo by Carla Thomas.

By Carla Thomas

The 2026 Art of the African Diaspora exhibition is on display at the Richmond Art Center (RAC) through March 14. The one-room gallery bursts with more than 100 works – paintings, photographs, sculptures, and mixed-media pieces – each affirming the power, beauty, and vitality of cultural expression across the African diaspora.

Now in its 29th year, Art of the African Diaspora is the Bay Area’s longest-running exhibition of its kind. Its roots stretch back to 1989, when artist and educator Marie Johnson Calloway founded Colors of Black, a salon for African American artists. That gathering inspired artists Jan Hart-Schuyers and Rae Louise Hayward to establish The Art of Living Black at the Richmond Art Center in 1996. Their vision was to showcase the creativity of emerging and established Black artists, bridging communities and widening access to audiences historically excluded from mainstream art spaces.

Over the decades, that founding vision has expanded and evolved, carried forward by artists, family members, and the Richmond Art Center after the loss of Hart-Schuyers and Hayward. In 2018, a new generation of artists formed a steering committee to organize the event; a year later, the exhibition was renamed Art of the African Diaspora to embrace the broader global connections of people of African descent.

The new name reflects not only a broader cultural lens but also an empowered community network that supports artists across the Bay Area. As part of this year’s programming, RAC will host ‘Art of the African Diaspora: Public Art in Our Communities,’ a free panel on Sat., Feb. 21, from 12 to 1:30 p.m. Artists Kristine Mays, James Moore, and Malik Seneferu will join arts administrator Denise Pate for a conversation on the impact and process of public art. The discussion will be moderated by longtime arts advocate and producer Flo Wiley.

Each panelist brings a distinctive voice to the conversation. Mays, known for her ethereal wire sculptures that capture movement and spirit, has exhibited internationally and is represented in collections ranging from the Smithsonian to the Crocker Art Museum.

Sculptor and painter James Moore creates abstract metal works and colorful field paintings that explore movement, balance, and emotion. His recent public art installations include large-scale pieces in Richmond’s Shields-Reid Park. Malik Seneferu, a self-taught San Francisco native, has built a large body of work celebrating African American life through vibrant murals and expressive figurative art.

Representing the institutional side, Denise Pate oversees public arts investments as director of Community Investments at the San Francisco Arts Commission, advancing racial and cultural equity through funding and advocacy. Together, these artists and administrators will trace how public art emerges, from concept to community collaboration, and why it matters.

The Art of the African Diaspora exhibition runs through March 14 at the Richmond Art Center, 2540 Barrett Ave., Richmond. The center is open Wednesday through Saturday from 10 a.m. to 4 p.m. Admission and programs are free and open to the public.

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