Arts

The Riversider | October/November 2021

Mano Mirande

WORDS: KEN CRAWFORD

The foundation of an art scene is built underground. Riverside had a thriving arts community long before it was declared a city of “Arts and Innovation.” Before large-format Shepard Fairey prints were displayed on Mission Inn Avenue, we had murals by Ken Stansbury, Jeff Soto, and Maxx Gramajo—among so many others—on walls in alleys, parking lots, and inside skateboard and record shops. Before Live Nation was bringing in the big names to big stages, there was Spanky’s, the Barn, and Cheap Guy Music giving locals places to see live music and local bands a place to play. I’m not a nostalgist or an art critic and I’m not making a statement about the value of what is emerging vs. how it was “better back then”. I have, however, been given a bit of a pulpit here and would like to use it to bring some attention to the people who have been putting in the work to make our city look and sound more beautiful for a long time. Mano Mirande—a local musician, muralist, and concert promoter—has been contributing to the art scene in Riverside since his high school days. He has played guitar in the legendary local Ska band the Debonaires since he was a teenager. He’s run a successful concert promotion company, Mano y Mano Productions, for more than a decade. And, most recently, he’s been painting large-scale public murals like the “Welcome to Riverside” mural on the outside of Angel Eyes smoke shop on Mission Inn and Brockton, and a new commission at the Animal Shelter on Van Buren at the Santa Ana River. Mano exists in a unique space. He’s achieved “cred” on both sides of the war between the Chamber of Commerce and the “Underground.” Mano is fortunate to have started his artistic journey in small, all-ages venues, backyard parties, and back alleys around Riverside. It is, as is often the case, pure luck that he exists in this city at this time. That doesn’t degrade the work he has, and continues to, put in. Luck is an under appreciated agent in the progression of movements. It’s usually as important as intent. Mano never intended to be a muralist. He was running a successful concert promotion business booking local bands from all genres in several clubs in Riverside. He had secured a position as a talent buyer at the UCR Barn that was to open, for the first time in over a decade, as a real music venue. Then COVID happened. Mano’s business grinded to a halt almost instantly—like so many others in the entertainment industry. Of course, his constant effort and excellent reputation put him in a position to move, when

JACKSON STANDERFER Mano in front of one of his most recognizable murals at 4024 Mission Inn Avenue.

“Art uniquely includes an audience as a critical participant, and those contributions build a community just as much as bricks and lumber"

Mano's newest mural at the Riverside County Animal Shelter.

needed, to fill the void in the market created by COVID with a new venture. Painting is not new to Mano, but murals as a business is. Riverside has committed to be a “City of Arts and Innovation.” While this had many in the downtown Arts and Music communities feeling left behind, it was clear that before the pandemic downtown Riverside was packed with people. New murals and statues were popping up regularly, and while not everyone was pleased with the direction, no one could argue that the downtown area was moving like never before. Mano is a big part of what was happening before COVID. As the clubs and restaurants begin to open again, those same clubs that Mano was booking before are looking to get people through the doors. He’s already booking shows again, and as new sights and sounds bring new people downtown. As those new people create new communities, Mano will be doing the hard work that it takes to be one step ahead of what’s happening. Art is a way to assert space within a community without owning property. If we can imagine ownership as existing beyond possession of something “real” and include the sights and sounds that identify someplace as distinct, then we can see beyond the relationship between creators and consumers that define most communities. Art uniquely includes an audience as a critical participant, and those contributions build a community just as much as bricks and lumber.