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Lateef and Lyrics Born on Latyrx’s Early Years | KQED
In the Hall of Game that is Bay Area hip-hop, independent collectives loom large. Along with Hieroglyphics and Living Legends, the fiercely creative, multicultural group Solesides helped define a certain only-in-the-Bay sensibility. With groundbreaking artists like DJ Shadow and Blackalicious, the crew added a new, abstracted dimension to Bay Area hip-hop.
One of its most dizzying groups was Latyrx. Above, watch Latyrx’s Lateef and Lyrics Born discuss Solesides’ early formation at UC Davis, its transformation into Quannum and its high-profile successes as a diverse Bay Area collective — as well as their enduring respect for their Bay Area colleagues and each other.
Select questions from the interview, edited for length and clarity:
In your own words, what makes Bay Area hip-hop special?
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Lateef: The Bay Area has always been a hodgepodge of a lot of different cultures and communities. And you see a reflection of that in Bay Area hip-hop in a way that you don’t in a lot of the other parts of the country. So here you have early, early on, contributing, folks of all different cultures. You got the Invisibl Skratch Piklz, which have been holding down the Bay for a long time. Obviously you have Too Short, Del, MC Hammer. Those three styles right there. Too Short is as gangster and pimp shit as it gets. MC Hammer, who’s the blueprint for what Puff Daddy did — just the idea that you could take over the world with your music, and it didn’t matter that you were from the Bay Area. That’s part of the Bay Area identity. Musically, Del, just extreme creativity. I sound the way that I do because of Del. And Richie Rich. I sound the way I do because of all of those people.
One thing we find in Bay Area hip-hop is this rich tradition of the independent hustle. You came together in the 1990s at this incredible scene around KDVS, the radio station at UC Davis, and became a major part of this lineage of independent collectives. Can you tell people a little bit about that?
Lyrics Born: You can’t really talk about music, in particular hip-hop, in the Bay Area without talking about this independent spirit. And then the label and music movement that spawned from that. You just have this intersectionality of free thought and politics and culture and history. You have all these dynamics that kind of converge. We have this very special culture. And the other thing that I think is notable is that we’re not in New York. We’re not in LA. So when we started Quannum and Solesides, it wasn’t because we wanted to set the world on fire as executives. Nobody else would put our music out! We had no choice. If we didn’t put it out, nobody else would.
Right out of the gate, Solesides and Latyrx reflected that multiculturalism of the Bay Area. Lyrics Born, you’re Japanese-American. Born in Tokyo, raised in Berkeley. And Lateef, you’re half Black, half Puerto Rican, some Algerian. How would you say your personal identity has come through in your music?
Lyrics Born: The interesting thing about the Bay Area, and particularly Solesides and Quannum in the early ’90s, is that it’s kind of a case study in how multicultural groups can really succeed. We had probably the most diverse group collective of professional musicians, successful professional musicians, maybe in the history of music. Right? Period. Black, white, Indian, Japanese, Chinese, Italian, Algerian, Puerto Rican. Every single food group was represented.
Lateef: I’m going to add to this question of cultural diversity, and I’m just going to point out that, you know, one of the things that I was always impressed by with Lyrics Born, from the first time that I met him, was his originality. Even when we were really young, he found his voice very early, and it didn’t sound like anybody else’s voice.
But here’s the thing about him, that I think people don’t really realize, is that as far as Asian American males in music, Lyrics Born is like, the most successful pioneer. I consider myself to be revolutionary and, you know, on the edge and all that. But I’m supporting someone who is arguably more … there’s a quality to what Lyrics Born has been able to do that you can’t replicate. I don’t really care who you are. You can only be the first person to step on the moon. Only one person gets to do that! You know what I mean? And it’s like outside of Don Ho, this guy’s got the most records.
So when you talk about diversity, that’s true in a lot of ways for the Bay Area, and a lot of artists from here. But also for this man in particular.
Watch the whole interview above.
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He writes about sports, food, art, music, education, and culture while repping the Bay on \u003ca href=\"https://twitter.com/alan_chazaro\">Twitter\u003c/a> and \u003ca href=\"https://www.instagram.com/alan_chazaro/?hl=en\">Instagram\u003c/a> at @alan_chazaro.","avatar":"https://secure.gravatar.com/avatar/ea8b6dd970fc5c29e7a188e7d5861df7?s=600&d=blank&r=g","twitter":"alan_chazaro","facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"arts","roles":["editor"]},{"site":"news","roles":["editor"]}],"headData":{"title":"Alan Chazaro | KQED","description":"Food Writer and Reporter","ogImgSrc":"https://secure.gravatar.com/avatar/ea8b6dd970fc5c29e7a188e7d5861df7?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/ea8b6dd970fc5c29e7a188e7d5861df7?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/achazaro"},"tpham":{"type":"authors","id":"11753","meta":{"index":"authors_1591205172","id":"11753","found":true},"name":"Thien Pham","firstName":"Thien","lastName":"Pham","slug":"tpham","email":"thiendog@gmail.com","display_author_email":false,"staff_mastheads":[],"title":"KQED Contributor","bio":null,"avatar":"https://secure.gravatar.com/avatar/fa68ed7d6a785e5294a7bb79a3f409c3?s=600&d=blank&r=g","twitter":null,"facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"arts","roles":["contributor"]}],"headData":{"title":"Thien Pham | KQED","description":"KQED Contributor","ogImgSrc":"https://secure.gravatar.com/avatar/fa68ed7d6a785e5294a7bb79a3f409c3?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/fa68ed7d6a785e5294a7bb79a3f409c3?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/tpham"},"nkhan":{"type":"authors","id":"11867","meta":{"index":"authors_1591205172","id":"11867","found":true},"name":"Nisa Khan","firstName":"Nisa","lastName":"Khan","slug":"nkhan","email":"nkhan@kqed.org","display_author_email":false,"staff_mastheads":[],"title":"KQED Contributor","bio":"Nisa Khan is a reporter for KQED's Audience News Desk. She was formerly a data reporter at Michigan Radio. She earned a Bachelor of Science in Information from the University of Michigan and a Master of Arts in Communication from Stanford University.","avatar":"https://secure.gravatar.com/avatar/a3bf1efcfbe7658d13a434cc54d0b2e3?s=600&d=blank&r=g","twitter":"mnisakhan","facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"arts","roles":["editor"]},{"site":"news","roles":["editor"]},{"site":"forum","roles":["editor"]}],"headData":{"title":"Nisa Khan | KQED","description":"KQED Contributor","ogImgSrc":"https://secure.gravatar.com/avatar/a3bf1efcfbe7658d13a434cc54d0b2e3?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/a3bf1efcfbe7658d13a434cc54d0b2e3?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/nkhan"},"udursun":{"type":"authors","id":"11883","meta":{"index":"authors_1591205172","id":"11883","found":true},"name":"Ugur Dursun","firstName":"Ugur","lastName":"Dursun","slug":"udursun","email":"udursun@kqed.org","display_author_email":false,"staff_mastheads":["arts"],"title":"Engagement Producer, KQED Arts & Culture","bio":"Ugur Dursun is a reporter and audience engagement producer for KQED Arts. Previously, her reporting has appeared on SFGate, East Bay Times, The Mercury News, KTVU, NBC Bay Area, The Stanford Daily, and other Bay Area local news outlets. In 2023, she was a recipient of Online News Association's \u003ca href=\"https://journalists.org/programs/mj-bear-fellowship/\">MJ Bear Fellowship\u003c/a>, which honors six standout journalists under the age of 30 who are pushing innovation in digital news.","avatar":"https://secure.gravatar.com/avatar/5275bbdc74da8a8845f2b9f9f7d94a5f?s=600&d=blank&r=g","twitter":null,"facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"arts","roles":["editor"]},{"site":"news","roles":["editor"]}],"headData":{"title":"Ugur Dursun | KQED","description":"Engagement Producer, KQED Arts & 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FM","link":"/"}},"arts_13954949":{"type":"posts","id":"arts_13954949","meta":{"index":"posts_1591205157","site":"arts","id":"13954949","found":true},"guestAuthors":[],"slug":"green-day-fillmore-sf-get-tickets-livenation","title":"Ticket Alert: Green Day Is Playing The Fillmore on April 2","publishDate":1711654616,"format":"standard","headTitle":"Ticket Alert: Green Day Is Playing The Fillmore on April 2 | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/green-day\">Green Day\u003c/a> will headline a United Nations Human Rights-backed global climate concert on April 2 at the Fillmore in San Francisco.\u003c/p>\n\u003cp>The intimate event, which is co-hosted by the Recording Academy, aims to bring attention to the inequalities exasperated by climate change.\u003c/p>\n\u003cp>[aside postid='arts_13950877']Ultra Q, an alternative rock band fronted by Billie Joe Armstrong’s son Jakob Danger, will open.\u003c/p>\n\u003cp>Proceeds from the concert will go to United Nations Human Rights climate justice initiatives and a \u003ca href=\"https://www.musicares.org/\">MusiCares\u003c/a> climate fund to benefit musicians affected by climate change.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.righthererightnow.global/\">Right Here, Right Now Global Climate Alliance\u003c/a> will honor Green Day for their “long-standing commitment to social justice and environmental causes,” according to a press release.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“As world renowned artists and activists, Green Day continues to leverage its major influence and platform to bring awareness to the impact of climate change on the people and the environment,” Volker Türk, the United Nations High Commissioner for Human Rights said in a statement.\u003c/p>\n\u003cp>“The United Nations was founded in San Francisco almost 80 years ago to safeguard human rights and dignity from crisis and tragedy. It is only fitting that we are back in San Francisco.”\u003c/p>\n\u003cp>“Music is one of humanity’s greatest resources. It moves the world,” Harvey Mason jr., CEO of the Recording Academy added. “And we are grateful for Green Day’s longstanding dedication to promoting social justice.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Tickets for Green Day’s April 2 show at The Fillmore go on sale \u003ca href=\"https://concerts.livenation.com/green-day-san-francisco-california-04-02-2024/event/1C006079927614B5?_gl=1*1qfbzox*_gcl_au*ODk2MjAxNjIuMTcwOTE0NDk2Mw..*_ga*MTM0NTgwNzQuMTcwOTE0NDk2Mw..*_ga_C1T806G4DF*MTcxMTY1MzQ1Ny4xLjAuMTcxMTY1MzQ2NS41Mi4wLjA.*_ga_H1KKSGW33X*MTcxMTY1MzQ1Ny4xLjAuMTcxMTY1MzQ2NS41Mi4wLjA.&_ga=2.49975855.827973097.1711653457-13458074.1709144963\">via LiveNation.com\u003c/a> on March 29, at 12 p.m.\u003c/em> \u003cem>Tickets will not be available from The Fillmore’s box office. \u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"The Bay Area punk legends will headline the United Nations-backed show to benefit climate-related causes.","status":"publish","parent":0,"modified":1711654616,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":12,"wordCount":287},"headData":{"title":"Where to Get Tickets for Green Day at The Fillmore | KQED","description":"The Bay Area punk legends will headline the United Nations-backed show to benefit climate-related causes.","ogTitle":"Ticket Alert: Green Day Is Playing The Fillmore on April 2","ogDescription":"","ogImgId":"","twTitle":"Ticket Alert: Green Day Is Playing The Fillmore on April 2","twDescription":"","twImgId":"","socialTitle":"Where to Get Tickets for Green Day at The Fillmore %%page%% %%sep%% KQED"},"sticky":false,"nprByline":"Maria Sherman, Associated Press","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13954949/green-day-fillmore-sf-get-tickets-livenation","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/green-day\">Green Day\u003c/a> will headline a United Nations Human Rights-backed global climate concert on April 2 at the Fillmore in San Francisco.\u003c/p>\n\u003cp>The intimate event, which is co-hosted by the Recording Academy, aims to bring attention to the inequalities exasperated by climate change.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13950877","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Ultra Q, an alternative rock band fronted by Billie Joe Armstrong’s son Jakob Danger, will open.\u003c/p>\n\u003cp>Proceeds from the concert will go to United Nations Human Rights climate justice initiatives and a \u003ca href=\"https://www.musicares.org/\">MusiCares\u003c/a> climate fund to benefit musicians affected by climate change.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.righthererightnow.global/\">Right Here, Right Now Global Climate Alliance\u003c/a> will honor Green Day for their “long-standing commitment to social justice and environmental causes,” according to a press release.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“As world renowned artists and activists, Green Day continues to leverage its major influence and platform to bring awareness to the impact of climate change on the people and the environment,” Volker Türk, the United Nations High Commissioner for Human Rights said in a statement.\u003c/p>\n\u003cp>“The United Nations was founded in San Francisco almost 80 years ago to safeguard human rights and dignity from crisis and tragedy. It is only fitting that we are back in San Francisco.”\u003c/p>\n\u003cp>“Music is one of humanity’s greatest resources. It moves the world,” Harvey Mason jr., CEO of the Recording Academy added. “And we are grateful for Green Day’s longstanding dedication to promoting social justice.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Tickets for Green Day’s April 2 show at The Fillmore go on sale \u003ca href=\"https://concerts.livenation.com/green-day-san-francisco-california-04-02-2024/event/1C006079927614B5?_gl=1*1qfbzox*_gcl_au*ODk2MjAxNjIuMTcwOTE0NDk2Mw..*_ga*MTM0NTgwNzQuMTcwOTE0NDk2Mw..*_ga_C1T806G4DF*MTcxMTY1MzQ1Ny4xLjAuMTcxMTY1MzQ2NS41Mi4wLjA.*_ga_H1KKSGW33X*MTcxMTY1MzQ1Ny4xLjAuMTcxMTY1MzQ2NS41Mi4wLjA.&_ga=2.49975855.827973097.1711653457-13458074.1709144963\">via LiveNation.com\u003c/a> on March 29, at 12 p.m.\u003c/em> \u003cem>Tickets will not be available from The Fillmore’s box office. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13954949/green-day-fillmore-sf-get-tickets-livenation","authors":["byline_arts_13954949"],"programs":["arts_140"],"categories":["arts_1","arts_11615","arts_69","arts_75"],"tags":["arts_9964","arts_1407","arts_1543","arts_913","arts_1146","arts_585"],"featImg":"arts_12374066","label":"arts_140"},"arts_13955021":{"type":"posts","id":"arts_13955021","meta":{"index":"posts_1591205157","site":"arts","id":"13955021","found":true},"guestAuthors":[],"slug":"beyonces-cowboy-carter-first-impressions","title":"Beyoncé’s ‘Cowboy Carter’ Is Here: Our First Impressions","publishDate":1711735614,"format":"aside","headTitle":"Beyoncé’s ‘Cowboy Carter’ Is Here: Our First Impressions | KQED","labelTerm":{"site":"arts"},"content":"\u003cfigure id=\"attachment_13955024\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/beyonce-album-cover-te-240328-0b8c2c.jpg\" alt=\"A woman in red white and blue clothes, with a sash reading 'Cowboy Carter,' sitting side saddle on a horse and holding an American flag\" width=\"1920\" height=\"1920\" class=\"size-full wp-image-13955024\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/beyonce-album-cover-te-240328-0b8c2c.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/beyonce-album-cover-te-240328-0b8c2c-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/beyonce-album-cover-te-240328-0b8c2c-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/beyonce-album-cover-te-240328-0b8c2c-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/beyonce-album-cover-te-240328-0b8c2c-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/beyonce-album-cover-te-240328-0b8c2c-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">It turns out that Beyoncé’s ‘Cowboy Carter’ is much more than the country album that fans expected. \u003ccite>(Parkwood Entertainment)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Beyoncé’s \u003cem>Cowboy Carter\u003c/em> is here — the artist’s eighth studio album and second in a trilogy to reclaim the overlooked Black contributions to American music. Of course, we devoured it as soon as it dropped. Hours after its release, here are some first impressions. \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ycwtqqhV6UE\u003c/p>\n\u003ch2>This Ain’t Country\u003c/h2>\n\u003cp>So yeah, \u003ca href=\"https://www.instagram.com/p/C4s6Zr7rlwA/\">Beyoncé didn’t lie\u003c/a>: this ain’t a country album. Beyoncé is better at \u003cem>telegraphing\u003c/em> country music than encapsulating it, anyway. On “Texas Hold ‘Em,” the signifiers are off. A country song wouldn’t need to specify you’re headed to a dive bar, since every bar in a country song is a dive bar, and you certainly wouldn’t need to say you “always thought” it was “nice.” That’s the girl in \u003cem>Ghost World\u003c/em> who thinks the local diner is “\u003ca href=\"https://www.youtube.com/watch?v=nxlccAn4UjI\">sooo… you know… \u003cem>funky\u003c/em>!\u003c/a>”\u003c/p>\n\u003cp>Charlie Parker, the jazz saxophonist, was once asked why he liked listening to country radio; “The stories,” he replied, “listen to the stories.” Are there story songs on \u003cem>Cowboy Carter\u003c/em>? Not many. Are there country songs, even? Not many. But what’s there is something even bigger and broader: Americana and indie-ish songs, a rap song, an opera aria, a whole lotta other stuff like Jersey Club and Son House and the Beach Boys, all in a big, ambitious swirling mix, greater than the sum of its parts. \u003c/p>\n\u003cp>Anyway, Beyoncé already wrote a great country song years ago. It has a car, a box of old stuff, and a cheating boyfriend. It’s called “Irreplaceable.”—\u003cem>Gabe Meline\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=MxNMvZ5BhSU\u003c/p>\n\u003ch2>How They Made Me: Houston Texas, Baby\u003c/h2>\n\u003cp>In reality, Beyoncé never stopped being country — from the autobiographical \u003cem>Lemonade\u003c/em> track “Daddy Lessons,” which she performed at the 2016 Country Music Awards with the Chicks, to the Southern ancestry of “Formation,” her Creole roots have always been essential to her musical identity.\u003c/p>\n\u003cp>“Spaghettii” establishes this idea at the center of the album. The track opens with a clip of \u003ca href=\"https://pitchfork.com/reviews/albums/linda-martel-color-me-country/\">Linda Martell\u003c/a>, who many credit as the first commercially successful Black female artist in country music. “Genres are a funny little concept,” she says. “In theory, they have a simple definition that’s easy to understand, but in practice, well, some may feel confined.” Beyoncé then raps over a Brazilian funk sample: “They call me the captain, the catwalk assassin / When they know it’s slappin’, then here come the yappin’,” referring to her haute couture getups and this album’s inevitable discourse.\u003c/p>\n\u003cp>Martell returns to introduce “Ya Ya”: “This particular tune stretches across a range of genres, and that’s what makes it a unique listening experience.” That may be the best description of \u003cem>Cowboy Carter\u003c/em> – a journey that Beyoncé takes the listener on, beyond the realm of pop, R&B and country.\u003cem>—Ugur Dursun\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7GVDWWi3i-E\u003c/p>\n\u003ch2>Sometimes tha Side Chick Ain’t Even a Chick, \u003ca href=\"https://pbs.twimg.com/media/GHSa0ZbbUAAxs3Q?format=jpg&name=small\">It’s the Gorgeous and Proud Nation of Ireland\u003c/a>\u003c/h2>\n\u003cp>Ireland is having a hot streak: Cillian Murphy won an Oscar, the people’s princess Ayo Edebiri and normal person Paul Mescal \u003ca href=\"https://www.eonline.com/news/1397582/why-this-photo-of-paul-mescal-and-ayo-edebiri-has-the-internet-buzzing\">maybe or maybe not announced a relationship\u003c/a> and/or \u003ca href=\"https://variety.com/2024/tv/news/emily-henry-ayo-edebiri-paul-mescal-rumor-beach-read-casting-1235951258/\">a movie\u003c/a> on St. Patrick’s Day, Hozier released a new song, and now Beyonce’s “Riiverdance.” \u003c/p>\n\u003cp>https://twitter.com/sweatpantspapi/status/1773577746020495687\u003c/p>\n\u003cp>Anyways. The reason why I was so taken by \u003cem>Renaissance\u003c/em> – and why listening to \u003cem>Cowboy Carter\u003c/em> is such a journey – is because I’m listening to years and years of music references, collaborations, genres and history woven together in something so sharp, thoughtful and rich. I just can’t wait to read essays about every production choice and homage in this album – every detail, every lyric about the life of a country singer, every little clack of her nails. I love learning! \u003c/p>\n\u003cp>Aaah, these sweeping, choir-sounding cinematic qualities of the album, like “Ameriican Requiem!” Damn, it’s such a cool, excellent piece of work. (It’s why I’m just going to ignore “Jolene” real hard (sorry sorry sorry sorry.))\u003cem>—Nisa Khan\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=f4xrblI8Tvw\u003c/p>\n\u003ch2>Beyoncé as Guardian and ‘Protector’\u003c/h2>\n\u003cp>I wasn’t sure what to expect after the foot-stomping radio single “Texas Hold ’Em,” but wow — the harmonies. From opening track “Ameriican Requiem” and throughout \u003cem>Cowboy Carter\u003c/em>, Beyoncé envelops us in wispy layers of her vocals, which feel as expansive as looking up at a night sky somewhere down a winding back road. Much like how I was dazzled by the stripped-down opening of her Renaissance tour, I love when Beyoncé reminds us that, beyond her maximalist showmanship, she’s built this empire because she can really \u003ci>sing\u003c/i>. \u003c/p>\n\u003cp>Even at 27 tracks, \u003ci>Cowboy Carter\u003c/i> doesn’t feel bloated. Amid the wide range of styles, and the nods to both mainstream country icons and unsung heroes, a new theme reveals itself: Beyoncé tapping into her strength as a defender and guardian of the vulnerable. She embodies that beautifully on “Protector,” a delicately strummed ballad dedicated to her children. On “Daughter,” she shows the aggressive side of that same energy: “If you cross me, I’m just like my father / I am colder than titanic waters.” In past work, Beyoncé has often embodied an archetypal femininity of being gazed upon and wanted. It’s cool seeing her in the driver’s seat here, shotgun in her lap.\u003cem>—Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=E9qjKyMk9iI\u003c/p>\n\u003ch2>The Fresno Family Station Wagon\u003c/h2>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Beyoncé and I go way back to when I had no bills. Whenever my Christian parents went shopping, I’d sit in the family station wagon and turn the radio dial past Central Valley country stations to B95, Fresno’s hip-hop hits powerhouse. \u003cem>Cowboy Carter\u003c/em> comes full circle for me. So many Black and brown Americans live in rural areas inundated by white country radio hits, and \u003cem>maybe\u003c/em> a single hip-hop station. Beyoncé links the two in this album. The dreamy wails of “Ameriican Requiem,” the backseat road trip feel of “Bodyguard,” the operatic tones of “Daughter,” the reclaiming of “Jolene” — I walked San Francisco’s meandering avenues, listening last night and feeling like I was back in my parent’s rusted silver car, flipping through the stations. What lingers is the spaghetti Beyoncé’s thrown at the wall: a fun genre-bending concept where she isn’t afraid to show her scars.—\u003cem>Ezra David Romero\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"A roundtable about the only album anyone's talking about this week.","status":"publish","parent":0,"modified":1711747000,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":15,"wordCount":1223},"headData":{"title":"Beyoncé’s ‘Cowboy Carter’ Is Here: Our First Impressions | KQED","description":"A roundtable about the only album anyone's talking about this week.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13955021/beyonces-cowboy-carter-first-impressions","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13955024\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/beyonce-album-cover-te-240328-0b8c2c.jpg\" alt=\"A woman in red white and blue clothes, with a sash reading 'Cowboy Carter,' sitting side saddle on a horse and holding an American flag\" width=\"1920\" height=\"1920\" class=\"size-full wp-image-13955024\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/beyonce-album-cover-te-240328-0b8c2c.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/beyonce-album-cover-te-240328-0b8c2c-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/beyonce-album-cover-te-240328-0b8c2c-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/beyonce-album-cover-te-240328-0b8c2c-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/beyonce-album-cover-te-240328-0b8c2c-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/beyonce-album-cover-te-240328-0b8c2c-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">It turns out that Beyoncé’s ‘Cowboy Carter’ is much more than the country album that fans expected. \u003ccite>(Parkwood Entertainment)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Beyoncé’s \u003cem>Cowboy Carter\u003c/em> is here — the artist’s eighth studio album and second in a trilogy to reclaim the overlooked Black contributions to American music. Of course, we devoured it as soon as it dropped. Hours after its release, here are some first impressions. \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/ycwtqqhV6UE'\n title='//www.youtube.com/embed/ycwtqqhV6UE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>This Ain’t Country\u003c/h2>\n\u003cp>So yeah, \u003ca href=\"https://www.instagram.com/p/C4s6Zr7rlwA/\">Beyoncé didn’t lie\u003c/a>: this ain’t a country album. Beyoncé is better at \u003cem>telegraphing\u003c/em> country music than encapsulating it, anyway. On “Texas Hold ‘Em,” the signifiers are off. A country song wouldn’t need to specify you’re headed to a dive bar, since every bar in a country song is a dive bar, and you certainly wouldn’t need to say you “always thought” it was “nice.” That’s the girl in \u003cem>Ghost World\u003c/em> who thinks the local diner is “\u003ca href=\"https://www.youtube.com/watch?v=nxlccAn4UjI\">sooo… you know… \u003cem>funky\u003c/em>!\u003c/a>”\u003c/p>\n\u003cp>Charlie Parker, the jazz saxophonist, was once asked why he liked listening to country radio; “The stories,” he replied, “listen to the stories.” Are there story songs on \u003cem>Cowboy Carter\u003c/em>? Not many. Are there country songs, even? Not many. But what’s there is something even bigger and broader: Americana and indie-ish songs, a rap song, an opera aria, a whole lotta other stuff like Jersey Club and Son House and the Beach Boys, all in a big, ambitious swirling mix, greater than the sum of its parts. \u003c/p>\n\u003cp>Anyway, Beyoncé already wrote a great country song years ago. It has a car, a box of old stuff, and a cheating boyfriend. It’s called “Irreplaceable.”—\u003cem>Gabe Meline\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\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/MxNMvZ5BhSU'\n title='//www.youtube.com/embed/MxNMvZ5BhSU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>How They Made Me: Houston Texas, Baby\u003c/h2>\n\u003cp>In reality, Beyoncé never stopped being country — from the autobiographical \u003cem>Lemonade\u003c/em> track “Daddy Lessons,” which she performed at the 2016 Country Music Awards with the Chicks, to the Southern ancestry of “Formation,” her Creole roots have always been essential to her musical identity.\u003c/p>\n\u003cp>“Spaghettii” establishes this idea at the center of the album. The track opens with a clip of \u003ca href=\"https://pitchfork.com/reviews/albums/linda-martel-color-me-country/\">Linda Martell\u003c/a>, who many credit as the first commercially successful Black female artist in country music. “Genres are a funny little concept,” she says. “In theory, they have a simple definition that’s easy to understand, but in practice, well, some may feel confined.” Beyoncé then raps over a Brazilian funk sample: “They call me the captain, the catwalk assassin / When they know it’s slappin’, then here come the yappin’,” referring to her haute couture getups and this album’s inevitable discourse.\u003c/p>\n\u003cp>Martell returns to introduce “Ya Ya”: “This particular tune stretches across a range of genres, and that’s what makes it a unique listening experience.” That may be the best description of \u003cem>Cowboy Carter\u003c/em> – a journey that Beyoncé takes the listener on, beyond the realm of pop, R&B and country.\u003cem>—Ugur Dursun\u003c/em>\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/7GVDWWi3i-E'\n title='//www.youtube.com/embed/7GVDWWi3i-E'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>Sometimes tha Side Chick Ain’t Even a Chick, \u003ca href=\"https://pbs.twimg.com/media/GHSa0ZbbUAAxs3Q?format=jpg&name=small\">It’s the Gorgeous and Proud Nation of Ireland\u003c/a>\u003c/h2>\n\u003cp>Ireland is having a hot streak: Cillian Murphy won an Oscar, the people’s princess Ayo Edebiri and normal person Paul Mescal \u003ca href=\"https://www.eonline.com/news/1397582/why-this-photo-of-paul-mescal-and-ayo-edebiri-has-the-internet-buzzing\">maybe or maybe not announced a relationship\u003c/a> and/or \u003ca href=\"https://variety.com/2024/tv/news/emily-henry-ayo-edebiri-paul-mescal-rumor-beach-read-casting-1235951258/\">a movie\u003c/a> on St. Patrick’s Day, Hozier released a new song, and now Beyonce’s “Riiverdance.” \u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"singleTwitterStatus","attributes":{"named":{"id":"1773577746020495687"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Anyways. The reason why I was so taken by \u003cem>Renaissance\u003c/em> – and why listening to \u003cem>Cowboy Carter\u003c/em> is such a journey – is because I’m listening to years and years of music references, collaborations, genres and history woven together in something so sharp, thoughtful and rich. I just can’t wait to read essays about every production choice and homage in this album – every detail, every lyric about the life of a country singer, every little clack of her nails. I love learning! \u003c/p>\n\u003cp>Aaah, these sweeping, choir-sounding cinematic qualities of the album, like “Ameriican Requiem!” Damn, it’s such a cool, excellent piece of work. (It’s why I’m just going to ignore “Jolene” real hard (sorry sorry sorry sorry.))\u003cem>—Nisa Khan\u003c/em>\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/f4xrblI8Tvw'\n title='//www.youtube.com/embed/f4xrblI8Tvw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>Beyoncé as Guardian and ‘Protector’\u003c/h2>\n\u003cp>I wasn’t sure what to expect after the foot-stomping radio single “Texas Hold ’Em,” but wow — the harmonies. From opening track “Ameriican Requiem” and throughout \u003cem>Cowboy Carter\u003c/em>, Beyoncé envelops us in wispy layers of her vocals, which feel as expansive as looking up at a night sky somewhere down a winding back road. Much like how I was dazzled by the stripped-down opening of her Renaissance tour, I love when Beyoncé reminds us that, beyond her maximalist showmanship, she’s built this empire because she can really \u003ci>sing\u003c/i>. \u003c/p>\n\u003cp>Even at 27 tracks, \u003ci>Cowboy Carter\u003c/i> doesn’t feel bloated. Amid the wide range of styles, and the nods to both mainstream country icons and unsung heroes, a new theme reveals itself: Beyoncé tapping into her strength as a defender and guardian of the vulnerable. She embodies that beautifully on “Protector,” a delicately strummed ballad dedicated to her children. On “Daughter,” she shows the aggressive side of that same energy: “If you cross me, I’m just like my father / I am colder than titanic waters.” In past work, Beyoncé has often embodied an archetypal femininity of being gazed upon and wanted. It’s cool seeing her in the driver’s seat here, shotgun in her lap.\u003cem>—Nastia Voynovskaya\u003c/em>\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/E9qjKyMk9iI'\n title='//www.youtube.com/embed/E9qjKyMk9iI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>The Fresno Family Station Wagon\u003c/h2>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Beyoncé and I go way back to when I had no bills. Whenever my Christian parents went shopping, I’d sit in the family station wagon and turn the radio dial past Central Valley country stations to B95, Fresno’s hip-hop hits powerhouse. \u003cem>Cowboy Carter\u003c/em> comes full circle for me. So many Black and brown Americans live in rural areas inundated by white country radio hits, and \u003cem>maybe\u003c/em> a single hip-hop station. Beyoncé links the two in this album. The dreamy wails of “Ameriican Requiem,” the backseat road trip feel of “Bodyguard,” the operatic tones of “Daughter,” the reclaiming of “Jolene” — I walked San Francisco’s meandering avenues, listening last night and feeling like I was back in my parent’s rusted silver car, flipping through the stations. What lingers is the spaghetti Beyoncé’s thrown at the wall: a fun genre-bending concept where she isn’t afraid to show her scars.—\u003cem>Ezra David Romero\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13955021/beyonces-cowboy-carter-first-impressions","authors":["185","11883","11867","11387","11746"],"categories":["arts_1","arts_69"],"tags":["arts_1686","arts_7534","arts_10278"],"featImg":"arts_13955025","label":"arts"},"arts_13954963":{"type":"posts","id":"arts_13954963","meta":{"index":"posts_1591205157","site":"arts","id":"13954963","found":true},"guestAuthors":[],"slug":"berkeleys-small-press-distribution-champion-of-indie-books-shuts-down","title":"Berkeley’s Small Press Distribution, Champion of Indie Books, Shuts Down","publishDate":1711661787,"format":"standard","headTitle":"Berkeley’s Small Press Distribution, Champion of Indie Books, Shuts Down | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>\u003cem>Updated Friday 6 p.m.\u003c/em>\u003c/p>\n\u003cp>Small Press Distribution (SPD), the 55-year-old nonprofit literary distributor, has closed its doors effective immediately. A reduced team is winding down business operations.\u003c/p>\n\u003cp>“We know this news is both sudden and devastating,” read the March 28 announcement on the SPD website. “Several years of declining sales and the loss of grant support … have combined to squeeze our budget beyond the breaking point.”\u003c/p>\n\u003cp>In February, SPD completed the move of over 300,000 books from their Berkeley warehouse to facilities run by Ingram Content Group in Tennessee and Publishers Storage and Shipping in Michigan. This was part of an effort, according to Publisher’s Weekly, to cut operating costs while increasing services for the some 400 publishers who use SPD’s distribution services.\u003c/p>\n\u003cp>The nonprofit had raised more than \u003ca href=\"https://www.gofundme.com/f/help-diverse-independent-literature-in-america\">$100,000 in a GoFundMe\u003c/a> to support the move, and earlier this year SPD launched yet another fundraiser to help it focus on expanding print-on-demand, eBooks, and global distribution. Donations were still coming in this week.\u003c/p>\n\u003cp>“Despite the heroic efforts of a tireless staff to raise new funds, find new sales channels for our presses, and move from our outdated Berkeley warehouse, we are simply no longer able to make ends meet,” said Kent Watson, SPD’s executive director.\u003c/p>\n\u003cp>Founded in 1969, SPD is the only nonprofit literary distributor in the country. It distinguished itself as a place that helped indie publishers to get experimental, avant-garde works into the hands of booksellers and customers across the country.\u003c/p>\n\u003cfigure id=\"attachment_13879807\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13879807\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPD-Warehouse-Overview-Better.jpg\" alt=\"Warehouse shelves full of boxes of books\" width=\"1920\" height=\"1095\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPD-Warehouse-Overview-Better.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPD-Warehouse-Overview-Better-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPD-Warehouse-Overview-Better-800x456.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPD-Warehouse-Overview-Better-768x438.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPD-Warehouse-Overview-Better-1020x582.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Small Press Distribution, one of the last remaining independent book distributors in the country, moved over 300,000 books into facilities owned by Ingram Content Group and Publishers Storage and Shipping. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Against all odds, a tiny distribution service in the back of Berkeley’s Serendipity Books grew to help authors attain some of the literary world’s crowning achievements,” the announcement says. “SPD-distributed authors won multiple National Book Awards, Pulitzer Prizes, MacArthur ‘Genius’ Grants, PEN Awards, Lambda Literary Awards — nearly 100 awards since 2019 alone.”\u003c/p>\n\u003cp>Poet Jean Day, who worked at SPD in the late 1970s and served as its director beginning in 1983, said the end of SPD is a blow. SPD introduced her to the poetry world during an era when the Bay Area was one of the centers of small press publishing.\u003c/p>\n\u003cp>Now, it will be a lot harder to get small presses into libraries and bookstores, Day said.\u003c/p>\n\u003cp>SPD survived for decades through shrinking arts funding, the decline in independent bookstores, the rise of the internet, and the domination of the book market by Amazon.\u003c/p>\n\u003cp>“Publishing poetry especially, but any kind of non-mainstream literature, is never going to attract the numbers that make publishing possible,” Day said. “I don’t mean profitable, I mean even possible to break even.”\u003c/p>\n\u003cp>In recent ears, SPD has been rocked by instability and controversy. Watson, the current executive director, was hired in 2022 following an 18-month period of uncertainty after the resignation of Brent Cunningham. Cunningham’s tenure was cut short after accusations of discrimination and wage theft.\u003c/p>\n\u003cp>Despite efforts to raise new funds, SPD simply couldn’t afford to go on: “SPD lost hundreds of thousands in grants in the past few years as funders moved away from supporting the arts.”\u003c/p>\n\u003cp>SPD had lost $125,000 in annual grants in the past year from half a dozen institutions, the nonprofit said, and the warehouse shift also took longer and cost more than expected, straining its financial resources even more.[aside postID=\"news_11883845\" hero='https://ww2.kqed.org/app/uploads/sites/10/2021/08/RS50285_002_Berkeley_SmallPressStory_07192021-qut-1020x680.jpg']Available tax filings from 2022 and 2021 show net losses of over $230,000 combined, and an operating budget of around $1.3 million a year.\u003c/p>\n\u003cp>In the announcement, the distributor told publishers their books were in safe hands with Ingram and PSSC, but they would need to contact them directly about distribution or the return of materials.\u003c/p>\n\u003cp>In the statement sent to publishers, Watson said SPD’s dissolution would be overseen by the California Superior Court, which would determine next steps for its remaining assets and “the extent all claims from creditors cannot be satisfied.”\u003c/p>\n\u003cp>When reached for comment from Watson, an automatic email says SPD regrets not being able to respond to individual queries.\u003c/p>\n\u003cp>It’s unclear what’s next for the hundreds of publishers who rely on SPD, or how those small presses will find their way to bookstores and libraries.\u003c/p>\n\u003cp>Poets and presses on social media have expressed disappointment, shock and frustration over the sudden closure. Many described feeling abandoned or betrayed.\u003c/p>\n\u003cp>Writer Ryan Ruby posted that the collapse of SPD is a disaster.\u003c/p>\n\u003cp>“When a magazine goes, it’s a terrible thing, but from the point of view of the magazine world it’s like losing a limb. For small press world, this is heart failure,” Ruby said.\u003c/p>\n\u003cp>Presses did not see this coming, said Josh Savory, the editor-in-chief and co-creator of Game Over Books in Boston. He said he had been in communication with SPD over print-on-demand options as recently as this week, but was not warned about the pending end to the nonprofit.\u003c/p>\n\u003cp>He worries about how, when, or if small presses distributed by SPD, which already have very small budgets, will receive their next payments.\u003c/p>\n\u003cp>“They’re going to have to go on hiatus or not sell books for a while, maybe they’ll close,” Savory said. “That’s a huge loss,”\u003c/p>\n\u003cp>\u003ca href=\"https://www.clmp.org/event/emergency-session-next-steps-for-spd-distributed-presses/\">The Community of Literary Magazines and Presses\u003c/a> organized an “emergency session” on Friday to discuss SPD’s closure and for presses to exchange advice and discuss next steps. More than 250 attendees showed up for the virtual meeting.\u003c/p>\n\u003cp>“Everyone at SPD is heartbroken at this devastating outcome, which seriously jeopardizes the ability of underrepresented literary communities to reach the marketplace,” SPD’s closing announcement concludes. “We thank you for your years of support.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n","blocks":[],"excerpt":"Founded in 1969, the nonprofit distributor got experimental, avant-garde works onto bookstores’ shelves.","status":"publish","parent":0,"modified":1711991286,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":29,"wordCount":1051},"headData":{"title":"Berkeley’s Small Press Distribution, Champion of Indie Books, Shuts Down | KQED","description":"Founded in 1969, the nonprofit distributor got experimental, avant-garde works onto bookstores’ shelves.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13954963/berkeleys-small-press-distribution-champion-of-indie-books-shuts-down","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Updated Friday 6 p.m.\u003c/em>\u003c/p>\n\u003cp>Small Press Distribution (SPD), the 55-year-old nonprofit literary distributor, has closed its doors effective immediately. A reduced team is winding down business operations.\u003c/p>\n\u003cp>“We know this news is both sudden and devastating,” read the March 28 announcement on the SPD website. “Several years of declining sales and the loss of grant support … have combined to squeeze our budget beyond the breaking point.”\u003c/p>\n\u003cp>In February, SPD completed the move of over 300,000 books from their Berkeley warehouse to facilities run by Ingram Content Group in Tennessee and Publishers Storage and Shipping in Michigan. This was part of an effort, according to Publisher’s Weekly, to cut operating costs while increasing services for the some 400 publishers who use SPD’s distribution services.\u003c/p>\n\u003cp>The nonprofit had raised more than \u003ca href=\"https://www.gofundme.com/f/help-diverse-independent-literature-in-america\">$100,000 in a GoFundMe\u003c/a> to support the move, and earlier this year SPD launched yet another fundraiser to help it focus on expanding print-on-demand, eBooks, and global distribution. Donations were still coming in this week.\u003c/p>\n\u003cp>“Despite the heroic efforts of a tireless staff to raise new funds, find new sales channels for our presses, and move from our outdated Berkeley warehouse, we are simply no longer able to make ends meet,” said Kent Watson, SPD’s executive director.\u003c/p>\n\u003cp>Founded in 1969, SPD is the only nonprofit literary distributor in the country. It distinguished itself as a place that helped indie publishers to get experimental, avant-garde works into the hands of booksellers and customers across the country.\u003c/p>\n\u003cfigure id=\"attachment_13879807\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13879807\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPD-Warehouse-Overview-Better.jpg\" alt=\"Warehouse shelves full of boxes of books\" width=\"1920\" height=\"1095\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPD-Warehouse-Overview-Better.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPD-Warehouse-Overview-Better-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPD-Warehouse-Overview-Better-800x456.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPD-Warehouse-Overview-Better-768x438.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPD-Warehouse-Overview-Better-1020x582.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Small Press Distribution, one of the last remaining independent book distributors in the country, moved over 300,000 books into facilities owned by Ingram Content Group and Publishers Storage and Shipping. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Against all odds, a tiny distribution service in the back of Berkeley’s Serendipity Books grew to help authors attain some of the literary world’s crowning achievements,” the announcement says. “SPD-distributed authors won multiple National Book Awards, Pulitzer Prizes, MacArthur ‘Genius’ Grants, PEN Awards, Lambda Literary Awards — nearly 100 awards since 2019 alone.”\u003c/p>\n\u003cp>Poet Jean Day, who worked at SPD in the late 1970s and served as its director beginning in 1983, said the end of SPD is a blow. SPD introduced her to the poetry world during an era when the Bay Area was one of the centers of small press publishing.\u003c/p>\n\u003cp>Now, it will be a lot harder to get small presses into libraries and bookstores, Day said.\u003c/p>\n\u003cp>SPD survived for decades through shrinking arts funding, the decline in independent bookstores, the rise of the internet, and the domination of the book market by Amazon.\u003c/p>\n\u003cp>“Publishing poetry especially, but any kind of non-mainstream literature, is never going to attract the numbers that make publishing possible,” Day said. “I don’t mean profitable, I mean even possible to break even.”\u003c/p>\n\u003cp>In recent ears, SPD has been rocked by instability and controversy. Watson, the current executive director, was hired in 2022 following an 18-month period of uncertainty after the resignation of Brent Cunningham. Cunningham’s tenure was cut short after accusations of discrimination and wage theft.\u003c/p>\n\u003cp>Despite efforts to raise new funds, SPD simply couldn’t afford to go on: “SPD lost hundreds of thousands in grants in the past few years as funders moved away from supporting the arts.”\u003c/p>\n\u003cp>SPD had lost $125,000 in annual grants in the past year from half a dozen institutions, the nonprofit said, and the warehouse shift also took longer and cost more than expected, straining its financial resources even more.\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"news_11883845","hero":"https://ww2.kqed.org/app/uploads/sites/10/2021/08/RS50285_002_Berkeley_SmallPressStory_07192021-qut-1020x680.jpg","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Available tax filings from 2022 and 2021 show net losses of over $230,000 combined, and an operating budget of around $1.3 million a year.\u003c/p>\n\u003cp>In the announcement, the distributor told publishers their books were in safe hands with Ingram and PSSC, but they would need to contact them directly about distribution or the return of materials.\u003c/p>\n\u003cp>In the statement sent to publishers, Watson said SPD’s dissolution would be overseen by the California Superior Court, which would determine next steps for its remaining assets and “the extent all claims from creditors cannot be satisfied.”\u003c/p>\n\u003cp>When reached for comment from Watson, an automatic email says SPD regrets not being able to respond to individual queries.\u003c/p>\n\u003cp>It’s unclear what’s next for the hundreds of publishers who rely on SPD, or how those small presses will find their way to bookstores and libraries.\u003c/p>\n\u003cp>Poets and presses on social media have expressed disappointment, shock and frustration over the sudden closure. Many described feeling abandoned or betrayed.\u003c/p>\n\u003cp>Writer Ryan Ruby posted that the collapse of SPD is a disaster.\u003c/p>\n\u003cp>“When a magazine goes, it’s a terrible thing, but from the point of view of the magazine world it’s like losing a limb. For small press world, this is heart failure,” Ruby said.\u003c/p>\n\u003cp>Presses did not see this coming, said Josh Savory, the editor-in-chief and co-creator of Game Over Books in Boston. He said he had been in communication with SPD over print-on-demand options as recently as this week, but was not warned about the pending end to the nonprofit.\u003c/p>\n\u003cp>He worries about how, when, or if small presses distributed by SPD, which already have very small budgets, will receive their next payments.\u003c/p>\n\u003cp>“They’re going to have to go on hiatus or not sell books for a while, maybe they’ll close,” Savory said. “That’s a huge loss,”\u003c/p>\n\u003cp>\u003ca href=\"https://www.clmp.org/event/emergency-session-next-steps-for-spd-distributed-presses/\">The Community of Literary Magazines and Presses\u003c/a> organized an “emergency session” on Friday to discuss SPD’s closure and for presses to exchange advice and discuss next steps. More than 250 attendees showed up for the virtual meeting.\u003c/p>\n\u003cp>“Everyone at SPD is heartbroken at this devastating outcome, which seriously jeopardizes the ability of underrepresented literary communities to reach the marketplace,” SPD’s closing announcement concludes. “We thank you for your years of support.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13954963/berkeleys-small-press-distribution-champion-of-indie-books-shuts-down","authors":["61","11635"],"categories":["arts_1","arts_73","arts_235"],"tags":["arts_1270","arts_928","arts_10278","arts_10422","arts_4566"],"featImg":"arts_13879796","label":"arts"},"arts_13954364":{"type":"posts","id":"arts_13954364","meta":{"index":"posts_1591205157","site":"arts","id":"13954364","found":true},"guestAuthors":[],"slug":"sacramento-taco-truck-banzitos-kings-deaaron-fox-nba","title":"These Sacramento Tacos Are So Good, They Inspired an NBA Player's New Shoes","publishDate":1711396359,"format":"standard","headTitle":"These Sacramento Tacos Are So Good, They Inspired an NBA Player’s New Shoes | KQED","labelTerm":{},"content":"\u003cp>\u003cspan style=\"font-weight: 400\">As a Bay Area Mexican American, I don’t often feel the need to leave our Pacific shoreline in search of good Mexican food. After all, the Bay is home to the righteous Mission burrito — a game-changing \u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=bWsvwwglD8I\">\u003cspan style=\"font-weight: 400\">culinary gem of generous proportions\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> — as well as \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13936325/social-media-biggest-pupusas-burritos-instagram-tiktok-latinextravagant-bay-area\">\u003cspan style=\"font-weight: 400\">a growing “Latinextravagant” food scene\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Sure, there’s always the occasional hater comparing us to L.A. and San Diego — which have larger Mexican populations and are closer to the border. But the Bay boasts a delicious array of regional Mexican foods scattered throughout East Oakland’s parking lots, San Jose’s markets and Richmond’s backyards. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And yet it would be foolish to think we’re the singular purveyor of Northern California’s best Mexican-inspired dishes. \u003c/span>\u003cspan style=\"font-weight: 400\">As metropolitan as we are, I recently found some of my favorite Chicano-style tacos in Sacramento — and NBA All Star De’Aaron Fox agrees. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13954471\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954471\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/taco1-scaled.jpg\" alt=\"a carne asada taco with guacamole, cilantro and onions on a paper tray\" width=\"2560\" height=\"2083\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/taco1-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/taco1-800x651.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/taco1-1020x830.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/taco1-160x130.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/taco1-768x625.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/taco1-1536x1250.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/taco1-2048x1667.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/taco1-1920x1563.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">The Bistek taco comes with carne asada, orange sauce and sliced avocado on a fried crisp tortilla. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">At a taco truck called \u003ca href=\"https://www.instagram.com/banzitostacos/\">Banzito’s\u003c/a> (formerly Bandito’s), I encountered my first “enchitaco.” It’s an open-faced enchilada that fuses magically with the highly Americanized taco ingredients of ground beef, lettuce, diced tomatoes and sour cream. I haven’t seen anything like it in Bay Area; clearly, there’s something different going on in Sacra.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">With other ingredients like bacon bits and pepper jack cheese, Banzito’s Northern Califas tacos are closer to Tex-Mex than the central and northern Mexican classics revered in immigrant enclaves. Instead of striving for sanctimonious purity, chef Adam Saldaña focuses on remixing flavors you’ll likely find in a multi-generational Chicano household’s pantry, not from a taquero’s basket in Guadalajara. And that’s the beauty — and empowering reclamation — of it. \u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Saldaña’s tacos might even get scoffed at by actual Mexicans, who often \u003ca href=\"https://www.ocweekly.com/why-dont-mexicans-like-mexican-restaurants-in-the-united-states-8457539/\">poke fun at Americanized Mexican food\u003c/a>. But not all tacos have to be praised by those who only know life in la República Mexicana, where context about what it’s like to grow up in the U.S. with Mexican heritage is often lost in translation. Banzito’s \u003cem>is\u003c/em> the translation, and reflects Saldaña’s experiences as a Sacramentan rather than some distant ideal of what a taco \u003ci>should\u003c/i> be. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">His approach is clearly working. The tacos are so noticeably appealing to local tastebuds that Sacramento Kings point guard Fox has taken it upon himself to champion Banzito’s in perhaps the most flamboyant way an NBA player can.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13954469\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954469\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_0666-scaled.jpg\" alt=\"a group of Sacramento Kings basketball fans wait in line to order tacos from a truck outside of the team's arena\" width=\"2560\" height=\"1882\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_0666-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_0666-800x588.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_0666-1020x750.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_0666-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_0666-768x565.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_0666-1536x1129.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_0666-2048x1506.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_0666-1920x1411.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">A group of Sacramento Kings fans await their order from Banzito’s outside of Golden 1 Center. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">On March 7, after Fox dropped 33 points in a pivotal win against the San Antonio Spurs, the phenom debuted his Curry-brand player edition sneakers, \u003ca href=\"https://twitter.com/NickDePaula/status/1765931757361037569\">dedicated to Banzito’s.\u003c/a> After the game, \u003ca href=\"https://twitter.com/swipathefox/status/1765632799657349178\">he Tweeted Saldaña to save him a plate of food\u003c/a>. He then slid out to the truck, in front of the arena, and \u003ca href=\"https://twitter.com/BanzitosTacos/status/1766163989422366935/photo/2\">scarfed down some carne asada\u003c/a>.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In my lifetime of eating tacos and watching the NBA, I’ve never once seen an NBA player endorse an independent Mexican food business. The way Fox has been giving Saldaña his props, in my eyes, is worthy of the Mexican American Hall of Fame.\u003c/span>\u003c/p>\n\u003cp>https://twitter.com/NickDePaula/status/1765931757361037569\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">A quick lurk through \u003ca href=\"https://twitter.com/swipathefox\">Fox’s social pages\u003c/a> reveal a longtime affinity for Banzito’s, with raving posts that date back at least a year. Endearingly, the player and the taquero quote tweet and retweet one another about the food, Sacramento and basketball. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Earlier this season, when reports of Fox’s injury surfaced, \u003c/span>\u003ca href=\"https://twitter.com/BanzitosTacos/status/1719037038803222995\">\u003cspan style=\"font-weight: 400\">Saldaña sent him horchata and tacos\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. When Fox and the Kings recently won, the player shared an Instagram post to his million followers with the caption, \u003ca href=\"https://www.instagram.com/swipathefox/p/C4RXXSMvFKF/?img_index=1\">“Beams and Banzitos.”\u003c/a>\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s safe to say that it’s the most heartwarming friendship that has ever publicly blossomed between a homegrown taquero and an NBA star. [aside postid='arts_13954597']\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It doesn’t hurt that \u003ca href=\"https://twitter.com/swipathefox/status/1761586212022931898\">Saldaña is a diehard Kings fan who previously catered privately for the team\u003c/a>. Banzito’s designs and slogans align perfectly with the Kings’ fanbase, too: “Light The Tacobeam,” \u003ca href=\"https://twitter.com/BanzitosTacos/status/1768129036931445239\">a makeshift logo with a purple bandana-wearing fox.\u003c/a> These are the kinds of brand innovations and menu items that Saldaña is dishing out — and \u003ca href=\"https://twitter.com/Cee_Caldwell/status/1761191744602030225\">Sacramentans, including Fox and his wife, Recee, are eating it up\u003c/a>. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Saldaña just launched his brightly lit teal-and-yellow food truck near downtown’s sparkling Golden 1 Center. And earlier this month, he announced he’ll be expanding with pop-ups at Fowler Ranch Farm Brewery in Lincoln and Sharif & Co. in Roseville.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13954459\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954459\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Banzitos2-scaled.jpg\" alt=\"a basketball fan eats a taco in front of a basketball arena\" width=\"2560\" height=\"2491\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Banzitos2-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Banzitos2-800x778.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Banzitos2-1020x992.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Banzitos2-160x156.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Banzitos2-768x747.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Banzitos2-1536x1495.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Banzitos2-2048x1993.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Banzitos2-1920x1868.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Local author Jose Vadi eats at Banzito’s while flashing his Sacramento gear.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Outside the Golden 1 Center, you may have to wait in line to get your first bite. Without much nearby competition (besides the more upscale Mexican restaurant Polcano), Saldaña is taking his shot. And he hasn’t missed.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">At its core, Banzito’s represents the way children of immigrants reinvent culture, a subversive kind of nourishment that thrives despite naysayers and doubters. Just like lowriders, another symbol of Chicano style and ingenuity, Banzito’s is re-engineering what we know in a slightly familiar, edible context. [aside postid='arts_13954624']\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s precisely that imperfect (or perfect?) hybridity that allows Saldaña’s tortilla-bound inventions to accentuate the tastes of what it’s like to be raised by Mexicans outside of Mexico, this far north from the border. As they say in parts of Mexico, every pueblo has its own kind of salsa. This is Sacramento’s.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.instagram.com/banzitostacos/\">Banzito’s\u003c/a> taco truck is located in front of Golden 1 Center, on the corner of K and 7th Street, before and after Kings games. They also pop-up near Sharif & Co. (1001 Creekside Ridge Drive Roseville, CA 95678) and at Fowler Ranch Farm Brewery (3111 Lincoln Newcastle Hwy., Lincoln, CA 95648). \u003ca href=\"https://www.instagram.com/banzitostacos/\">Check their Instagram page\u003c/a> for more hours and locations.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Banzito's has a cult following that includes the Kings' De'Aaron Fox, who designed a shoe in its honor.","status":"publish","parent":0,"modified":1711472530,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":21,"wordCount":1089},"headData":{"title":"These Sacramento Tacos Inspired a Kings Player's New Sneakers | KQED","description":"Banzito's has a cult following that includes the Kings' De'Aaron Fox, who designed a shoe in its honor.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","socialTitle":"These Sacramento Tacos Inspired a Kings Player's New Sneakers %%page%% %%sep%% KQED"},"source":"Food","sourceUrl":"https://www.kqed.org/food","sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13954364/sacramento-taco-truck-banzitos-kings-deaaron-fox-nba","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">As a Bay Area Mexican American, I don’t often feel the need to leave our Pacific shoreline in search of good Mexican food. After all, the Bay is home to the righteous Mission burrito — a game-changing \u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=bWsvwwglD8I\">\u003cspan style=\"font-weight: 400\">culinary gem of generous proportions\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> — as well as \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13936325/social-media-biggest-pupusas-burritos-instagram-tiktok-latinextravagant-bay-area\">\u003cspan style=\"font-weight: 400\">a growing “Latinextravagant” food scene\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Sure, there’s always the occasional hater comparing us to L.A. and San Diego — which have larger Mexican populations and are closer to the border. But the Bay boasts a delicious array of regional Mexican foods scattered throughout East Oakland’s parking lots, San Jose’s markets and Richmond’s backyards. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And yet it would be foolish to think we’re the singular purveyor of Northern California’s best Mexican-inspired dishes. \u003c/span>\u003cspan style=\"font-weight: 400\">As metropolitan as we are, I recently found some of my favorite Chicano-style tacos in Sacramento — and NBA All Star De’Aaron Fox agrees. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13954471\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954471\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/taco1-scaled.jpg\" alt=\"a carne asada taco with guacamole, cilantro and onions on a paper tray\" width=\"2560\" height=\"2083\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/taco1-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/taco1-800x651.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/taco1-1020x830.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/taco1-160x130.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/taco1-768x625.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/taco1-1536x1250.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/taco1-2048x1667.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/taco1-1920x1563.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">The Bistek taco comes with carne asada, orange sauce and sliced avocado on a fried crisp tortilla. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">At a taco truck called \u003ca href=\"https://www.instagram.com/banzitostacos/\">Banzito’s\u003c/a> (formerly Bandito’s), I encountered my first “enchitaco.” It’s an open-faced enchilada that fuses magically with the highly Americanized taco ingredients of ground beef, lettuce, diced tomatoes and sour cream. I haven’t seen anything like it in Bay Area; clearly, there’s something different going on in Sacra.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">With other ingredients like bacon bits and pepper jack cheese, Banzito’s Northern Califas tacos are closer to Tex-Mex than the central and northern Mexican classics revered in immigrant enclaves. Instead of striving for sanctimonious purity, chef Adam Saldaña focuses on remixing flavors you’ll likely find in a multi-generational Chicano household’s pantry, not from a taquero’s basket in Guadalajara. And that’s the beauty — and empowering reclamation — of it. \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Saldaña’s tacos might even get scoffed at by actual Mexicans, who often \u003ca href=\"https://www.ocweekly.com/why-dont-mexicans-like-mexican-restaurants-in-the-united-states-8457539/\">poke fun at Americanized Mexican food\u003c/a>. But not all tacos have to be praised by those who only know life in la República Mexicana, where context about what it’s like to grow up in the U.S. with Mexican heritage is often lost in translation. Banzito’s \u003cem>is\u003c/em> the translation, and reflects Saldaña’s experiences as a Sacramentan rather than some distant ideal of what a taco \u003ci>should\u003c/i> be. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">His approach is clearly working. The tacos are so noticeably appealing to local tastebuds that Sacramento Kings point guard Fox has taken it upon himself to champion Banzito’s in perhaps the most flamboyant way an NBA player can.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13954469\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954469\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_0666-scaled.jpg\" alt=\"a group of Sacramento Kings basketball fans wait in line to order tacos from a truck outside of the team's arena\" width=\"2560\" height=\"1882\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_0666-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_0666-800x588.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_0666-1020x750.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_0666-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_0666-768x565.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_0666-1536x1129.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_0666-2048x1506.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_0666-1920x1411.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">A group of Sacramento Kings fans await their order from Banzito’s outside of Golden 1 Center. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">On March 7, after Fox dropped 33 points in a pivotal win against the San Antonio Spurs, the phenom debuted his Curry-brand player edition sneakers, \u003ca href=\"https://twitter.com/NickDePaula/status/1765931757361037569\">dedicated to Banzito’s.\u003c/a> After the game, \u003ca href=\"https://twitter.com/swipathefox/status/1765632799657349178\">he Tweeted Saldaña to save him a plate of food\u003c/a>. He then slid out to the truck, in front of the arena, and \u003ca href=\"https://twitter.com/BanzitosTacos/status/1766163989422366935/photo/2\">scarfed down some carne asada\u003c/a>.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In my lifetime of eating tacos and watching the NBA, I’ve never once seen an NBA player endorse an independent Mexican food business. The way Fox has been giving Saldaña his props, in my eyes, is worthy of the Mexican American Hall of Fame.\u003c/span>\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"singleTwitterStatus","attributes":{"named":{"id":"1765931757361037569"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>\u003cspan style=\"font-weight: 400\">A quick lurk through \u003ca href=\"https://twitter.com/swipathefox\">Fox’s social pages\u003c/a> reveal a longtime affinity for Banzito’s, with raving posts that date back at least a year. Endearingly, the player and the taquero quote tweet and retweet one another about the food, Sacramento and basketball. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Earlier this season, when reports of Fox’s injury surfaced, \u003c/span>\u003ca href=\"https://twitter.com/BanzitosTacos/status/1719037038803222995\">\u003cspan style=\"font-weight: 400\">Saldaña sent him horchata and tacos\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. When Fox and the Kings recently won, the player shared an Instagram post to his million followers with the caption, \u003ca href=\"https://www.instagram.com/swipathefox/p/C4RXXSMvFKF/?img_index=1\">“Beams and Banzitos.”\u003c/a>\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s safe to say that it’s the most heartwarming friendship that has ever publicly blossomed between a homegrown taquero and an NBA star. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13954597","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It doesn’t hurt that \u003ca href=\"https://twitter.com/swipathefox/status/1761586212022931898\">Saldaña is a diehard Kings fan who previously catered privately for the team\u003c/a>. Banzito’s designs and slogans align perfectly with the Kings’ fanbase, too: “Light The Tacobeam,” \u003ca href=\"https://twitter.com/BanzitosTacos/status/1768129036931445239\">a makeshift logo with a purple bandana-wearing fox.\u003c/a> These are the kinds of brand innovations and menu items that Saldaña is dishing out — and \u003ca href=\"https://twitter.com/Cee_Caldwell/status/1761191744602030225\">Sacramentans, including Fox and his wife, Recee, are eating it up\u003c/a>. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Saldaña just launched his brightly lit teal-and-yellow food truck near downtown’s sparkling Golden 1 Center. And earlier this month, he announced he’ll be expanding with pop-ups at Fowler Ranch Farm Brewery in Lincoln and Sharif & Co. in Roseville.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13954459\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954459\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Banzitos2-scaled.jpg\" alt=\"a basketball fan eats a taco in front of a basketball arena\" width=\"2560\" height=\"2491\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Banzitos2-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Banzitos2-800x778.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Banzitos2-1020x992.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Banzitos2-160x156.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Banzitos2-768x747.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Banzitos2-1536x1495.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Banzitos2-2048x1993.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Banzitos2-1920x1868.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Local author Jose Vadi eats at Banzito’s while flashing his Sacramento gear.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Outside the Golden 1 Center, you may have to wait in line to get your first bite. Without much nearby competition (besides the more upscale Mexican restaurant Polcano), Saldaña is taking his shot. And he hasn’t missed.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">At its core, Banzito’s represents the way children of immigrants reinvent culture, a subversive kind of nourishment that thrives despite naysayers and doubters. Just like lowriders, another symbol of Chicano style and ingenuity, Banzito’s is re-engineering what we know in a slightly familiar, edible context. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13954624","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s precisely that imperfect (or perfect?) hybridity that allows Saldaña’s tortilla-bound inventions to accentuate the tastes of what it’s like to be raised by Mexicans outside of Mexico, this far north from the border. As they say in parts of Mexico, every pueblo has its own kind of salsa. This is Sacramento’s.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.instagram.com/banzitostacos/\">Banzito’s\u003c/a> taco truck is located in front of Golden 1 Center, on the corner of K and 7th Street, before and after Kings games. They also pop-up near Sharif & Co. (1001 Creekside Ridge Drive Roseville, CA 95678) and at Fowler Ranch Farm Brewery (3111 Lincoln Newcastle Hwy., Lincoln, CA 95648). \u003ca href=\"https://www.instagram.com/banzitostacos/\">Check their Instagram page\u003c/a> for more hours and locations.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13954364/sacramento-taco-truck-banzitos-kings-deaaron-fox-nba","authors":["11748"],"categories":["arts_1","arts_835","arts_12276"],"tags":["arts_3419","arts_10278","arts_1297","arts_14985","arts_22012","arts_5779","arts_14984"],"featImg":"arts_13954474","label":"source_arts_13954364"},"arts_13954716":{"type":"posts","id":"arts_13954716","meta":{"index":"posts_1591205157","site":"arts","id":"13954716","found":true},"guestAuthors":[],"slug":"san-jose-day-returns-to-celebrate-the-408","title":"San Jose Day Returns to Celebrate the 408 in Japantown","publishDate":1711986334,"format":"standard","headTitle":"San Jose Day Returns to Celebrate the 408 in Japantown | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>When Haley Cardamon interviewed \u003ca href=\"https://www.kqed.org/arts/13950855/underground-rap-playa-sht-political-joints-equipto-has-bars\">rapper and activist Equipto\u003c/a> in 2016, she was inspired by how hard he repped his hometown of San Francisco.\u003c/p>\n\u003cp>Cardamon — at the time a community college student running a local arts publication, \u003ca href=\"https://www.awesomefoundation.org/en/projects/80940-bay-area-creatives-klub-magazine\">\u003ci>B.A.C.K Magazine\u003c/i>\u003c/a> — learned from the Filipino lyricist about \u003ca href=\"https://www.kqed.org/arts/13895377/rightnowish-baghead-cerealforthekids\">415 Day\u003c/a>, a celebratory gathering for San Franciscans to uplift one another. The event officially debuted that same year at Dolores Park.\u003c/p>\n\u003cp>As someone born and raised in San Jose’s East Side and downtown neighborhoods, Cardamon realized the hometown she loved didn’t have any equivalent. “Girl, you could do it,” Cardamon recalls Equipto telling her.\u003c/p>\n\u003cp>That’s how San Jose Day, formerly known as 408 Day, was born, with its first iteration held downtown in 2017. It gained traction and continued annually until 2020, when the event was shut down by the pandemic. It made its return in 2023.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=j793qAWhjqA\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>This year, the event is back and bigger than ever. Feeling reinvigorated, Cardamon believes San Jose is primed for a cultural renaissance.\u003c/p>\n\u003cp>“I’ll be honest, I don’t have a big interest in going to San Francisco and Oakland,” Cardamon says. “San Jose has so much going on. It’s very creative, and our culture has blossomed and grown in a way where people are collaborative and respectful of each other’s lanes. We survive in one of the toughest cities to make a living, and we hustle for each other.”\u003c/p>\n\u003cp>The 6th Annual San Jose Day will include low riders and classic cars, live music, food vendors, Aztec and folklórico dancers, educational awareness groups, gallery artists and more. Among them, Cardamon is especially proud of the \u003ca href=\"https://siliconvalleydownsyndromenetwork.wildapricot.org/\">Silicon Valley Down Syndrome Network\u003c/a>, which is hosting a Japanese Taiko performance.\u003c/p>\n\u003cp>“I’m excited about that; I’ve never seen a festival host a special needs group of youth doing a performance,” says Cardamon. “And everyone’s getting paid. That’s special to me.”\u003c/p>\n\u003cfigure id=\"attachment_13954723\" class=\"wp-caption alignnone\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954723\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SJD2023_FullSet-340_websize.jpg\" alt=\"a musical performer is on stage in front of a large audience in San Jose\" width=\"1600\" height=\"900\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SJD2023_FullSet-340_websize.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SJD2023_FullSet-340_websize-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SJD2023_FullSet-340_websize-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SJD2023_FullSet-340_websize-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SJD2023_FullSet-340_websize-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SJD2023_FullSet-340_websize-1536x864.jpg 1536w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">A San Jose performer captivates the crowd during San Jose Day in 2023. \u003ccite>(Alex Knowbody)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cardamon is a San Jose ride-or-die advocate. Having experienced housing insecurity during the 2008 recession in the city as a youth, she’s intimately familiar with the region’s struggles and the often inaccessible pathways for artists to thrive. That’s especially true in Silicon Valley, where tech innovation frequently eclipses the work of art innovators — both economically and culturally.\u003c/p>\n\u003cp>Like Cardamon herself, the event has roamed around San Jose’s diverse communities. It’s been held in the Gordon Biersch lot in downtown San Jose as well as the famed Mexican Heritage Plaza on Alum Rock Avenue. On April 6, \u003ca href=\"https://www.instagram.com/empire7studios/?hl=en\">Empire Seven Studios\u003c/a> in Japantown — \u003ca href=\"https://www.kqed.org/arts/13952476/san-jose-japantown-photo-night-cukui\">which has a bubbling creative scene\u003c/a> — hosts this year’s edition.\u003c/p>\n\u003cp>Having brought in more than 7,500 attendees last year, Cardamon feels a surging momentum in her city.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=X9cSIPpBz9Q\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>“The energy was vividly euphoric and positive, so much love,” says Cardamon of last year’s festivities. “It was a pivotal moment for our event to know, and people were like ‘Oh shit, we’ve never heard of it before.’ We had over 98 artists involved. That made me realize I could do this. I want to give more of myself to this.”\u003c/p>\n\u003cp>Cardamon is in the process of finalizing her 501(c)(3) status as a nonprofit, and has also developed an arts and culture board to review applications for participating artists, vendors and community members.\u003c/p>\n\u003cp>Though not quite yet at the level of recognition as 415 Day or 510 Day, San Jose Day — in the hub of the Bay Area’s most populous county — is bound to keep growing. And as it does, Cardamon will be at the center, waving her San Jose flag.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003ca href=\"https://www.sanjoseday.org/sjd2024\">San Jose Day\u003c/a> takes place on Saturday, April 6, from noon–6 p.m., at 525 N. 7th St., San Jose. Entry is free. \u003ca href=\"https://www.sanjoseday.org/sjd2024\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"This year’s edition of the cultural festival takes place in San Jose’s thriving Japantown.","status":"publish","parent":0,"modified":1711992533,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":18,"wordCount":709},"headData":{"title":"San Jose Day Returns to Celebrate the 408 in Japantown | KQED","description":"This year’s edition of the cultural festival takes place in San Jose’s thriving Japantown.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13954716/san-jose-day-returns-to-celebrate-the-408","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>When Haley Cardamon interviewed \u003ca href=\"https://www.kqed.org/arts/13950855/underground-rap-playa-sht-political-joints-equipto-has-bars\">rapper and activist Equipto\u003c/a> in 2016, she was inspired by how hard he repped his hometown of San Francisco.\u003c/p>\n\u003cp>Cardamon — at the time a community college student running a local arts publication, \u003ca href=\"https://www.awesomefoundation.org/en/projects/80940-bay-area-creatives-klub-magazine\">\u003ci>B.A.C.K Magazine\u003c/i>\u003c/a> — learned from the Filipino lyricist about \u003ca href=\"https://www.kqed.org/arts/13895377/rightnowish-baghead-cerealforthekids\">415 Day\u003c/a>, a celebratory gathering for San Franciscans to uplift one another. The event officially debuted that same year at Dolores Park.\u003c/p>\n\u003cp>As someone born and raised in San Jose’s East Side and downtown neighborhoods, Cardamon realized the hometown she loved didn’t have any equivalent. “Girl, you could do it,” Cardamon recalls Equipto telling her.\u003c/p>\n\u003cp>That’s how San Jose Day, formerly known as 408 Day, was born, with its first iteration held downtown in 2017. It gained traction and continued annually until 2020, when the event was shut down by the pandemic. It made its return in 2023.\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/j793qAWhjqA'\n title='//www.youtube.com/embed/j793qAWhjqA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>This year, the event is back and bigger than ever. Feeling reinvigorated, Cardamon believes San Jose is primed for a cultural renaissance.\u003c/p>\n\u003cp>“I’ll be honest, I don’t have a big interest in going to San Francisco and Oakland,” Cardamon says. “San Jose has so much going on. It’s very creative, and our culture has blossomed and grown in a way where people are collaborative and respectful of each other’s lanes. We survive in one of the toughest cities to make a living, and we hustle for each other.”\u003c/p>\n\u003cp>The 6th Annual San Jose Day will include low riders and classic cars, live music, food vendors, Aztec and folklórico dancers, educational awareness groups, gallery artists and more. Among them, Cardamon is especially proud of the \u003ca href=\"https://siliconvalleydownsyndromenetwork.wildapricot.org/\">Silicon Valley Down Syndrome Network\u003c/a>, which is hosting a Japanese Taiko performance.\u003c/p>\n\u003cp>“I’m excited about that; I’ve never seen a festival host a special needs group of youth doing a performance,” says Cardamon. “And everyone’s getting paid. That’s special to me.”\u003c/p>\n\u003cfigure id=\"attachment_13954723\" class=\"wp-caption alignnone\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954723\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SJD2023_FullSet-340_websize.jpg\" alt=\"a musical performer is on stage in front of a large audience in San Jose\" width=\"1600\" height=\"900\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SJD2023_FullSet-340_websize.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SJD2023_FullSet-340_websize-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SJD2023_FullSet-340_websize-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SJD2023_FullSet-340_websize-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SJD2023_FullSet-340_websize-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SJD2023_FullSet-340_websize-1536x864.jpg 1536w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">A San Jose performer captivates the crowd during San Jose Day in 2023. \u003ccite>(Alex Knowbody)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cardamon is a San Jose ride-or-die advocate. Having experienced housing insecurity during the 2008 recession in the city as a youth, she’s intimately familiar with the region’s struggles and the often inaccessible pathways for artists to thrive. That’s especially true in Silicon Valley, where tech innovation frequently eclipses the work of art innovators — both economically and culturally.\u003c/p>\n\u003cp>Like Cardamon herself, the event has roamed around San Jose’s diverse communities. It’s been held in the Gordon Biersch lot in downtown San Jose as well as the famed Mexican Heritage Plaza on Alum Rock Avenue. On April 6, \u003ca href=\"https://www.instagram.com/empire7studios/?hl=en\">Empire Seven Studios\u003c/a> in Japantown — \u003ca href=\"https://www.kqed.org/arts/13952476/san-jose-japantown-photo-night-cukui\">which has a bubbling creative scene\u003c/a> — hosts this year’s edition.\u003c/p>\n\u003cp>Having brought in more than 7,500 attendees last year, Cardamon feels a surging momentum in her city.\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/X9cSIPpBz9Q'\n title='//www.youtube.com/embed/X9cSIPpBz9Q'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp> \u003c/p>\n\u003cp>“The energy was vividly euphoric and positive, so much love,” says Cardamon of last year’s festivities. “It was a pivotal moment for our event to know, and people were like ‘Oh shit, we’ve never heard of it before.’ We had over 98 artists involved. That made me realize I could do this. I want to give more of myself to this.”\u003c/p>\n\u003cp>Cardamon is in the process of finalizing her 501(c)(3) status as a nonprofit, and has also developed an arts and culture board to review applications for participating artists, vendors and community members.\u003c/p>\n\u003cp>Though not quite yet at the level of recognition as 415 Day or 510 Day, San Jose Day — in the hub of the Bay Area’s most populous county — is bound to keep growing. And as it does, Cardamon will be at the center, waving her San Jose flag.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003ca href=\"https://www.sanjoseday.org/sjd2024\">San Jose Day\u003c/a> takes place on Saturday, April 6, from noon–6 p.m., at 525 N. 7th St., San Jose. Entry is free. \u003ca href=\"https://www.sanjoseday.org/sjd2024\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13954716/san-jose-day-returns-to-celebrate-the-408","authors":["11748"],"programs":["arts_140"],"categories":["arts_1","arts_835","arts_966","arts_69"],"tags":["arts_8167","arts_5684","arts_879","arts_14294","arts_1084","arts_3001","arts_2475","arts_585"],"featImg":"arts_13954721","label":"arts_140"},"arts_13954983":{"type":"posts","id":"arts_13954983","meta":{"index":"posts_1591205157","site":"arts","id":"13954983","found":true},"guestAuthors":[],"slug":"viet-cajun-seafood-crawfish-boil-san-jose-late-night","title":"This Viet-Cajun Spot in San Jose Serves the Freshest Crawfish Boils Until 4 a.m.","publishDate":1711666143,"format":"aside","headTitle":"This Viet-Cajun Spot in San Jose Serves the Freshest Crawfish Boils Until 4 a.m. | KQED","labelTerm":{},"content":"\u003cfigure id=\"attachment_13954986\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954986\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Cajun-bistro-7.jpg\" alt=\"Two men in glasses devouring their food ravenously. There's a big bowl of shrimp and crawfish in front of them.\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Cajun-bistro-7.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Cajun-bistro-7-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Cajun-bistro-7-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Cajun-bistro-7-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Cajun-bistro-7-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Cajun-bistro-7-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">By the end of our meal at Cajun Bistro 7, we’d left a pile of shrimp and crawfish carcasses in our wake. The Viet-Cajun spot in San Jose is open until 4 a.m. daily. \u003ccite>(Thien Pham)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/the-midnight-diners\">\u003ci>\u003cspan style=\"font-weight: 400\">The Midnight Diners\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\"> is a regular collaboration between KQED food editor Luke Tsai and artist Thien Pham. Follow them each week as they explore the hot pot restaurants, taco carts and 24-hour casino buffets that make up the Bay Area’s after-hours dining scene.\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The first thing you notice upon walking into San Jose’s \u003c/span>\u003ca href=\"https://www.instagram.com/cajunbistro/\">\u003cspan style=\"font-weight: 400\">Cajun Bistro 7\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> is how barebones the setup is. Layers of disposable plastic tablecloth are stacked on every table, and there’s little decor to speak of beyond a potted bamboo plant and a few kitschy floral dinner plates mounted on the wall. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s a vibe I like to call “Asian Mom’s Basement,” and it happens to be the setting where I feel most comfortable — where a group of friends might spend several hours with a deck of cards and a spread of snacks, just shooting the shit. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In my experience, \u003c/span>\u003ca href=\"https://eastbayexpress.com/in-praise-of-late-night-ramen-2-1/\">\u003cspan style=\"font-weight: 400\">restaurants that look like this\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> always serve amazing food, and Cajun Bistro 7 proved to be no exception. We trekked to this relatively low-profile strip mall shop because we heard it serves some of the best Viet-Cajun seafood boils in San Jose until 4 a.m. (!!!) every night. But if anything, that \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">undersells \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">just how good the restaurant is. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">At a little past 10 o’clock on a Friday night, the place was packed with Vietnamese American twentysomethings, and every table had ordered one of the big seafood boil combinations — three or four pounds of crawfish, clams, mussels and head-on shrimp served in a plastic bag full of bright red sauce. It’s the kind of restaurant where plastic gloves are provided (and highly recommended), and you still wind up with a huge pile of dirty napkins at the end of your meal.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13954990\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954990\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Cajun-bistro-7-2.jpg\" alt=\"The exterior of the Cajun Bistro 7 at night, when the restaurant is lit up as though glowing from within.\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Cajun-bistro-7-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Cajun-bistro-7-2-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Cajun-bistro-7-2-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Cajun-bistro-7-2-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Cajun-bistro-7-2-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Cajun-bistro-7-2-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Don’t be deceived by the restaurant’s understated appearance. \u003ccite>(Thien Pham)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">I will be honest: I’ve never been to Louisiana, and I’ve spent the bulk of my adult life telling people that I think crawfish are “OK” but, truthfully, a bit overrated. I realize now that I must have been eating a whole lot of frozen crawfish. The specimens at Cajun Bistro knocked my socks off — plump and meaty with firm, sweet flesh that was tastier than any lobster.\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The other seafood was also excellent, especially the gigantic shrimp, whose heads we ripped off with our hands, sucking on the sweet, briny juices inside. What sets this seafood boil apart, too, is the sauce. We opted for the “Sweet California,” which the owner recommended. At first, I worried it would be too sweet and too far removed from the traditional Cajun style. But if anything, it grew on me with every bite — super-garlicky and buttery with slight sweetness balanced by a tingle of heat, and a creaminess that I found irresistible. The evidence? The pile of shrimp and crawfish carcasses we left in our wake.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This wasn’t just the best seafood boil I’ve had in San Jose. It might be the best one in the whole Bay Area.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cspan style=\"color: #2b2b2b;font-weight: 400\">[aside postID='arts_13954597,arts_13954112,arts_13951914']\u003c/span>As if that that weren’t enough, Cajun Bistro also serves a full traditional Vietnamese menu, including one of the tastiest bowls of home-style bun rieu — the crab-infused tomato broth noodle soup — I’ve had in the Bay: a balanced, deeply flavorful broth, impeccably fresh herbs and a jolt of funky nuoc mam (fermented shrimp paste) to make you feel alive.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Right now is a good time to visit Cajun Bistro 7, as we’re nearing the peak of the Louisiana crawfish season (though the restaurant offers crawfish year-round, sourcing the little crustaceans from the Sacramento Delta during the fall and winter months). Maybe the most unbelievable thing about the restaurant, apart from the delicious food and friendly service, is — again — the fact that it’s open until 4 a.m. every single night. That decision, we were told, was born out of sheer practicality rather than some grand plan to dominate the South Bay’s \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13954112/orale-taco-truck-san-jose-late-night-pancakes-midnight-diners\">\u003cspan style=\"font-weight: 400\">after-midnight food scene\u003c/span>\u003c/a>.\u003cspan style=\"font-weight: 400\"> Their live crawfish shipment comes in at 5 a.m. every morning, so they have to stay up that late anyway.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Though I must admit: The idea of eating a full-on seafood boil at 4 o’clock in the morning sounds like sheer lunacy, even to me. But if you’ve achieved that particular side quest, I’d love to meet you at Cajun Bistro someday for a pre-dawn meal. If only just to shake your hand.\u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/cajunbistro/\">\u003ci>\u003cspan style=\"font-weight: 400\">Cajun Bistro 7\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\"> is open from 11 a.m. to 4 a.m. daily at 3005 Silver Creek Rd. Ste. 116 in San Jose. \u003c/span>\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"Cajun Bistro 7 is the very definition of a hidden gem.","status":"publish","parent":0,"modified":1711667362,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":15,"wordCount":863},"headData":{"title":"The Best Viet-Cajun Seafood Boil in San Jose Is Open Until 4 a.m. | KQED","description":"Cajun Bistro 7 is the very definition of a hidden gem.","ogTitle":"This Viet-Cajun Spot in San Jose Serves the Freshest Crawfish Boils Until 4 a.m.","ogDescription":"","ogImgId":"arts_13954987","twTitle":"This Viet-Cajun Spot in San Jose Serves the Freshest Crawfish Boils Until 4 a.m.","twDescription":"","twImgId":"arts_13954987","socialTitle":"The Best Viet-Cajun Seafood Boil in San Jose Is Open Until 4 a.m. %%page%% %%sep%% KQED"},"source":"The Midnight Diners","sourceUrl":"https://www.kqed.org/arts/tag/the-midnight-diners","sticky":false,"excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13954983/viet-cajun-seafood-crawfish-boil-san-jose-late-night","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13954986\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954986\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Cajun-bistro-7.jpg\" alt=\"Two men in glasses devouring their food ravenously. There's a big bowl of shrimp and crawfish in front of them.\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Cajun-bistro-7.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Cajun-bistro-7-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Cajun-bistro-7-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Cajun-bistro-7-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Cajun-bistro-7-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Cajun-bistro-7-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">By the end of our meal at Cajun Bistro 7, we’d left a pile of shrimp and crawfish carcasses in our wake. The Viet-Cajun spot in San Jose is open until 4 a.m. daily. \u003ccite>(Thien Pham)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/the-midnight-diners\">\u003ci>\u003cspan style=\"font-weight: 400\">The Midnight Diners\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\"> is a regular collaboration between KQED food editor Luke Tsai and artist Thien Pham. Follow them each week as they explore the hot pot restaurants, taco carts and 24-hour casino buffets that make up the Bay Area’s after-hours dining scene.\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The first thing you notice upon walking into San Jose’s \u003c/span>\u003ca href=\"https://www.instagram.com/cajunbistro/\">\u003cspan style=\"font-weight: 400\">Cajun Bistro 7\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> is how barebones the setup is. Layers of disposable plastic tablecloth are stacked on every table, and there’s little decor to speak of beyond a potted bamboo plant and a few kitschy floral dinner plates mounted on the wall. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s a vibe I like to call “Asian Mom’s Basement,” and it happens to be the setting where I feel most comfortable — where a group of friends might spend several hours with a deck of cards and a spread of snacks, just shooting the shit. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In my experience, \u003c/span>\u003ca href=\"https://eastbayexpress.com/in-praise-of-late-night-ramen-2-1/\">\u003cspan style=\"font-weight: 400\">restaurants that look like this\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> always serve amazing food, and Cajun Bistro 7 proved to be no exception. We trekked to this relatively low-profile strip mall shop because we heard it serves some of the best Viet-Cajun seafood boils in San Jose until 4 a.m. (!!!) every night. But if anything, that \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">undersells \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">just how good the restaurant is. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">At a little past 10 o’clock on a Friday night, the place was packed with Vietnamese American twentysomethings, and every table had ordered one of the big seafood boil combinations — three or four pounds of crawfish, clams, mussels and head-on shrimp served in a plastic bag full of bright red sauce. It’s the kind of restaurant where plastic gloves are provided (and highly recommended), and you still wind up with a huge pile of dirty napkins at the end of your meal.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13954990\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954990\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Cajun-bistro-7-2.jpg\" alt=\"The exterior of the Cajun Bistro 7 at night, when the restaurant is lit up as though glowing from within.\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Cajun-bistro-7-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Cajun-bistro-7-2-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Cajun-bistro-7-2-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Cajun-bistro-7-2-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Cajun-bistro-7-2-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Cajun-bistro-7-2-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Don’t be deceived by the restaurant’s understated appearance. \u003ccite>(Thien Pham)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">I will be honest: I’ve never been to Louisiana, and I’ve spent the bulk of my adult life telling people that I think crawfish are “OK” but, truthfully, a bit overrated. I realize now that I must have been eating a whole lot of frozen crawfish. The specimens at Cajun Bistro knocked my socks off — plump and meaty with firm, sweet flesh that was tastier than any lobster.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The other seafood was also excellent, especially the gigantic shrimp, whose heads we ripped off with our hands, sucking on the sweet, briny juices inside. What sets this seafood boil apart, too, is the sauce. We opted for the “Sweet California,” which the owner recommended. At first, I worried it would be too sweet and too far removed from the traditional Cajun style. But if anything, it grew on me with every bite — super-garlicky and buttery with slight sweetness balanced by a tingle of heat, and a creaminess that I found irresistible. The evidence? The pile of shrimp and crawfish carcasses we left in our wake.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This wasn’t just the best seafood boil I’ve had in San Jose. It might be the best one in the whole Bay Area.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cspan style=\"color: #2b2b2b;font-weight: 400\">\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13954597,arts_13954112,arts_13951914","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/span>As if that that weren’t enough, Cajun Bistro also serves a full traditional Vietnamese menu, including one of the tastiest bowls of home-style bun rieu — the crab-infused tomato broth noodle soup — I’ve had in the Bay: a balanced, deeply flavorful broth, impeccably fresh herbs and a jolt of funky nuoc mam (fermented shrimp paste) to make you feel alive.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Right now is a good time to visit Cajun Bistro 7, as we’re nearing the peak of the Louisiana crawfish season (though the restaurant offers crawfish year-round, sourcing the little crustaceans from the Sacramento Delta during the fall and winter months). Maybe the most unbelievable thing about the restaurant, apart from the delicious food and friendly service, is — again — the fact that it’s open until 4 a.m. every single night. That decision, we were told, was born out of sheer practicality rather than some grand plan to dominate the South Bay’s \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13954112/orale-taco-truck-san-jose-late-night-pancakes-midnight-diners\">\u003cspan style=\"font-weight: 400\">after-midnight food scene\u003c/span>\u003c/a>.\u003cspan style=\"font-weight: 400\"> Their live crawfish shipment comes in at 5 a.m. every morning, so they have to stay up that late anyway.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Though I must admit: The idea of eating a full-on seafood boil at 4 o’clock in the morning sounds like sheer lunacy, even to me. But if you’ve achieved that particular side quest, I’d love to meet you at Cajun Bistro someday for a pre-dawn meal. If only just to shake your hand.\u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/cajunbistro/\">\u003ci>\u003cspan style=\"font-weight: 400\">Cajun Bistro 7\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\"> is open from 11 a.m. to 4 a.m. daily at 3005 Silver Creek Rd. Ste. 116 in San Jose. \u003c/span>\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13954983/viet-cajun-seafood-crawfish-boil-san-jose-late-night","authors":["11743","11753"],"categories":["arts_1","arts_12276"],"tags":["arts_5620","arts_10278","arts_1297","arts_8805","arts_1084","arts_21928","arts_15126"],"featImg":"arts_13954987","label":"source_arts_13954983"},"arts_13954980":{"type":"posts","id":"arts_13954980","meta":{"index":"posts_1591205157","site":"arts","id":"13954980","found":true},"guestAuthors":[],"slug":"san-francisco-mexican-museum-audit-reopening","title":"What’s Going on at San Francisco’s Mexican Museum?","publishDate":1711672727,"format":"standard","headTitle":"What’s Going on at San Francisco’s Mexican Museum? | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Last week, San Francisco’s city auditor released a \u003ca href=\"https://www.sf.gov/sites/default/files/2024-03/OCII-RED%20The%20Mexican%20Museum%20Audit%20-%20Final%20Report%2003.21.24.pdf\">bombshell report\u003c/a> on San Francisco’s \u003ca href=\"https://www.mexicanmuseum.org/\">Mexican Museum\u003c/a>, claiming the 49-year-old nonprofit has misused city grant funds and made little progress on fundraising to reopen.\u003c/p>\n\u003cp>The museum, meanwhile, says it “respectfully disagrees with much of the purported conclusions.” \u003c/p>\n\u003cp>To even an average observer, the Mexican Museum has had noticeable troubles. It has been without a director since 2015, and without a home since 2018, when it left Fort Mason Center after falling behind on rent. Its new building at the corner of Third and Mission, adjacent to the Contemporary Jewish Museum, SFMOMA and other cultural institutions, remains empty. \u003c/p>\n\u003cp>The audit’s findings, based on a yearlong investigation requested by Supervisor Aaron Peskin, raise questions about the museum’s ability to fundraise for or manage planned interior improvements at 706 Mission St., a city-owned space at the base of a luxury condo building. \u003c/p>\n\u003cp>Despite the findings, and a subsequent \u003ca href=\"https://www.sfchronicle.com/sf/article/s-f-mexican-museum-audit-19324002.php\">\u003ci>San Francisco Chronicle\u003c/i> story\u003c/a>, the museum, currently without dedicated fundraising staff, is determined to open the first phase of its space by the end of 2025. To do so, its board chair Andrew M. Kluger said in an interview with KQED, requires the cooperation of the city. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Supporting and clearing a path for the museum is a no-brainer for the city,” board secretary Xochitl Casteñeda told KQED. “It’s going to be a win-win situation.”\u003c/p>\n\u003cfigure id=\"attachment_13955001\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TEN_201_RD_05.jpg\" alt=\"\" width=\"1500\" height=\"1000\" class=\"size-full wp-image-13955001\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TEN_201_RD_05.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TEN_201_RD_05-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TEN_201_RD_05-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TEN_201_RD_05-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TEN_201_RD_05-768x512.jpg 768w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">A rendering of the Mexican Museum’s planned interior improvements. \u003ccite>(Courtesy of the Mexican Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The history of the Mexican Museum’s move downtown\u003c/h2>\n\u003cp>The Mexican Museum was founded in 1975 at the corner of Folsom and 15th Streets by the late artist Peter Rodriguez. In 1982, it moved to Fort Mason Center, where it remained for 36 years, amassing a collection of over 16,500 objects, mostly through donations. \u003c/p>\n\u003cp>Museum holdings span 2,500 years of history, from pre-Hispanic objects to contemporary artworks. The museum is dedicated to “the complexity and richness of Latino art and culture throughout the Americas.” \u003c/p>\n\u003cp>[aside postID='arts_13654906']The Mexican Museum has had periods of instability over the past three decades. A planned move to the Yerba Buena neighborhood to join the city’s other major cultural institutions has been in the works since 1993. In the mid-’90s, the museum was rocked by major staff turnover, accusations of misspent grant funds and lackluster fundraising for the planned move. \u003c/p>\n\u003cp>Then, in 2017, a \u003ca href=\"https://www.kqed.org/arts/13654906/mexican-museum-defends-collection-over-authenticity-concerns\">report commissioned by the museum board\u003c/a> found that only 83 of 2,000 artifacts from the museum’s pre-Hispanic collection could be authenticated. But those 80-some objects, the museum argued in a subsequent press release, are “significant and rare — one piece in the collection being so unique that nothing like it exists in Mexico.” \u003c/p>\n\u003cp>Since leaving Fort Mason in 2018, the collection has been in storage. The museum finally took possession of the first four floors of 706 Mission in July 2023. \u003c/p>\n\u003ch2>Were grant funds misused?\u003c/h2>\n\u003cp>The city audit, officially titled “The Mexican Museum Has Not Demonstrated That It Can Meet the City’s Contractual Obligations, and OCII Has Not Effectively Enforced the Museum’s Grant Agreement” has two main findings: misuse of city grant funds and fundraising shortfalls.\u003c/p>\n\u003cp>In 2010, the museum entered into a $10.6 million grant agreement with the city’s \u003ca href=\"https://sfocii.org/homepage-landing\">Office of Community Investment and Infrastructure\u003c/a> (OCII) — funds meant to go towards “predevelopment and interior improvements” at the new location. \u003c/p>\n\u003cp>Only $4 million of that grant has been spent, but the grant agreement expires June 14, 2024, leaving the museum less than three months to spend the remaining $6.6 million. (During the period of the audit, which began in March 2022, the museum says OCII paused all grant reimbursements.)\u003c/p>\n\u003cfigure id=\"attachment_13955004\" class=\"wp-caption aligncenter\" style=\"max-width: 900px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TMM-INTERIOR-5_A.jpg\" alt=\"\" width=\"900\" height=\"600\" class=\"size-full wp-image-13955004\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TMM-INTERIOR-5_A.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TMM-INTERIOR-5_A-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TMM-INTERIOR-5_A-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TMM-INTERIOR-5_A-768x512.jpg 768w\" sizes=\"(max-width: 900px) 100vw, 900px\">\u003cfigcaption class=\"wp-caption-text\">A rendering of planned gallery space in the Mexican Museum. \u003ccite>(Courtesy of the Mexican Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The audit found that the museum has spent nearly $1 million of that grant on “ineligible and questionable activities,” including duplicate expenses, artwork storage and staff salaries. But a response from OCII tempers those findings, explaining that “some level of funding for [the museum’s] current operations was necessary to ‘benefit’ the proposed project in the former Yerba Buena Center Project Area.”\u003c/p>\n\u003cp>In other words, OCII argues, the grant \u003ci>should\u003c/i> cover things like storage and some operational costs — so that there might still \u003ci>be\u003c/i> a museum to move into 706 Mission.\u003c/p>\n\u003cp>For their part, the Mexican Museum says “all budgets and scope of work were not only approved by OCII staff, but also by the OCII commission.” Its representatives refute one duplicate expense and acknowledge the other as a clerical error “out of hundreds of submittals to OCII.”\u003c/p>\n\u003ch2>Does the museum have adequate funds to reopen?\u003c/h2>\n\u003cp>The audit found that the museum has raised only 2% of the nearly $49.8 million it’s estimated to need to reopen. But the museum says this is an old number, and that the new, lower estimate for construction is actually $38 million.\u003c/p>\n\u003cp>By their calculations, the museum says it still has $19.9 million left to raise. But it has made some progress in its search for new funding sources. “We’re the only museum outside of the Republic of Mexico that was granted a tax deductible status” by Mexico, says board chair Andrew Kluger. That means Mexican companies and individuals can donate up to 7% of the taxes they owe to the museum as a write-off.\u003c/p>\n\u003cp>The museum has employed a fundraising consultant through the end of 2024, and a representative says the museum has received over $200,000 in cash contributions in the past month.\u003c/p>\n\u003cp>Castañeda admits fundraising for the museum has an uphill journey to her dream goal of $100 million. “I need an army of people to help us,” she says. “You know, how many of the museums today — and I’m not just talking about construction, but operations — are in the red area? We need 10 pesos, $10, you know? Any contribution is welcome and will add to our dream of $100 million.”\u003c/p>\n\u003cfigure id=\"attachment_13955002\" class=\"wp-caption aligncenter\" style=\"max-width: 1901px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/OCII-RED-The-Mexican-Museum-Audit.jpg\" alt=\"Composite image with empty building at left and gallery renderings at right\" width=\"1901\" height=\"1814\" class=\"size-full wp-image-13955002\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/OCII-RED-The-Mexican-Museum-Audit.jpg 1901w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/OCII-RED-The-Mexican-Museum-Audit-800x763.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/OCII-RED-The-Mexican-Museum-Audit-1020x973.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/OCII-RED-The-Mexican-Museum-Audit-160x153.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/OCII-RED-The-Mexican-Museum-Audit-768x733.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/OCII-RED-The-Mexican-Museum-Audit-1536x1466.jpg 1536w\" sizes=\"(max-width: 1901px) 100vw, 1901px\">\u003cfigcaption class=\"wp-caption-text\">An exhibit included in the audit, showing the museum premises in July 2023 (left) and design plans (right). \u003ccite>(City Services Auditor)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Why hasn’t the museum started construction?\n\u003c/h2>\u003cp>The Mexican Museum has a 66-year-lease with the city on the first four floors of 706 Mission (with the option to extend another 33 years), for what breaks down to about ¢.02 a year. But all interior improvements on the 48,000 square-foot space — turning the shell of the building into a climate-controlled art institution — are on the museum. So far, it has made no material progress on those improvements.\u003c/p>\n\u003cp>The museum received keys to the space in July 2023. That was after a lawsuit over a missing staircase was dismissed, with the museum and the city agreeing to work out their differences. The space was built without a public staircase connecting two floors of the museum, as originally planned.\u003c/p>\n\u003cp>As the \u003cem>\u003ca href=\"https://www.bizjournals.com/sanfrancisco/news/2023/07/24/mexican-museum-lawsuit-dismissed-audit-s-f.html\">San Francisco Business Times\u003c/a>\u003c/em> reported last year, the city acknowledged that it had intentionally not built the staircase, saying it “planned to sublease only half the space to the Mexican Museum due to growing concerns that the museum’s financial health would not allow it to build out the entire 48,000 square feet as envisioned.”\u003c/p>\n\u003cp>What also hindered interior improvements, the museum says, was the audit itself. “We are all prepared to construct,” says Castañeda. “This audit was impeding us from doing a lot of things … and now we are being blamed for not doing that.”\u003c/p>\n\u003cp>While museum representatives say the OCII’s pause on grant reimbursement did not prevent them from approaching donors over the past year, the audit did cast a shadow over fundraising efforts, causing some donors to put certain time and milestone requirements on their pledges.\u003c/p>\n\u003ch2>What happens now?\u003c/h2>\n\u003cp>The museum says it now needs the support of OCII. In order for their contractors to submit permit applications, it needs to know that OCII will reimburse those expenses.\u003c/p>\n\u003cp>The Controller’s Office will continue to monitor the museum’s progress, following up every six months on the implementation of their recommendations for record-keeping and grant disbursal. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Meanwhile, the Mexican Museum’s representatives affirm that its rightful place is downtown, alongside institutions like the Yerba Buena Center for the Arts and the Museum of the African Diaspora. “We want to decolonize this idea of a museum, traditionally, that is for the elite,” Castañeda says. “This museum is for everybody.”\u003c/p>\n\n","blocks":[],"excerpt":"A city audit raises questions about the museum’s future; museum leaders say the audit has delayed their progress on reopening.","status":"publish","parent":0,"modified":1711734525,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":31,"wordCount":1498},"headData":{"title":"What’s Going on at San Francisco’s Mexican Museum? | KQED","description":"A city audit raises questions about the museum’s future; museum leaders say the audit has delayed their progress on reopening.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13954980/san-francisco-mexican-museum-audit-reopening","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Last week, San Francisco’s city auditor released a \u003ca href=\"https://www.sf.gov/sites/default/files/2024-03/OCII-RED%20The%20Mexican%20Museum%20Audit%20-%20Final%20Report%2003.21.24.pdf\">bombshell report\u003c/a> on San Francisco’s \u003ca href=\"https://www.mexicanmuseum.org/\">Mexican Museum\u003c/a>, claiming the 49-year-old nonprofit has misused city grant funds and made little progress on fundraising to reopen.\u003c/p>\n\u003cp>The museum, meanwhile, says it “respectfully disagrees with much of the purported conclusions.” \u003c/p>\n\u003cp>To even an average observer, the Mexican Museum has had noticeable troubles. It has been without a director since 2015, and without a home since 2018, when it left Fort Mason Center after falling behind on rent. Its new building at the corner of Third and Mission, adjacent to the Contemporary Jewish Museum, SFMOMA and other cultural institutions, remains empty. \u003c/p>\n\u003cp>The audit’s findings, based on a yearlong investigation requested by Supervisor Aaron Peskin, raise questions about the museum’s ability to fundraise for or manage planned interior improvements at 706 Mission St., a city-owned space at the base of a luxury condo building. \u003c/p>\n\u003cp>Despite the findings, and a subsequent \u003ca href=\"https://www.sfchronicle.com/sf/article/s-f-mexican-museum-audit-19324002.php\">\u003ci>San Francisco Chronicle\u003c/i> story\u003c/a>, the museum, currently without dedicated fundraising staff, is determined to open the first phase of its space by the end of 2025. To do so, its board chair Andrew M. Kluger said in an interview with KQED, requires the cooperation of the city. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Supporting and clearing a path for the museum is a no-brainer for the city,” board secretary Xochitl Casteñeda told KQED. “It’s going to be a win-win situation.”\u003c/p>\n\u003cfigure id=\"attachment_13955001\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TEN_201_RD_05.jpg\" alt=\"\" width=\"1500\" height=\"1000\" class=\"size-full wp-image-13955001\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TEN_201_RD_05.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TEN_201_RD_05-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TEN_201_RD_05-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TEN_201_RD_05-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TEN_201_RD_05-768x512.jpg 768w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">A rendering of the Mexican Museum’s planned interior improvements. \u003ccite>(Courtesy of the Mexican Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The history of the Mexican Museum’s move downtown\u003c/h2>\n\u003cp>The Mexican Museum was founded in 1975 at the corner of Folsom and 15th Streets by the late artist Peter Rodriguez. In 1982, it moved to Fort Mason Center, where it remained for 36 years, amassing a collection of over 16,500 objects, mostly through donations. \u003c/p>\n\u003cp>Museum holdings span 2,500 years of history, from pre-Hispanic objects to contemporary artworks. The museum is dedicated to “the complexity and richness of Latino art and culture throughout the Americas.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13654906","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>The Mexican Museum has had periods of instability over the past three decades. A planned move to the Yerba Buena neighborhood to join the city’s other major cultural institutions has been in the works since 1993. In the mid-’90s, the museum was rocked by major staff turnover, accusations of misspent grant funds and lackluster fundraising for the planned move. \u003c/p>\n\u003cp>Then, in 2017, a \u003ca href=\"https://www.kqed.org/arts/13654906/mexican-museum-defends-collection-over-authenticity-concerns\">report commissioned by the museum board\u003c/a> found that only 83 of 2,000 artifacts from the museum’s pre-Hispanic collection could be authenticated. But those 80-some objects, the museum argued in a subsequent press release, are “significant and rare — one piece in the collection being so unique that nothing like it exists in Mexico.” \u003c/p>\n\u003cp>Since leaving Fort Mason in 2018, the collection has been in storage. The museum finally took possession of the first four floors of 706 Mission in July 2023. \u003c/p>\n\u003ch2>Were grant funds misused?\u003c/h2>\n\u003cp>The city audit, officially titled “The Mexican Museum Has Not Demonstrated That It Can Meet the City’s Contractual Obligations, and OCII Has Not Effectively Enforced the Museum’s Grant Agreement” has two main findings: misuse of city grant funds and fundraising shortfalls.\u003c/p>\n\u003cp>In 2010, the museum entered into a $10.6 million grant agreement with the city’s \u003ca href=\"https://sfocii.org/homepage-landing\">Office of Community Investment and Infrastructure\u003c/a> (OCII) — funds meant to go towards “predevelopment and interior improvements” at the new location. \u003c/p>\n\u003cp>Only $4 million of that grant has been spent, but the grant agreement expires June 14, 2024, leaving the museum less than three months to spend the remaining $6.6 million. (During the period of the audit, which began in March 2022, the museum says OCII paused all grant reimbursements.)\u003c/p>\n\u003cfigure id=\"attachment_13955004\" class=\"wp-caption aligncenter\" style=\"max-width: 900px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TMM-INTERIOR-5_A.jpg\" alt=\"\" width=\"900\" height=\"600\" class=\"size-full wp-image-13955004\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TMM-INTERIOR-5_A.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TMM-INTERIOR-5_A-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TMM-INTERIOR-5_A-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TMM-INTERIOR-5_A-768x512.jpg 768w\" sizes=\"(max-width: 900px) 100vw, 900px\">\u003cfigcaption class=\"wp-caption-text\">A rendering of planned gallery space in the Mexican Museum. \u003ccite>(Courtesy of the Mexican Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The audit found that the museum has spent nearly $1 million of that grant on “ineligible and questionable activities,” including duplicate expenses, artwork storage and staff salaries. But a response from OCII tempers those findings, explaining that “some level of funding for [the museum’s] current operations was necessary to ‘benefit’ the proposed project in the former Yerba Buena Center Project Area.”\u003c/p>\n\u003cp>In other words, OCII argues, the grant \u003ci>should\u003c/i> cover things like storage and some operational costs — so that there might still \u003ci>be\u003c/i> a museum to move into 706 Mission.\u003c/p>\n\u003cp>For their part, the Mexican Museum says “all budgets and scope of work were not only approved by OCII staff, but also by the OCII commission.” Its representatives refute one duplicate expense and acknowledge the other as a clerical error “out of hundreds of submittals to OCII.”\u003c/p>\n\u003ch2>Does the museum have adequate funds to reopen?\u003c/h2>\n\u003cp>The audit found that the museum has raised only 2% of the nearly $49.8 million it’s estimated to need to reopen. But the museum says this is an old number, and that the new, lower estimate for construction is actually $38 million.\u003c/p>\n\u003cp>By their calculations, the museum says it still has $19.9 million left to raise. But it has made some progress in its search for new funding sources. “We’re the only museum outside of the Republic of Mexico that was granted a tax deductible status” by Mexico, says board chair Andrew Kluger. That means Mexican companies and individuals can donate up to 7% of the taxes they owe to the museum as a write-off.\u003c/p>\n\u003cp>The museum has employed a fundraising consultant through the end of 2024, and a representative says the museum has received over $200,000 in cash contributions in the past month.\u003c/p>\n\u003cp>Castañeda admits fundraising for the museum has an uphill journey to her dream goal of $100 million. “I need an army of people to help us,” she says. “You know, how many of the museums today — and I’m not just talking about construction, but operations — are in the red area? We need 10 pesos, $10, you know? Any contribution is welcome and will add to our dream of $100 million.”\u003c/p>\n\u003cfigure id=\"attachment_13955002\" class=\"wp-caption aligncenter\" style=\"max-width: 1901px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/OCII-RED-The-Mexican-Museum-Audit.jpg\" alt=\"Composite image with empty building at left and gallery renderings at right\" width=\"1901\" height=\"1814\" class=\"size-full wp-image-13955002\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/OCII-RED-The-Mexican-Museum-Audit.jpg 1901w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/OCII-RED-The-Mexican-Museum-Audit-800x763.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/OCII-RED-The-Mexican-Museum-Audit-1020x973.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/OCII-RED-The-Mexican-Museum-Audit-160x153.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/OCII-RED-The-Mexican-Museum-Audit-768x733.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/OCII-RED-The-Mexican-Museum-Audit-1536x1466.jpg 1536w\" sizes=\"(max-width: 1901px) 100vw, 1901px\">\u003cfigcaption class=\"wp-caption-text\">An exhibit included in the audit, showing the museum premises in July 2023 (left) and design plans (right). \u003ccite>(City Services Auditor)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Why hasn’t the museum started construction?\n\u003c/h2>\u003cp>The Mexican Museum has a 66-year-lease with the city on the first four floors of 706 Mission (with the option to extend another 33 years), for what breaks down to about ¢.02 a year. But all interior improvements on the 48,000 square-foot space — turning the shell of the building into a climate-controlled art institution — are on the museum. So far, it has made no material progress on those improvements.\u003c/p>\n\u003cp>The museum received keys to the space in July 2023. That was after a lawsuit over a missing staircase was dismissed, with the museum and the city agreeing to work out their differences. The space was built without a public staircase connecting two floors of the museum, as originally planned.\u003c/p>\n\u003cp>As the \u003cem>\u003ca href=\"https://www.bizjournals.com/sanfrancisco/news/2023/07/24/mexican-museum-lawsuit-dismissed-audit-s-f.html\">San Francisco Business Times\u003c/a>\u003c/em> reported last year, the city acknowledged that it had intentionally not built the staircase, saying it “planned to sublease only half the space to the Mexican Museum due to growing concerns that the museum’s financial health would not allow it to build out the entire 48,000 square feet as envisioned.”\u003c/p>\n\u003cp>What also hindered interior improvements, the museum says, was the audit itself. “We are all prepared to construct,” says Castañeda. “This audit was impeding us from doing a lot of things … and now we are being blamed for not doing that.”\u003c/p>\n\u003cp>While museum representatives say the OCII’s pause on grant reimbursement did not prevent them from approaching donors over the past year, the audit did cast a shadow over fundraising efforts, causing some donors to put certain time and milestone requirements on their pledges.\u003c/p>\n\u003ch2>What happens now?\u003c/h2>\n\u003cp>The museum says it now needs the support of OCII. In order for their contractors to submit permit applications, it needs to know that OCII will reimburse those expenses.\u003c/p>\n\u003cp>The Controller’s Office will continue to monitor the museum’s progress, following up every six months on the implementation of their recommendations for record-keeping and grant disbursal. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Meanwhile, the Mexican Museum’s representatives affirm that its rightful place is downtown, alongside institutions like the Yerba Buena Center for the Arts and the Museum of the African Diaspora. “We want to decolonize this idea of a museum, traditionally, that is for the elite,” Castañeda says. “This museum is for everybody.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13954980/san-francisco-mexican-museum-audit-reopening","authors":["61"],"categories":["arts_1","arts_835","arts_235","arts_70"],"tags":["arts_10278","arts_3648","arts_1146"],"featImg":"arts_13955000","label":"arts"},"arts_13954827":{"type":"posts","id":"arts_13954827","meta":{"index":"posts_1591205157","site":"arts","id":"13954827","found":true},"guestAuthors":[],"slug":"ruth-asawa-school-of-the-arts-protest-teachers-students-rally","title":"Students Protest Removal of Art Teachers to San Francisco School Board","publishDate":1711559743,"format":"standard","headTitle":"Students Protest Removal of Art Teachers to San Francisco School Board | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>A large crowd of high school students, parents, faculty and other supporters spilled onto the sidewalk from the entrance of the San Francisco Unified School District building on Tuesday, chanting: “When teachers are under attack, what do we do? Stand up! Fight back!”\u003c/p>\n\u003cp>Dressed in green, \u003ca href=\"https://www.instagram.com/p/C5AUTHquZVM/?img_index=10\">playing drums and cheering loudly\u003c/a> at the honks of passing cars, the \u003ca href=\"https://www.sfusd.edu/school/ruth-asawa-san-francisco-school-arts\">Ruth Asawa School of the Arts\u003c/a> (RASOTA) students had assembled to protest the March 18 removal of two faculty members from the school’s technical theater department.\u003c/p>\n\u003cp>RASOTA, San Francisco’s only dedicated public high school for the arts, admits students based on audition into one of eight subject areas, which include dance, music, visual arts, theatre and technical theater.\u003c/p>\n\u003cp>The teachers in question are Paul Kwapy, the director of the school’s technical theater program, and Annette Ribeiro, an artist in residence for the costume department. Both have taught at RASOTA for over 13 years. \u003c/p>\n\u003cfigure id=\"attachment_13954840\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/RASOTA_March26_SFUSD_3_2000.jpg\" alt='Hand holding hand painted \"Got Tech?\" sign' width=\"2000\" height=\"1333\" class=\"size-full wp-image-13954840\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/RASOTA_March26_SFUSD_3_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/RASOTA_March26_SFUSD_3_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/RASOTA_March26_SFUSD_3_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/RASOTA_March26_SFUSD_3_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/RASOTA_March26_SFUSD_3_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/RASOTA_March26_SFUSD_3_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/RASOTA_March26_SFUSD_3_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A large crowd gathered outside 555 Franklin St. in San Francisco on the evening of March 26, playing drums and chanting. \u003ccite>(Sarah Hotchkiss/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a March 25 letter to the RASOTA community, Principal Stella Kim and Assistant Superintendent Davina Goldwasser wrote, “We cannot comment on any personnel matters and need to maintain confidentiality, we are not able to provide more details, or a specific timeline.” In public statements and letters to the school board, faculty and parents have alluded to the removals as an overreach by the school district in response to the teachers’ disciplinary handling of a safety incident in class.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>What was clear Tuesday evening was just how much RASOTA technical theater students value their two missing teachers — and how well they had mobilized a show of support from other departments. Over 100 people showed up in advance of the night’s school board meeting.\u003c/p>\n\u003cp>Many remained for the meeting’s open session, during which public comment was limited to remarks about third grade literacy. Some tried to comment about the RASOTA situation regardless.\u003c/p>\n\u003cp>“Our teachers cannot truly focus on our students unless they’re fully protected,” said senior technical theater student Angelina Costa to the school board. “Having the same teachers from year to year, that really makes all the difference.” She was cut off at the one-minute mark.\u003c/p>\n\u003cp>Board President Lainie Motamedi thanked the RASOTA students and supporters for their participation. “I do want to note that the board also receives your emails and reads your emails,” she said. “So you have been heard. And we do take those very, very seriously.”\u003c/p>\n\u003cfigure id=\"attachment_13954838\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/RASOTA_March26_SFUSD_1_2000.jpg\" alt='Young people hold a large painted banner reading \"SOTA needs Kwapy and Annette\"' width=\"2000\" height=\"1333\" class=\"size-full wp-image-13954838\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/RASOTA_March26_SFUSD_1_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/RASOTA_March26_SFUSD_1_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/RASOTA_March26_SFUSD_1_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/RASOTA_March26_SFUSD_1_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/RASOTA_March26_SFUSD_1_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/RASOTA_March26_SFUSD_1_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/RASOTA_March26_SFUSD_1_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The two faculty members were removed from their positions on March 18; the technical theater students have been on strike ever since. \u003ccite>(Sarah Hotchkiss/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite their limited access to public comment, the RASOTA protestors were able to meet with assistant superintendents, and \u003ca href=\"https://www.instagram.com/p/C5AUTHquZVM/?img_index=2\">report a scheduled meeting\u003c/a> with Superintendent Dr. Matt Wayne to discuss their concerns.\u003c/p>\n\u003cp>Since Monday, some 60 technical theater students at RASOTA have been on strike in protest of the faculty removals.\u003c/p>\n\u003cp>“Tech students will no longer be participating in any shows outside of school hours,” an Instagram account run by the students explains. “Our participation in shows will not resume until our directors Paul Kwapy and Annette Ribeiro return.”\u003c/p>\n\u003cp>[aside postID='news_11978035']That means last weekend’s orchestra performances took place unamplified, without mics or student ushers. Students in the tech department typically run a production’s lighting, sound, sets, costumes and props. The spring semester is a busy one, with dance, music and acting showcases scheduled through the end of the school year. Seniors from the costume department have opted for a photoshoot of their designs in lieu of a regularly scheduled fashion show.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“When we treat our educators as expendable, it’s no wonder that we have over 300 vacancies at the beginning of a school year,” Costa had planned to say to the school board. “When we fail to listen to the concerns of our students, it’s no wonder that we are being forced to close schools due to a lack of enrollment.”\u003c/p>\n\n","blocks":[],"excerpt":"More than 100 Ruth Asawa School of the Arts students, faculty and parents protested at the district offices on March 26.","status":"publish","parent":0,"modified":1711564658,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":16,"wordCount":707},"headData":{"title":"Students Protest Removal of Art Teachers to San Francisco School Board | KQED","description":"More than 100 Ruth Asawa School of the Arts students, faculty and parents protested at the district offices on March 26.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"WpOldSlug":"ruth-asawa-school-for-the-arts-protest-teachers-students-rally","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13954827/ruth-asawa-school-of-the-arts-protest-teachers-students-rally","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>A large crowd of high school students, parents, faculty and other supporters spilled onto the sidewalk from the entrance of the San Francisco Unified School District building on Tuesday, chanting: “When teachers are under attack, what do we do? Stand up! Fight back!”\u003c/p>\n\u003cp>Dressed in green, \u003ca href=\"https://www.instagram.com/p/C5AUTHquZVM/?img_index=10\">playing drums and cheering loudly\u003c/a> at the honks of passing cars, the \u003ca href=\"https://www.sfusd.edu/school/ruth-asawa-san-francisco-school-arts\">Ruth Asawa School of the Arts\u003c/a> (RASOTA) students had assembled to protest the March 18 removal of two faculty members from the school’s technical theater department.\u003c/p>\n\u003cp>RASOTA, San Francisco’s only dedicated public high school for the arts, admits students based on audition into one of eight subject areas, which include dance, music, visual arts, theatre and technical theater.\u003c/p>\n\u003cp>The teachers in question are Paul Kwapy, the director of the school’s technical theater program, and Annette Ribeiro, an artist in residence for the costume department. Both have taught at RASOTA for over 13 years. \u003c/p>\n\u003cfigure id=\"attachment_13954840\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/RASOTA_March26_SFUSD_3_2000.jpg\" alt='Hand holding hand painted \"Got Tech?\" sign' width=\"2000\" height=\"1333\" class=\"size-full wp-image-13954840\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/RASOTA_March26_SFUSD_3_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/RASOTA_March26_SFUSD_3_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/RASOTA_March26_SFUSD_3_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/RASOTA_March26_SFUSD_3_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/RASOTA_March26_SFUSD_3_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/RASOTA_March26_SFUSD_3_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/RASOTA_March26_SFUSD_3_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A large crowd gathered outside 555 Franklin St. in San Francisco on the evening of March 26, playing drums and chanting. \u003ccite>(Sarah Hotchkiss/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a March 25 letter to the RASOTA community, Principal Stella Kim and Assistant Superintendent Davina Goldwasser wrote, “We cannot comment on any personnel matters and need to maintain confidentiality, we are not able to provide more details, or a specific timeline.” In public statements and letters to the school board, faculty and parents have alluded to the removals as an overreach by the school district in response to the teachers’ disciplinary handling of a safety incident in class.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>What was clear Tuesday evening was just how much RASOTA technical theater students value their two missing teachers — and how well they had mobilized a show of support from other departments. Over 100 people showed up in advance of the night’s school board meeting.\u003c/p>\n\u003cp>Many remained for the meeting’s open session, during which public comment was limited to remarks about third grade literacy. Some tried to comment about the RASOTA situation regardless.\u003c/p>\n\u003cp>“Our teachers cannot truly focus on our students unless they’re fully protected,” said senior technical theater student Angelina Costa to the school board. “Having the same teachers from year to year, that really makes all the difference.” She was cut off at the one-minute mark.\u003c/p>\n\u003cp>Board President Lainie Motamedi thanked the RASOTA students and supporters for their participation. “I do want to note that the board also receives your emails and reads your emails,” she said. “So you have been heard. And we do take those very, very seriously.”\u003c/p>\n\u003cfigure id=\"attachment_13954838\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/RASOTA_March26_SFUSD_1_2000.jpg\" alt='Young people hold a large painted banner reading \"SOTA needs Kwapy and Annette\"' width=\"2000\" height=\"1333\" class=\"size-full wp-image-13954838\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/RASOTA_March26_SFUSD_1_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/RASOTA_March26_SFUSD_1_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/RASOTA_March26_SFUSD_1_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/RASOTA_March26_SFUSD_1_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/RASOTA_March26_SFUSD_1_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/RASOTA_March26_SFUSD_1_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/RASOTA_March26_SFUSD_1_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The two faculty members were removed from their positions on March 18; the technical theater students have been on strike ever since. \u003ccite>(Sarah Hotchkiss/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite their limited access to public comment, the RASOTA protestors were able to meet with assistant superintendents, and \u003ca href=\"https://www.instagram.com/p/C5AUTHquZVM/?img_index=2\">report a scheduled meeting\u003c/a> with Superintendent Dr. Matt Wayne to discuss their concerns.\u003c/p>\n\u003cp>Since Monday, some 60 technical theater students at RASOTA have been on strike in protest of the faculty removals.\u003c/p>\n\u003cp>“Tech students will no longer be participating in any shows outside of school hours,” an Instagram account run by the students explains. “Our participation in shows will not resume until our directors Paul Kwapy and Annette Ribeiro return.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"news_11978035","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>That means last weekend’s orchestra performances took place unamplified, without mics or student ushers. Students in the tech department typically run a production’s lighting, sound, sets, costumes and props. The spring semester is a busy one, with dance, music and acting showcases scheduled through the end of the school year. Seniors from the costume department have opted for a photoshoot of their designs in lieu of a regularly scheduled fashion show.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“When we treat our educators as expendable, it’s no wonder that we have over 300 vacancies at the beginning of a school year,” Costa had planned to say to the school board. “When we fail to listen to the concerns of our students, it’s no wonder that we are being forced to close schools due to a lack of enrollment.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13954827/ruth-asawa-school-of-the-arts-protest-teachers-students-rally","authors":["61"],"categories":["arts_1","arts_235","arts_967"],"tags":["arts_10278","arts_22044","arts_1146","arts_9159","arts_22045"],"featImg":"arts_13954846","label":"arts"},"arts_13954709":{"type":"posts","id":"arts_13954709","meta":{"index":"posts_1591205157","site":"arts","id":"13954709","found":true},"guestAuthors":[],"slug":"alta-shameless-hussy-press-dies-at-81","title":"Alta, ‘Shameless Hussy’ and Founder of Nation's First Feminist Press, Dies at 81","publishDate":1711478721,"format":"aside","headTitle":"Alta, ‘Shameless Hussy’ and Founder of Nation’s First Feminist Press, Dies at 81 | KQED","labelTerm":{"site":"arts"},"content":"\u003cfigure id=\"attachment_13954753\" class=\"wp-caption aligncenter\" style=\"max-width: 1533px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Paul-Steinbrink_1972_printing.jpg\" alt=\"A young woman with a short bob haircut stands in a collared shirt and pants at a large metal printing press in a cluttered room.\" width=\"1533\" height=\"1920\" class=\"size-full wp-image-13954753\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Paul-Steinbrink_1972_printing.jpg 1533w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Paul-Steinbrink_1972_printing-800x1002.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Paul-Steinbrink_1972_printing-1020x1277.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Paul-Steinbrink_1972_printing-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Paul-Steinbrink_1972_printing-768x962.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Paul-Steinbrink_1972_printing-1226x1536.jpg 1226w\" sizes=\"(max-width: 1533px) 100vw, 1533px\">\u003cfigcaption class=\"wp-caption-text\">Alta at her printing press, circa 1972. Founded in 1969, Shameless Hussy Press was first to publish the work of Ntozake Shange and others, and is recognized as the first feminist press in the United States. \u003ccite>(Paul Steinbrink)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Alta Gerrey loved being in the thick of the conversation.\u003c/p>\n\u003cp>The award-winning poet, gallerist and people magnet — who published under a single moniker, Alta — kicked down the door to the predominately male preserve of publishing in the early 1970s. With a keen eye for talent, she ushered some of the most consequential women writers of that turbulent era onto the literary scene.\u003c/p>\n\u003cp>She died March 10 at the age of 81, at home in Oakland, after a long struggle with cancer.\u003c/p>\n\u003cfigure id=\"attachment_13954752\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta-70s_unknown.jpg\" alt=\"\" width=\"1920\" height=\"1707\" class=\"size-full wp-image-13954752\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta-70s_unknown.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta-70s_unknown-800x711.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta-70s_unknown-1020x907.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta-70s_unknown-160x142.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta-70s_unknown-768x683.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta-70s_unknown-1536x1366.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Alta in the 1970s. Photographer unknown. \u003ccite>(Courtesy Kia Simon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like many women who joined the feminist movement’s second wave in the late 1960s, Alta had been active in the civil rights movement. After realizing that she and her peers couldn’t get their work published, she launched \u003ca href=\"https://library.ucsc.edu/reg-hist/alta\">the nation’s first feminist press\u003c/a> in 1969, Shameless Hussy Press.\u003c/p>\n\u003cp>The ribald name signaled both Alta’s irreverent sensibility and her openness to writers who were sidelined and ignored by mainstream publishing.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I had been reading Anaïs Nin’s diaries, and I knew that she and Henry Miller had made books on a letterpress,” she told Irene Reti in an interview for an essay about Shameless Hussy Press for the UC Santa Cruz University Library, which holds the \u003ca href=\"https://oac.cdlib.org/findaid/ark:/13030/tf396nb2dv/admin/\">Shameless Hussy archives\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13954751\" class=\"wp-caption aligncenter\" style=\"max-width: 1211px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta_shameless-hussy-cover.jpg\" alt=\"\" width=\"1211\" height=\"1920\" class=\"size-full wp-image-13954751\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta_shameless-hussy-cover.jpg 1211w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta_shameless-hussy-cover-800x1268.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta_shameless-hussy-cover-1020x1617.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta_shameless-hussy-cover-160x254.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta_shameless-hussy-cover-768x1218.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta_shameless-hussy-cover-969x1536.jpg 969w\" sizes=\"(max-width: 1211px) 100vw, 1211px\">\u003cfigcaption class=\"wp-caption-text\">Alta’s 1980 anthology, ‘The Shameless Hussy: Selected Stories, Essays and Poetry.’ \u003ccite>(Crossing Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shameless Hussy was the first to publish Ntozake Shange’s \u003cem>for colored girls who have considered suicide / when the rainbow is enuf\u003c/em>, which went on to become a Tony-winning Broadway play. It introduced Mitsuye Yamada, whose \u003cem>Camp Notes and Other Poems\u003c/em> were written during and after her experience in Minidoka, the internment camp in Hunt, Idaho. Shameless Hussy was also the first to publish work by Pat Parker, Susan Griffin, and Mary Mackey.\u003c/p>\n\u003cp>Mackey credits Alta with launching a career that now includes \u003cem>New York Times\u003c/em> best-selling novels and eight volumes of poetry. Even with Fred Cody serving as her agent, Mackey couldn’t find a publisher for her first novel, 1972’s \u003cem>Immersion\u003c/em>, a roman à clef about “a woman looking for her own personal and sexual liberation in the jungles of Costa Rica,” Mackey said. \u003c/p>\n\u003cp>“Alta looked at it and said, ‘I’m going to print it.’ She had the ability to look at a piece of work and not care who you knew, what class you were, or how you identified. She could see things in the work itself,” she said.\u003c/p>\n\u003cfigure id=\"attachment_13954743\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta_1988_Harold-Parrish_gesture.jpg\" alt=\"\" width=\"1920\" height=\"1276\" class=\"size-full wp-image-13954743\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta_1988_Harold-Parrish_gesture.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta_1988_Harold-Parrish_gesture-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta_1988_Harold-Parrish_gesture-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta_1988_Harold-Parrish_gesture-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta_1988_Harold-Parrish_gesture-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta_1988_Harold-Parrish_gesture-1536x1021.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Alta, holding court in 1988. \u003ccite>(Harold Parrish)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Susan Griffin was part of an Oakland women’s group with Alta and had faced multiple rejections from mainstream publishing houses when Shameless Hussy published her books \u003cem>The Sink: Six Short Stories\u003c/em> and \u003cem>dear sky\u003c/em>, a collection of poems. Part of the book deal involved working with Alta’s AB Dick 360 offset press, which she moved to San Lorenzo after receiving multiple death threats from people offended by work she had published.\u003c/p>\n\u003cp>“You would come out to San Lorenzo and help a couple of days in the printing process,” Griffin recalled. “She was a bit wacky, mostly in a great way, but sometimes not. Alta was just one of the most courageous people I knew. She was very very honest, unless she was on purpose not being honest. She would tell you about anything, say anything, or do anything she thought was right. That made her very effective regarding social change.”\u003c/p>\n\u003cp>By the mid 1970s, Alta had returned to Oakland, where she continued printing batches of groundbreaking poetry, essays and novels until 1989. The press’s biggest money maker was \u003cem>Calamity Jane’s Letters to her Daughter\u003c/em>, a collection of uncertain provenance that got increased attention in 2016 when actor Ethan Hawke listed it as one of the best books he’d recently read. (Alta quickly printed up a batch of new copies.)\u003c/p>\n\u003cfigure id=\"attachment_13954757\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/shange-jane.jpg\" alt=\"\" width=\"1920\" height=\"1492\" class=\"size-full wp-image-13954757\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/shange-jane.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/shange-jane-800x622.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/shange-jane-1020x793.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/shange-jane-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/shange-jane-768x597.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/shange-jane-1536x1194.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Shameless Hussy Press titles included ‘Calamity Jane’s Letters to Her Daughter’ and Ntozake Shange’s ‘for colored girls who have considered suicide / when the rainbow is enuf.’ \u003ccite>(Shameless Hussy Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Running her own press gave Alta tremendous freedom, but it wasn’t a one-woman show.\u003c/p>\n\u003cp>“Everybody was part of the operation,” said her daughter Kia Simon, an independent video editor who sometimes works for KQED. “In elementary school we were making 10 cents an hour to fold books. It was a family business. My stepdad was pumping gas at a service station when they met, and he moved in with us. He was very focused on distribution, and the press actually paid for itself for 10 years.”\u003c/p>\n\u003cfigure id=\"attachment_13954747\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Kia-Simon_2010_Oakland.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13954747\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Kia-Simon_2010_Oakland.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Kia-Simon_2010_Oakland-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Kia-Simon_2010_Oakland-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Kia-Simon_2010_Oakland-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Kia-Simon_2010_Oakland-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Kia-Simon_2010_Oakland-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Alta in Oakland, in 2010. \u003ccite>(Kia Simon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Born in 1942 in Reno, Nevada, Alta was 12 when her family moved to Berkeley so that her brother could attend the California School for the Blind. In the early 1960s, she dropped out of UC Berkeley to teach in the South. After the end of her first marriage to Danny Bosserman, she became caught up in the Bay Area’s literary ferment.\u003c/p>\n\u003cp>When her partnership with poet and noted Spanish-language translator John Oliver Simon ended in 1970, she founded a commune in Oakland for women seeking refuge from abusive relationships, which she wrote about enduring herself. Her second marriage to Daniel “Angel” Skarry in the early 1970s ended in divorce a decade later.\u003c/p>\n\u003cp>Alta’s 1980 book \u003ci>The Shameless Hussy: Selected Stories, Essays and Poetry\u003c/i> won a Before Columbus Foundation American Book Award. Other volumes include 1990’s \u003ci>Traveling Tales: Flings I’ve Flung in Foreign Parts\u003c/i> and 2015’s \u003ci>Another Moment: Living Well with a Dread Disease and Everything That Grows Can Also Shrink\u003c/i>.\u003c/p>\n\u003cfigure id=\"attachment_13954750\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Pam-Strayer_2024.jpg\" alt=\"\" width=\"1440\" height=\"1920\" class=\"size-full wp-image-13954750\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Pam-Strayer_2024.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Pam-Strayer_2024-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Pam-Strayer_2024-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Pam-Strayer_2024-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Pam-Strayer_2024-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Pam-Strayer_2024-1152x1536.jpg 1152w\" sizes=\"(max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">Alta in early 2024. \u003ccite>(Pam Strayer)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Always looking to stay in the mix culturally, she opened Alta Galleria in Berkeley’s Elmwood neighborhood in 2006, representing local artists and artists from China. She was forced to close the gallery due to the financial straits of the 2008 recession. \u003c/p>\n\u003cp>Misdiagnosed with multiple sclerosis, Alta spent many years studying healing and diet while contending with increasingly limited mobility. She was a regular presence in her Temescal neighborhood, hanging out for hours with other writers, academics and artists at Pizzaiolo, where she always had a copy of the \u003cem>Financial Times\u003c/em> and never seemed to pick up a check.\u003c/p>\n\u003cp>“Alta had a superpower for eating for free at restaurants,” Simon said. “There are a bunch of places where she wouldn’t get a bill, and Pizzaiolo was one of them.”\u003c/p>\n\u003cp>Alta is survived by her daughters Lorelei Bosserman of Oakland and Kia Simon of San Francisco, as well as her granddaughter Tesla Rose Moyer. A memorial will be held at noon on April 21 at Chapel of the Chimes in Oakland.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Shameless Hussy \u003c/strong>\u003c/p>\n\u003cp>\u003cem>i am one of the true hussies;\u003cbr>\ni have no shame;\u003cbr>\ni was a housewife, and\u003cbr>\nstretched from the housiness of it (hus)\u003cbr>\nand the wifiness of (wif/hus-wif) to\u003cbr>\na woman who cant bear wifedom (hussy) / i\u003cbr>\ngrew beyond the house, like alice after eating\u003cbr>\ntoo many cookies. exactly what i did; i ate\u003cbr>\ntoo many cookies; lovers, poetry, moving my\u003cbr>\nbody in a new way, an old way, the way women\u003cbr>\nlike me have always moved, largely; with great\u003cbr>\nmotions beyond our allotted sphere, with more\u003cbr>\nneed than fear, and more grace than shame.[1]\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>—By Alta\u003c/strong>\u003c/p>\n\n","blocks":[],"excerpt":"From her East Bay press, the poet published groundbreaking work by Ntozake Shange and others. ","status":"publish","parent":0,"modified":1711484914,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":26,"wordCount":1328},"headData":{"title":"Alta, ‘Shameless Hussy’ and Founder of Nation's First Feminist Press, Dies at 81 | KQED","description":"From her East Bay press, the poet published groundbreaking work by Ntozake Shange and others. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13954709/alta-shameless-hussy-press-dies-at-81","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13954753\" class=\"wp-caption aligncenter\" style=\"max-width: 1533px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Paul-Steinbrink_1972_printing.jpg\" alt=\"A young woman with a short bob haircut stands in a collared shirt and pants at a large metal printing press in a cluttered room.\" width=\"1533\" height=\"1920\" class=\"size-full wp-image-13954753\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Paul-Steinbrink_1972_printing.jpg 1533w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Paul-Steinbrink_1972_printing-800x1002.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Paul-Steinbrink_1972_printing-1020x1277.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Paul-Steinbrink_1972_printing-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Paul-Steinbrink_1972_printing-768x962.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Paul-Steinbrink_1972_printing-1226x1536.jpg 1226w\" sizes=\"(max-width: 1533px) 100vw, 1533px\">\u003cfigcaption class=\"wp-caption-text\">Alta at her printing press, circa 1972. Founded in 1969, Shameless Hussy Press was first to publish the work of Ntozake Shange and others, and is recognized as the first feminist press in the United States. \u003ccite>(Paul Steinbrink)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Alta Gerrey loved being in the thick of the conversation.\u003c/p>\n\u003cp>The award-winning poet, gallerist and people magnet — who published under a single moniker, Alta — kicked down the door to the predominately male preserve of publishing in the early 1970s. With a keen eye for talent, she ushered some of the most consequential women writers of that turbulent era onto the literary scene.\u003c/p>\n\u003cp>She died March 10 at the age of 81, at home in Oakland, after a long struggle with cancer.\u003c/p>\n\u003cfigure id=\"attachment_13954752\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta-70s_unknown.jpg\" alt=\"\" width=\"1920\" height=\"1707\" class=\"size-full wp-image-13954752\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta-70s_unknown.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta-70s_unknown-800x711.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta-70s_unknown-1020x907.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta-70s_unknown-160x142.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta-70s_unknown-768x683.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta-70s_unknown-1536x1366.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Alta in the 1970s. Photographer unknown. \u003ccite>(Courtesy Kia Simon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like many women who joined the feminist movement’s second wave in the late 1960s, Alta had been active in the civil rights movement. After realizing that she and her peers couldn’t get their work published, she launched \u003ca href=\"https://library.ucsc.edu/reg-hist/alta\">the nation’s first feminist press\u003c/a> in 1969, Shameless Hussy Press.\u003c/p>\n\u003cp>The ribald name signaled both Alta’s irreverent sensibility and her openness to writers who were sidelined and ignored by mainstream publishing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I had been reading Anaïs Nin’s diaries, and I knew that she and Henry Miller had made books on a letterpress,” she told Irene Reti in an interview for an essay about Shameless Hussy Press for the UC Santa Cruz University Library, which holds the \u003ca href=\"https://oac.cdlib.org/findaid/ark:/13030/tf396nb2dv/admin/\">Shameless Hussy archives\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13954751\" class=\"wp-caption aligncenter\" style=\"max-width: 1211px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta_shameless-hussy-cover.jpg\" alt=\"\" width=\"1211\" height=\"1920\" class=\"size-full wp-image-13954751\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta_shameless-hussy-cover.jpg 1211w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta_shameless-hussy-cover-800x1268.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta_shameless-hussy-cover-1020x1617.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta_shameless-hussy-cover-160x254.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta_shameless-hussy-cover-768x1218.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta_shameless-hussy-cover-969x1536.jpg 969w\" sizes=\"(max-width: 1211px) 100vw, 1211px\">\u003cfigcaption class=\"wp-caption-text\">Alta’s 1980 anthology, ‘The Shameless Hussy: Selected Stories, Essays and Poetry.’ \u003ccite>(Crossing Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shameless Hussy was the first to publish Ntozake Shange’s \u003cem>for colored girls who have considered suicide / when the rainbow is enuf\u003c/em>, which went on to become a Tony-winning Broadway play. It introduced Mitsuye Yamada, whose \u003cem>Camp Notes and Other Poems\u003c/em> were written during and after her experience in Minidoka, the internment camp in Hunt, Idaho. Shameless Hussy was also the first to publish work by Pat Parker, Susan Griffin, and Mary Mackey.\u003c/p>\n\u003cp>Mackey credits Alta with launching a career that now includes \u003cem>New York Times\u003c/em> best-selling novels and eight volumes of poetry. Even with Fred Cody serving as her agent, Mackey couldn’t find a publisher for her first novel, 1972’s \u003cem>Immersion\u003c/em>, a roman à clef about “a woman looking for her own personal and sexual liberation in the jungles of Costa Rica,” Mackey said. \u003c/p>\n\u003cp>“Alta looked at it and said, ‘I’m going to print it.’ She had the ability to look at a piece of work and not care who you knew, what class you were, or how you identified. She could see things in the work itself,” she said.\u003c/p>\n\u003cfigure id=\"attachment_13954743\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta_1988_Harold-Parrish_gesture.jpg\" alt=\"\" width=\"1920\" height=\"1276\" class=\"size-full wp-image-13954743\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta_1988_Harold-Parrish_gesture.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta_1988_Harold-Parrish_gesture-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta_1988_Harold-Parrish_gesture-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta_1988_Harold-Parrish_gesture-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta_1988_Harold-Parrish_gesture-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta_1988_Harold-Parrish_gesture-1536x1021.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Alta, holding court in 1988. \u003ccite>(Harold Parrish)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Susan Griffin was part of an Oakland women’s group with Alta and had faced multiple rejections from mainstream publishing houses when Shameless Hussy published her books \u003cem>The Sink: Six Short Stories\u003c/em> and \u003cem>dear sky\u003c/em>, a collection of poems. Part of the book deal involved working with Alta’s AB Dick 360 offset press, which she moved to San Lorenzo after receiving multiple death threats from people offended by work she had published.\u003c/p>\n\u003cp>“You would come out to San Lorenzo and help a couple of days in the printing process,” Griffin recalled. “She was a bit wacky, mostly in a great way, but sometimes not. Alta was just one of the most courageous people I knew. She was very very honest, unless she was on purpose not being honest. She would tell you about anything, say anything, or do anything she thought was right. That made her very effective regarding social change.”\u003c/p>\n\u003cp>By the mid 1970s, Alta had returned to Oakland, where she continued printing batches of groundbreaking poetry, essays and novels until 1989. The press’s biggest money maker was \u003cem>Calamity Jane’s Letters to her Daughter\u003c/em>, a collection of uncertain provenance that got increased attention in 2016 when actor Ethan Hawke listed it as one of the best books he’d recently read. (Alta quickly printed up a batch of new copies.)\u003c/p>\n\u003cfigure id=\"attachment_13954757\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/shange-jane.jpg\" alt=\"\" width=\"1920\" height=\"1492\" class=\"size-full wp-image-13954757\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/shange-jane.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/shange-jane-800x622.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/shange-jane-1020x793.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/shange-jane-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/shange-jane-768x597.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/shange-jane-1536x1194.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Shameless Hussy Press titles included ‘Calamity Jane’s Letters to Her Daughter’ and Ntozake Shange’s ‘for colored girls who have considered suicide / when the rainbow is enuf.’ \u003ccite>(Shameless Hussy Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Running her own press gave Alta tremendous freedom, but it wasn’t a one-woman show.\u003c/p>\n\u003cp>“Everybody was part of the operation,” said her daughter Kia Simon, an independent video editor who sometimes works for KQED. “In elementary school we were making 10 cents an hour to fold books. It was a family business. My stepdad was pumping gas at a service station when they met, and he moved in with us. He was very focused on distribution, and the press actually paid for itself for 10 years.”\u003c/p>\n\u003cfigure id=\"attachment_13954747\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Kia-Simon_2010_Oakland.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13954747\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Kia-Simon_2010_Oakland.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Kia-Simon_2010_Oakland-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Kia-Simon_2010_Oakland-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Kia-Simon_2010_Oakland-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Kia-Simon_2010_Oakland-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Kia-Simon_2010_Oakland-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Alta in Oakland, in 2010. \u003ccite>(Kia Simon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Born in 1942 in Reno, Nevada, Alta was 12 when her family moved to Berkeley so that her brother could attend the California School for the Blind. In the early 1960s, she dropped out of UC Berkeley to teach in the South. After the end of her first marriage to Danny Bosserman, she became caught up in the Bay Area’s literary ferment.\u003c/p>\n\u003cp>When her partnership with poet and noted Spanish-language translator John Oliver Simon ended in 1970, she founded a commune in Oakland for women seeking refuge from abusive relationships, which she wrote about enduring herself. Her second marriage to Daniel “Angel” Skarry in the early 1970s ended in divorce a decade later.\u003c/p>\n\u003cp>Alta’s 1980 book \u003ci>The Shameless Hussy: Selected Stories, Essays and Poetry\u003c/i> won a Before Columbus Foundation American Book Award. Other volumes include 1990’s \u003ci>Traveling Tales: Flings I’ve Flung in Foreign Parts\u003c/i> and 2015’s \u003ci>Another Moment: Living Well with a Dread Disease and Everything That Grows Can Also Shrink\u003c/i>.\u003c/p>\n\u003cfigure id=\"attachment_13954750\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Pam-Strayer_2024.jpg\" alt=\"\" width=\"1440\" height=\"1920\" class=\"size-full wp-image-13954750\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Pam-Strayer_2024.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Pam-Strayer_2024-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Pam-Strayer_2024-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Pam-Strayer_2024-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Pam-Strayer_2024-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Pam-Strayer_2024-1152x1536.jpg 1152w\" sizes=\"(max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">Alta in early 2024. \u003ccite>(Pam Strayer)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Always looking to stay in the mix culturally, she opened Alta Galleria in Berkeley’s Elmwood neighborhood in 2006, representing local artists and artists from China. She was forced to close the gallery due to the financial straits of the 2008 recession. \u003c/p>\n\u003cp>Misdiagnosed with multiple sclerosis, Alta spent many years studying healing and diet while contending with increasingly limited mobility. She was a regular presence in her Temescal neighborhood, hanging out for hours with other writers, academics and artists at Pizzaiolo, where she always had a copy of the \u003cem>Financial Times\u003c/em> and never seemed to pick up a check.\u003c/p>\n\u003cp>“Alta had a superpower for eating for free at restaurants,” Simon said. “There are a bunch of places where she wouldn’t get a bill, and Pizzaiolo was one of them.”\u003c/p>\n\u003cp>Alta is survived by her daughters Lorelei Bosserman of Oakland and Kia Simon of San Francisco, as well as her granddaughter Tesla Rose Moyer. A memorial will be held at noon on April 21 at Chapel of the Chimes in Oakland.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Shameless Hussy \u003c/strong>\u003c/p>\n\u003cp>\u003cem>i am one of the true hussies;\u003cbr>\ni have no shame;\u003cbr>\ni was a housewife, and\u003cbr>\nstretched from the housiness of it (hus)\u003cbr>\nand the wifiness of (wif/hus-wif) to\u003cbr>\na woman who cant bear wifedom (hussy) / i\u003cbr>\ngrew beyond the house, like alice after eating\u003cbr>\ntoo many cookies. exactly what i did; i ate\u003cbr>\ntoo many cookies; lovers, poetry, moving my\u003cbr>\nbody in a new way, an old way, the way women\u003cbr>\nlike me have always moved, largely; with great\u003cbr>\nmotions beyond our allotted sphere, with more\u003cbr>\nneed than fear, and more grace than shame.[1]\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>—By Alta\u003c/strong>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13954709/alta-shameless-hussy-press-dies-at-81","authors":["86"],"categories":["arts_1","arts_73","arts_235"],"tags":["arts_1270","arts_10278","arts_1143","arts_1091","arts_1496","arts_22041"],"featImg":"arts_13954754","label":"arts"},"arts_13954682":{"type":"posts","id":"arts_13954682","meta":{"index":"posts_1591205157","site":"arts","id":"13954682","found":true},"guestAuthors":[],"slug":"lumpia-eating-contest-san-jose-milpitas-mestizo-cukui","title":"Do You Know the Way to the South Bay's Only Lumpia Eating Contest?","publishDate":1711473545,"format":"standard","headTitle":"Do You Know the Way to the South Bay’s Only Lumpia Eating Contest? | KQED","labelTerm":{},"content":"\u003cp>What’s the most lumpia you’ve ever eaten in one sitting? How fast did you consume the savory, starchy rolls of meat and cabbage? Do you think you could eat more than the stranger standing beside you?\u003c/p>\n\u003cp>These are questions you can answer at the South Bay’s \u003ca href=\"https://www.instagram.com/p/C4yzF0jP5KG/?img_index=1\">2nd Annual Lumpia Eating Contest\u003c/a>, set to take place in Milpitas on Saturday, March 30.\u003c/p>\n\u003cp>[aside postID='arts_13932574,arts_13954112,arts_13953330']The food extravaganza was originally conceived by three childhood friends — Keith Canda, Chris Zamora, and Anthony Cruzet — who run a San Jose food truck called \u003ca href=\"https://www.kqed.org/arts/13932574/mestizo-san-jose-filipino-food-truck-la-pulga-mexican-hawaiian\">Mestizo\u003c/a>.\u003c/p>\n\u003cp>“It was talked about throughout the Bay Area, and it’s never happened in [the San Jose area] before. It came together from just us sharing our ideas and getting the community involved,” Zamora says.\u003c/p>\n\u003cp>Largely considered to be \u003ca href=\"https://www.kqed.org/sanjosefood\">the Bay Area’s sprawling mecca for immigrant foods\u003c/a>, San Jose’s culinary scene often gets overshadowed by the trendier, more bustling and outwardly attractive scenes in nearby San Francisco, Oakland and Berkeley. But as homegrown locals, the Mestizo boys know better. Last year, they aspired to showcase San Jose’s food offerings by throwing their inaugural Lumpia Eating Contest in San Jose’s Japantown . And it was a hit.\u003c/p>\n\u003cfigure id=\"attachment_13954686\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954686\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/93289d82-940a-4e01-9507-de24952a4e63.jpg\" alt=\"a custom-made award trophy for the winner of the lumpia eating contest in San Jose\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/93289d82-940a-4e01-9507-de24952a4e63.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/93289d82-940a-4e01-9507-de24952a4e63-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/93289d82-940a-4e01-9507-de24952a4e63-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/93289d82-940a-4e01-9507-de24952a4e63-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/93289d82-940a-4e01-9507-de24952a4e63-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/93289d82-940a-4e01-9507-de24952a4e63-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The winner of the competition receives lifelong bragging rights and a custom award, in addition to a gift card, store credits and free merch. \u003ccite>(Courtesy Mestizo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Organized in collaboration with the legendary streetwear brand \u003ca href=\"https://www.instagram.com/cukui/\">Cukui\u003c/a>, as well as \u003ca href=\"https://www.instagram.com/krucialprinting/\">Krucial Printing\u003c/a>, the lumpia-inhaling spectacle drew a block’s worth of onlookers and two tables of hungry eaters who were determined to be crowned the Bay Area’s king (or queen) of lumpia. \u003ca href=\"https://www.instagram.com/lifeof3hunnid/\">The winner\u003c/a> devoured 30 rolls in under five minutes.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“You do the math and you’re like, ‘Man, eating that much lumpia? We can do that,’” Zamora \u003ca href=\"https://www.kqed.org/arts/13932574/mestizo-san-jose-filipino-food-truck-la-pulga-mexican-hawaiian\">told KQED\u003c/a> last year about that first lumpia-eating contest. “But then you see it, and it’s actually kind of hard to do.”\u003c/p>\n\u003cp>This year’s event will take place at Krucial Printing’s studio in Milpitas, which will offer more space for family entertainment, spectators and — of course — lumpia lovers. The menu will only consist of pork lumpia, and the rules are simple: Stomach as many of the golden-fried Filipino appetizers as digestively possible within five minutes, or be the fastest to finish the entire platter of 30 before the buzzer sounds.\u003c/p>\n\u003cfigure id=\"attachment_13954687\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954687\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/b7bda3ab-cc68-4529-8f35-9c5be81b89ec.jpg\" alt=\"a paper tray of lumpia rolls are served during an eating competition\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/b7bda3ab-cc68-4529-8f35-9c5be81b89ec.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/b7bda3ab-cc68-4529-8f35-9c5be81b89ec-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/b7bda3ab-cc68-4529-8f35-9c5be81b89ec-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/b7bda3ab-cc68-4529-8f35-9c5be81b89ec-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/b7bda3ab-cc68-4529-8f35-9c5be81b89ec-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/b7bda3ab-cc68-4529-8f35-9c5be81b89ec-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Contestants must eat 30 lumpia rolls in under five minutes. \u003ccite>(Courtesy Mestizo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of the organizers, Cruzet, admits that the lack of vegetarian options can be “limiting,” and Mestizo hopes to offer more variety for future editions of the contest. They also dream of teaming up with \u003ca href=\"https://www.kqed.org/arts/13907726/e-40-goon-with-the-spoon-bay-area-rappers-food-entrepreneurs-hustle\">Lumpia Company, E-40’s Filipino food enterprise\u003c/a>.\u003c/p>\n\u003cp>Until then, Bay Area lumpia enthusiasts can rejoice in seeing a group of adults racing their way through a table’s worth of the crispy spring rolls, or maybe even take a bite out of the competition themselves.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The South Bay’s\u003c/em> \u003ca href=\"https://www.instagram.com/p/C4yzF0jP5KG/?img_index=1\">\u003ci>2nd Annual Lumpia Eating Contest\u003c/i>\u003c/a>\u003ci> will take place on Saturday, March 30 from 11 a.m. to 3 p.m. at Krucial Printing (821 Houret Ct., Milpitas). The event is family friendly and will include local food vendors and merchandise. Contact \u003c/i>\u003ca href=\"https://www.instagram.com/westaymixin/\">\u003ci>Mestizo\u003c/i>\u003c/a>\u003ci> for more details or questions about entry.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"The Mestizo Filipino food truck brings back its popular competitive eating event.","status":"publish","parent":0,"modified":1711473598,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":14,"wordCount":577},"headData":{"title":"Filipino Food Truck Throws Lumpia Eating Contest in Milpitas | KQED","description":"The Mestizo Filipino food truck brings back its popular competitive eating event.","ogTitle":"Do You Know the Way to the South Bay's Only Lumpia Eating Contest?","ogDescription":"","ogImgId":"","twTitle":"Do You Know the Way to the South Bay's Only Lumpia Eating Contest?","twDescription":"","twImgId":"","socialTitle":"Filipino Food Truck Throws Lumpia Eating Contest in Milpitas %%page%% %%sep%% KQED"},"source":"Food","sourceUrl":"https://www.kqed.org/food","sticky":false,"WpOldSlug":"lumpia-eating-contest-san-jose-mestizo-cukui","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13954682/lumpia-eating-contest-san-jose-milpitas-mestizo-cukui","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>What’s the most lumpia you’ve ever eaten in one sitting? How fast did you consume the savory, starchy rolls of meat and cabbage? Do you think you could eat more than the stranger standing beside you?\u003c/p>\n\u003cp>These are questions you can answer at the South Bay’s \u003ca href=\"https://www.instagram.com/p/C4yzF0jP5KG/?img_index=1\">2nd Annual Lumpia Eating Contest\u003c/a>, set to take place in Milpitas on Saturday, March 30.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13932574,arts_13954112,arts_13953330","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>The food extravaganza was originally conceived by three childhood friends — Keith Canda, Chris Zamora, and Anthony Cruzet — who run a San Jose food truck called \u003ca href=\"https://www.kqed.org/arts/13932574/mestizo-san-jose-filipino-food-truck-la-pulga-mexican-hawaiian\">Mestizo\u003c/a>.\u003c/p>\n\u003cp>“It was talked about throughout the Bay Area, and it’s never happened in [the San Jose area] before. It came together from just us sharing our ideas and getting the community involved,” Zamora says.\u003c/p>\n\u003cp>Largely considered to be \u003ca href=\"https://www.kqed.org/sanjosefood\">the Bay Area’s sprawling mecca for immigrant foods\u003c/a>, San Jose’s culinary scene often gets overshadowed by the trendier, more bustling and outwardly attractive scenes in nearby San Francisco, Oakland and Berkeley. But as homegrown locals, the Mestizo boys know better. Last year, they aspired to showcase San Jose’s food offerings by throwing their inaugural Lumpia Eating Contest in San Jose’s Japantown . And it was a hit.\u003c/p>\n\u003cfigure id=\"attachment_13954686\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954686\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/93289d82-940a-4e01-9507-de24952a4e63.jpg\" alt=\"a custom-made award trophy for the winner of the lumpia eating contest in San Jose\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/93289d82-940a-4e01-9507-de24952a4e63.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/93289d82-940a-4e01-9507-de24952a4e63-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/93289d82-940a-4e01-9507-de24952a4e63-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/93289d82-940a-4e01-9507-de24952a4e63-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/93289d82-940a-4e01-9507-de24952a4e63-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/93289d82-940a-4e01-9507-de24952a4e63-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The winner of the competition receives lifelong bragging rights and a custom award, in addition to a gift card, store credits and free merch. \u003ccite>(Courtesy Mestizo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Organized in collaboration with the legendary streetwear brand \u003ca href=\"https://www.instagram.com/cukui/\">Cukui\u003c/a>, as well as \u003ca href=\"https://www.instagram.com/krucialprinting/\">Krucial Printing\u003c/a>, the lumpia-inhaling spectacle drew a block’s worth of onlookers and two tables of hungry eaters who were determined to be crowned the Bay Area’s king (or queen) of lumpia. \u003ca href=\"https://www.instagram.com/lifeof3hunnid/\">The winner\u003c/a> devoured 30 rolls in under five minutes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“You do the math and you’re like, ‘Man, eating that much lumpia? We can do that,’” Zamora \u003ca href=\"https://www.kqed.org/arts/13932574/mestizo-san-jose-filipino-food-truck-la-pulga-mexican-hawaiian\">told KQED\u003c/a> last year about that first lumpia-eating contest. “But then you see it, and it’s actually kind of hard to do.”\u003c/p>\n\u003cp>This year’s event will take place at Krucial Printing’s studio in Milpitas, which will offer more space for family entertainment, spectators and — of course — lumpia lovers. The menu will only consist of pork lumpia, and the rules are simple: Stomach as many of the golden-fried Filipino appetizers as digestively possible within five minutes, or be the fastest to finish the entire platter of 30 before the buzzer sounds.\u003c/p>\n\u003cfigure id=\"attachment_13954687\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954687\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/b7bda3ab-cc68-4529-8f35-9c5be81b89ec.jpg\" alt=\"a paper tray of lumpia rolls are served during an eating competition\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/b7bda3ab-cc68-4529-8f35-9c5be81b89ec.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/b7bda3ab-cc68-4529-8f35-9c5be81b89ec-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/b7bda3ab-cc68-4529-8f35-9c5be81b89ec-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/b7bda3ab-cc68-4529-8f35-9c5be81b89ec-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/b7bda3ab-cc68-4529-8f35-9c5be81b89ec-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/b7bda3ab-cc68-4529-8f35-9c5be81b89ec-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Contestants must eat 30 lumpia rolls in under five minutes. \u003ccite>(Courtesy Mestizo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of the organizers, Cruzet, admits that the lack of vegetarian options can be “limiting,” and Mestizo hopes to offer more variety for future editions of the contest. They also dream of teaming up with \u003ca href=\"https://www.kqed.org/arts/13907726/e-40-goon-with-the-spoon-bay-area-rappers-food-entrepreneurs-hustle\">Lumpia Company, E-40’s Filipino food enterprise\u003c/a>.\u003c/p>\n\u003cp>Until then, Bay Area lumpia enthusiasts can rejoice in seeing a group of adults racing their way through a table’s worth of the crispy spring rolls, or maybe even take a bite out of the competition themselves.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The South Bay’s\u003c/em> \u003ca href=\"https://www.instagram.com/p/C4yzF0jP5KG/?img_index=1\">\u003ci>2nd Annual Lumpia Eating Contest\u003c/i>\u003c/a>\u003ci> will take place on Saturday, March 30 from 11 a.m. to 3 p.m. at Krucial Printing (821 Houret Ct., Milpitas). The event is family friendly and will include local food vendors and merchandise. Contact \u003c/i>\u003ca href=\"https://www.instagram.com/westaymixin/\">\u003ci>Mestizo\u003c/i>\u003c/a>\u003ci> for more details or questions about entry.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13954682/lumpia-eating-contest-san-jose-milpitas-mestizo-cukui","authors":["11748"],"programs":["arts_140"],"categories":["arts_1","arts_12276"],"tags":["arts_10278","arts_2855","arts_1297","arts_15892","arts_1084","arts_3001","arts_585"],"featImg":"arts_13954688","label":"source_arts_13954682"},"arts_13929861":{"type":"posts","id":"arts_13929861","meta":{"index":"posts_1591205157","site":"arts","id":"13929861","found":true},"guestAuthors":[],"slug":"latyrx-lateef-lyrics-born-solesides-quannum","title":"Lateef and Lyrics Born on Latyrx’s Early Years","publishDate":1685566853,"format":"video","headTitle":"Lateef and Lyrics Born on Latyrx’s Early Years | KQED","labelTerm":{},"content":"\u003cp>\u003cem>\u003cstrong>Editor’s note\u003c/strong>: This story is part of \u003ca href=\"https://www.kqed.org/bayareahiphop\">That’s My Word\u003c/a>, KQED’s year-long exploration of \u003ca href=\"https://www.kqed.org/bayareahiphop\">Bay Area hip-hop\u003c/a> history.\u003c/em>\u003c/p>\n\u003cp>In the Hall of Game that is Bay Area hip-hop, independent collectives loom large. Along with Hieroglyphics and Living Legends, the fiercely creative, multicultural group \u003ca href=\"http://www.kqed.org/bayareahiphop/timeline#solesides-makes-its-debut\">Solesides\u003c/a> helped define a certain only-in-the-Bay sensibility. With groundbreaking artists like \u003ca href=\"https://www.kqed.org/arts/13842646/hip-hop-photographer-b-shot-just-about-anyone-that-mattered\">DJ Shadow\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13899416/the-gift-of-gab-5-songs-to-know-by-the-blackalicious-legend\">Blackalicious\u003c/a>, the crew added a new, abstracted dimension to Bay Area hip-hop. \u003c/p>\n\u003cp>One of its most dizzying groups was Latyrx. Above, watch Latyrx’s Lateef and Lyrics Born discuss Solesides’ early formation at UC Davis, its transformation into Quannum and its high-profile successes as a diverse Bay Area collective — as well as their enduring respect for their Bay Area colleagues and each other. \u003c/p>\n\u003cp>[aside postID='arts_13923938']\u003cem>Select questions from the interview, edited for length and clarity:\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>In your own words, what makes Bay Area hip-hop special? \u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Lateef\u003c/strong>: The Bay Area has always been a hodgepodge of a lot of different cultures and communities. And you see a reflection of that in Bay Area hip-hop in a way that you don’t in a lot of the other parts of the country. So here you have early, early on, contributing, folks of all different cultures. You got the \u003ca href=\"https://www.kqed.org/arts/13905208/a-new-generation-of-filipino-hip-hop-builds-on-a-deep-bay-area-legacy\">Invisibl Skratch Piklz\u003c/a>, which have been holding down the Bay for a long time. Obviously you have \u003ca href=\"https://www.kqed.org/arts/13927349/bay-area-hip-hop-1980s\">Too Short\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13927692/del-funky-homosapien-no-need-for-alarm-30-years-anniversary\">Del\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13927349/bay-area-hip-hop-1980s\">MC Hammer\u003c/a>. Those three styles right there. Too Short is as gangster and pimp shit as it gets. MC Hammer, who’s the blueprint for what Puff Daddy did — just the idea that you could take over the world with your music, and it didn’t matter that you were from the Bay Area. That’s part of the Bay Area identity. Musically, Del, just extreme creativity. I sound the way that I do because of Del. And \u003ca href=\"https://www.kqed.org/arts/13824571/oakland-sideshows-legalize-macarthur\">Richie Rich\u003c/a>. I sound the way I do because of \u003cem>all\u003c/em> of those people. \u003c/p>\n\u003cfigure id=\"attachment_13929863\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Latyrx.Lateef-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" class=\"size-medium wp-image-13929863\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Latyrx.Lateef-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Latyrx.Lateef-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Latyrx.Lateef-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Latyrx.Lateef-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Latyrx.Lateef-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Latyrx.Lateef.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lateef the Truthspeaker onstage at KQED. \u003ccite>(Alain McLaughlin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>One thing we find in Bay Area hip-hop is this rich tradition of the independent hustle. You came together in the 1990s at this incredible scene around KDVS, the radio station at UC Davis, and became a major part of this lineage of independent collectives. Can you tell people a little bit about that? \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Lyrics Born\u003c/strong>: You can’t really talk about music, in particular hip-hop, in the Bay Area without talking about this independent spirit. And then the label and music movement that spawned from that. You just have this intersectionality of free thought and politics and culture and history. You have all these dynamics that kind of converge. We have this very special culture. And the other thing that I think is notable is that we’re \u003cem>not\u003c/em> in New York. We’re \u003cem>not\u003c/em> in LA. So when we started Quannum and Solesides, it wasn’t because we wanted to set the world on fire as executives. Nobody else would put our music out! We had no choice. If we didn’t put it out, nobody else would. \u003c/p>\n\u003cp>\u003cstrong>Right out of the gate, Solesides and Latyrx reflected that multiculturalism of the Bay Area. Lyrics Born, you’re Japanese-American. Born in Tokyo, raised in Berkeley. And Lateef, you’re half Black, half Puerto Rican, some Algerian. How would you say your personal identity has come through in your music?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Lyrics Born\u003c/strong>: The interesting thing about the Bay Area, and particularly Solesides and Quannum in the early ’90s, is that it’s kind of a case study in how multicultural groups can really succeed. We had probably the most diverse group collective of professional musicians, successful professional musicians, maybe in the history of music. Right? Period. Black, white, Indian, Japanese, Chinese, Italian, Algerian, Puerto Rican. Every single food group was represented.\u003c/p>\n\u003cfigure id=\"attachment_13929864\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Latyrx.LyricsBorn-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" class=\"size-medium wp-image-13929864\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Latyrx.LyricsBorn-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Latyrx.LyricsBorn-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Latyrx.LyricsBorn-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Latyrx.LyricsBorn-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Latyrx.LyricsBorn-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Latyrx.LyricsBorn.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lyrics Born onstage at KQED. \u003ccite>(Alain McLaughlin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Lateef\u003c/strong>: I’m going to add to this question of cultural diversity, and I’m just going to point out that, you know, one of the things that I was always impressed by with Lyrics Born, from the first time that I met him, was his originality. Even when we were really young, he found his voice very early, and it didn’t sound like anybody else’s voice.\u003c/p>\n\u003cp>But here’s the thing about him, that I think people don’t really realize, is that as far as Asian American males in music, Lyrics Born is like, the most successful pioneer. I consider myself to be revolutionary and, you know, on the edge and all that. But I’m supporting someone who is arguably more … there’s a quality to what Lyrics Born has been able to do that you can’t replicate. I don’t really care who you are. You can only be the first person to step on the moon. Only one person gets to do that! You know what I mean? And it’s like outside of Don Ho, this guy’s got the most records.\u003c/p>\n\u003cp>So when you talk about diversity, that’s true in a lot of ways for the Bay Area, and a lot of artists from here. But also for this man in particular. \u003c/p>\n\u003cp>\u003cem>Watch the whole interview above.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/06/Turntable.Break_-800x60.jpg\" alt=\"\" width=\"800\" height=\"60\" class=\"aligncenter size-medium wp-image-11687704\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-400x30.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-768x58.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n","blocks":[],"excerpt":"Watch Latyrx onstage at KQED, discussing their Solesides/Quannum crew and its place in Bay Area hip-hop.","status":"publish","parent":0,"modified":1705005433,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":17,"wordCount":912},"headData":{"title":"Lateef and Lyrics Born on Latyrx’s Early Years | KQED","description":"Watch Latyrx onstage at KQED, discussing their Solesides/Quannum crew and its place in Bay Area hip-hop.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","authorsData":[{"type":"authors","id":"185","meta":{"index":"authors_1591205172","id":"185","found":true},"name":"Gabe Meline","firstName":"Gabe","lastName":"Meline","slug":"gmeline","email":"gmeline@kqed.org","display_author_email":false,"staff_mastheads":["arts"],"title":"Senior Editor, KQED Arts & Culture","bio":"Gabe Meline entered journalism at age 15 making photocopied zines, and has since earned awards from the Edward R. Murrow Awards, the Society for Professional Journalists, the Online Journalism Awards, the Association of Alternative Newsweeklies and the California Newspaper Publishers Association. Prior to KQED, he was the editor of the \u003cem>North Bay Bohemian\u003c/em> and a touring musician. He lives with his wife, his daughter, and a 1964 Volvo in his hometown of Santa Rosa, CA.","avatar":"https://secure.gravatar.com/avatar/80e9715844c5fc3f07edac5b08973b76?s=600&d=blank&r=g","twitter":"gmeline","facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"","roles":["editor"]},{"site":"arts","roles":["administrator"]},{"site":"artschool","roles":["editor"]},{"site":"news","roles":["author"]},{"site":"pop","roles":["editor"]},{"site":"bayareabites","roles":["editor"]},{"site":"food","roles":["editor"]},{"site":"liveblog","roles":["editor"]},{"site":"hiphop","roles":["editor"]}],"headData":{"title":"Gabe Meline | KQED","description":"Senior Editor, KQED Arts & Culture","ogImgSrc":"https://secure.gravatar.com/avatar/80e9715844c5fc3f07edac5b08973b76?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/80e9715844c5fc3f07edac5b08973b76?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/gmeline"}],"imageData":{"ogImageSize":{"file":"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Latyrx.Square.fin_-1020x1020.jpg","width":1020,"height":1020,"mimeType":"image/jpeg"},"twImageSize":{"file":"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Latyrx.Square.fin_-1020x1020.jpg","width":1020,"height":1020,"mimeType":"image/jpeg"},"twitterCard":"summary_large_image"},"tagData":{"tags":["featured-arts","Hip Hop","Jeff Chang","latyrx","lyrics born","tmw-latest","Too Short"]}},"videoEmbed":"https://www.youtube.com/watch?v=JYcxUdaO1n4","source":"That's My Word ","sourceUrl":"/bayareahiphop","sticky":false,"WpOldSlug":"lateef-and-lyrics-born-on-latyrxs-early-years","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13929861/latyrx-lateef-lyrics-born-solesides-quannum","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Editor’s note\u003c/strong>: This story is part of \u003ca href=\"https://www.kqed.org/bayareahiphop\">That’s My Word\u003c/a>, KQED’s year-long exploration of \u003ca href=\"https://www.kqed.org/bayareahiphop\">Bay Area hip-hop\u003c/a> history.\u003c/em>\u003c/p>\n\u003cp>In the Hall of Game that is Bay Area hip-hop, independent collectives loom large. Along with Hieroglyphics and Living Legends, the fiercely creative, multicultural group \u003ca href=\"http://www.kqed.org/bayareahiphop/timeline#solesides-makes-its-debut\">Solesides\u003c/a> helped define a certain only-in-the-Bay sensibility. With groundbreaking artists like \u003ca href=\"https://www.kqed.org/arts/13842646/hip-hop-photographer-b-shot-just-about-anyone-that-mattered\">DJ Shadow\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13899416/the-gift-of-gab-5-songs-to-know-by-the-blackalicious-legend\">Blackalicious\u003c/a>, the crew added a new, abstracted dimension to Bay Area hip-hop. \u003c/p>\n\u003cp>One of its most dizzying groups was Latyrx. Above, watch Latyrx’s Lateef and Lyrics Born discuss Solesides’ early formation at UC Davis, its transformation into Quannum and its high-profile successes as a diverse Bay Area collective — as well as their enduring respect for their Bay Area colleagues and each other. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13923938","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cem>Select questions from the interview, edited for length and clarity:\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>In your own words, what makes Bay Area hip-hop special? \u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Lateef\u003c/strong>: The Bay Area has always been a hodgepodge of a lot of different cultures and communities. And you see a reflection of that in Bay Area hip-hop in a way that you don’t in a lot of the other parts of the country. So here you have early, early on, contributing, folks of all different cultures. You got the \u003ca href=\"https://www.kqed.org/arts/13905208/a-new-generation-of-filipino-hip-hop-builds-on-a-deep-bay-area-legacy\">Invisibl Skratch Piklz\u003c/a>, which have been holding down the Bay for a long time. Obviously you have \u003ca href=\"https://www.kqed.org/arts/13927349/bay-area-hip-hop-1980s\">Too Short\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13927692/del-funky-homosapien-no-need-for-alarm-30-years-anniversary\">Del\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13927349/bay-area-hip-hop-1980s\">MC Hammer\u003c/a>. Those three styles right there. Too Short is as gangster and pimp shit as it gets. MC Hammer, who’s the blueprint for what Puff Daddy did — just the idea that you could take over the world with your music, and it didn’t matter that you were from the Bay Area. That’s part of the Bay Area identity. Musically, Del, just extreme creativity. I sound the way that I do because of Del. And \u003ca href=\"https://www.kqed.org/arts/13824571/oakland-sideshows-legalize-macarthur\">Richie Rich\u003c/a>. I sound the way I do because of \u003cem>all\u003c/em> of those people. \u003c/p>\n\u003cfigure id=\"attachment_13929863\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Latyrx.Lateef-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" class=\"size-medium wp-image-13929863\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Latyrx.Lateef-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Latyrx.Lateef-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Latyrx.Lateef-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Latyrx.Lateef-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Latyrx.Lateef-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Latyrx.Lateef.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lateef the Truthspeaker onstage at KQED. \u003ccite>(Alain McLaughlin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>One thing we find in Bay Area hip-hop is this rich tradition of the independent hustle. You came together in the 1990s at this incredible scene around KDVS, the radio station at UC Davis, and became a major part of this lineage of independent collectives. Can you tell people a little bit about that? \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Lyrics Born\u003c/strong>: You can’t really talk about music, in particular hip-hop, in the Bay Area without talking about this independent spirit. And then the label and music movement that spawned from that. You just have this intersectionality of free thought and politics and culture and history. You have all these dynamics that kind of converge. We have this very special culture. And the other thing that I think is notable is that we’re \u003cem>not\u003c/em> in New York. We’re \u003cem>not\u003c/em> in LA. So when we started Quannum and Solesides, it wasn’t because we wanted to set the world on fire as executives. Nobody else would put our music out! We had no choice. If we didn’t put it out, nobody else would. \u003c/p>\n\u003cp>\u003cstrong>Right out of the gate, Solesides and Latyrx reflected that multiculturalism of the Bay Area. Lyrics Born, you’re Japanese-American. Born in Tokyo, raised in Berkeley. And Lateef, you’re half Black, half Puerto Rican, some Algerian. How would you say your personal identity has come through in your music?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Lyrics Born\u003c/strong>: The interesting thing about the Bay Area, and particularly Solesides and Quannum in the early ’90s, is that it’s kind of a case study in how multicultural groups can really succeed. We had probably the most diverse group collective of professional musicians, successful professional musicians, maybe in the history of music. Right? Period. Black, white, Indian, Japanese, Chinese, Italian, Algerian, Puerto Rican. Every single food group was represented.\u003c/p>\n\u003cfigure id=\"attachment_13929864\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Latyrx.LyricsBorn-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" class=\"size-medium wp-image-13929864\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Latyrx.LyricsBorn-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Latyrx.LyricsBorn-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Latyrx.LyricsBorn-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Latyrx.LyricsBorn-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Latyrx.LyricsBorn-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Latyrx.LyricsBorn.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lyrics Born onstage at KQED. \u003ccite>(Alain McLaughlin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Lateef\u003c/strong>: I’m going to add to this question of cultural diversity, and I’m just going to point out that, you know, one of the things that I was always impressed by with Lyrics Born, from the first time that I met him, was his originality. Even when we were really young, he found his voice very early, and it didn’t sound like anybody else’s voice.\u003c/p>\n\u003cp>But here’s the thing about him, that I think people don’t really realize, is that as far as Asian American males in music, Lyrics Born is like, the most successful pioneer. I consider myself to be revolutionary and, you know, on the edge and all that. But I’m supporting someone who is arguably more … there’s a quality to what Lyrics Born has been able to do that you can’t replicate. I don’t really care who you are. You can only be the first person to step on the moon. Only one person gets to do that! You know what I mean? And it’s like outside of Don Ho, this guy’s got the most records.\u003c/p>\n\u003cp>So when you talk about diversity, that’s true in a lot of ways for the Bay Area, and a lot of artists from here. But also for this man in particular. \u003c/p>\n\u003cp>\u003cem>Watch the whole interview above.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/06/Turntable.Break_-800x60.jpg\" alt=\"\" width=\"800\" height=\"60\" class=\"aligncenter size-medium wp-image-11687704\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-400x30.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-768x58.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13929861/latyrx-lateef-lyrics-born-solesides-quannum","authors":["185"],"categories":["arts_1","arts_69"],"tags":["arts_10278","arts_831","arts_11789","arts_20720","arts_20719","arts_19347","arts_3478"],"featImg":"arts_13929874","label":"source_arts_13929861","isLoading":false,"hasAllInfo":true}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.","airtime":"SUN 2pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2023/08/possible-5gxfizEbKOJ-pbF5ASgxrs_.1400x1400.jpg","officialWebsiteLink":"https://www.possible.fm/","meta":{"site":"news","source":"Possible"},"link":"/radio/program/possible","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/possible/id1677184070","spotify":"https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"}},"1a":{"id":"1a","title":"1A","info":"1A is home to the national conversation. 1A brings on great guests and frames the best debate in ways that make you think, share and engage.","airtime":"MON-THU 11pm-12am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/1a.jpg","officialWebsiteLink":"https://the1a.org/","meta":{"site":"news","source":"npr"},"link":"/radio/program/1a","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=1188724250&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/1A-p947376/","rss":"https://feeds.npr.org/510316/podcast.xml"}},"all-things-considered":{"id":"all-things-considered","title":"All Things Considered","info":"Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. 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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. 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Is it the officers, or the public they've sworn to serve?","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/01/OOW_Tile_Final.png","imageAlt":"On Our Watch from NPR and KQED","officialWebsiteLink":"/podcasts/onourwatch","meta":{"site":"news","source":"kqed","order":"1"},"link":"/podcasts/onourwatch","subscribe":{"apple":"https://podcasts.apple.com/podcast/id1567098962","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw","npr":"https://rpb3r.app.goo.gl/onourwatch","spotify":"https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x","tuneIn":"https://tunein.com/radio/On-Our-Watch-p1436229/","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. 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