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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"}},"breakingNewsReducer":{},"campaignFinanceReducer":{},"firebase":{"requesting":{},"requested":{},"timestamps":{},"data":{},"ordered":{},"auth":{"isLoaded":false,"isEmpty":true},"authError":null,"profile":{"isLoaded":false,"isEmpty":true},"listeners":{"byId":{},"allIds":[]},"isInitializing":false,"errors":[]},"navBarReducer":{"navBarId":"arts","fullView":true,"showPlayer":false},"navMenuReducer":{"menus":[{"key":"menu1","items":[{"name":"News","link":"/","type":"title"},{"name":"Politics","link":"/politics"},{"name":"Science","link":"/science"},{"name":"Education","link":"/educationnews"},{"name":"Housing","link":"/housing"},{"name":"Immigration","link":"/immigration"},{"name":"Criminal Justice","link":"/criminaljustice"},{"name":"Silicon Valley","link":"/siliconvalley"},{"name":"Forum","link":"/forum"},{"name":"The California Report","link":"/californiareport"}]},{"key":"menu2","items":[{"name":"Arts & Culture","link":"/arts","type":"title"},{"name":"Critics’ Picks","link":"/thedolist"},{"name":"Cultural Commentary","link":"/artscommentary"},{"name":"Food & Drink","link":"/food"},{"name":"Bay Area Hip-Hop","link":"/bayareahiphop"},{"name":"Rebel Girls","link":"/rebelgirls"},{"name":"Arts Video","link":"/artsvideos"}]},{"key":"menu3","items":[{"name":"Podcasts","link":"/podcasts","type":"title"},{"name":"Bay Curious","link":"/podcasts/baycurious"},{"name":"Rightnowish","link":"/podcasts/rightnowish"},{"name":"The Bay","link":"/podcasts/thebay"},{"name":"On Our Watch","link":"/podcasts/onourwatch"},{"name":"Mindshift","link":"/podcasts/mindshift"},{"name":"Consider This","link":"/podcasts/considerthis"},{"name":"Political Breakdown","link":"/podcasts/politicalbreakdown"}]},{"key":"menu4","items":[{"name":"Live Radio","link":"/radio","type":"title"},{"name":"TV","link":"/tv","type":"title"},{"name":"Events","link":"/events","type":"title"},{"name":"For Educators","link":"/education","type":"title"},{"name":"Support KQED","link":"/support","type":"title"},{"name":"About","link":"/about","type":"title"},{"name":"Help Center","link":"https://kqed-helpcenter.kqed.org/s","type":"title"}]}]},"pagesReducer":{},"postsReducer":{"stream_live":{"type":"live","id":"stream_live","audioUrl":"https://streams.kqed.org/kqedradio","title":"Live Stream","excerpt":"Live Stream information currently unavailable.","link":"/radio","featImg":"","label":{"name":"KQED Live","link":"/"}},"stream_kqedNewscast":{"type":"posts","id":"stream_kqedNewscast","audioUrl":"https://www.kqed.org/.stream/anon/radio/RDnews/newscast.mp3?_=1","title":"KQED Newscast","featImg":"","label":{"name":"88.5 FM","link":"/"}},"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_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_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_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_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_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>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,” reads today’s \u003ca href=\"https://spdbooks.org/\">announcement on the SPD website\u003c/a>. “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 owned by Ingram Content Group and Publishers Storage and Shipping (PSSC). This was part of an effort, according to \u003ca href=\"https://www.publishersweekly.com/pw/by-topic/industry-news/publisher-news/article/94447-spd-to-roll-out-new-services-with-warehouse-transfer-completed.html\">Publisher’s Weekly\u003c/a>, to cut operating costs while increasing services for the some 400 publishers who use SPD’s distribution services. \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\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\u003cfigure id=\"attachment_13879807\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" 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\" class=\"size-full wp-image-13879807\" 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>[aside postID='news_11883845']But it has also been rocked by instability and controversy. Kent 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 \u003ca href=\"https://www.kqed.org/news/11883845/how-former-employees-at-a-berkeley-bastion-for-literary-presses-ignited-a-reckoning\">accusations of discrimination and wage theft\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Despite efforts to raise new funds, find new sales channels and exit their expensive warehouse, the announcement says, 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>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>“Everyone at SPD is heartbroken at this devastating outcome, which seriously jeopardizes the ability of underrepresented literary communities to reach the marketplace,” the announcement concludes. “We thank you for your years of support.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>This story contains previous reporting by \u003ca href=\"https://www.kqed.org/news/11883845/how-former-employees-at-a-berkeley-bastion-for-literary-presses-ignited-a-reckoning\">Holly McDede\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13879790/with-bookstores-closed-a-50-year-old-independent-book-distributor-perseveres\">Sam Lefebvre\u003c/a>.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"Founded in 1969, the nonprofit distributor got experimental, avant-garde works onto bookstores’ shelves.","status":"publish","parent":0,"modified":1711673683,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":13,"wordCount":472},"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>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,” reads today’s \u003ca href=\"https://spdbooks.org/\">announcement on the SPD website\u003c/a>. “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 owned by Ingram Content Group and Publishers Storage and Shipping (PSSC). This was part of an effort, according to \u003ca href=\"https://www.publishersweekly.com/pw/by-topic/industry-news/publisher-news/article/94447-spd-to-roll-out-new-services-with-warehouse-transfer-completed.html\">Publisher’s Weekly\u003c/a>, to cut operating costs while increasing services for the some 400 publishers who use SPD’s distribution services. \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\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\u003cfigure id=\"attachment_13879807\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" 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\" class=\"size-full wp-image-13879807\" 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>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"news_11883845","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>But it has also been rocked by instability and controversy. Kent 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 \u003ca href=\"https://www.kqed.org/news/11883845/how-former-employees-at-a-berkeley-bastion-for-literary-presses-ignited-a-reckoning\">accusations of discrimination and wage theft\u003c/a>.\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>Despite efforts to raise new funds, find new sales channels and exit their expensive warehouse, the announcement says, 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>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>“Everyone at SPD is heartbroken at this devastating outcome, which seriously jeopardizes the ability of underrepresented literary communities to reach the marketplace,” the announcement concludes. “We thank you for your years of support.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>This story contains previous reporting by \u003ca href=\"https://www.kqed.org/news/11883845/how-former-employees-at-a-berkeley-bastion-for-literary-presses-ignited-a-reckoning\">Holly McDede\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13879790/with-bookstores-closed-a-50-year-old-independent-book-distributor-perseveres\">Sam Lefebvre\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13954963/berkeleys-small-press-distribution-champion-of-indie-books-shuts-down","authors":["61"],"categories":["arts_1","arts_73","arts_235"],"tags":["arts_1270","arts_928","arts_10278","arts_10422","arts_4566"],"featImg":"arts_13879796","label":"arts"},"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_13954764":{"type":"posts","id":"arts_13954764","meta":{"index":"posts_1591205157","site":"arts","id":"13954764","found":true},"guestAuthors":[],"slug":"sf-symphony-leadership-esa-pekka-salonen-musicians-protest","title":"SF Symphony Leadership Addresses Financial Issues After Musicians’ Protest","publishDate":1711495560,"format":"standard","headTitle":"SF Symphony Leadership Addresses Financial Issues After Musicians’ Protest | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>The leadership of the San Francisco Symphony has attempted to offer more transparency into its financial challenges after Esa-Pekka Salonen’s decision to step down as music director. Over the past two weeks, \u003ca href=\"https://www.kqed.org/arts/13954297/san-francisco-symphony-musicians-urge-leadership-to-keep-esa-pekka-salonen\">orchestra musicians have protested\u003c/a> both Salonen’s impending departure and the Symphony’s cuts to programs. \u003c/p>\n\u003cp>In \u003ca href=\"https://www.sfsymphony.org/SanFrancisco/media/SanFrancisco/Press%20Room/Statement-on-San-Francisco-Symphony-organizational-context.pdf\">a four-page statement\u003c/a> issued Monday, the Symphony said that it “deeply values” the musicians of the orchestra, as well as its relationship with Salonen, who on March 14 said he was stepping down from the Symphony “because I do not share the same goals for the future of the institution as the Board of Governors.”\u003c/p>\n\u003cp>Those goals are widely understood to be about Salonen’s creative vision for the Symphony, which includes international tours, special concerts, commissions and community programs, which the Symphony has either canceled or postponed. (As \u003ca href=\"https://www-hs-fi.translate.goog/kulttuuri/art-2000010292468.html?_x_tr_sl=auto&_x_tr_tl=en&_x_tr_hl=en&_x_tr_pto=wapp&_x_tr_hist=true&fbclid=IwAR3lLiC1drjtCx-DzU9k_ZYznsmIFuVXpQKVRwMRruugzjNels8ilQxGEi4\">Salonen explained to the Finnish newspaper \u003cem>Helsingin Sanomat\u003c/em>\u003c/a>, “The board has decided on big and dramatic cuts that affect the orchestra’s artistic profile so deeply that I don’t consider it possible to continue my contract.”)\u003c/p>\n\u003cp>“We would love nothing more than to be able to immediately restore the number of SoundBox performances, semi-staged productions, and new commissions; to resume touring; and to reinstate Concerts for Kids,” the Symphony’s statement reads. “The limiting factor prohibiting us from doing so is not a lack of desire, drive, or ambition. It is solely a lack of immediate financial resources.” \u003c/p>\n\u003cp>[aside postID='arts_13954297']The unsigned statement goes into additional detail about the Symphony’s declarations that its expenses exceed its revenue, asserting that in 2022–23, “the Symphony’s operating expenses totaled $78.6 million, while operating revenues, exclusive of extraordinary one-time contributions, totaled just $67.4 million.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Without taking action or receiving additional funding, “we anticipate that our cumulative cash losses could grow by an additional $80 million over the next five years,” the statement reads.\u003c/p>\n\u003cp>Andy Lynch, a spokesperson for the musicians, said the orchestra is still disappointed. \u003c/p>\n\u003cp>“While we are glad that the administration is responding to the overwhelming outpouring of concern regarding the departure of Esa-Pekka Salonen due to cuts to programming, education, and touring, there is still no plan nor timeline for the reinstatement of these supposedly temporary cuts. The administration claims they are committed to transparency and ensuring the Symphony remains a world-class organization, but their recent actions have driven away a world-class Music Director and left more questions than answers related to Symphony finances and endowment,” Lynch said in a statement.\u003c/p>\n\u003cp>“Despite our requests, the administration has still not provided us with audited financial statements to support their claims, which we are now only hearing about through a press release.”\u003c/p>\n\u003cp>Orchestra musicians \u003ca href=\"https://www.kqed.org/arts/13954297/san-francisco-symphony-musicians-urge-leadership-to-keep-esa-pekka-salonen\">have argued\u003c/a> that the symphony should draw on its $325 million endowment — the second-largest of the country’s symphony orchestras — to keep programs afloat and, by extension, retain Salonen on the podium. \u003c/p>\n\u003cp>On this, the Symphony claims its hands are tied. \u003c/p>\n\u003cp>“There is a common misconception that endowments can be accessed like a savings account and used to support operating expenses at any time. In reality, our flexibility in spending from the endowment is limited by California law, as well as by legally binding donor applied restrictions,” the statement reads. (Restrictions on a nonprofit’s endowment can also be self-applied by the board.)\u003c/p>\n\u003cp>[aside postID='arts_13954083']Draws from the endowment provide an annual source of revenue for the organization. Musicians had provided figures to KQED showing a 4.4% draw on the endowment in 2022. The Symphony’s statement says the board has now authorized a larger draw of 6.45% for the 2024–25 season. \u003c/p>\n\u003cp>Another sticking point for the musicians has been their salaries, which have not been restored to pre-pandemic levels like those of their counterparts in other orchestras. (According to \u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SFS.Flyer_.jpg\">a flyer distributed by musicians to patrons at Davies Symphony Hall\u003c/a> on March 16, Salonen has personally argued for musicians’ pay to be restored.) The Symphony statement, however, did not mention nor address musicians’ pay. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Meanwhile, a \u003ca href=\"https://www.change.org/p/sf-symphony-board-retain-esa-pekka-salonen-invest-in-the-symphony\">Change.org petition addressed to the Symphony board\u003c/a>, calling to retain Salonen and reinvest in Symphony programs, has received over 5,000 signatures.\u003c/p>\n\n","blocks":[],"excerpt":"News of Esa-Pekka Salonen’s departure as music director has brought scrutiny on the Symphony’s finances.","status":"publish","parent":0,"modified":1711554662,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":17,"wordCount":741},"headData":{"title":"SF Symphony Leadership Addresses Financial Issues After Musicians’ Protest | KQED","description":"News of Esa-Pekka Salonen’s departure as music director has brought scrutiny on the Symphony’s finances.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13954764/sf-symphony-leadership-esa-pekka-salonen-musicians-protest","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The leadership of the San Francisco Symphony has attempted to offer more transparency into its financial challenges after Esa-Pekka Salonen’s decision to step down as music director. Over the past two weeks, \u003ca href=\"https://www.kqed.org/arts/13954297/san-francisco-symphony-musicians-urge-leadership-to-keep-esa-pekka-salonen\">orchestra musicians have protested\u003c/a> both Salonen’s impending departure and the Symphony’s cuts to programs. \u003c/p>\n\u003cp>In \u003ca href=\"https://www.sfsymphony.org/SanFrancisco/media/SanFrancisco/Press%20Room/Statement-on-San-Francisco-Symphony-organizational-context.pdf\">a four-page statement\u003c/a> issued Monday, the Symphony said that it “deeply values” the musicians of the orchestra, as well as its relationship with Salonen, who on March 14 said he was stepping down from the Symphony “because I do not share the same goals for the future of the institution as the Board of Governors.”\u003c/p>\n\u003cp>Those goals are widely understood to be about Salonen’s creative vision for the Symphony, which includes international tours, special concerts, commissions and community programs, which the Symphony has either canceled or postponed. (As \u003ca href=\"https://www-hs-fi.translate.goog/kulttuuri/art-2000010292468.html?_x_tr_sl=auto&_x_tr_tl=en&_x_tr_hl=en&_x_tr_pto=wapp&_x_tr_hist=true&fbclid=IwAR3lLiC1drjtCx-DzU9k_ZYznsmIFuVXpQKVRwMRruugzjNels8ilQxGEi4\">Salonen explained to the Finnish newspaper \u003cem>Helsingin Sanomat\u003c/em>\u003c/a>, “The board has decided on big and dramatic cuts that affect the orchestra’s artistic profile so deeply that I don’t consider it possible to continue my contract.”)\u003c/p>\n\u003cp>“We would love nothing more than to be able to immediately restore the number of SoundBox performances, semi-staged productions, and new commissions; to resume touring; and to reinstate Concerts for Kids,” the Symphony’s statement reads. “The limiting factor prohibiting us from doing so is not a lack of desire, drive, or ambition. It is solely a lack of immediate financial resources.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13954297","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>The unsigned statement goes into additional detail about the Symphony’s declarations that its expenses exceed its revenue, asserting that in 2022–23, “the Symphony’s operating expenses totaled $78.6 million, while operating revenues, exclusive of extraordinary one-time contributions, totaled just $67.4 million.”\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>Without taking action or receiving additional funding, “we anticipate that our cumulative cash losses could grow by an additional $80 million over the next five years,” the statement reads.\u003c/p>\n\u003cp>Andy Lynch, a spokesperson for the musicians, said the orchestra is still disappointed. \u003c/p>\n\u003cp>“While we are glad that the administration is responding to the overwhelming outpouring of concern regarding the departure of Esa-Pekka Salonen due to cuts to programming, education, and touring, there is still no plan nor timeline for the reinstatement of these supposedly temporary cuts. The administration claims they are committed to transparency and ensuring the Symphony remains a world-class organization, but their recent actions have driven away a world-class Music Director and left more questions than answers related to Symphony finances and endowment,” Lynch said in a statement.\u003c/p>\n\u003cp>“Despite our requests, the administration has still not provided us with audited financial statements to support their claims, which we are now only hearing about through a press release.”\u003c/p>\n\u003cp>Orchestra musicians \u003ca href=\"https://www.kqed.org/arts/13954297/san-francisco-symphony-musicians-urge-leadership-to-keep-esa-pekka-salonen\">have argued\u003c/a> that the symphony should draw on its $325 million endowment — the second-largest of the country’s symphony orchestras — to keep programs afloat and, by extension, retain Salonen on the podium. \u003c/p>\n\u003cp>On this, the Symphony claims its hands are tied. \u003c/p>\n\u003cp>“There is a common misconception that endowments can be accessed like a savings account and used to support operating expenses at any time. In reality, our flexibility in spending from the endowment is limited by California law, as well as by legally binding donor applied restrictions,” the statement reads. (Restrictions on a nonprofit’s endowment can also be self-applied by the board.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13954083","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Draws from the endowment provide an annual source of revenue for the organization. Musicians had provided figures to KQED showing a 4.4% draw on the endowment in 2022. The Symphony’s statement says the board has now authorized a larger draw of 6.45% for the 2024–25 season. \u003c/p>\n\u003cp>Another sticking point for the musicians has been their salaries, which have not been restored to pre-pandemic levels like those of their counterparts in other orchestras. (According to \u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SFS.Flyer_.jpg\">a flyer distributed by musicians to patrons at Davies Symphony Hall\u003c/a> on March 16, Salonen has personally argued for musicians’ pay to be restored.) The Symphony statement, however, did not mention nor address musicians’ pay. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Meanwhile, a \u003ca href=\"https://www.change.org/p/sf-symphony-board-retain-esa-pekka-salonen-invest-in-the-symphony\">Change.org petition addressed to the Symphony board\u003c/a>, calling to retain Salonen and reinvest in Symphony programs, has received over 5,000 signatures.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13954764/sf-symphony-leadership-esa-pekka-salonen-musicians-protest","authors":["185"],"categories":["arts_1","arts_69","arts_235"],"tags":["arts_1312","arts_6180","arts_10278","arts_1367"],"featImg":"arts_13954798","label":"arts"},"arts_13954740":{"type":"posts","id":"arts_13954740","meta":{"index":"posts_1591205157","site":"arts","id":"13954740","found":true},"guestAuthors":[],"slug":"diddy-allegations-sean-combs-raids-sex-trafficking-cassie-joi-rod-harve-pierre-jane-doe","title":"A Complete Timeline of Sean ‘Diddy’ Combs’ Assault and Harassment Accusations","publishDate":1711500325,"format":"standard","headTitle":"A Complete Timeline of Sean ‘Diddy’ Combs’ Assault and Harassment Accusations | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>On March 25, Sean “Diddy” Combs’ houses in Los Angeles and Miami were raided by Homeland Security agents, apparently prompted by an ongoing federal investigation in New York.\u003c/p>\n\u003cp>The home searches were the culmination of months of legal trouble for the rap mogul after he was accused by multiple individuals of sex trafficking, assault and harassment. The alleged incidents span over several years, with some dating back decades.\u003c/p>\n\u003cp>Here are all the accusations that Combs has so far faced and, in some cases, already settled.\u003c/p>\n\u003ch2>May 8, 2017: Combs’ former chef sues\u003c/h2>\n\u003cp>Cindy Rueda, Combs’ former chef, sued Combs in 2017 for sexual harassment, a hostile work environment and wrongful dismissal.\u003c/p>\n\u003cp>\u003ca href=\"https://mynewsla.com/wp-content/uploads/2017/05/Rueda-v-Combs.pdf\">Rueda’s suit\u003c/a> alleged that, during her time working for Combs, between Jan. 2016 and May 8, 2016, she was:\u003c/p>\n\u003cul>\n\u003cli>Chronically underpaid and expected to work excessive hours\u003c/li>\n\u003cli>Asked to serve food to Combs and his guests “while … or immediately following sexual activity”\u003c/li>\n\u003cli>Exposed to “offensive objects”\u003c/li>\n\u003cli>Sexually harassed by Combs while he was naked\u003c/li>\n\u003cli>Sexually harassed by one of Combs’ naked friends while she was cooking\u003c/li>\n\u003cli>Falsely accused of theft and fired after complaining about her working conditions\u003c/li>\n\u003c/ul>\n\u003cp>A representative for Combs called Rueda “disgruntled” and the lawsuit “frivolous.” The two ultimately settled the case in February of 2019.\u003c/p>\n\u003ch2>Nov. 16, 2023: Cassie sues, Combs quickly settles\u003c/h2>\n\u003cfigure id=\"attachment_13954776\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954776\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-1780923026-scaled-e1711490898243.jpg\" alt=\"A Black man wearing a suit and very long couture coat stands holding hands with a Black woman wearing an elaborate black gown and purse in the shape of a skull.\" width=\"1920\" height=\"1277\">\u003cfigcaption class=\"wp-caption-text\">Sean Combs and Cassie at the 2017 Met Gala. \u003ccite>(Clint Spaulding/ Penske Media via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Singer Casandra Ventura — better known as Cassie — filed a lawsuit in November of 2023 that accused Combs of ongoing abuse during a relationship that started in 2005 and lasted over a decade. Ventura was 19 when she met the then-37-year-old Combs. Cassie’s self-titled album was released by his Bad Boy Records in 2006.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"https://s3.documentcloud.org/documents/24169743/ventura-v-combs.pdf\">Ventura’s suit\u003c/a> alleged that Combs:\u003c/p>\n\u003cul>\n\u003cli>Raped Ventura after she attempted to leave him\u003c/li>\n\u003cli>Beat and kicked Ventura, causing multiple injuries\u003c/li>\n\u003cli>“Blew up a man’s car” after learning of his romantic interest in Ventura\u003c/li>\n\u003cli>Forced Ventura to engage in “sex acts with male sex workers while masturbating and filming the encounters” in different cities across the U.S.\u003c/li>\n\u003cli>Required Ventura to “procure illicit prescriptions” for his personal use\u003c/li>\n\u003c/ul>\n\u003cp>On Nov. 17, just one day after Ventura filed the case, \u003ca href=\"https://apnews.com/article/sean-combs-cassie-lawsuit-2d2a4c8938eb82c34b62c01a30969554\">Combs settled with her for an undisclosed amount\u003c/a>.\u003c/p>\n\u003ch2>Nov. 23, 2023: Joi Dickerson-Neal sues\u003c/h2>\n\u003cp>Joi Dickerson-Neal — who ran in similar circles to Combs, and also appeared with him in Finesse & Synquis’ “\u003ca href=\"https://www.youtube.com/watch?v=1k9h8LvGYSs\">Straight From The Soul\u003c/a>” music video — accused Combs of drugging and raping her in 1991.\u003c/p>\n\u003cp>Dickerson-Neal’s November 2023 lawsuit alleges that, while the two were out having dinner, Combs secretly drugged her drink, leaving her “in a physical state where she could not independently stand or walk.” The lawsuit goes on to allege that Dickerson-Neal, then 19 years old, was later taken to Combs’ home, raped and filmed without her consent. The suit also alleges that Combs showed the video to a group of men that included her friend DeVante Swing from Jodeci. It was Swing, Dickerson-Neal claims, who alerted her to the existence of the tape.\u003c/p>\n\u003cp>Shortly after Dickerson-Neal filed her lawsuit, a representative for Combs told multiple outlets that it was “a money grab.”\u003c/p>\n\u003ch2>Nov. 23, 2023: Liza Gardner sues\u003c/h2>\n\u003cp>Liza Gardner filed a lawsuit that accused Combs and singer \u003ca href=\"https://en.wikipedia.org/wiki/Aaron_Hall_(singer)\">Aaron Hall\u003c/a> of a series of assaults against her and her then-roommate in 1990. At the time, Gardner was 16 and on vacation in New York with some friends from North Carolina who had connections in the music industry.\u003c/p>\n\u003cp>The suit alleges that, after providing Gardner and her friend with alcohol during an MCA Records event, Combs and Hall invited them back to Hall’s for an afterparty where more alcohol was provided. At some point in the evening, Gardner says she was coerced into having sex with Combs, which left her feeling “shocked and traumatized.” As Gardner was getting dressed afterwards, the court filing alleges, “Hall barged into the room, pinned her down, and forced [her] to have sex with him.”\u003c/p>\n\u003cp>The suit alleges that Gardner’s roommate was also forced to have sex with both men in another room. Further, it alleged that Combs, concerned that one of the girls might tell other people what happened, came to where the teens were staying a few days later and choked Gardner to the point that she passed out.\u003c/p>\n\u003ch2>Dec. 6, 2023: Jane Doe sues\u003c/h2>\n\u003cfigure id=\"attachment_13954773\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954773\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-97628587-scaled-e1711490700758.jpg\" alt=\"Two Black men pose for the camera wearing black hats and clothes. One of them is smiling with his mouth open and wearing sunglasses.\" width=\"1920\" height=\"1277\">\u003cfigcaption class=\"wp-caption-text\">Harve Pierre and Sean ‘Diddy’ Combs in New York, March 2010. \u003ccite>(Johnny Nunez/ WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In December, a Canadian woman alleged that when she was 17, she was raped by Combs, then-president of Bad Boy Records Harve Pierre, and a third, unnamed man.\u003c/p>\n\u003cp>In court filings, \u003ca href=\"https://www.courthousenews.com/wp-content/uploads/2023/12/sean-diddy-combs-lawsuit-sdny.pdf\">Doe \u003c/a>alleged that the 2003 incident happened in a bathroom at Combs’ Daddy’s House Recording Studio in New York City after the teenager had been “plied with drugs and alcohol.” The woman claimed she was introduced to Combs over the phone after meeting Pierre and the third man in a Detroit lounge. Combs allegedly persuaded her to fly to New Jersey by private jet with the two men shortly afterwards. Photos included in the lawsuit are said to show Doe in the studio with Combs.\u003c/p>\n\u003cp>Before they left, Pierre allegedly smoked crack and forced Doe to give him oral sex.\u003c/p>\n\u003cp>In November, \u003ca href=\"https://people.com/former-bad-boy-president-harve-pierre-sued-for-sexual-assault-negligence-8406218\">Pierre was named in a separate suit\u003c/a> by a former assistant, accusing him of multiple incidents of sexual harassment and assault during 2016 and 2017. “Seeing other women bravely speak out against Mr. Combs and Mr. Pierre, respectively,” Doe’s complaint stated, “gave Ms. Doe the confidence to tell her story as well.”\u003c/p>\n\u003cp>Combs released a statement saying, “I did not do any of the awful things being alleged.”\u003c/p>\n\u003ch2>February 2024: ‘Love Album’ producer sues\u003c/h2>\n\u003cp>Producer and videographer Rodney “Lil Rod” Jones filed a $30 million \u003ca href=\"https://www.scribd.com/document/709272125/Complaint-Rodney-Jones-v-Sean-Combs-et-al\">lawsuit against Combs as well as a variety of Combs’ business and personal associates\u003c/a>. The suit concerned incidents Jones says took place between September of 2022 and November of 2023, while he was working on Combs’ \u003cem>The Love Album\u003c/em>.\u003c/p>\n\u003cp>The lawsuit alleged that Combs:\u003c/p>\n\u003cul>\n\u003cli>Repeatedly groped and touched Jones against his will\u003c/li>\n\u003cli>Entertained underage girls at his homes\u003c/li>\n\u003cli>Forced Jones to solicit sex workers and engage in intimate acts with them\u003c/li>\n\u003cli>Served drinks laced with drugs at parties\u003c/li>\n\u003cli>Asked Jones to work in the same room while Combs was naked\u003c/li>\n\u003cli>Forced Jones to lie to police about a shooting incident in which one man was injured\u003c/li>\n\u003c/ul>\n\u003cp>The court filing also included multiple screenshots claimed to pertain to the allegations. (Jones alleged that he was required to film Combs at length and that he recorded hours of footage of the rapper and others “engaging in serious illegal activity.”)\u003c/p>\n\u003cp>One of Combs’ attorneys called the allegations “pure fiction” and “a transparent attempt to garner headlines.”\u003c/p>\n\u003ch2>March 25, 2024: Home raids begin\u003c/h2>\n\u003cfigure id=\"attachment_13954772\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954772\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2105337314-scaled-e1711490438517.jpg\" alt=\"At dusk, three officers wearing HSI vests stand in a paved driveway. One of them is leading a German Shepherd away.\" width=\"1920\" height=\"1280\">\u003cfigcaption class=\"wp-caption-text\">Homeland Security Investigation agents are seen at the entrance Sean ‘Diddy’ Combs’ home at Star Island in Miami Beach on March 25, 2024. \u003ccite>(GIORGIO VIERA/ AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After Combs’ Los Angeles and Miami homes were raided, Homeland Security Investigations confirmed that it “executed law enforcement actions as part of an ongoing investigation, with assistance from HSI Los Angeles, HSI Miami, and our local law enforcement partners.”\u003c/p>\n\u003cp>In a statement about the raid, Combs’ attorney Aaron Dyer said: “This unprecedented ambush — paired with an advanced, coordinated media presence — leads to a premature rush to judgment of Mr. Combs and is nothing more than a witch hunt based on meritless accusations made in civil lawsuits.”\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>[ad floatright]\u003c/p>\n\u003cp>\u003cem>If you are struggling with issues relating to sexual assault, please call RAINN’s National Sexual Assault Hotline (800.656.HOPE) or \u003ca href=\"https://hotline.rainn.org/online\">chat online with one of their counselors\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Six people have accused Diddy of sexual harassment, assault and trafficking in lawsuits since 2017.","status":"publish","parent":0,"modified":1711500325,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":30,"wordCount":1374},"headData":{"title":"Why Were Diddy’s Homes Raided? A Timeline of His Legal Woes | KQED","description":"Six people have accused Diddy of sexual harassment, assault and trafficking in lawsuits since 2017.","ogTitle":"A Complete Timeline of Sean ‘Diddy’ Combs’ Assault and Harassment Accusations","ogDescription":"","ogImgId":"","twTitle":"A Complete Timeline of Sean ‘Diddy’ Combs’ Assault and Harassment Accusations","twDescription":"","twImgId":"","socialTitle":"Why Were Diddy’s Homes Raided? A Timeline of His Legal Woes %%page%% %%sep%% KQED"},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13954740/diddy-allegations-sean-combs-raids-sex-trafficking-cassie-joi-rod-harve-pierre-jane-doe","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>On March 25, Sean “Diddy” Combs’ houses in Los Angeles and Miami were raided by Homeland Security agents, apparently prompted by an ongoing federal investigation in New York.\u003c/p>\n\u003cp>The home searches were the culmination of months of legal trouble for the rap mogul after he was accused by multiple individuals of sex trafficking, assault and harassment. The alleged incidents span over several years, with some dating back decades.\u003c/p>\n\u003cp>Here are all the accusations that Combs has so far faced and, in some cases, already settled.\u003c/p>\n\u003ch2>May 8, 2017: Combs’ former chef sues\u003c/h2>\n\u003cp>Cindy Rueda, Combs’ former chef, sued Combs in 2017 for sexual harassment, a hostile work environment and wrongful dismissal.\u003c/p>\n\u003cp>\u003ca href=\"https://mynewsla.com/wp-content/uploads/2017/05/Rueda-v-Combs.pdf\">Rueda’s suit\u003c/a> alleged that, during her time working for Combs, between Jan. 2016 and May 8, 2016, she was:\u003c/p>\n\u003cul>\n\u003cli>Chronically underpaid and expected to work excessive hours\u003c/li>\n\u003cli>Asked to serve food to Combs and his guests “while … or immediately following sexual activity”\u003c/li>\n\u003cli>Exposed to “offensive objects”\u003c/li>\n\u003cli>Sexually harassed by Combs while he was naked\u003c/li>\n\u003cli>Sexually harassed by one of Combs’ naked friends while she was cooking\u003c/li>\n\u003cli>Falsely accused of theft and fired after complaining about her working conditions\u003c/li>\n\u003c/ul>\n\u003cp>A representative for Combs called Rueda “disgruntled” and the lawsuit “frivolous.” The two ultimately settled the case in February of 2019.\u003c/p>\n\u003ch2>Nov. 16, 2023: Cassie sues, Combs quickly settles\u003c/h2>\n\u003cfigure id=\"attachment_13954776\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954776\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-1780923026-scaled-e1711490898243.jpg\" alt=\"A Black man wearing a suit and very long couture coat stands holding hands with a Black woman wearing an elaborate black gown and purse in the shape of a skull.\" width=\"1920\" height=\"1277\">\u003cfigcaption class=\"wp-caption-text\">Sean Combs and Cassie at the 2017 Met Gala. \u003ccite>(Clint Spaulding/ Penske Media via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Singer Casandra Ventura — better known as Cassie — filed a lawsuit in November of 2023 that accused Combs of ongoing abuse during a relationship that started in 2005 and lasted over a decade. Ventura was 19 when she met the then-37-year-old Combs. Cassie’s self-titled album was released by his Bad Boy Records in 2006.\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>\u003ca href=\"https://s3.documentcloud.org/documents/24169743/ventura-v-combs.pdf\">Ventura’s suit\u003c/a> alleged that Combs:\u003c/p>\n\u003cul>\n\u003cli>Raped Ventura after she attempted to leave him\u003c/li>\n\u003cli>Beat and kicked Ventura, causing multiple injuries\u003c/li>\n\u003cli>“Blew up a man’s car” after learning of his romantic interest in Ventura\u003c/li>\n\u003cli>Forced Ventura to engage in “sex acts with male sex workers while masturbating and filming the encounters” in different cities across the U.S.\u003c/li>\n\u003cli>Required Ventura to “procure illicit prescriptions” for his personal use\u003c/li>\n\u003c/ul>\n\u003cp>On Nov. 17, just one day after Ventura filed the case, \u003ca href=\"https://apnews.com/article/sean-combs-cassie-lawsuit-2d2a4c8938eb82c34b62c01a30969554\">Combs settled with her for an undisclosed amount\u003c/a>.\u003c/p>\n\u003ch2>Nov. 23, 2023: Joi Dickerson-Neal sues\u003c/h2>\n\u003cp>Joi Dickerson-Neal — who ran in similar circles to Combs, and also appeared with him in Finesse & Synquis’ “\u003ca href=\"https://www.youtube.com/watch?v=1k9h8LvGYSs\">Straight From The Soul\u003c/a>” music video — accused Combs of drugging and raping her in 1991.\u003c/p>\n\u003cp>Dickerson-Neal’s November 2023 lawsuit alleges that, while the two were out having dinner, Combs secretly drugged her drink, leaving her “in a physical state where she could not independently stand or walk.” The lawsuit goes on to allege that Dickerson-Neal, then 19 years old, was later taken to Combs’ home, raped and filmed without her consent. The suit also alleges that Combs showed the video to a group of men that included her friend DeVante Swing from Jodeci. It was Swing, Dickerson-Neal claims, who alerted her to the existence of the tape.\u003c/p>\n\u003cp>Shortly after Dickerson-Neal filed her lawsuit, a representative for Combs told multiple outlets that it was “a money grab.”\u003c/p>\n\u003ch2>Nov. 23, 2023: Liza Gardner sues\u003c/h2>\n\u003cp>Liza Gardner filed a lawsuit that accused Combs and singer \u003ca href=\"https://en.wikipedia.org/wiki/Aaron_Hall_(singer)\">Aaron Hall\u003c/a> of a series of assaults against her and her then-roommate in 1990. At the time, Gardner was 16 and on vacation in New York with some friends from North Carolina who had connections in the music industry.\u003c/p>\n\u003cp>The suit alleges that, after providing Gardner and her friend with alcohol during an MCA Records event, Combs and Hall invited them back to Hall’s for an afterparty where more alcohol was provided. At some point in the evening, Gardner says she was coerced into having sex with Combs, which left her feeling “shocked and traumatized.” As Gardner was getting dressed afterwards, the court filing alleges, “Hall barged into the room, pinned her down, and forced [her] to have sex with him.”\u003c/p>\n\u003cp>The suit alleges that Gardner’s roommate was also forced to have sex with both men in another room. Further, it alleged that Combs, concerned that one of the girls might tell other people what happened, came to where the teens were staying a few days later and choked Gardner to the point that she passed out.\u003c/p>\n\u003ch2>Dec. 6, 2023: Jane Doe sues\u003c/h2>\n\u003cfigure id=\"attachment_13954773\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954773\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-97628587-scaled-e1711490700758.jpg\" alt=\"Two Black men pose for the camera wearing black hats and clothes. One of them is smiling with his mouth open and wearing sunglasses.\" width=\"1920\" height=\"1277\">\u003cfigcaption class=\"wp-caption-text\">Harve Pierre and Sean ‘Diddy’ Combs in New York, March 2010. \u003ccite>(Johnny Nunez/ WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In December, a Canadian woman alleged that when she was 17, she was raped by Combs, then-president of Bad Boy Records Harve Pierre, and a third, unnamed man.\u003c/p>\n\u003cp>In court filings, \u003ca href=\"https://www.courthousenews.com/wp-content/uploads/2023/12/sean-diddy-combs-lawsuit-sdny.pdf\">Doe \u003c/a>alleged that the 2003 incident happened in a bathroom at Combs’ Daddy’s House Recording Studio in New York City after the teenager had been “plied with drugs and alcohol.” The woman claimed she was introduced to Combs over the phone after meeting Pierre and the third man in a Detroit lounge. Combs allegedly persuaded her to fly to New Jersey by private jet with the two men shortly afterwards. Photos included in the lawsuit are said to show Doe in the studio with Combs.\u003c/p>\n\u003cp>Before they left, Pierre allegedly smoked crack and forced Doe to give him oral sex.\u003c/p>\n\u003cp>In November, \u003ca href=\"https://people.com/former-bad-boy-president-harve-pierre-sued-for-sexual-assault-negligence-8406218\">Pierre was named in a separate suit\u003c/a> by a former assistant, accusing him of multiple incidents of sexual harassment and assault during 2016 and 2017. “Seeing other women bravely speak out against Mr. Combs and Mr. Pierre, respectively,” Doe’s complaint stated, “gave Ms. Doe the confidence to tell her story as well.”\u003c/p>\n\u003cp>Combs released a statement saying, “I did not do any of the awful things being alleged.”\u003c/p>\n\u003ch2>February 2024: ‘Love Album’ producer sues\u003c/h2>\n\u003cp>Producer and videographer Rodney “Lil Rod” Jones filed a $30 million \u003ca href=\"https://www.scribd.com/document/709272125/Complaint-Rodney-Jones-v-Sean-Combs-et-al\">lawsuit against Combs as well as a variety of Combs’ business and personal associates\u003c/a>. The suit concerned incidents Jones says took place between September of 2022 and November of 2023, while he was working on Combs’ \u003cem>The Love Album\u003c/em>.\u003c/p>\n\u003cp>The lawsuit alleged that Combs:\u003c/p>\n\u003cul>\n\u003cli>Repeatedly groped and touched Jones against his will\u003c/li>\n\u003cli>Entertained underage girls at his homes\u003c/li>\n\u003cli>Forced Jones to solicit sex workers and engage in intimate acts with them\u003c/li>\n\u003cli>Served drinks laced with drugs at parties\u003c/li>\n\u003cli>Asked Jones to work in the same room while Combs was naked\u003c/li>\n\u003cli>Forced Jones to lie to police about a shooting incident in which one man was injured\u003c/li>\n\u003c/ul>\n\u003cp>The court filing also included multiple screenshots claimed to pertain to the allegations. (Jones alleged that he was required to film Combs at length and that he recorded hours of footage of the rapper and others “engaging in serious illegal activity.”)\u003c/p>\n\u003cp>One of Combs’ attorneys called the allegations “pure fiction” and “a transparent attempt to garner headlines.”\u003c/p>\n\u003ch2>March 25, 2024: Home raids begin\u003c/h2>\n\u003cfigure id=\"attachment_13954772\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954772\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2105337314-scaled-e1711490438517.jpg\" alt=\"At dusk, three officers wearing HSI vests stand in a paved driveway. One of them is leading a German Shepherd away.\" width=\"1920\" height=\"1280\">\u003cfigcaption class=\"wp-caption-text\">Homeland Security Investigation agents are seen at the entrance Sean ‘Diddy’ Combs’ home at Star Island in Miami Beach on March 25, 2024. \u003ccite>(GIORGIO VIERA/ AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After Combs’ Los Angeles and Miami homes were raided, Homeland Security Investigations confirmed that it “executed law enforcement actions as part of an ongoing investigation, with assistance from HSI Los Angeles, HSI Miami, and our local law enforcement partners.”\u003c/p>\n\u003cp>In a statement about the raid, Combs’ attorney Aaron Dyer said: “This unprecedented ambush — paired with an advanced, coordinated media presence — leads to a premature rush to judgment of Mr. Combs and is nothing more than a witch hunt based on meritless accusations made in civil lawsuits.”\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>\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>\u003cem>If you are struggling with issues relating to sexual assault, please call RAINN’s National Sexual Assault Hotline (800.656.HOPE) or \u003ca href=\"https://hotline.rainn.org/online\">chat online with one of their counselors\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13954740/diddy-allegations-sean-combs-raids-sex-trafficking-cassie-joi-rod-harve-pierre-jane-doe","authors":["11242"],"categories":["arts_1","arts_69","arts_75"],"tags":["arts_2798","arts_21822","arts_3620","arts_7580","arts_5676"],"featImg":"arts_13954777","label":"arts"},"arts_13954571":{"type":"posts","id":"arts_13954571","meta":{"index":"posts_1591205157","site":"arts","id":"13954571","found":true},"guestAuthors":[],"slug":"a-new-shirley-chisholm-biopic-undersells-its-impressive-subject","title":"A New Shirley Chisholm Biopic Undersells Its Impressive Subject","publishDate":1711125063,"format":"standard","headTitle":"A New Shirley Chisholm Biopic Undersells Its Impressive Subject | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>In 1969, Shirley Chisholm became the first Black U.S. congresswoman at 44 years old. The Brooklyn representative’s objection to her assignment on the agriculture committee reads today as a justified act of indignance: She was there to get things done for her constituents, seniority be damned.\u003c/p>\n\u003cp>A version of this incident appears near the beginning of \u003cem>Shirley\u003c/em> (premiering Friday, March 22 on Netflix after a one-week theatrical run) to alert us that Chisholm was unwaveringly results-oriented despite obstacles like protocol, process and tradition. And just as importantly, the scene suggests that her voice was not respected.\u003c/p>\n\u003cp>The obviousness with which the prolific writer, producer and director John Ridley conveys these two points sets the tone for the rest of this watchable but predictable historical drama. The problem is that \u003cem>Shirley\u003c/em> consists of a parade of dialogue scenes that, contrary to principles of visual storytelling, show us nothing and tell us everything. The missed opportunity is that we are continually presented with what Chisholm (played by Regina King) represents, rather than taken, shaken and inspired by who she was.\u003c/p>\n\u003cfigure id=\"attachment_13954603\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954603\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SHIRLEY_Unit_04384r-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1706\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SHIRLEY_Unit_04384r-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SHIRLEY_Unit_04384r-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SHIRLEY_Unit_04384r-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SHIRLEY_Unit_04384r-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SHIRLEY_Unit_04384r-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SHIRLEY_Unit_04384r-1536x1023.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SHIRLEY_Unit_04384r-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SHIRLEY_Unit_04384r-1920x1279.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Regina King as Shirley Chisholm and Terrence Howard as Arthur Hardwick Jr. in ‘Shirley.’ \u003ccite>(Glen Wilson/Netflix © 2023)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Shirley\u003c/em> pinpoints Chisholm’s arrival on the national scene by condensing the universe of 1960s political, racial and social upheaval into a simplistic collage. Chisholm isn’t a radical, though, but an experienced educator and state legislator who believes in change from within the system. Perhaps frustrated with the pace of progress in Congress, she decides at the beginning of 1972 to run for president. [aside postid='arts_13952570']\u003c/p>\n\u003cp>Like George C. Wolfe’s superior film \u003cem>Rustin\u003c/em> (also on Netflix), which blends its subject’s personal life with the planning and execution of a specific project (the 1963 March on Washington for Jobs and Freedom), \u003cem>Shirley\u003c/em> takes us behind the scenes while building toward a finish line. Chisholm’s Jamaican-born husband Conrad (Michael Cherrie), a private investigator who becomes her security, supplies a low-temperature domestic melodrama. Her disapproving sister Muriel (Reina King) shows up now and again to reprimand Shirley for a swelled head (she’s not special, no matter what their father told her growing up).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On the longshot, underfunded campaign front, Black Congressmen Walter Fauntroy (André Holland) of Washington, D.C. and Ron Dellums (Dorian Crossmond Missick) of Oakland say all the right things to Shirley. But—spoiler alert!—politicians don’t always keep their promises. At least Chisholm’s seasoned political advisors, Wesley “Mac” Holder (Lance Reddick) and Arthur Hardwick Jr. (Terrence Howard), are trustworthy, as is Conrad even if his opinion doesn’t carry the same weight.\u003c/p>\n\u003cp>If you appreciate Dellums’ appearance in \u003cem>Shirley\u003c/em>, you’ll chuckle in recognition at a young Black student named Barbara Lee (Christina Jackson), whom Chisholm enlists in the campaign and entrusts with increasing responsibility. Lee has less screen time than national student coordinator Robert Gottlieb (Lucas Hedges), but her character resonates louder. [aside postid='arts_13950520']\u003c/p>\n\u003cp>While \u003cem>Rustin\u003c/em> offered the pleasures of Colman Domingo’s flamboyant performance, \u003cem>Shirley\u003c/em> largely deprives Regina King of flashy moments. She has a wonderful scene with actress and singer Diahann Carroll (Amirah Vann) and Huey P. Newton (Brad James) next to Carroll’s Hollywood pool, but \u003cem>Shirley\u003c/em> doesn’t give her a galvanizing speech until Chisholm takes the mic late in the film at a luncheon of Black delegates at the Democratic National Convention.\u003c/p>\n\u003cfigure id=\"attachment_13954602\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954602\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SHIRLEY_Unit_07571r-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SHIRLEY_Unit_07571r-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SHIRLEY_Unit_07571r-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SHIRLEY_Unit_07571r-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SHIRLEY_Unit_07571r-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SHIRLEY_Unit_07571r-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SHIRLEY_Unit_07571r-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SHIRLEY_Unit_07571r-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SHIRLEY_Unit_07571r-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Brad James as Huey Newton in ‘Shirley.’ \u003ccite>(Glen Wilson/Netflix © 2023)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Only then does Chisholm’s polite dignity give way to something approaching righteous fury — Chisholm’s defining characteristic and the beating heart of Shola Lynch’s galvanizing 2004 documentary \u003cem>Chisholm ’72: Unbought and Unbossed\u003c/em> (streaming on Kanopy and Amazon Prime).\u003c/p>\n\u003cp>Admittedly, there is a sequence in \u003cem>Shirley\u003c/em> where the congresswoman’s measured demeanor and old-school values combine to deliver a punch. Against her advisors’ counsel, Chisholm visits avowed racist and fellow Democratic presidential candidate George Wallace in the hospital after he’s paralyzed by an assassin’s bullets. She speaks to him as a Christian, and her compassion and belief in second chances contrast sharply with recent statements of some supposedly religious politicians. [aside postid='arts_13926548']\u003c/p>\n\u003cp>Curiously, this was one of the few times in \u003cem>Shirley\u003c/em> where I felt its relevance to the current moment. Though it’s standard procedure for biopics and historical dramas to draw connections to the present, \u003cem>Shirley\u003c/em> fumbles this basic assignment. At the end of the film and before the credits, Ridley awkwardly inserts Congresswoman Barbara Lee to deliver a few words about Chisholm’s contributions.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Was Shirley Chisholm’s presidential campaign a transformative event or a political footnote? John Ridley would say the former, but his film doesn’t make a convincing case.\u003c/p>\n\n","blocks":[],"excerpt":"Regina King stars as the Brooklyn congresswoman who made a historic run for president in 1972. ","status":"publish","parent":0,"modified":1711125525,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":14,"wordCount":831},"headData":{"title":"A New Shirley Chisholm Biopic Undersells Its Impressive Subject | KQED","description":"Regina King stars as the Brooklyn congresswoman who made a historic run for president in 1972. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13954571/a-new-shirley-chisholm-biopic-undersells-its-impressive-subject","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 1969, Shirley Chisholm became the first Black U.S. congresswoman at 44 years old. The Brooklyn representative’s objection to her assignment on the agriculture committee reads today as a justified act of indignance: She was there to get things done for her constituents, seniority be damned.\u003c/p>\n\u003cp>A version of this incident appears near the beginning of \u003cem>Shirley\u003c/em> (premiering Friday, March 22 on Netflix after a one-week theatrical run) to alert us that Chisholm was unwaveringly results-oriented despite obstacles like protocol, process and tradition. And just as importantly, the scene suggests that her voice was not respected.\u003c/p>\n\u003cp>The obviousness with which the prolific writer, producer and director John Ridley conveys these two points sets the tone for the rest of this watchable but predictable historical drama. The problem is that \u003cem>Shirley\u003c/em> consists of a parade of dialogue scenes that, contrary to principles of visual storytelling, show us nothing and tell us everything. The missed opportunity is that we are continually presented with what Chisholm (played by Regina King) represents, rather than taken, shaken and inspired by who she was.\u003c/p>\n\u003cfigure id=\"attachment_13954603\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954603\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SHIRLEY_Unit_04384r-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1706\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SHIRLEY_Unit_04384r-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SHIRLEY_Unit_04384r-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SHIRLEY_Unit_04384r-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SHIRLEY_Unit_04384r-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SHIRLEY_Unit_04384r-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SHIRLEY_Unit_04384r-1536x1023.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SHIRLEY_Unit_04384r-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SHIRLEY_Unit_04384r-1920x1279.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Regina King as Shirley Chisholm and Terrence Howard as Arthur Hardwick Jr. in ‘Shirley.’ \u003ccite>(Glen Wilson/Netflix © 2023)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Shirley\u003c/em> pinpoints Chisholm’s arrival on the national scene by condensing the universe of 1960s political, racial and social upheaval into a simplistic collage. Chisholm isn’t a radical, though, but an experienced educator and state legislator who believes in change from within the system. Perhaps frustrated with the pace of progress in Congress, she decides at the beginning of 1972 to run for president. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13952570","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Like George C. Wolfe’s superior film \u003cem>Rustin\u003c/em> (also on Netflix), which blends its subject’s personal life with the planning and execution of a specific project (the 1963 March on Washington for Jobs and Freedom), \u003cem>Shirley\u003c/em> takes us behind the scenes while building toward a finish line. Chisholm’s Jamaican-born husband Conrad (Michael Cherrie), a private investigator who becomes her security, supplies a low-temperature domestic melodrama. Her disapproving sister Muriel (Reina King) shows up now and again to reprimand Shirley for a swelled head (she’s not special, no matter what their father told her growing up).\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>On the longshot, underfunded campaign front, Black Congressmen Walter Fauntroy (André Holland) of Washington, D.C. and Ron Dellums (Dorian Crossmond Missick) of Oakland say all the right things to Shirley. But—spoiler alert!—politicians don’t always keep their promises. At least Chisholm’s seasoned political advisors, Wesley “Mac” Holder (Lance Reddick) and Arthur Hardwick Jr. (Terrence Howard), are trustworthy, as is Conrad even if his opinion doesn’t carry the same weight.\u003c/p>\n\u003cp>If you appreciate Dellums’ appearance in \u003cem>Shirley\u003c/em>, you’ll chuckle in recognition at a young Black student named Barbara Lee (Christina Jackson), whom Chisholm enlists in the campaign and entrusts with increasing responsibility. Lee has less screen time than national student coordinator Robert Gottlieb (Lucas Hedges), but her character resonates louder. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13950520","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>While \u003cem>Rustin\u003c/em> offered the pleasures of Colman Domingo’s flamboyant performance, \u003cem>Shirley\u003c/em> largely deprives Regina King of flashy moments. She has a wonderful scene with actress and singer Diahann Carroll (Amirah Vann) and Huey P. Newton (Brad James) next to Carroll’s Hollywood pool, but \u003cem>Shirley\u003c/em> doesn’t give her a galvanizing speech until Chisholm takes the mic late in the film at a luncheon of Black delegates at the Democratic National Convention.\u003c/p>\n\u003cfigure id=\"attachment_13954602\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954602\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SHIRLEY_Unit_07571r-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SHIRLEY_Unit_07571r-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SHIRLEY_Unit_07571r-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SHIRLEY_Unit_07571r-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SHIRLEY_Unit_07571r-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SHIRLEY_Unit_07571r-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SHIRLEY_Unit_07571r-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SHIRLEY_Unit_07571r-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SHIRLEY_Unit_07571r-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Brad James as Huey Newton in ‘Shirley.’ \u003ccite>(Glen Wilson/Netflix © 2023)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Only then does Chisholm’s polite dignity give way to something approaching righteous fury — Chisholm’s defining characteristic and the beating heart of Shola Lynch’s galvanizing 2004 documentary \u003cem>Chisholm ’72: Unbought and Unbossed\u003c/em> (streaming on Kanopy and Amazon Prime).\u003c/p>\n\u003cp>Admittedly, there is a sequence in \u003cem>Shirley\u003c/em> where the congresswoman’s measured demeanor and old-school values combine to deliver a punch. Against her advisors’ counsel, Chisholm visits avowed racist and fellow Democratic presidential candidate George Wallace in the hospital after he’s paralyzed by an assassin’s bullets. She speaks to him as a Christian, and her compassion and belief in second chances contrast sharply with recent statements of some supposedly religious politicians. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13926548","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Curiously, this was one of the few times in \u003cem>Shirley\u003c/em> where I felt its relevance to the current moment. Though it’s standard procedure for biopics and historical dramas to draw connections to the present, \u003cem>Shirley\u003c/em> fumbles this basic assignment. At the end of the film and before the credits, Ridley awkwardly inserts Congresswoman Barbara Lee to deliver a few words about Chisholm’s contributions.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Was Shirley Chisholm’s presidential campaign a transformative event or a political footnote? John Ridley would say the former, but his film doesn’t make a convincing case.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13954571/a-new-shirley-chisholm-biopic-undersells-its-impressive-subject","authors":["22"],"categories":["arts_1","arts_74"],"tags":["arts_4097","arts_10278","arts_977","arts_769"],"featImg":"arts_13954604","label":"arts"}},"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? 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