See Awadagin Pratt’s Incredible ‘Rounds’ While You Can
Berkeley's Market Hall Foods Is Closing After 28 Years
A New Bay Area Food Festival Celebrates Chefs of Color and Diasporic Unity
How a Chicana-Owned Agency Is Shining a Light on the East Bay’s Diverse Food Scene
Not Even Stolen Catalytic Converters Can Slow Down Rapper Casey Cope
Ocean Vuong, Celebrated Poet and Novelist, Is Coming to Berkeley
Berkeley’s Small Press Distribution, Champion of Indie Books, Shuts Down
Alta, ‘Shameless Hussy’ and Founder of Nation's First Feminist Press, Dies at 81
Top Dog Is Just as Good as You Remember
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Another draw of the concert was Leonard Bernstein’s \u003cem>Serenade\u003c/em>, what with the biopic \u003cem>Maestro\u003c/em> still fresh on my mind.\u003c/p>\n\u003cp>But the jaw-dropping highlight of the program, which repeats Friday at the Green Music Center and Saturday at the Presidio Theatre, was pianist Awadagin Pratt’s performance of Jessie Montgomery’s \u003cem>Rounds\u003c/em>. Re-reading my notebook, I see that while Pratt commanded the piano keys, I scrawled things like “holy shit,” “D E L I C A T E ~then~ \u003cem>thundering\u003c/em>,” and “this is what classical music needs in 2024.”\u003c/p>\n\u003cp>Opening with precise string pizzicatos and weaving piano arpeggios, \u003cem>Rounds\u003c/em> soon transformed into a beautiful discordance that pushed and pulled over the course of 15 minutes. At times, Pratt threw his head back, eyes closed, letting the unusual combinations of notes hang in the air. And the solo cadenza? It was one of the most beautiful sounds I’ve heard come out of a grand piano in years.\u003c/p>\n\u003cfigure id=\"attachment_13957208\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Pratt.Hope_.jpg\" alt=\"\" width=\"1920\" height=\"1155\" class=\"size-full wp-image-13957208\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Pratt.Hope_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Pratt.Hope_-800x481.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Pratt.Hope_-1020x614.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Pratt.Hope_-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Pratt.Hope_-768x462.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Pratt.Hope_-1536x924.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Pianist Awadagin Pratt and New Century Chamber Orchestra Director Daniel Hope at the First Congregational Church in Berkeley on May 2, 2024. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>David Diamond’s identically titled \u003cem>Rounds\u003c/em> opened the program, evoking the Midwestern plains with humor and verve; a lively conversation between the upper and lower registers of the orchestra propelled the third movement. Florence Price’s short “Adoration” gave director and violinist Daniel Hope the spotlight, showing off a tender touch, and the chance to breathe amidst the rapid bowing required of the other pieces. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Closing the program was Bernstein’s \u003cem>Serenade\u003c/em>, a five-part rumination on love that zig-zagged from manic to sorrowful. Without a formal conductor at a podium, the orchestra got a bit off in a few moments, but Bernstein’s fast-tempo sense of fun justified it, like a few apples bouncing overboard in a bumpy wagon race. The fifth movement, an early evocation of jazz in classical music, still sounded very modern, and ridiculously fast playing by Hope brought everything to a final halt.\u003c/p>\n\u003cp>But yes, it was Awadagin Pratt’s night. There’s a reason \u003ca href=\"https://www.jessiemontgomery.com/jessie-montgomerys-rounds-wins-2024-grammy-award-for-best-contemporary-classical-composition/\">his recording of \u003cem>Rounds\u003c/em> won a Grammy Award\u003c/a>, and here in the Bay Area, we can count ourselves lucky that he recently joined the San Francisco Conservatory of Music as a professor of piano.\u003c/p>\n\u003cp>Saturday marks Pratt’s first performance in San Francisco since joining the faculty — may there be many more here to come. \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Awadagin Pratt and the New Century Chamber Orchestra perform on Friday, May 3 at the \u003ca href=\"https://gmc.sonoma.edu/ncco/\">Green Music Center\u003c/a> in Rohnert Park, and on Saturday, May 4 at the \u003ca href=\"https://www.presidiotheatre.org/show/2024loveandwar/\">Presidio Theatre\u003c/a> in San Francisco. \u003ca href=\"https://www.ncco.org/23-24-season/love-war\">Find tickets and details here\u003c/a>.\u003c/em> \u003c/p>\n\n","blocks":[],"excerpt":"The pianist's live performance of Jessie Montgomery's Grammy-winning ‘Rounds’ is a thing of rare beauty.","status":"publish","parent":0,"modified":1714778927,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":11,"wordCount":519},"headData":{"title":"See Awadagin Pratt’s Incredible ‘Rounds’ While You Can | KQED","description":"The pianist's live performance of Jessie Montgomery's Grammy-winning ‘Rounds’ is a thing of rare beauty.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"See Awadagin Pratt’s Incredible ‘Rounds’ While You Can","datePublished":"2024-05-03T19:18:46.000Z","dateModified":"2024-05-03T23:28:47.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"kqed-13957201","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13957201/awadagin-pratt-rounds-new-century-chamber-orchestra","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>In attending live music, one must always be open to the element of surprise.\u003c/p>\n\u003cp>Case in point: I’d gone to the New Century Chamber Orchestra’s performance in Berkeley Thursday night to see a short piece by the composer Florence Price, whose \u003ca href=\"https://www.nytimes.com/2023/04/07/arts/music/florence-price-music.html\">discovered trove of manuscripts in 2009\u003c/a> has led to a recent renaissance. Another draw of the concert was Leonard Bernstein’s \u003cem>Serenade\u003c/em>, what with the biopic \u003cem>Maestro\u003c/em> still fresh on my mind.\u003c/p>\n\u003cp>But the jaw-dropping highlight of the program, which repeats Friday at the Green Music Center and Saturday at the Presidio Theatre, was pianist Awadagin Pratt’s performance of Jessie Montgomery’s \u003cem>Rounds\u003c/em>. Re-reading my notebook, I see that while Pratt commanded the piano keys, I scrawled things like “holy shit,” “D E L I C A T E ~then~ \u003cem>thundering\u003c/em>,” and “this is what classical music needs in 2024.”\u003c/p>\n\u003cp>Opening with precise string pizzicatos and weaving piano arpeggios, \u003cem>Rounds\u003c/em> soon transformed into a beautiful discordance that pushed and pulled over the course of 15 minutes. At times, Pratt threw his head back, eyes closed, letting the unusual combinations of notes hang in the air. And the solo cadenza? It was one of the most beautiful sounds I’ve heard come out of a grand piano in years.\u003c/p>\n\u003cfigure id=\"attachment_13957208\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Pratt.Hope_.jpg\" alt=\"\" width=\"1920\" height=\"1155\" class=\"size-full wp-image-13957208\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Pratt.Hope_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Pratt.Hope_-800x481.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Pratt.Hope_-1020x614.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Pratt.Hope_-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Pratt.Hope_-768x462.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Pratt.Hope_-1536x924.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Pianist Awadagin Pratt and New Century Chamber Orchestra Director Daniel Hope at the First Congregational Church in Berkeley on May 2, 2024. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>David Diamond’s identically titled \u003cem>Rounds\u003c/em> opened the program, evoking the Midwestern plains with humor and verve; a lively conversation between the upper and lower registers of the orchestra propelled the third movement. Florence Price’s short “Adoration” gave director and violinist Daniel Hope the spotlight, showing off a tender touch, and the chance to breathe amidst the rapid bowing required of the other pieces. \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>Closing the program was Bernstein’s \u003cem>Serenade\u003c/em>, a five-part rumination on love that zig-zagged from manic to sorrowful. Without a formal conductor at a podium, the orchestra got a bit off in a few moments, but Bernstein’s fast-tempo sense of fun justified it, like a few apples bouncing overboard in a bumpy wagon race. The fifth movement, an early evocation of jazz in classical music, still sounded very modern, and ridiculously fast playing by Hope brought everything to a final halt.\u003c/p>\n\u003cp>But yes, it was Awadagin Pratt’s night. There’s a reason \u003ca href=\"https://www.jessiemontgomery.com/jessie-montgomerys-rounds-wins-2024-grammy-award-for-best-contemporary-classical-composition/\">his recording of \u003cem>Rounds\u003c/em> won a Grammy Award\u003c/a>, and here in the Bay Area, we can count ourselves lucky that he recently joined the San Francisco Conservatory of Music as a professor of piano.\u003c/p>\n\u003cp>Saturday marks Pratt’s first performance in San Francisco since joining the faculty — may there be many more here to come. \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Awadagin Pratt and the New Century Chamber Orchestra perform on Friday, May 3 at the \u003ca href=\"https://gmc.sonoma.edu/ncco/\">Green Music Center\u003c/a> in Rohnert Park, and on Saturday, May 4 at the \u003ca href=\"https://www.presidiotheatre.org/show/2024loveandwar/\">Presidio Theatre\u003c/a> in San Francisco. \u003ca href=\"https://www.ncco.org/23-24-season/love-war\">Find tickets and details here\u003c/a>.\u003c/em> \u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13957201/awadagin-pratt-rounds-new-century-chamber-orchestra","authors":["185"],"programs":["arts_140"],"categories":["arts_1","arts_69"],"tags":["arts_1270","arts_1312","arts_10278","arts_2520","arts_22132","arts_1146","arts_585"],"featImg":"arts_13957209","label":"arts_140"},"arts_13956901":{"type":"posts","id":"arts_13956901","meta":{"index":"posts_1591205157","site":"arts","id":"13956901","score":null,"sort":[1714518854000]},"guestAuthors":[],"slug":"fourth-street-market-hall-foods-berkeley-closed","title":"Berkeley's Market Hall Foods Is Closing After 28 Years","publishDate":1714518854,"format":"standard","headTitle":"Berkeley’s Market Hall Foods Is Closing After 28 Years | KQED","labelTerm":{},"content":"\u003cp>Anyone who has ever perused the quaint aisles of specialty cheeses, imported pastas, organic jams and much more at \u003ca href=\"https://www.instagram.com/markethallfoods/\">Market Hall Foods\u003c/a> on Fourth Street in Berkeley will be saddened to hear that the 28-year specialty grocer will be shuttering next month. Market Hall’s flagship location in Rockridge will remain open.\u003c/p>\n\u003cp>Open since 1996, the upscale shop (formerly known as The Pasta Shop) has always been the kind of place where you’d run into local chefs stocking up on hard-to-find goods — a reliable little market where you could pop by for a quality lunch on the go. It’s also been \u003ca href=\"https://edibleeastbay.com/2017/11/15/market-hall-at-30/\">a cornerstone for locally-sourced ingredients and high-quality products\u003c/a> long before it became a national trend.\u003c/p>\n\u003cp>[aside postID='arts_13954342,arts_13931296']The market’s Berkeley location is slated for its final day on Sunday, May 26 (Memorial Day weekend). Customers will be able to continue shopping there for the next few weeks. After that, there won’t be any remaining grocery options in the Fourth Street shopping district proper, though a Trader Joe’s, a Whole Foods and Berkeley Bowl West all continue to operate nearby.\u003c/p>\n\u003cp>In a heartfelt \u003ca href=\"https://rockridgemarkethall.com/images/mf4_announcement.pdf\">public letter\u003c/a> released earlier today, co-owner Sara E. Wilson — who founded the original shop in Oakland in 1987 with her two brothers, Tony and Peter — stated a variety of post-COVID economic factors that has led to the difficult decision. “We recognize that this closure is the best way to ensure the strength of our overall business,” she says.\u003c/p>\n\u003cp>It’s the latest in an ongoing slew of small, local businesses having to unexpectedly pivot — either by downsizing or closing completely — due to various cost factors in an ever-expensive Bay Area economy.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Like many other retailers and food establishments, we have been experiencing new challenges post-COVID… with more people working from home, we could no longer rely on those customers.”\u003c/p>\n\u003cp>In addition to serving fewer customers than in the past, the letter also references how remaining customers ”have become more cautious with their spending and are buying fewer items.” They make clear that the building owners did not raise rent or anything of the sort, instead citing “shifts in customer patterns” as an unscalable financial barrier.\u003c/p>\n\u003cfigure id=\"attachment_13956921\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956921\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/market-hall-foods-courtesy.jpg\" alt='Exterior facade of a specialty grocery store. The sign reads, \"Market Hall Foods on 4th.\"' width=\"1920\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/market-hall-foods-courtesy.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/market-hall-foods-courtesy-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/market-hall-foods-courtesy-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/market-hall-foods-courtesy-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/market-hall-foods-courtesy-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/market-hall-foods-courtesy-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The shop’s final day of business will be May 26. \u003ccite>(Courtesy of Market Hall Foods)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Wilson also cited how it has been challenging for the company “to cover increased wage and benefit costs” — a reference, perhaps, to the City of Berkeley’s recent increase of its minimum wage to $20 per hour.\u003c/p>\n\u003cp>Fortunately, the market’s sister location in Oakland’s Rockridge neighborhood will continue to operate. In her letter, Wilson notes that because the Rockridge location is centralized in a residential area, it has been able to better endure the challenges of a difficult economy.\u003c/p>\n\u003cp>Of the 48 employees — kitchen, bakery and retail — who will be affected by the closure, some will be transferring to the Oakland location, while others will receive severance packages. They were informed on April 30.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For its final weekend in Berkeley, Market Hall Foods will host a “closing celebration,” with more details to be announced shortly.\u003c/p>\n\n","blocks":[],"excerpt":"The locally-adored Fourth St. market is unexpectedly shuttering due to post-COVID challenges.","status":"publish","parent":0,"modified":1714537959,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":13,"wordCount":561},"headData":{"title":"Berkeley's Market Hall Foods Is Closing After 28 Years | KQED","description":"The locally-adored Fourth St. market is unexpectedly shuttering due to post-COVID challenges.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Berkeley's Market Hall Foods Is Closing After 28 Years","datePublished":"2024-04-30T23:14:14.000Z","dateModified":"2024-05-01T04:32:39.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"Food","sourceUrl":"https://www.kqed.org/food","sticky":false,"nprStoryId":"kqed-13956901","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13956901/fourth-street-market-hall-foods-berkeley-closed","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Anyone who has ever perused the quaint aisles of specialty cheeses, imported pastas, organic jams and much more at \u003ca href=\"https://www.instagram.com/markethallfoods/\">Market Hall Foods\u003c/a> on Fourth Street in Berkeley will be saddened to hear that the 28-year specialty grocer will be shuttering next month. Market Hall’s flagship location in Rockridge will remain open.\u003c/p>\n\u003cp>Open since 1996, the upscale shop (formerly known as The Pasta Shop) has always been the kind of place where you’d run into local chefs stocking up on hard-to-find goods — a reliable little market where you could pop by for a quality lunch on the go. It’s also been \u003ca href=\"https://edibleeastbay.com/2017/11/15/market-hall-at-30/\">a cornerstone for locally-sourced ingredients and high-quality products\u003c/a> long before it became a national trend.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13954342,arts_13931296","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>The market’s Berkeley location is slated for its final day on Sunday, May 26 (Memorial Day weekend). Customers will be able to continue shopping there for the next few weeks. After that, there won’t be any remaining grocery options in the Fourth Street shopping district proper, though a Trader Joe’s, a Whole Foods and Berkeley Bowl West all continue to operate nearby.\u003c/p>\n\u003cp>In a heartfelt \u003ca href=\"https://rockridgemarkethall.com/images/mf4_announcement.pdf\">public letter\u003c/a> released earlier today, co-owner Sara E. Wilson — who founded the original shop in Oakland in 1987 with her two brothers, Tony and Peter — stated a variety of post-COVID economic factors that has led to the difficult decision. “We recognize that this closure is the best way to ensure the strength of our overall business,” she says.\u003c/p>\n\u003cp>It’s the latest in an ongoing slew of small, local businesses having to unexpectedly pivot — either by downsizing or closing completely — due to various cost factors in an ever-expensive Bay Area economy.\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>“Like many other retailers and food establishments, we have been experiencing new challenges post-COVID… with more people working from home, we could no longer rely on those customers.”\u003c/p>\n\u003cp>In addition to serving fewer customers than in the past, the letter also references how remaining customers ”have become more cautious with their spending and are buying fewer items.” They make clear that the building owners did not raise rent or anything of the sort, instead citing “shifts in customer patterns” as an unscalable financial barrier.\u003c/p>\n\u003cfigure id=\"attachment_13956921\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956921\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/market-hall-foods-courtesy.jpg\" alt='Exterior facade of a specialty grocery store. The sign reads, \"Market Hall Foods on 4th.\"' width=\"1920\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/market-hall-foods-courtesy.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/market-hall-foods-courtesy-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/market-hall-foods-courtesy-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/market-hall-foods-courtesy-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/market-hall-foods-courtesy-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/market-hall-foods-courtesy-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The shop’s final day of business will be May 26. \u003ccite>(Courtesy of Market Hall Foods)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Wilson also cited how it has been challenging for the company “to cover increased wage and benefit costs” — a reference, perhaps, to the City of Berkeley’s recent increase of its minimum wage to $20 per hour.\u003c/p>\n\u003cp>Fortunately, the market’s sister location in Oakland’s Rockridge neighborhood will continue to operate. In her letter, Wilson notes that because the Rockridge location is centralized in a residential area, it has been able to better endure the challenges of a difficult economy.\u003c/p>\n\u003cp>Of the 48 employees — kitchen, bakery and retail — who will be affected by the closure, some will be transferring to the Oakland location, while others will receive severance packages. They were informed on April 30.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For its final weekend in Berkeley, Market Hall Foods will host a “closing celebration,” with more details to be announced shortly.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13956901/fourth-street-market-hall-foods-berkeley-closed","authors":["11748"],"categories":["arts_1","arts_12276","arts_235"],"tags":["arts_1270","arts_10331","arts_5569","arts_10278","arts_1297"],"featImg":"arts_13956906","label":"source_arts_13956901"},"arts_13956017":{"type":"posts","id":"arts_13956017","meta":{"index":"posts_1591205157","site":"arts","id":"13956017","score":null,"sort":[1714149075000]},"guestAuthors":[],"slug":"poc-food-festival-san-francisco-berkeley","title":"A New Bay Area Food Festival Celebrates Chefs of Color and Diasporic Unity","publishDate":1714149075,"format":"standard","headTitle":"A New Bay Area Food Festival Celebrates Chefs of Color and Diasporic Unity | KQED","labelTerm":{},"content":"\u003cp>You’re at a food and wine festival in the Bay Area. But instead of the usual Chardonnay and chicken pairing, you’re drinking arak — an anise seed–based Palestinian spirit — and eating hearty Ethiopian sambussas in a space that is designated for diasporic, cross-communal celebration.\u003c/p>\n\u003cp>You might sip on \u003ca href=\"https://www.instagram.com/drinkkace/\">a Filipino and Taiwanese tea\u003c/a> founded by a pair of young AAPI entrepreneurs while enjoying bites from \u003ca href=\"https://www.kqed.org/event/1610\">Chef Nelson German — the Dominican savant behind Oakland’s alaMar and Sobre Mesa\u003c/a>. And since true nourishment requires more than just food and beverages, you can sneak off for a CBD sound bath, or keep your energy balanced at an R&B Soul Lounge, before returning for the afterparty.\u003c/p>\n\u003cp>That’s a snippet of the vision that San Francisco event organizer Gina Mariko Rosales has in mind for the first-ever \u003ca href=\"https://www.pocfoodandwine.com/\">POC Food and Wine Festival\u003c/a>.\u003c/p>\n\u003cp>“We want people to know up front that it’s a diverse space, and you’re welcome here,” Rosales says. “We’re already battling in the wine space. It doesn’t feel comfortable or safe for some people, and I knew I needed to create and name it so people would feel it’s a space for them. This is a celebration of the global majority. You gotta have big balls to do this shit. It’s not an easy feat.”\u003c/p>\n\u003cp>Having co-founded UNDISCOVERED SF’s Creative Night Market in SOMA Pilipinas, and with nearly a decade of experience working as an event specialist with Google, Rosales believes she has the savvy and background to execute such an ambitious three-day festival.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I had a huge desire to build a multicultural space to come together and meet each other, share resources, create collaborations that didn’t exist and expand our reach and make it bigger than any one cultural group. We need a space to come together,” she continues.\u003c/p>\n\u003cfigure id=\"attachment_13956309\" class=\"wp-caption alignnone\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956309\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ginamariko-pocfoodandwine-3.jpg\" alt=\"A woman in a red jacket stands before a lavish spread of drinks, appetizers and flowers.\" width=\"1024\" height=\"683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ginamariko-pocfoodandwine-3.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ginamariko-pocfoodandwine-3-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ginamariko-pocfoodandwine-3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ginamariko-pocfoodandwine-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ginamariko-pocfoodandwine-3-768x512.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">The festival is the brainchild of San Francisco event planner Gina Mariko Rosales. \u003ccite>(Melissa De Mata)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In all, the bodacious festival will include seven events happening across two venues in Berkeley and San Francisco from Thursday, May 2, through Sunday, May 5 (with Friday, May 3, as an off-day). The inaugural festivities will comprise a who’s who of Bay Area foodmakers and small business owners of color, all gathered at one intentional table.\u003c/p>\n\u003cp>The festival will kick off with a “Palestinian Family Meal” featuring one of the Bay Area’s most notable Palestinian chefs in Reem Assil (of \u003ca href=\"https://www.instagram.com/reemscalifornia/\">Reem’s\u003c/a>). Assil’s dishes — an array of mezzes, flatbreads, sweets and more served for large group enjoyment — will be paired with\u003ca href=\"https://www.terahwineco.com/\"> Terah Wine Co.\u003c/a> and Terra Sancta, a local winemaker and an importer of Middle Eastern wines and arak, respectively.\u003c/p>\n\u003cp>The opening night dinner underscores a mindful awareness to serve more than just good food. Rosales believes it’s also an opportunity to empower, uplift and educate around the various, complex politics that different Bay Area groups — often working in solidarity — must combat.\u003c/p>\n\u003cfigure id=\"attachment_13956598\" class=\"wp-caption alignleft\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956598\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Alanna-Hale_ShishBarak_LambDumplings_021.jpg\" alt=\"A bowl of Palestinian lamb dumplings in yogurt sauce, presented in a pale yellow bowl.\" width=\"1920\" height=\"2259\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Alanna-Hale_ShishBarak_LambDumplings_021.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Alanna-Hale_ShishBarak_LambDumplings_021-800x941.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Alanna-Hale_ShishBarak_LambDumplings_021-1020x1200.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Alanna-Hale_ShishBarak_LambDumplings_021-160x188.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Alanna-Hale_ShishBarak_LambDumplings_021-768x904.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Alanna-Hale_ShishBarak_LambDumplings_021-1305x1536.jpg 1305w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Alanna-Hale_ShishBarak_LambDumplings_021-1741x2048.jpg 1741w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">For the festival’s Saturday main event, Reem’s will serve shish barak — lamb dumplings in yogurt sauce. \u003ccite>(Courtesy of Alanna Hale)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Food is an entryway to culture,” Rosales says. “Everyone wants good food. That’s how you get people in, and then it’s up to you to teach a lesson.”\u003c/p>\n\u003cp>Other festival highlights will include Saturday’s “Main Dish,” a palate-friendly carousel of curated food-and-wine pairings from 14 participating chefs. Featured dishes include \u003ca href=\"https://www.instagram.com/cheftudavidphu\">Chef Tu David Phu\u003c/a>’s banh khot (a rich Vietnamese pancake) with caviar and velarde truffle, \u003ca href=\"https://www.instagram.com/tacossincero\">Tacos Sincero\u003c/a>’s charred sweet potato tostada with lime aioli, and salsa verde, and \u003ca href=\"https://www.instagram.com/tartsdefeybesse/\">Tarts de Feybesse\u003c/a>’s iÎle flottante — floating meringue in a custardy creme anglaise, infused with flavors from the Philippines.\u003c/p>\n\u003cp>The concept is to expose festival goers with as many diverse foodmakers as possible from the Bay Area’s impressive scene.\u003c/p>\n\u003cp>“Putting Ethiopia and the greater continent of Africa on the culinary map has always been our mission,” a representative for one participant, Oakland’s \u003ca href=\"https://www.instagram.com/cafecolucci/\">Cafe Colucci\u003c/a>, told KQED via email. “This is an opportunity to show our greater Bay Area community the power and importance of our diverse food environment.”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13954899,arts_13956178,arts_13929494']\u003c/span>A “Brown Is Beautiful” afterparty and a “Closing Family Meal” with \u003ca href=\"https://www.instagram.com/bigbadwolfsf/?hl=en\">Big Bad Wolf\u003c/a> — a popular cannabis-infused pop-up from first-generation Korean American chef Haeji Chun — will close out the festivities.\u003c/p>\n\u003cp>Think of that \u003ca href=\"https://www.youtube.com/watch?v=aQ1aEaRyR5A\">T.W.D.Y song, “Player’s Holiday”\u003c/a> — but add in lentil dips, old-world vino, DJs, marketplace vendors, diasporic snacks, CBD goods and botanicals distributed for and by people of color in an effort to heal and connect.\u003c/p>\n\u003cp>“The heart of what we want to get at with this festival is sharing culture. But this is also about Brown and Black joy,” says Rosales. “We need and deserve spaces where we are taken care of. We deserve nice things. We deserve beautiful experiences. We don’t always have to be struggling and hustling.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.pocfoodandwine.com/events/\">The POC Food and Wine Festival\u003c/a> will take place from Thursday, May 2, through Sunday, May 5, at \u003ca href=\"https://www.fouronenine.com/\">Four One Nine\u003c/a> (419 10th St.) in San Francisco and \u003ca href=\"https://cielcreativespace.com/\">Ciel Creative Space\u003c/a> (935 Carleton St.) in Berkeley. \u003ca href=\"https://www.pocfoodandwine.com/tickets/\">Sliding-scale ticket options\u003c/a> are available. Attendees can select single events, entire days, the complete weekend package or the VIP package, depending on their budgets.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"The first-ever 'POC Food and Wine Festival' features an array of foodmakers, winemakers and merchants of color.","status":"publish","parent":0,"modified":1714411377,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":19,"wordCount":967},"headData":{"title":"A New Bay Area Food Festival Celebrates Chefs of Color and Diasporic Unity | KQED","description":"The first-ever 'POC Food and Wine Festival' features an array of foodmakers, winemakers and merchants of color.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"A New Bay Area Food Festival Celebrates Chefs of Color and Diasporic Unity","datePublished":"2024-04-26T16:31:15.000Z","dateModified":"2024-04-29T17:22:57.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"Food","sourceUrl":"https://www.kqed.org/food","sticky":false,"nprStoryId":"kqed-13956017","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13956017/poc-food-festival-san-francisco-berkeley","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>You’re at a food and wine festival in the Bay Area. But instead of the usual Chardonnay and chicken pairing, you’re drinking arak — an anise seed–based Palestinian spirit — and eating hearty Ethiopian sambussas in a space that is designated for diasporic, cross-communal celebration.\u003c/p>\n\u003cp>You might sip on \u003ca href=\"https://www.instagram.com/drinkkace/\">a Filipino and Taiwanese tea\u003c/a> founded by a pair of young AAPI entrepreneurs while enjoying bites from \u003ca href=\"https://www.kqed.org/event/1610\">Chef Nelson German — the Dominican savant behind Oakland’s alaMar and Sobre Mesa\u003c/a>. And since true nourishment requires more than just food and beverages, you can sneak off for a CBD sound bath, or keep your energy balanced at an R&B Soul Lounge, before returning for the afterparty.\u003c/p>\n\u003cp>That’s a snippet of the vision that San Francisco event organizer Gina Mariko Rosales has in mind for the first-ever \u003ca href=\"https://www.pocfoodandwine.com/\">POC Food and Wine Festival\u003c/a>.\u003c/p>\n\u003cp>“We want people to know up front that it’s a diverse space, and you’re welcome here,” Rosales says. “We’re already battling in the wine space. It doesn’t feel comfortable or safe for some people, and I knew I needed to create and name it so people would feel it’s a space for them. This is a celebration of the global majority. You gotta have big balls to do this shit. It’s not an easy feat.”\u003c/p>\n\u003cp>Having co-founded UNDISCOVERED SF’s Creative Night Market in SOMA Pilipinas, and with nearly a decade of experience working as an event specialist with Google, Rosales believes she has the savvy and background to execute such an ambitious three-day festival.\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 a huge desire to build a multicultural space to come together and meet each other, share resources, create collaborations that didn’t exist and expand our reach and make it bigger than any one cultural group. We need a space to come together,” she continues.\u003c/p>\n\u003cfigure id=\"attachment_13956309\" class=\"wp-caption alignnone\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956309\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ginamariko-pocfoodandwine-3.jpg\" alt=\"A woman in a red jacket stands before a lavish spread of drinks, appetizers and flowers.\" width=\"1024\" height=\"683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ginamariko-pocfoodandwine-3.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ginamariko-pocfoodandwine-3-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ginamariko-pocfoodandwine-3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ginamariko-pocfoodandwine-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ginamariko-pocfoodandwine-3-768x512.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">The festival is the brainchild of San Francisco event planner Gina Mariko Rosales. \u003ccite>(Melissa De Mata)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In all, the bodacious festival will include seven events happening across two venues in Berkeley and San Francisco from Thursday, May 2, through Sunday, May 5 (with Friday, May 3, as an off-day). The inaugural festivities will comprise a who’s who of Bay Area foodmakers and small business owners of color, all gathered at one intentional table.\u003c/p>\n\u003cp>The festival will kick off with a “Palestinian Family Meal” featuring one of the Bay Area’s most notable Palestinian chefs in Reem Assil (of \u003ca href=\"https://www.instagram.com/reemscalifornia/\">Reem’s\u003c/a>). Assil’s dishes — an array of mezzes, flatbreads, sweets and more served for large group enjoyment — will be paired with\u003ca href=\"https://www.terahwineco.com/\"> Terah Wine Co.\u003c/a> and Terra Sancta, a local winemaker and an importer of Middle Eastern wines and arak, respectively.\u003c/p>\n\u003cp>The opening night dinner underscores a mindful awareness to serve more than just good food. Rosales believes it’s also an opportunity to empower, uplift and educate around the various, complex politics that different Bay Area groups — often working in solidarity — must combat.\u003c/p>\n\u003cfigure id=\"attachment_13956598\" class=\"wp-caption alignleft\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956598\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Alanna-Hale_ShishBarak_LambDumplings_021.jpg\" alt=\"A bowl of Palestinian lamb dumplings in yogurt sauce, presented in a pale yellow bowl.\" width=\"1920\" height=\"2259\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Alanna-Hale_ShishBarak_LambDumplings_021.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Alanna-Hale_ShishBarak_LambDumplings_021-800x941.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Alanna-Hale_ShishBarak_LambDumplings_021-1020x1200.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Alanna-Hale_ShishBarak_LambDumplings_021-160x188.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Alanna-Hale_ShishBarak_LambDumplings_021-768x904.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Alanna-Hale_ShishBarak_LambDumplings_021-1305x1536.jpg 1305w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Alanna-Hale_ShishBarak_LambDumplings_021-1741x2048.jpg 1741w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">For the festival’s Saturday main event, Reem’s will serve shish barak — lamb dumplings in yogurt sauce. \u003ccite>(Courtesy of Alanna Hale)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Food is an entryway to culture,” Rosales says. “Everyone wants good food. That’s how you get people in, and then it’s up to you to teach a lesson.”\u003c/p>\n\u003cp>Other festival highlights will include Saturday’s “Main Dish,” a palate-friendly carousel of curated food-and-wine pairings from 14 participating chefs. Featured dishes include \u003ca href=\"https://www.instagram.com/cheftudavidphu\">Chef Tu David Phu\u003c/a>’s banh khot (a rich Vietnamese pancake) with caviar and velarde truffle, \u003ca href=\"https://www.instagram.com/tacossincero\">Tacos Sincero\u003c/a>’s charred sweet potato tostada with lime aioli, and salsa verde, and \u003ca href=\"https://www.instagram.com/tartsdefeybesse/\">Tarts de Feybesse\u003c/a>’s iÎle flottante — floating meringue in a custardy creme anglaise, infused with flavors from the Philippines.\u003c/p>\n\u003cp>The concept is to expose festival goers with as many diverse foodmakers as possible from the Bay Area’s impressive scene.\u003c/p>\n\u003cp>“Putting Ethiopia and the greater continent of Africa on the culinary map has always been our mission,” a representative for one participant, Oakland’s \u003ca href=\"https://www.instagram.com/cafecolucci/\">Cafe Colucci\u003c/a>, told KQED via email. “This is an opportunity to show our greater Bay Area community the power and importance of our diverse food environment.”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13954899,arts_13956178,arts_13929494","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/span>A “Brown Is Beautiful” afterparty and a “Closing Family Meal” with \u003ca href=\"https://www.instagram.com/bigbadwolfsf/?hl=en\">Big Bad Wolf\u003c/a> — a popular cannabis-infused pop-up from first-generation Korean American chef Haeji Chun — will close out the festivities.\u003c/p>\n\u003cp>Think of that \u003ca href=\"https://www.youtube.com/watch?v=aQ1aEaRyR5A\">T.W.D.Y song, “Player’s Holiday”\u003c/a> — but add in lentil dips, old-world vino, DJs, marketplace vendors, diasporic snacks, CBD goods and botanicals distributed for and by people of color in an effort to heal and connect.\u003c/p>\n\u003cp>“The heart of what we want to get at with this festival is sharing culture. But this is also about Brown and Black joy,” says Rosales. “We need and deserve spaces where we are taken care of. We deserve nice things. We deserve beautiful experiences. We don’t always have to be struggling and hustling.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.pocfoodandwine.com/events/\">The POC Food and Wine Festival\u003c/a> will take place from Thursday, May 2, through Sunday, May 5, at \u003ca href=\"https://www.fouronenine.com/\">Four One Nine\u003c/a> (419 10th St.) in San Francisco and \u003ca href=\"https://cielcreativespace.com/\">Ciel Creative Space\u003c/a> (935 Carleton St.) in Berkeley. \u003ca href=\"https://www.pocfoodandwine.com/tickets/\">Sliding-scale ticket options\u003c/a> are available. Attendees can select single events, entire days, the complete weekend package or the VIP package, depending on their budgets.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13956017/poc-food-festival-san-francisco-berkeley","authors":["11748"],"programs":["arts_140"],"categories":["arts_1","arts_835","arts_12276"],"tags":["arts_2438","arts_4672","arts_1270","arts_21727","arts_10278","arts_22068","arts_2855","arts_1297","arts_1720","arts_14985","arts_21682","arts_1146","arts_585"],"featImg":"arts_13956601","label":"source_arts_13956017"},"arts_13954899":{"type":"posts","id":"arts_13954899","meta":{"index":"posts_1591205157","site":"arts","id":"13954899","score":null,"sort":[1712689827000]},"guestAuthors":[],"slug":"latina-owned-pr-agency-popoca-oakland-east-bay-if-only-creative","title":"How a Chicana-Owned Agency Is Shining a Light on the East Bay’s Diverse Food Scene","publishDate":1712689827,"format":"standard","headTitle":"How a Chicana-Owned Agency Is Shining a Light on the East Bay’s Diverse Food Scene | KQED","labelTerm":{},"content":"\u003cp>\u003cstrong>\u003ci>\u003ca href=\"https://www.kqed.org/hellahungry\">¡Hella Hungry!\u003c/a> is a series of interviews with Bay Area foodmakers exploring the region’s culinary innovations through the mouth of a first-generation local.\u003c/i>\u003c/strong>\u003c/p>\n\u003cp>You’d better make reservations ahead of time at \u003ca href=\"https://www.instagram.com/popoca.oakland/?hl=en\">Popoca\u003c/a>, chef Anthony Salguero’s chic eatery in Old Oakland. The lively Salvadoreño spot has become such a popular hangout that you’ll likely run into friends randomly (hello, Ricky and Olivia) during dinner.\u003c/p>\n\u003cp>The reason is simple: Popoca’s elevated cuisine, cocktails and decor are a reflection of Salguero’s Central American origins, where his parents immigrated from and where he learned how to prepare tamales using freshly made wild duck broth.\u003c/p>\n\u003cp>You can taste Salguero’s expansive love for El Salvador in each decision. It’s in the hint of honey and spice in his naranja y betabel en alguashte. It’s in the lemony butteriness of his wood-fired pupusas de hongo. And it’s in the generous smattering of beans, rice, sour cream and escabeche that you should order to accompany the banana leaf-wrapped vegetarian tamales.\u003c/p>\n\u003cfigure id=\"attachment_13954919\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13954919 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_HELLA_HUNGRY_POPOCA_ML_0070-KQED.jpg\" alt=\"Thick purple pupusas cooking on the griddle.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_HELLA_HUNGRY_POPOCA_ML_0070-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_HELLA_HUNGRY_POPOCA_ML_0070-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_HELLA_HUNGRY_POPOCA_ML_0070-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_HELLA_HUNGRY_POPOCA_ML_0070-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_HELLA_HUNGRY_POPOCA_ML_0070-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_HELLA_HUNGRY_POPOCA_ML_0070-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_HELLA_HUNGRY_POPOCA_ML_0070-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Blue corn pupusas fry on the open grill. \u003ccite>(Marissa Leshnov for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s also in the people he has surrounded himself with — the servers, bartenders, kitchen hands. Everything feels intentional, genuine and joyfully interconnected in the service of helping each guest experience Popoca. And that’s exactly what Marisa Sanchez-Dunning is committed to showcasing.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As the founder of \u003ca href=\"https://www.instagram.com/ifonlycreative/?hl=en\">If Only Creative\u003c/a> — a Berkeley-based creative agency that supports dope East Bay destinations such as Popoca, \u003ca href=\"https://www.thisisdaytrip.com/\">DAYTRIP\u003c/a> and \u003ca href=\"https://www.burdelloakland.com/\">Burdell\u003c/a> — Sanchez-Dunning is fiercely aligned with those who share her sense of community values. A homegrown Chicana, she predominantly works with small business owners of color. She carved her way into the scene with her relentless hustle, building her studio from the ground up by hiring other women of color that represent the Bay Area she knows. Beyond providing photography, social media management and branding for a handful of local outlets, Sanchez-Dunning \u003ca href=\"https://www.kqed.org/arts/13928459/cinco-de-mayo-vegan-dinner-el-otro-lado-oakland\">hosts events to celebrate the Bay’s rich food traditions\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13954975\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13954975 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_Hella_Hungry_Popoca_ML_0054_qut.jpg\" alt=\"A restaurant server laughs as she takes an order from two customers sitting inside a sunny restaurant dining room.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_Hella_Hungry_Popoca_ML_0054_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_Hella_Hungry_Popoca_ML_0054_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_Hella_Hungry_Popoca_ML_0054_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_Hella_Hungry_Popoca_ML_0054_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_Hella_Hungry_Popoca_ML_0054_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_Hella_Hungry_Popoca_ML_0054_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">KQED reporter Alan Chazaro, left, and Marisa Sanchez-Dunning order their meal. \u003ccite>(Marissa Leshnov for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On a bustling evening at Popoca, despite a persistent rainstorm, I connected with her to discuss her role as a connector in the East Bay’s diverse food and bev world. I’ll be clear: I don’t typically meet with creative directors, PR flaks or other folks who work on the marketing side of the food scene. But, like Sanchez-Dunning and Salguero, I believe in the importance of nurturing and expanding the local ecosystem, and seeing things from every perspective — and I can appreciate the unseen work that Sanchez-Dunning is doing.\u003c/p>\n\u003cp>In the Bay, sustaining your community can begin by simply sharing a soul-mending plate of pupusas with someone across the table.\u003c/p>\n\u003cp>\u003ci>This interview has been edited for length and clarity.\u003c/i>\u003c/p>\n\u003cp style=\"text-align: center\">\u003ci>********\u003c/i>\u003c/p>\n\u003cp>\u003cb>Alan Chazaro: You’re not a foodmaker, but you work closely with chefs and small business owners throughout the Bay Area’s culinary scene. How did you enter the food world?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Marisa Sanchez-Dunning:\u003c/b> My journey in food and hospitality started with my first job at 15 years old serving ice cream. Being in service, you get an appreciation for the whole spectrum. Eventually, I became a waitress. When I was 20, I worked at Peet’s and Scolari’s. I was working doubles, closing one shop late at night and opening another the next day. It’s all about the people you meet. You become a family, a community, and you realize how small the industry is here. That’s part of the Bay.\u003c/p>\n\u003cp>In college, I entered as a bio major, then I switched to journalism and ended up in marketing. I most enjoyed the creative classes: branding, design, photography. When I entered the 9 to 5 world, I started with branding and design agencies, and then I veered off to start my own agency through trial and error. I learned that my passion thrives the most in the food and bev industry. Bars, cafes, restaurants, CPGs.\u003c/p>\n\u003cp>\u003cb>A CPG?\u003c/b>\u003c/p>\n\u003cp>Oh, my bad. Consumer Packaged Goods. It’s an annoying acronym (laughs).\u003c/p>\n\u003cp>\u003cb>Word. That’s very corporate-y.\u003c/b>\u003c/p>\n\u003cp>I honestly try to stay away from that (laughs). For me, food is where [my agency] thrives creatively. That’s what we’re genuinely passionate about. As far as I know, we’re the only Chicana-owned agency doing this in the Bay. In my industry, I’m kind of like the only one that looks like me doing what I’m doing and supporting the clients that I’m supporting. And I think being in the Bay, there is an appreciation and excitement around seeing a Chicana. There’s a connection to our community.\u003c/p>\n\u003cfigure id=\"attachment_13954974\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954974\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_Hella_Hungry_Popoca_ML_0112_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_Hella_Hungry_Popoca_ML_0112_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_Hella_Hungry_Popoca_ML_0112_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_Hella_Hungry_Popoca_ML_0112_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_Hella_Hungry_Popoca_ML_0112_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_Hella_Hungry_Popoca_ML_0112_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_Hella_Hungry_Popoca_ML_0112_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Cara cara orange slices and beets topped alguashte is one of the small plates offered at Popoca in Oakland, Calif., on March 22, 2024.\u003cbr>CREDIT: Marissa Leshnov for KQED \u003ccite>(Marissa Leshnov for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What have you noticed working in the local food industry? Are there any trends right now?\u003c/b>\u003c/p>\n\u003cp>It’s really a mix, and I love that. One thing is that everyone is working their asses off. Places like Popoca are what I support. There’s a specific group of people in the Bay that don’t have any major investors, who don’t come from tons of privilege and tons of money. That takes a certain amount of working your ass off to get where they’ve gotten, and I see that. Those [business owners] have to think authentically and genuinely about every decision made, from working with me to their hiring practices and their vendor sourcing. They make sure everything is in line with their values. That’s also how I operate, for better or worse. Luckily I have a team of amazing women who are helping me out. It may take longer, and it may be harder, but it’s more gratifying. To be real, as a business owner in the Bay working in food and bev, it’s not easy.\u003c/p>\n\u003cp>\u003cb>We all can only do so much, and it can be draining. Finding that balance and intentionality is crucial. How can we keep our money and time in places that are deserving? And how can we increase access to experiences like Popoca?\u003c/b>\u003c/p>\n\u003cp>100%. I love going to places like this to support them. That’s basically what my entire role is with visual assets, videos, photos of the food and drinks. There’s so much beautiful storytelling on the plate. We’re in a digital world. If someone tells you about a spot they like, you’ll probably pull out your phone and check Instagram. Even just sharing that on social media or sending a text to your friend, it goes a long way.\u003c/p>\n\u003cp>When you realize like, \u003cem>Oh shit, this person is nixtamalizing corn and making their own masa? You’re making your own in-house crema from scratch? And not only that, but it’s also being sourced intentionally?\u003c/em> I fuck with that. I don’t want to take the easy way and work with corporate, and neither do a lot of [the foodmakers]. And there are lots of barriers to that, or even to these businesses being able to hire someone like me. Budget is the biggest one. It’s a Catch-22.\u003c/p>\n\u003cfigure id=\"attachment_13954918\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13954918 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_HELLA_HUNGRY_POPOCA_ML_0059-KQED.jpg\" alt=\"Hands holding horchata with star anise inside a wooden bowl.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_HELLA_HUNGRY_POPOCA_ML_0059-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_HELLA_HUNGRY_POPOCA_ML_0059-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_HELLA_HUNGRY_POPOCA_ML_0059-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_HELLA_HUNGRY_POPOCA_ML_0059-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_HELLA_HUNGRY_POPOCA_ML_0059-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_HELLA_HUNGRY_POPOCA_ML_0059-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_HELLA_HUNGRY_POPOCA_ML_0059-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Popoca’s peanut horchata topped with star anise. \u003ccite>(Marissa Leshnov for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What keeps you going?\u003c/b>\u003c/p>\n\u003cp>The goal is to employ the community. Working with people who may look like me, but more importantly, who think like me and move around the world like me. There’s a secret superpower to thinking that way. And there are certain businesses in the Bay who are doing that and helping to build their communities. Here at Popoca, there’s an intentionality in trying to invest in Old Oakland. I love the dedication and inspiration that they get and give here. Same with Jo’s Modern Thai [in Oakland’s Laurel District]. The owner was born and raised in that neighborhood. They want to get that area popping. It’s not like Temescal, which gets all this attention. But these other areas deserve to have that elevation.\u003c/p>\n\u003cp>\u003cb>Oakland, and the Bay as a whole, can be overwhelming with choices. And there are different perceptions people have about going to certain areas.\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13950866,arts_13950436,arts_13919032']\u003c/span>I had a friend visiting from out of town and told them we were going to eat dinner in Oakland, and they asked, “Is it okay to go?” And that’s sad. It’s a whole thing. The city of Oakland has been branded in an unfair way.\u003c/p>\n\u003cfigure id=\"attachment_13954976\" class=\"wp-caption alignleft\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954976\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_Hella_Hungry_Popoca_ML_0107_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_Hella_Hungry_Popoca_ML_0107_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_Hella_Hungry_Popoca_ML_0107_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_Hella_Hungry_Popoca_ML_0107_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_Hella_Hungry_Popoca_ML_0107_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_Hella_Hungry_Popoca_ML_0107_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_Hella_Hungry_Popoca_ML_0107_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Bags of ground corn are seen in stacks near the bar for Popoca’s house-made masa corn flour in Oakland, Calif., on March 22, 2024.\u003cbr>CREDIT: Marissa Leshnov for KQED \u003ccite>(Marissa Leshnov for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>People who have never lived in Oakland always seem to misunderstand it. But part of that intentionality you spoke about is in how you help these businesses get visibility. \u003c/b>\u003c/p>\n\u003cp>I try to always get people to try new spots, to come meet me at this restaurant or that bar or whatever. It’s in my blood to bring people together, and through the studio I’ve found a way to do that in a way that I’m proud of because of the real relationships I’ve built. This isn’t transactional. It’s like having homies with boundaries. It’s nice.\u003c/p>\n\u003cp>\u003cb>What do you have coming up next?\u003c/b>\u003c/p>\n\u003cp>I’m actually working with [Popoca chef] Anthony Salguero to host a Cinco de Mayo dinner in this space in collaboration with chef Jacob from [the Chicano pop-up] \u003ca href=\"https://www.kqed.org/arts/13937851/ofrendas-mexican-immigration-dinner-bolita-masa-sf-ica\">My Friend Fernando\u003c/a>. There’s also \u003ca href=\"https://www.kqed.org/arts/13928562/mission-art-and-comic-expo-chicano-latinx-artists\">a local painter, Alex Sodari\u003c/a>, who will be giving away his prints. It’s a dinner with art and community. Everyone sitting at the same table. I love what I do on a day-to-day, but I’m always thinking of how to drive more impact than just being a creative agency. How can we bring more people together? If we’re not doing that, then what’s the point?\u003c/p>\n\u003cfigure id=\"attachment_13954923\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13954923 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_HELLA_HUNGRY_POPOCA_ML_0137-KQED.jpg\" alt=\"The exterior facade of the restaurant Popoca, with ornate columns and large windows extending the length of the building.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_HELLA_HUNGRY_POPOCA_ML_0137-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_HELLA_HUNGRY_POPOCA_ML_0137-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_HELLA_HUNGRY_POPOCA_ML_0137-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_HELLA_HUNGRY_POPOCA_ML_0137-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_HELLA_HUNGRY_POPOCA_ML_0137-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_HELLA_HUNGRY_POPOCA_ML_0137-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_HELLA_HUNGRY_POPOCA_ML_0137-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The exterior of the restaurant. \u003ccite>(Marissa Leshnov for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>If Only Creative’s special Cinco de Mayo dinner will be held at Popoca (906 Washington St., Oakland) on Sunday, May 5. The event is part of If Only’s private dinner series, \u003ca href=\"https://www.ifonly-creative.com/shop-1/p/el-otro-lado\">El Otro Lado\u003c/a>. Tickets are available \u003ca href=\"https://www.ifonly-creative.com/shop-1/p/el-otro-lado\">online\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"If Only Creative is committed to promoting small, POC-owned food businesses.","status":"publish","parent":0,"modified":1714507757,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":32,"wordCount":1831},"headData":{"title":"The Latina-Owned Agency Promoting the Bay Area’s Diverse Food Brands | KQED","description":"If Only Creative is committed to promoting small, POC-owned food businesses.","ogTitle":"How a Chicana-Owned Agency Is Shining a Light on the East Bay’s Diverse Food Scene","ogDescription":"","ogImgId":"","twTitle":"How a Chicana-Owned Agency Is Shining a Light on the East Bay’s Diverse Food Scene","twDescription":"","twImgId":"","socialTitle":"The Latina-Owned Agency Promoting the Bay Area’s Diverse Food Brands %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"How a Chicana-Owned Agency Is Shining a Light on the East Bay’s Diverse Food Scene","datePublished":"2024-04-09T19:10:27.000Z","dateModified":"2024-04-30T20:09:17.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"¡Hella Hungry!","sourceUrl":"https://www.kqed.org/hellahungry","sticky":false,"WpOldSlug":"latinx-pr-agency-popoca-oakland-east-bay-if-only-creative","nprStoryId":"kqed-13954899","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13954899/latina-owned-pr-agency-popoca-oakland-east-bay-if-only-creative","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>\u003ci>\u003ca href=\"https://www.kqed.org/hellahungry\">¡Hella Hungry!\u003c/a> is a series of interviews with Bay Area foodmakers exploring the region’s culinary innovations through the mouth of a first-generation local.\u003c/i>\u003c/strong>\u003c/p>\n\u003cp>You’d better make reservations ahead of time at \u003ca href=\"https://www.instagram.com/popoca.oakland/?hl=en\">Popoca\u003c/a>, chef Anthony Salguero’s chic eatery in Old Oakland. The lively Salvadoreño spot has become such a popular hangout that you’ll likely run into friends randomly (hello, Ricky and Olivia) during dinner.\u003c/p>\n\u003cp>The reason is simple: Popoca’s elevated cuisine, cocktails and decor are a reflection of Salguero’s Central American origins, where his parents immigrated from and where he learned how to prepare tamales using freshly made wild duck broth.\u003c/p>\n\u003cp>You can taste Salguero’s expansive love for El Salvador in each decision. It’s in the hint of honey and spice in his naranja y betabel en alguashte. It’s in the lemony butteriness of his wood-fired pupusas de hongo. And it’s in the generous smattering of beans, rice, sour cream and escabeche that you should order to accompany the banana leaf-wrapped vegetarian tamales.\u003c/p>\n\u003cfigure id=\"attachment_13954919\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13954919 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_HELLA_HUNGRY_POPOCA_ML_0070-KQED.jpg\" alt=\"Thick purple pupusas cooking on the griddle.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_HELLA_HUNGRY_POPOCA_ML_0070-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_HELLA_HUNGRY_POPOCA_ML_0070-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_HELLA_HUNGRY_POPOCA_ML_0070-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_HELLA_HUNGRY_POPOCA_ML_0070-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_HELLA_HUNGRY_POPOCA_ML_0070-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_HELLA_HUNGRY_POPOCA_ML_0070-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_HELLA_HUNGRY_POPOCA_ML_0070-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Blue corn pupusas fry on the open grill. \u003ccite>(Marissa Leshnov for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s also in the people he has surrounded himself with — the servers, bartenders, kitchen hands. Everything feels intentional, genuine and joyfully interconnected in the service of helping each guest experience Popoca. And that’s exactly what Marisa Sanchez-Dunning is committed to showcasing.\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 the founder of \u003ca href=\"https://www.instagram.com/ifonlycreative/?hl=en\">If Only Creative\u003c/a> — a Berkeley-based creative agency that supports dope East Bay destinations such as Popoca, \u003ca href=\"https://www.thisisdaytrip.com/\">DAYTRIP\u003c/a> and \u003ca href=\"https://www.burdelloakland.com/\">Burdell\u003c/a> — Sanchez-Dunning is fiercely aligned with those who share her sense of community values. A homegrown Chicana, she predominantly works with small business owners of color. She carved her way into the scene with her relentless hustle, building her studio from the ground up by hiring other women of color that represent the Bay Area she knows. Beyond providing photography, social media management and branding for a handful of local outlets, Sanchez-Dunning \u003ca href=\"https://www.kqed.org/arts/13928459/cinco-de-mayo-vegan-dinner-el-otro-lado-oakland\">hosts events to celebrate the Bay’s rich food traditions\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13954975\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13954975 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_Hella_Hungry_Popoca_ML_0054_qut.jpg\" alt=\"A restaurant server laughs as she takes an order from two customers sitting inside a sunny restaurant dining room.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_Hella_Hungry_Popoca_ML_0054_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_Hella_Hungry_Popoca_ML_0054_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_Hella_Hungry_Popoca_ML_0054_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_Hella_Hungry_Popoca_ML_0054_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_Hella_Hungry_Popoca_ML_0054_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_Hella_Hungry_Popoca_ML_0054_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">KQED reporter Alan Chazaro, left, and Marisa Sanchez-Dunning order their meal. \u003ccite>(Marissa Leshnov for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On a bustling evening at Popoca, despite a persistent rainstorm, I connected with her to discuss her role as a connector in the East Bay’s diverse food and bev world. I’ll be clear: I don’t typically meet with creative directors, PR flaks or other folks who work on the marketing side of the food scene. But, like Sanchez-Dunning and Salguero, I believe in the importance of nurturing and expanding the local ecosystem, and seeing things from every perspective — and I can appreciate the unseen work that Sanchez-Dunning is doing.\u003c/p>\n\u003cp>In the Bay, sustaining your community can begin by simply sharing a soul-mending plate of pupusas with someone across the table.\u003c/p>\n\u003cp>\u003ci>This interview has been edited for length and clarity.\u003c/i>\u003c/p>\n\u003cp style=\"text-align: center\">\u003ci>********\u003c/i>\u003c/p>\n\u003cp>\u003cb>Alan Chazaro: You’re not a foodmaker, but you work closely with chefs and small business owners throughout the Bay Area’s culinary scene. How did you enter the food world?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Marisa Sanchez-Dunning:\u003c/b> My journey in food and hospitality started with my first job at 15 years old serving ice cream. Being in service, you get an appreciation for the whole spectrum. Eventually, I became a waitress. When I was 20, I worked at Peet’s and Scolari’s. I was working doubles, closing one shop late at night and opening another the next day. It’s all about the people you meet. You become a family, a community, and you realize how small the industry is here. That’s part of the Bay.\u003c/p>\n\u003cp>In college, I entered as a bio major, then I switched to journalism and ended up in marketing. I most enjoyed the creative classes: branding, design, photography. When I entered the 9 to 5 world, I started with branding and design agencies, and then I veered off to start my own agency through trial and error. I learned that my passion thrives the most in the food and bev industry. Bars, cafes, restaurants, CPGs.\u003c/p>\n\u003cp>\u003cb>A CPG?\u003c/b>\u003c/p>\n\u003cp>Oh, my bad. Consumer Packaged Goods. It’s an annoying acronym (laughs).\u003c/p>\n\u003cp>\u003cb>Word. That’s very corporate-y.\u003c/b>\u003c/p>\n\u003cp>I honestly try to stay away from that (laughs). For me, food is where [my agency] thrives creatively. That’s what we’re genuinely passionate about. As far as I know, we’re the only Chicana-owned agency doing this in the Bay. In my industry, I’m kind of like the only one that looks like me doing what I’m doing and supporting the clients that I’m supporting. And I think being in the Bay, there is an appreciation and excitement around seeing a Chicana. There’s a connection to our community.\u003c/p>\n\u003cfigure id=\"attachment_13954974\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954974\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_Hella_Hungry_Popoca_ML_0112_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_Hella_Hungry_Popoca_ML_0112_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_Hella_Hungry_Popoca_ML_0112_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_Hella_Hungry_Popoca_ML_0112_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_Hella_Hungry_Popoca_ML_0112_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_Hella_Hungry_Popoca_ML_0112_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_Hella_Hungry_Popoca_ML_0112_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Cara cara orange slices and beets topped alguashte is one of the small plates offered at Popoca in Oakland, Calif., on March 22, 2024.\u003cbr>CREDIT: Marissa Leshnov for KQED \u003ccite>(Marissa Leshnov for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What have you noticed working in the local food industry? Are there any trends right now?\u003c/b>\u003c/p>\n\u003cp>It’s really a mix, and I love that. One thing is that everyone is working their asses off. Places like Popoca are what I support. There’s a specific group of people in the Bay that don’t have any major investors, who don’t come from tons of privilege and tons of money. That takes a certain amount of working your ass off to get where they’ve gotten, and I see that. Those [business owners] have to think authentically and genuinely about every decision made, from working with me to their hiring practices and their vendor sourcing. They make sure everything is in line with their values. That’s also how I operate, for better or worse. Luckily I have a team of amazing women who are helping me out. It may take longer, and it may be harder, but it’s more gratifying. To be real, as a business owner in the Bay working in food and bev, it’s not easy.\u003c/p>\n\u003cp>\u003cb>We all can only do so much, and it can be draining. Finding that balance and intentionality is crucial. How can we keep our money and time in places that are deserving? And how can we increase access to experiences like Popoca?\u003c/b>\u003c/p>\n\u003cp>100%. I love going to places like this to support them. That’s basically what my entire role is with visual assets, videos, photos of the food and drinks. There’s so much beautiful storytelling on the plate. We’re in a digital world. If someone tells you about a spot they like, you’ll probably pull out your phone and check Instagram. Even just sharing that on social media or sending a text to your friend, it goes a long way.\u003c/p>\n\u003cp>When you realize like, \u003cem>Oh shit, this person is nixtamalizing corn and making their own masa? You’re making your own in-house crema from scratch? And not only that, but it’s also being sourced intentionally?\u003c/em> I fuck with that. I don’t want to take the easy way and work with corporate, and neither do a lot of [the foodmakers]. And there are lots of barriers to that, or even to these businesses being able to hire someone like me. Budget is the biggest one. It’s a Catch-22.\u003c/p>\n\u003cfigure id=\"attachment_13954918\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13954918 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_HELLA_HUNGRY_POPOCA_ML_0059-KQED.jpg\" alt=\"Hands holding horchata with star anise inside a wooden bowl.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_HELLA_HUNGRY_POPOCA_ML_0059-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_HELLA_HUNGRY_POPOCA_ML_0059-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_HELLA_HUNGRY_POPOCA_ML_0059-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_HELLA_HUNGRY_POPOCA_ML_0059-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_HELLA_HUNGRY_POPOCA_ML_0059-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_HELLA_HUNGRY_POPOCA_ML_0059-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_HELLA_HUNGRY_POPOCA_ML_0059-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Popoca’s peanut horchata topped with star anise. \u003ccite>(Marissa Leshnov for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What keeps you going?\u003c/b>\u003c/p>\n\u003cp>The goal is to employ the community. Working with people who may look like me, but more importantly, who think like me and move around the world like me. There’s a secret superpower to thinking that way. And there are certain businesses in the Bay who are doing that and helping to build their communities. Here at Popoca, there’s an intentionality in trying to invest in Old Oakland. I love the dedication and inspiration that they get and give here. Same with Jo’s Modern Thai [in Oakland’s Laurel District]. The owner was born and raised in that neighborhood. They want to get that area popping. It’s not like Temescal, which gets all this attention. But these other areas deserve to have that elevation.\u003c/p>\n\u003cp>\u003cb>Oakland, and the Bay as a whole, can be overwhelming with choices. And there are different perceptions people have about going to certain areas.\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13950866,arts_13950436,arts_13919032","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/span>I had a friend visiting from out of town and told them we were going to eat dinner in Oakland, and they asked, “Is it okay to go?” And that’s sad. It’s a whole thing. The city of Oakland has been branded in an unfair way.\u003c/p>\n\u003cfigure id=\"attachment_13954976\" class=\"wp-caption alignleft\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954976\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_Hella_Hungry_Popoca_ML_0107_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_Hella_Hungry_Popoca_ML_0107_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_Hella_Hungry_Popoca_ML_0107_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_Hella_Hungry_Popoca_ML_0107_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_Hella_Hungry_Popoca_ML_0107_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_Hella_Hungry_Popoca_ML_0107_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_Hella_Hungry_Popoca_ML_0107_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Bags of ground corn are seen in stacks near the bar for Popoca’s house-made masa corn flour in Oakland, Calif., on March 22, 2024.\u003cbr>CREDIT: Marissa Leshnov for KQED \u003ccite>(Marissa Leshnov for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>People who have never lived in Oakland always seem to misunderstand it. But part of that intentionality you spoke about is in how you help these businesses get visibility. \u003c/b>\u003c/p>\n\u003cp>I try to always get people to try new spots, to come meet me at this restaurant or that bar or whatever. It’s in my blood to bring people together, and through the studio I’ve found a way to do that in a way that I’m proud of because of the real relationships I’ve built. This isn’t transactional. It’s like having homies with boundaries. It’s nice.\u003c/p>\n\u003cp>\u003cb>What do you have coming up next?\u003c/b>\u003c/p>\n\u003cp>I’m actually working with [Popoca chef] Anthony Salguero to host a Cinco de Mayo dinner in this space in collaboration with chef Jacob from [the Chicano pop-up] \u003ca href=\"https://www.kqed.org/arts/13937851/ofrendas-mexican-immigration-dinner-bolita-masa-sf-ica\">My Friend Fernando\u003c/a>. There’s also \u003ca href=\"https://www.kqed.org/arts/13928562/mission-art-and-comic-expo-chicano-latinx-artists\">a local painter, Alex Sodari\u003c/a>, who will be giving away his prints. It’s a dinner with art and community. Everyone sitting at the same table. I love what I do on a day-to-day, but I’m always thinking of how to drive more impact than just being a creative agency. How can we bring more people together? If we’re not doing that, then what’s the point?\u003c/p>\n\u003cfigure id=\"attachment_13954923\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13954923 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_HELLA_HUNGRY_POPOCA_ML_0137-KQED.jpg\" alt=\"The exterior facade of the restaurant Popoca, with ornate columns and large windows extending the length of the building.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_HELLA_HUNGRY_POPOCA_ML_0137-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_HELLA_HUNGRY_POPOCA_ML_0137-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_HELLA_HUNGRY_POPOCA_ML_0137-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_HELLA_HUNGRY_POPOCA_ML_0137-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_HELLA_HUNGRY_POPOCA_ML_0137-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_HELLA_HUNGRY_POPOCA_ML_0137-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_HELLA_HUNGRY_POPOCA_ML_0137-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The exterior of the restaurant. \u003ccite>(Marissa Leshnov for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003chr>\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 Only Creative’s special Cinco de Mayo dinner will be held at Popoca (906 Washington St., Oakland) on Sunday, May 5. The event is part of If Only’s private dinner series, \u003ca href=\"https://www.ifonly-creative.com/shop-1/p/el-otro-lado\">El Otro Lado\u003c/a>. Tickets are available \u003ca href=\"https://www.ifonly-creative.com/shop-1/p/el-otro-lado\">online\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13954899/latina-owned-pr-agency-popoca-oakland-east-bay-if-only-creative","authors":["11748"],"categories":["arts_1","arts_12276"],"tags":["arts_1270","arts_3419","arts_10278","arts_1297","arts_17573","arts_1256","arts_5747","arts_877","arts_1143","arts_15755","arts_21708","arts_22120"],"featImg":"arts_13955587","label":"source_arts_13954899"},"arts_13955372":{"type":"posts","id":"arts_13955372","meta":{"index":"posts_1591205157","site":"arts","id":"13955372","score":null,"sort":[1712181908000]},"guestAuthors":[],"slug":"not-even-stolen-catalytic-converters-can-slow-down-rapper-casey-cope","title":"Not Even Stolen Catalytic Converters Can Slow Down Rapper Casey Cope","publishDate":1712181908,"format":"standard","headTitle":"Not Even Stolen Catalytic Converters Can Slow Down Rapper Casey Cope | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>A lot of artists rap about triumphing over struggles in the past tense, but \u003ca href=\"https://www.instagram.com/caseycopesodope/\">Casey Cope\u003c/a> isn’t afraid to share them in real time. If you’ve been to one of his recent shows, you might’ve heard him riff about his absurdly bad 2023 — he had his catalytic converter stolen twice (and his entire car once), went through a breakup and got fired from his job.\u003c/p>\n\u003cp>It already takes tremendous sacrifice to make it as an artist in the expensive Bay Area, and for a while there, it seemed like everything was working against Cope. But the ever-resourceful rapper, producer and engineer turned his unlucky streak into fuel for his next solo project (out in the fall) and many collaborations. His next release, \u003ci>Qamp III\u003c/i>, arrives on April 12. It’s an album he, his musical partner in crime \u003ca href=\"https://www.instagram.com/marquitoooo_/\">Marquito\u003c/a> and a crew of 20 artists created from scratch in a 72-hour span, in a Berkeley studio Cope and Marquito helped build with their bare hands.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/0dIU3nAeiJ12tym7WIe8cj?utm_source=generator\" width=\"100%\" height=\"352\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Cope is remarkably transparent about his grind. On mornings, he’ll post a picture of his hearty breakfast (eggs, turkey bacon, burnt toast) overlaid with a breakdown of his schedule, which can include teaching, catering and working at a sports radio station, depending on the day.\u003c/p>\n\u003cp>Similarly, in his lyrics, he’s straight up about the sacrifices he’s made to pursue not just his own musical career, but to foster a thriving community of independent artists. He owns it to the point that it’s become a flex: Audiences grin and nod along when he performs “\u003ca href=\"https://www.youtube.com/watch?v=XzGZdKwL2Ls\">Back Up!\u003c/a>,” his 2020 song with a punk-rock attitude that features the bar “Your girl likes broke n—s if she likes us.”\u003c/p>\n\u003cfigure id=\"attachment_13955076\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955076\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240327-CASEY-COPE-KSM-11-KQED.jpg\" alt=\"Two musical collaborators pose in front of a computer monitor in a DIY music studio.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240327-CASEY-COPE-KSM-11-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240327-CASEY-COPE-KSM-11-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240327-CASEY-COPE-KSM-11-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240327-CASEY-COPE-KSM-11-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240327-CASEY-COPE-KSM-11-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240327-CASEY-COPE-KSM-11-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240327-CASEY-COPE-KSM-11-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Casey Cope and Marquito (left to right) at Studio Q in Berkeley on Mar. 27, 2024. \u003ccite>(Kathryn Styer Martínez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Being earnest has become important in my life, so as an artist, I just feel that translates,” Cope says. “When I was younger, like earlier 20s, I would go further in that lane — just a younger, less mature version. Like, ‘Oh, hey, look at me. I don’t rap about money and bitches.’”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>He rolls his eyes at his past self: “It’s like, ‘OK, come on, bro.’ But now it’s just like, I like being honest. And I think people appreciate that.”\u003c/p>\n\u003cp>At Cope’s live shows, he’s not afraid to bring that same earnestness to the stage. His demeanor between songs tends to be jovial and charismatic; he articulates angry lyrics with a near-yelling intensity, then suddenly pivots into soft-spoken reflection. The display of raw emotion leaves people enthralled and slightly off balance.\u003c/p>\n\u003cp>Cope doesn’t overthink it. “I usually read comics before I perform,” he says. “I will literally be reading up until one minute before I go on stage sometimes, and I just go up and I’m like, ‘All right, let’s do it.’”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/24Gjglko2NP3ra4hlIZXeC?utm_source=generator\" width=\"100%\" height=\"352\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Cope entered hip-hop as somewhat of an outsider, but his eclectic influences have proven to be a strength. As a high school student in Hayward, he played guitar and listened to Green Day, Weezer and Sum 41. It was during this era that he connected with his classmate Marquito, who grew up playing mariachi music and now floats comfortably between jazz, hip-hop, R&B and even reggaeton. Today, the friends, who both rock long hair and beat-up sneakers, vibe on a shared genre-agnostic frequency.\u003c/p>\n\u003cp>“I feel like we just complement each other energetically inside and outside of music,” Marquito says. “We hang out, we talk shit, we laugh.”\u003c/p>\n\u003cfigure id=\"attachment_13955077\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955077\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240327-CASEY-COPE-KSM-16-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240327-CASEY-COPE-KSM-16-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240327-CASEY-COPE-KSM-16-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240327-CASEY-COPE-KSM-16-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240327-CASEY-COPE-KSM-16-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240327-CASEY-COPE-KSM-16-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240327-CASEY-COPE-KSM-16-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240327-CASEY-COPE-KSM-16-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Casey Cope and Marquito at Studio Q in Berkeley on Mar. 27, 2024. \u003ccite>(Kathryn Styer Martínez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During our interview at Studio Q, the DIY West Berkeley recording space spearheaded by their collaborator Big Soda, Cope and Marquito recount the \u003ci>Qamp III\u003c/i> sessions, which had configurations of rappers, singers, beatmakers and instrumentalists (including a tuba player) split up among the studio’s three rooms.\u003c/p>\n\u003cp>Free-flowing collabs led to unexpected output, including Stoni and Qing Qi rapping shit-talking bars over a skittering jazz instrumental, instead of the hyphy-adjacent slaps they typically go for. (That track will arrive on the \u003ci>Qamp III\u003c/i> deluxe album in May, along with a behind-the-scenes documentary.)\u003c/p>\n\u003cp>“[Bay Area rap] is a lot more diverse than people realize,” Cope reflects.\u003c/p>\n\u003cfigure id=\"attachment_13955387\" class=\"wp-caption aligncenter\" style=\"max-width: 1805px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955387\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kchaya-Pandaraps-Casey-Cope-Nuxia-Nick-Tasker.jpg\" alt=\"\" width=\"1805\" height=\"1850\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kchaya-Pandaraps-Casey-Cope-Nuxia-Nick-Tasker.jpg 1805w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kchaya-Pandaraps-Casey-Cope-Nuxia-Nick-Tasker-800x820.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kchaya-Pandaraps-Casey-Cope-Nuxia-Nick-Tasker-1020x1045.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kchaya-Pandaraps-Casey-Cope-Nuxia-Nick-Tasker-160x164.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kchaya-Pandaraps-Casey-Cope-Nuxia-Nick-Tasker-768x787.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kchaya-Pandaraps-Casey-Cope-Nuxia-Nick-Tasker-1499x1536.jpg 1499w\" sizes=\"(max-width: 1805px) 100vw, 1805px\">\u003cfigcaption class=\"wp-caption-text\">Kchaya, Pandaraps, Casey Cope, Nüxia and Nick Tasker at the ‘Qamp III’ recording session. \u003ccite>(Jason Mageria)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He and Marquito released the first \u003ci>Qamp\u003c/i> album in 2022, and for each iteration they’ve recruited a different set of artists who have since bonded and blossomed into a community. Other collaborators on \u003ci>Qamp III\u003c/i> include Marika Sage, a dynamic young vocalist equally comfortable in earthy, conscious rap and head-banging post-rock; jazz singer, trombonist and pianist Oddity; soulful guitarist, drummer and producer Ian Santillano; and over a dozen others.\u003c/p>\n\u003cp>Those wide-ranging styles will be in full effect at the \u003ci>Qamp III\u003c/i> release show on \u003ca href=\"https://www.tixr.com/groups/cornerstoneberkeley/events/qamp-album-release-show-97088\">April 13 at Berkeley venue Cornerstone\u003c/a>, which features performances from Cope, Marquito, Qing Qi, Marika Sage and singer Rittybo. Rittybo’s rich vocals shine on \u003ci>Qamp III\u003c/i>’s single, “You Already Know,” which has a g-funk bass line that brings to mind glossy Cutlasses and pool tables in old-school dive bars. [aside postid='arts_13954736']\u003c/p>\n\u003cp>Meanwhile, Cope keeps hustling. In addition to \u003ci>Qamp III\u003c/i>, he and Marquito have music lined up as a duo, Los Lunes, named after their weekly Monday studio session together. And Cope’s solo album \u003ci>Life’s Never That Bad\u003c/i> arrives in the fall. The idea at its core is his self-described “blind optimism” that keeps him going as an artist, no matter how many catalytic converters he has to replace.\u003c/p>\n\u003cp>“It’s got some heartfelt notes,” he says. “There’s some hard, deep shit, but it’s also like, nope. Let’s play some cool bossa nova. Let’s play a jazz beat with Afrobeat drums. Life’s never that bad.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter 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>\u003cem>‘Qamp III’ comes out April 12 on all platforms. The full list of artists is: Anjali Asha, Casey Cope, CIN, ClayDough, Criibaby, Ian Santillano, Kchaya, Kiyomi, Marika Sage, Mungo Baby, Nick Tasker, Oddity, Pandaraps, Qing Qi, Rittybo, Sophia Bromberg, Stoni, SundaY, SuperGood4UThing, Surfer Dave, Tia Nomore, Tommy Holmes, Tope.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>On April 13, Casey Cope, Marquito, Qing Qi, Marika Sage and Rittybo perform at Cornerstone in Berkeley. \u003ca href=\"https://www.tixr.com/groups/cornerstoneberkeley/events/qamp-album-release-show-97088\">Tickets and details here\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Despite a streak of bad luck, he's become a catalyst for collaboration in an eclectic Bay Area hip-hop scene. ","status":"publish","parent":0,"modified":1712187996,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":24,"wordCount":1155},"headData":{"title":"Not Even Stolen Catalytic Converters Can Slow Down Rapper Casey Cope | KQED","description":"Despite a streak of bad luck, he's become a catalyst for collaboration in an eclectic Bay Area hip-hop scene. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Not Even Stolen Catalytic Converters Can Slow Down Rapper Casey Cope","datePublished":"2024-04-03T22:05:08.000Z","dateModified":"2024-04-03T23:46:36.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13955372/not-even-stolen-catalytic-converters-can-slow-down-rapper-casey-cope","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>A lot of artists rap about triumphing over struggles in the past tense, but \u003ca href=\"https://www.instagram.com/caseycopesodope/\">Casey Cope\u003c/a> isn’t afraid to share them in real time. If you’ve been to one of his recent shows, you might’ve heard him riff about his absurdly bad 2023 — he had his catalytic converter stolen twice (and his entire car once), went through a breakup and got fired from his job.\u003c/p>\n\u003cp>It already takes tremendous sacrifice to make it as an artist in the expensive Bay Area, and for a while there, it seemed like everything was working against Cope. But the ever-resourceful rapper, producer and engineer turned his unlucky streak into fuel for his next solo project (out in the fall) and many collaborations. His next release, \u003ci>Qamp III\u003c/i>, arrives on April 12. It’s an album he, his musical partner in crime \u003ca href=\"https://www.instagram.com/marquitoooo_/\">Marquito\u003c/a> and a crew of 20 artists created from scratch in a 72-hour span, in a Berkeley studio Cope and Marquito helped build with their bare hands.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/0dIU3nAeiJ12tym7WIe8cj?utm_source=generator\" width=\"100%\" height=\"352\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Cope is remarkably transparent about his grind. On mornings, he’ll post a picture of his hearty breakfast (eggs, turkey bacon, burnt toast) overlaid with a breakdown of his schedule, which can include teaching, catering and working at a sports radio station, depending on the day.\u003c/p>\n\u003cp>Similarly, in his lyrics, he’s straight up about the sacrifices he’s made to pursue not just his own musical career, but to foster a thriving community of independent artists. He owns it to the point that it’s become a flex: Audiences grin and nod along when he performs “\u003ca href=\"https://www.youtube.com/watch?v=XzGZdKwL2Ls\">Back Up!\u003c/a>,” his 2020 song with a punk-rock attitude that features the bar “Your girl likes broke n—s if she likes us.”\u003c/p>\n\u003cfigure id=\"attachment_13955076\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955076\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240327-CASEY-COPE-KSM-11-KQED.jpg\" alt=\"Two musical collaborators pose in front of a computer monitor in a DIY music studio.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240327-CASEY-COPE-KSM-11-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240327-CASEY-COPE-KSM-11-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240327-CASEY-COPE-KSM-11-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240327-CASEY-COPE-KSM-11-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240327-CASEY-COPE-KSM-11-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240327-CASEY-COPE-KSM-11-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240327-CASEY-COPE-KSM-11-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Casey Cope and Marquito (left to right) at Studio Q in Berkeley on Mar. 27, 2024. \u003ccite>(Kathryn Styer Martínez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Being earnest has become important in my life, so as an artist, I just feel that translates,” Cope says. “When I was younger, like earlier 20s, I would go further in that lane — just a younger, less mature version. Like, ‘Oh, hey, look at me. I don’t rap about money and bitches.’”\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>He rolls his eyes at his past self: “It’s like, ‘OK, come on, bro.’ But now it’s just like, I like being honest. And I think people appreciate that.”\u003c/p>\n\u003cp>At Cope’s live shows, he’s not afraid to bring that same earnestness to the stage. His demeanor between songs tends to be jovial and charismatic; he articulates angry lyrics with a near-yelling intensity, then suddenly pivots into soft-spoken reflection. The display of raw emotion leaves people enthralled and slightly off balance.\u003c/p>\n\u003cp>Cope doesn’t overthink it. “I usually read comics before I perform,” he says. “I will literally be reading up until one minute before I go on stage sometimes, and I just go up and I’m like, ‘All right, let’s do it.’”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/24Gjglko2NP3ra4hlIZXeC?utm_source=generator\" width=\"100%\" height=\"352\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Cope entered hip-hop as somewhat of an outsider, but his eclectic influences have proven to be a strength. As a high school student in Hayward, he played guitar and listened to Green Day, Weezer and Sum 41. It was during this era that he connected with his classmate Marquito, who grew up playing mariachi music and now floats comfortably between jazz, hip-hop, R&B and even reggaeton. Today, the friends, who both rock long hair and beat-up sneakers, vibe on a shared genre-agnostic frequency.\u003c/p>\n\u003cp>“I feel like we just complement each other energetically inside and outside of music,” Marquito says. “We hang out, we talk shit, we laugh.”\u003c/p>\n\u003cfigure id=\"attachment_13955077\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955077\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240327-CASEY-COPE-KSM-16-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240327-CASEY-COPE-KSM-16-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240327-CASEY-COPE-KSM-16-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240327-CASEY-COPE-KSM-16-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240327-CASEY-COPE-KSM-16-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240327-CASEY-COPE-KSM-16-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240327-CASEY-COPE-KSM-16-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240327-CASEY-COPE-KSM-16-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Casey Cope and Marquito at Studio Q in Berkeley on Mar. 27, 2024. \u003ccite>(Kathryn Styer Martínez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During our interview at Studio Q, the DIY West Berkeley recording space spearheaded by their collaborator Big Soda, Cope and Marquito recount the \u003ci>Qamp III\u003c/i> sessions, which had configurations of rappers, singers, beatmakers and instrumentalists (including a tuba player) split up among the studio’s three rooms.\u003c/p>\n\u003cp>Free-flowing collabs led to unexpected output, including Stoni and Qing Qi rapping shit-talking bars over a skittering jazz instrumental, instead of the hyphy-adjacent slaps they typically go for. (That track will arrive on the \u003ci>Qamp III\u003c/i> deluxe album in May, along with a behind-the-scenes documentary.)\u003c/p>\n\u003cp>“[Bay Area rap] is a lot more diverse than people realize,” Cope reflects.\u003c/p>\n\u003cfigure id=\"attachment_13955387\" class=\"wp-caption aligncenter\" style=\"max-width: 1805px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955387\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kchaya-Pandaraps-Casey-Cope-Nuxia-Nick-Tasker.jpg\" alt=\"\" width=\"1805\" height=\"1850\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kchaya-Pandaraps-Casey-Cope-Nuxia-Nick-Tasker.jpg 1805w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kchaya-Pandaraps-Casey-Cope-Nuxia-Nick-Tasker-800x820.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kchaya-Pandaraps-Casey-Cope-Nuxia-Nick-Tasker-1020x1045.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kchaya-Pandaraps-Casey-Cope-Nuxia-Nick-Tasker-160x164.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kchaya-Pandaraps-Casey-Cope-Nuxia-Nick-Tasker-768x787.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kchaya-Pandaraps-Casey-Cope-Nuxia-Nick-Tasker-1499x1536.jpg 1499w\" sizes=\"(max-width: 1805px) 100vw, 1805px\">\u003cfigcaption class=\"wp-caption-text\">Kchaya, Pandaraps, Casey Cope, Nüxia and Nick Tasker at the ‘Qamp III’ recording session. \u003ccite>(Jason Mageria)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He and Marquito released the first \u003ci>Qamp\u003c/i> album in 2022, and for each iteration they’ve recruited a different set of artists who have since bonded and blossomed into a community. Other collaborators on \u003ci>Qamp III\u003c/i> include Marika Sage, a dynamic young vocalist equally comfortable in earthy, conscious rap and head-banging post-rock; jazz singer, trombonist and pianist Oddity; soulful guitarist, drummer and producer Ian Santillano; and over a dozen others.\u003c/p>\n\u003cp>Those wide-ranging styles will be in full effect at the \u003ci>Qamp III\u003c/i> release show on \u003ca href=\"https://www.tixr.com/groups/cornerstoneberkeley/events/qamp-album-release-show-97088\">April 13 at Berkeley venue Cornerstone\u003c/a>, which features performances from Cope, Marquito, Qing Qi, Marika Sage and singer Rittybo. Rittybo’s rich vocals shine on \u003ci>Qamp III\u003c/i>’s single, “You Already Know,” which has a g-funk bass line that brings to mind glossy Cutlasses and pool tables in old-school dive bars. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13954736","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Meanwhile, Cope keeps hustling. In addition to \u003ci>Qamp III\u003c/i>, he and Marquito have music lined up as a duo, Los Lunes, named after their weekly Monday studio session together. And Cope’s solo album \u003ci>Life’s Never That Bad\u003c/i> arrives in the fall. The idea at its core is his self-described “blind optimism” that keeps him going as an artist, no matter how many catalytic converters he has to replace.\u003c/p>\n\u003cp>“It’s got some heartfelt notes,” he says. “There’s some hard, deep shit, but it’s also like, nope. Let’s play some cool bossa nova. Let’s play a jazz beat with Afrobeat drums. Life’s never that bad.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter 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>\u003cem>‘Qamp III’ comes out April 12 on all platforms. The full list of artists is: Anjali Asha, Casey Cope, CIN, ClayDough, Criibaby, Ian Santillano, Kchaya, Kiyomi, Marika Sage, Mungo Baby, Nick Tasker, Oddity, Pandaraps, Qing Qi, Rittybo, Sophia Bromberg, Stoni, SundaY, SuperGood4UThing, Surfer Dave, Tia Nomore, Tommy Holmes, Tope.\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>\u003cem>On April 13, Casey Cope, Marquito, Qing Qi, Marika Sage and Rittybo perform at Cornerstone in Berkeley. \u003ca href=\"https://www.tixr.com/groups/cornerstoneberkeley/events/qamp-album-release-show-97088\">Tickets and details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13955372/not-even-stolen-catalytic-converters-can-slow-down-rapper-casey-cope","authors":["11387"],"programs":["arts_140"],"categories":["arts_1","arts_69"],"tags":["arts_1270","arts_10278","arts_831"],"featImg":"arts_13955382","label":"arts_140"},"arts_13955263":{"type":"posts","id":"arts_13955263","meta":{"index":"posts_1591205157","site":"arts","id":"13955263","score":null,"sort":[1712089660000]},"guestAuthors":[],"slug":"ocean-vuong-berkeley-bampfa","title":"Ocean Vuong, Celebrated Poet and Novelist, Is Coming to Berkeley","publishDate":1712089660,"format":"standard","headTitle":"Ocean Vuong, Celebrated Poet and Novelist, Is Coming to Berkeley | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Since his first poetry collection in 2016, \u003cem>Night Sky With Exit Wounds\u003c/em>, and his 2019 fiction debut, \u003cem>On Earth We’re Briefly Gorgeous\u003c/em>, Ocean Vuong has been showered with almost every writerly accolade you can think of. His works to date foreground mothering and queerness, piercing the heart of an Asian refugee experience in America.\u003c/p>\n\u003cp>The celebrated poet and novelist comes to the Berkeley Museum and Pacific Film Archive on Thursday, April 4 for a \u003ca href=\"https://bampfa.org/event/avenali-lecture-ocean-vuong-conversation-cathy-park-hong\">conversation\u003c/a> with \u003cem>Minor Feelings\u003c/em> author Cathy Park Hong and Friday, April 5 for a \u003ca href=\"https://bampfa.org/event/reading-ocean-vuong\">reading\u003c/a> from his 2022 poetry collection, \u003cem>Time Is a Mother\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13955269\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955269\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/img_5981-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/img_5981-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/img_5981-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/img_5981-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/img_5981-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/img_5981-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/img_5981-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/img_5981-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/img_5981-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Ocean Vuong’s ‘Time Is a Mother.’ \u003ccite>(Olivia Cruz Mayeda)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We often look at queerness being innately faulty, that it’s the queerness that makes these lives tragic,” Vuong \u003ca href=\"https://www.youtube.com/watch?v=fjTiLodYG3Y&ab_channel=StrandBookStore\">said\u003c/a> at New York bookstore The Strand in 2020. “But in fact it’s hegemonic masculinity and this patriarchal structure that made these lives lose themselves within it, and so the tragedy is America.”\u003c/p>\n\u003cp>Vuong’s writing also holds — in its gentle and expert hands — the very nature of language, of words. Vuong puts language in careful and powerful proximity to itself and “embraces the quiet between words,” as \u003ca href=\"https://www.theparisreview.org/blog/2019/06/05/survival-as-a-creative-force-an-interview-with-ocean-vuong/\">described\u003c/a> by \u003cem>Paris Review\u003c/em> writer Spencer Quong.\u003c/p>\n\u003cp>“Writing as a poet is very akin to chemistry,” Vuong said. “And words have always lived this way for me.”\u003c/p>\n\u003cfigure id=\"attachment_13955270\" class=\"wp-caption aligncenter\" style=\"max-width: 816px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955270\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Ocean.Vuong_.jpg\" alt=\"\" width=\"816\" height=\"1018\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Ocean.Vuong_.jpg 816w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Ocean.Vuong_-800x998.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Ocean.Vuong_-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Ocean.Vuong_-768x958.jpg 768w\" sizes=\"(max-width: 816px) 100vw, 816px\">\u003cfigcaption class=\"wp-caption-text\">Ocean Vuong \u003ccite>(Tom Hines)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With striking turns of phrase in poems like “Old Glory” from \u003cem>Time Is a Mother\u003c/em>, Vuong lays bare the violence of the American vernacular. But he also offers readers a new way beyond the Western storytelling traditions that rely on death, sex and victory to move characters through plot by literal force.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Some folks do not survive this book, but their destruction was not necessary for the realization of the protagonist,” Vuong said of his novel. “And that’s how a lot of Western literature in the Western canon is given to us from the Greco-Roman tradition: David and Goliath.”\u003c/p>\n\u003cp>Vuong instead reveres Asian storytelling structures like \u003ca href=\"https://artofnarrative.com/2020/07/08/kishotenketsu-exploring-the-four-act-story-structure/\">kishōtenketsu\u003c/a>, which emphasizes deepening of self instead of conquest over others. Vuong \u003ca href=\"https://www.youtube.com/watch?v=cdKUb_fZJs4&t=1584s&ab_channel=FreshAir\">credits\u003c/a> his mother and grandmother for their institution-less masterclasses in storytelling, and his thoughtful subversiveness decenters readers towards new dimensions of time, space and literature.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter 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>Ocean Vuong appears on Thursday, April 4 and Friday, April 5 at BAMFA (2155 Center St., Berkeley). Both events are free and open to the general public, first come, first served. \u003ca href=\"https://bampfa.org/event/avenali-lecture-ocean-vuong-conversation-cathy-park-hong\">Details here\u003c/a> and \u003ca href=\"https://bampfa.org/event/reading-ocean-vuong\">here\u003c/a>. \u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"The 'On Earth We’re Briefly Gorgeous' novelist is coming to BAMPFA for two free appearances.\r\n","status":"publish","parent":0,"modified":1712091181,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":12,"wordCount":439},"headData":{"title":"Ocean Vuong, Celebrated Poet and Novelist, Is Coming to Berkeley | KQED","description":"The 'On Earth We’re Briefly Gorgeous' novelist is coming to BAMPFA for two free appearances.\r\n","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Ocean Vuong, Celebrated Poet and Novelist, Is Coming to Berkeley","datePublished":"2024-04-02T20:27:40.000Z","dateModified":"2024-04-02T20:53:01.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13955263/ocean-vuong-berkeley-bampfa","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Since his first poetry collection in 2016, \u003cem>Night Sky With Exit Wounds\u003c/em>, and his 2019 fiction debut, \u003cem>On Earth We’re Briefly Gorgeous\u003c/em>, Ocean Vuong has been showered with almost every writerly accolade you can think of. His works to date foreground mothering and queerness, piercing the heart of an Asian refugee experience in America.\u003c/p>\n\u003cp>The celebrated poet and novelist comes to the Berkeley Museum and Pacific Film Archive on Thursday, April 4 for a \u003ca href=\"https://bampfa.org/event/avenali-lecture-ocean-vuong-conversation-cathy-park-hong\">conversation\u003c/a> with \u003cem>Minor Feelings\u003c/em> author Cathy Park Hong and Friday, April 5 for a \u003ca href=\"https://bampfa.org/event/reading-ocean-vuong\">reading\u003c/a> from his 2022 poetry collection, \u003cem>Time Is a Mother\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13955269\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955269\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/img_5981-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/img_5981-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/img_5981-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/img_5981-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/img_5981-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/img_5981-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/img_5981-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/img_5981-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/img_5981-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Ocean Vuong’s ‘Time Is a Mother.’ \u003ccite>(Olivia Cruz Mayeda)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We often look at queerness being innately faulty, that it’s the queerness that makes these lives tragic,” Vuong \u003ca href=\"https://www.youtube.com/watch?v=fjTiLodYG3Y&ab_channel=StrandBookStore\">said\u003c/a> at New York bookstore The Strand in 2020. “But in fact it’s hegemonic masculinity and this patriarchal structure that made these lives lose themselves within it, and so the tragedy is America.”\u003c/p>\n\u003cp>Vuong’s writing also holds — in its gentle and expert hands — the very nature of language, of words. Vuong puts language in careful and powerful proximity to itself and “embraces the quiet between words,” as \u003ca href=\"https://www.theparisreview.org/blog/2019/06/05/survival-as-a-creative-force-an-interview-with-ocean-vuong/\">described\u003c/a> by \u003cem>Paris Review\u003c/em> writer Spencer Quong.\u003c/p>\n\u003cp>“Writing as a poet is very akin to chemistry,” Vuong said. “And words have always lived this way for me.”\u003c/p>\n\u003cfigure id=\"attachment_13955270\" class=\"wp-caption aligncenter\" style=\"max-width: 816px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955270\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Ocean.Vuong_.jpg\" alt=\"\" width=\"816\" height=\"1018\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Ocean.Vuong_.jpg 816w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Ocean.Vuong_-800x998.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Ocean.Vuong_-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Ocean.Vuong_-768x958.jpg 768w\" sizes=\"(max-width: 816px) 100vw, 816px\">\u003cfigcaption class=\"wp-caption-text\">Ocean Vuong \u003ccite>(Tom Hines)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With striking turns of phrase in poems like “Old Glory” from \u003cem>Time Is a Mother\u003c/em>, Vuong lays bare the violence of the American vernacular. But he also offers readers a new way beyond the Western storytelling traditions that rely on death, sex and victory to move characters through plot by literal force.\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>“Some folks do not survive this book, but their destruction was not necessary for the realization of the protagonist,” Vuong said of his novel. “And that’s how a lot of Western literature in the Western canon is given to us from the Greco-Roman tradition: David and Goliath.”\u003c/p>\n\u003cp>Vuong instead reveres Asian storytelling structures like \u003ca href=\"https://artofnarrative.com/2020/07/08/kishotenketsu-exploring-the-four-act-story-structure/\">kishōtenketsu\u003c/a>, which emphasizes deepening of self instead of conquest over others. Vuong \u003ca href=\"https://www.youtube.com/watch?v=cdKUb_fZJs4&t=1584s&ab_channel=FreshAir\">credits\u003c/a> his mother and grandmother for their institution-less masterclasses in storytelling, and his thoughtful subversiveness decenters readers towards new dimensions of time, space and literature.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter 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>Ocean Vuong appears on Thursday, April 4 and Friday, April 5 at BAMFA (2155 Center St., Berkeley). Both events are free and open to the general public, first come, first served. \u003ca href=\"https://bampfa.org/event/avenali-lecture-ocean-vuong-conversation-cathy-park-hong\">Details here\u003c/a> and \u003ca href=\"https://bampfa.org/event/reading-ocean-vuong\">here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13955263/ocean-vuong-berkeley-bampfa","authors":["11872"],"programs":["arts_140"],"categories":["arts_1","arts_73"],"tags":["arts_2227","arts_1270","arts_4566","arts_4567","arts_585"],"featImg":"arts_13955268","label":"arts_140"},"arts_13954963":{"type":"posts","id":"arts_13954963","meta":{"index":"posts_1591205157","site":"arts","id":"13954963","score":null,"sort":[1711661787000]},"guestAuthors":[],"slug":"berkeleys-small-press-distribution-champion-of-indie-books-shuts-down","title":"Berkeley’s Small Press Distribution, Champion of Indie Books, Shuts Down","publishDate":1711661787,"format":"standard","headTitle":"Berkeley’s Small Press Distribution, Champion of Indie Books, Shuts Down | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>\u003cem>Updated Friday 6 p.m.\u003c/em>\u003c/p>\n\u003cp>Small Press Distribution (SPD), the 55-year-old nonprofit literary distributor, has closed its doors effective immediately. A reduced team is winding down business operations.\u003c/p>\n\u003cp>“We know this news is both sudden and devastating,” read the March 28 announcement on the SPD website. “Several years of declining sales and the loss of grant support … have combined to squeeze our budget beyond the breaking point.”\u003c/p>\n\u003cp>In February, SPD completed the move of over 300,000 books from their Berkeley warehouse to facilities run by Ingram Content Group in Tennessee and Publishers Storage and Shipping in Michigan. This was part of an effort, according to Publisher’s Weekly, to cut operating costs while increasing services for the some 400 publishers who use SPD’s distribution services.\u003c/p>\n\u003cp>The nonprofit had raised more than \u003ca href=\"https://www.gofundme.com/f/help-diverse-independent-literature-in-america\">$100,000 in a GoFundMe\u003c/a> to support the move, and earlier this year SPD launched yet another fundraiser to help it focus on expanding print-on-demand, eBooks, and global distribution. Donations were still coming in this week.\u003c/p>\n\u003cp>“Despite the heroic efforts of a tireless staff to raise new funds, find new sales channels for our presses, and move from our outdated Berkeley warehouse, we are simply no longer able to make ends meet,” said Kent Watson, SPD’s executive director.\u003c/p>\n\u003cp>Founded in 1969, SPD is the only nonprofit literary distributor in the country. It distinguished itself as a place that helped indie publishers to get experimental, avant-garde works into the hands of booksellers and customers across the country.\u003c/p>\n\u003cfigure id=\"attachment_13879807\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13879807\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPD-Warehouse-Overview-Better.jpg\" alt=\"Warehouse shelves full of boxes of books\" width=\"1920\" height=\"1095\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPD-Warehouse-Overview-Better.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPD-Warehouse-Overview-Better-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPD-Warehouse-Overview-Better-800x456.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPD-Warehouse-Overview-Better-768x438.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPD-Warehouse-Overview-Better-1020x582.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Small Press Distribution, one of the last remaining independent book distributors in the country, moved over 300,000 books into facilities owned by Ingram Content Group and Publishers Storage and Shipping. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Against all odds, a tiny distribution service in the back of Berkeley’s Serendipity Books grew to help authors attain some of the literary world’s crowning achievements,” the announcement says. “SPD-distributed authors won multiple National Book Awards, Pulitzer Prizes, MacArthur ‘Genius’ Grants, PEN Awards, Lambda Literary Awards — nearly 100 awards since 2019 alone.”\u003c/p>\n\u003cp>Poet Jean Day, who worked at SPD in the late 1970s and served as its director beginning in 1983, said the end of SPD is a blow. SPD introduced her to the poetry world during an era when the Bay Area was one of the centers of small press publishing.\u003c/p>\n\u003cp>Now, it will be a lot harder to get small presses into libraries and bookstores, Day said.\u003c/p>\n\u003cp>SPD survived for decades through shrinking arts funding, the decline in independent bookstores, the rise of the internet, and the domination of the book market by Amazon.\u003c/p>\n\u003cp>“Publishing poetry especially, but any kind of non-mainstream literature, is never going to attract the numbers that make publishing possible,” Day said. “I don’t mean profitable, I mean even possible to break even.”\u003c/p>\n\u003cp>In recent ears, SPD has been rocked by instability and controversy. Watson, the current executive director, was hired in 2022 following an 18-month period of uncertainty after the resignation of Brent Cunningham. Cunningham’s tenure was cut short after accusations of discrimination and wage theft.\u003c/p>\n\u003cp>Despite efforts to raise new funds, SPD simply couldn’t afford to go on: “SPD lost hundreds of thousands in grants in the past few years as funders moved away from supporting the arts.”\u003c/p>\n\u003cp>SPD had lost $125,000 in annual grants in the past year from half a dozen institutions, the nonprofit said, and the warehouse shift also took longer and cost more than expected, straining its financial resources even more.[aside postID=\"news_11883845\" hero='https://ww2.kqed.org/app/uploads/sites/10/2021/08/RS50285_002_Berkeley_SmallPressStory_07192021-qut-1020x680.jpg']Available tax filings from 2022 and 2021 show net losses of over $230,000 combined, and an operating budget of around $1.3 million a year.\u003c/p>\n\u003cp>In the announcement, the distributor told publishers their books were in safe hands with Ingram and PSSC, but they would need to contact them directly about distribution or the return of materials.\u003c/p>\n\u003cp>In the statement sent to publishers, Watson said SPD’s dissolution would be overseen by the California Superior Court, which would determine next steps for its remaining assets and “the extent all claims from creditors cannot be satisfied.”\u003c/p>\n\u003cp>When reached for comment from Watson, an automatic email says SPD regrets not being able to respond to individual queries.\u003c/p>\n\u003cp>It’s unclear what’s next for the hundreds of publishers who rely on SPD, or how those small presses will find their way to bookstores and libraries.\u003c/p>\n\u003cp>Poets and presses on social media have expressed disappointment, shock and frustration over the sudden closure. Many described feeling abandoned or betrayed.\u003c/p>\n\u003cp>Writer Ryan Ruby posted that the collapse of SPD is a disaster.\u003c/p>\n\u003cp>“When a magazine goes, it’s a terrible thing, but from the point of view of the magazine world it’s like losing a limb. For small press world, this is heart failure,” Ruby said.\u003c/p>\n\u003cp>Presses did not see this coming, said Josh Savory, the editor-in-chief and co-creator of Game Over Books in Boston. He said he had been in communication with SPD over print-on-demand options as recently as this week, but was not warned about the pending end to the nonprofit.\u003c/p>\n\u003cp>He worries about how, when, or if small presses distributed by SPD, which already have very small budgets, will receive their next payments.\u003c/p>\n\u003cp>“They’re going to have to go on hiatus or not sell books for a while, maybe they’ll close,” Savory said. “That’s a huge loss,”\u003c/p>\n\u003cp>\u003ca href=\"https://www.clmp.org/event/emergency-session-next-steps-for-spd-distributed-presses/\">The Community of Literary Magazines and Presses\u003c/a> organized an “emergency session” on Friday to discuss SPD’s closure and for presses to exchange advice and discuss next steps. More than 250 attendees showed up for the virtual meeting.\u003c/p>\n\u003cp>“Everyone at SPD is heartbroken at this devastating outcome, which seriously jeopardizes the ability of underrepresented literary communities to reach the marketplace,” SPD’s closing announcement concludes. “We thank you for your years of support.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n","blocks":[],"excerpt":"Founded in 1969, the nonprofit distributor got experimental, avant-garde works onto bookstores’ shelves.","status":"publish","parent":0,"modified":1711991286,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":29,"wordCount":1051},"headData":{"title":"Berkeley’s Small Press Distribution, Champion of Indie Books, Shuts Down | KQED","description":"Founded in 1969, the nonprofit distributor got experimental, avant-garde works onto bookstores’ shelves.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Berkeley’s Small Press Distribution, Champion of Indie Books, Shuts Down","datePublished":"2024-03-28T21:36:27.000Z","dateModified":"2024-04-01T17:08:06.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13954963/berkeleys-small-press-distribution-champion-of-indie-books-shuts-down","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Updated Friday 6 p.m.\u003c/em>\u003c/p>\n\u003cp>Small Press Distribution (SPD), the 55-year-old nonprofit literary distributor, has closed its doors effective immediately. A reduced team is winding down business operations.\u003c/p>\n\u003cp>“We know this news is both sudden and devastating,” read the March 28 announcement on the SPD website. “Several years of declining sales and the loss of grant support … have combined to squeeze our budget beyond the breaking point.”\u003c/p>\n\u003cp>In February, SPD completed the move of over 300,000 books from their Berkeley warehouse to facilities run by Ingram Content Group in Tennessee and Publishers Storage and Shipping in Michigan. This was part of an effort, according to Publisher’s Weekly, to cut operating costs while increasing services for the some 400 publishers who use SPD’s distribution services.\u003c/p>\n\u003cp>The nonprofit had raised more than \u003ca href=\"https://www.gofundme.com/f/help-diverse-independent-literature-in-america\">$100,000 in a GoFundMe\u003c/a> to support the move, and earlier this year SPD launched yet another fundraiser to help it focus on expanding print-on-demand, eBooks, and global distribution. Donations were still coming in this week.\u003c/p>\n\u003cp>“Despite the heroic efforts of a tireless staff to raise new funds, find new sales channels for our presses, and move from our outdated Berkeley warehouse, we are simply no longer able to make ends meet,” said Kent Watson, SPD’s executive director.\u003c/p>\n\u003cp>Founded in 1969, SPD is the only nonprofit literary distributor in the country. It distinguished itself as a place that helped indie publishers to get experimental, avant-garde works into the hands of booksellers and customers across the country.\u003c/p>\n\u003cfigure id=\"attachment_13879807\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13879807\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPD-Warehouse-Overview-Better.jpg\" alt=\"Warehouse shelves full of boxes of books\" width=\"1920\" height=\"1095\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPD-Warehouse-Overview-Better.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPD-Warehouse-Overview-Better-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPD-Warehouse-Overview-Better-800x456.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPD-Warehouse-Overview-Better-768x438.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPD-Warehouse-Overview-Better-1020x582.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Small Press Distribution, one of the last remaining independent book distributors in the country, moved over 300,000 books into facilities owned by Ingram Content Group and Publishers Storage and Shipping. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Against all odds, a tiny distribution service in the back of Berkeley’s Serendipity Books grew to help authors attain some of the literary world’s crowning achievements,” the announcement says. “SPD-distributed authors won multiple National Book Awards, Pulitzer Prizes, MacArthur ‘Genius’ Grants, PEN Awards, Lambda Literary Awards — nearly 100 awards since 2019 alone.”\u003c/p>\n\u003cp>Poet Jean Day, who worked at SPD in the late 1970s and served as its director beginning in 1983, said the end of SPD is a blow. SPD introduced her to the poetry world during an era when the Bay Area was one of the centers of small press publishing.\u003c/p>\n\u003cp>Now, it will be a lot harder to get small presses into libraries and bookstores, Day said.\u003c/p>\n\u003cp>SPD survived for decades through shrinking arts funding, the decline in independent bookstores, the rise of the internet, and the domination of the book market by Amazon.\u003c/p>\n\u003cp>“Publishing poetry especially, but any kind of non-mainstream literature, is never going to attract the numbers that make publishing possible,” Day said. “I don’t mean profitable, I mean even possible to break even.”\u003c/p>\n\u003cp>In recent ears, SPD has been rocked by instability and controversy. Watson, the current executive director, was hired in 2022 following an 18-month period of uncertainty after the resignation of Brent Cunningham. Cunningham’s tenure was cut short after accusations of discrimination and wage theft.\u003c/p>\n\u003cp>Despite efforts to raise new funds, SPD simply couldn’t afford to go on: “SPD lost hundreds of thousands in grants in the past few years as funders moved away from supporting the arts.”\u003c/p>\n\u003cp>SPD had lost $125,000 in annual grants in the past year from half a dozen institutions, the nonprofit said, and the warehouse shift also took longer and cost more than expected, straining its financial resources even more.\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"news_11883845","hero":"https://ww2.kqed.org/app/uploads/sites/10/2021/08/RS50285_002_Berkeley_SmallPressStory_07192021-qut-1020x680.jpg","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Available tax filings from 2022 and 2021 show net losses of over $230,000 combined, and an operating budget of around $1.3 million a year.\u003c/p>\n\u003cp>In the announcement, the distributor told publishers their books were in safe hands with Ingram and PSSC, but they would need to contact them directly about distribution or the return of materials.\u003c/p>\n\u003cp>In the statement sent to publishers, Watson said SPD’s dissolution would be overseen by the California Superior Court, which would determine next steps for its remaining assets and “the extent all claims from creditors cannot be satisfied.”\u003c/p>\n\u003cp>When reached for comment from Watson, an automatic email says SPD regrets not being able to respond to individual queries.\u003c/p>\n\u003cp>It’s unclear what’s next for the hundreds of publishers who rely on SPD, or how those small presses will find their way to bookstores and libraries.\u003c/p>\n\u003cp>Poets and presses on social media have expressed disappointment, shock and frustration over the sudden closure. Many described feeling abandoned or betrayed.\u003c/p>\n\u003cp>Writer Ryan Ruby posted that the collapse of SPD is a disaster.\u003c/p>\n\u003cp>“When a magazine goes, it’s a terrible thing, but from the point of view of the magazine world it’s like losing a limb. For small press world, this is heart failure,” Ruby said.\u003c/p>\n\u003cp>Presses did not see this coming, said Josh Savory, the editor-in-chief and co-creator of Game Over Books in Boston. He said he had been in communication with SPD over print-on-demand options as recently as this week, but was not warned about the pending end to the nonprofit.\u003c/p>\n\u003cp>He worries about how, when, or if small presses distributed by SPD, which already have very small budgets, will receive their next payments.\u003c/p>\n\u003cp>“They’re going to have to go on hiatus or not sell books for a while, maybe they’ll close,” Savory said. “That’s a huge loss,”\u003c/p>\n\u003cp>\u003ca href=\"https://www.clmp.org/event/emergency-session-next-steps-for-spd-distributed-presses/\">The Community of Literary Magazines and Presses\u003c/a> organized an “emergency session” on Friday to discuss SPD’s closure and for presses to exchange advice and discuss next steps. More than 250 attendees showed up for the virtual meeting.\u003c/p>\n\u003cp>“Everyone at SPD is heartbroken at this devastating outcome, which seriously jeopardizes the ability of underrepresented literary communities to reach the marketplace,” SPD’s closing announcement concludes. “We thank you for your years of support.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13954963/berkeleys-small-press-distribution-champion-of-indie-books-shuts-down","authors":["61","11635"],"categories":["arts_1","arts_73","arts_235"],"tags":["arts_1270","arts_928","arts_10278","arts_10422","arts_4566"],"featImg":"arts_13879796","label":"arts"},"arts_13954709":{"type":"posts","id":"arts_13954709","meta":{"index":"posts_1591205157","site":"arts","id":"13954709","score":null,"sort":[1711478721000]},"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":1712689062,"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":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Alta, ‘Shameless Hussy’ and Founder of Nation's First Feminist Press, Dies at 81","datePublished":"2024-03-26T18:45:21.000Z","dateModified":"2024-04-09T18:57:42.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"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_10342","arts_10278","arts_1143","arts_1091","arts_1496","arts_22041"],"featImg":"arts_13954754","label":"arts"},"arts_13954597":{"type":"posts","id":"arts_13954597","meta":{"index":"posts_1591205157","site":"arts","id":"13954597","score":null,"sort":[1711065595000]},"guestAuthors":[],"slug":"top-dog-late-night-hot-dogs-berkeley-midnight-diners","title":"Top Dog Is Just as Good as You Remember","publishDate":1711065595,"format":"aside","headTitle":"Top Dog Is Just as Good as You Remember | KQED","labelTerm":{},"content":"\u003cfigure id=\"attachment_13954605\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954605\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Top_dog_2000px-1.jpg\" alt=\"Illustration of two men eating hot dogs standing up, inside the hot dog shop. Behind them, a woman adds ketchup to her hot dog.\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Top_dog_2000px-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Top_dog_2000px-1-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Top_dog_2000px-1-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Top_dog_2000px-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Top_dog_2000px-1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Top_dog_2000px-1-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Top_dog_2000px-1-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">In its own way, Top Dog is a quintessential Berkeley restaurant — one that feeds hungry college students, and also middle-aged cartoonists and writers, until 3 a.m. on weekends. \u003ccite>(Briana Loewinsohn)\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. This week, guest artist \u003c/span>\u003c/i>\u003ca href=\"https://www.instagram.com/brianabreaks/?hl=en\">\u003ci>\u003cspan style=\"font-weight: 400\">Briana Loewinsohn\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\"> joins the excursion.\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">If you attended UC Berkeley, or spent any significant amount of time near campus, then Top Dog requires no introduction. Open since 1966, the original Durant Avenue location is just a slip of a no-frills hot dog joint, with a bar of self-serve condiments and toppings and a small counter where maybe three diners, tops, can stand shoulder-to-shoulder while housing some classic all-beef wieners. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For generations of Berkeleyites, however, the place is magic. People always want to start with Chez Panisse when telling the city’s illustrious food history, but in its own way, Top Dog is just as much of a quintessentially Berkeley restaurant, with its jaunty wiener-in-a-top-hat logo, offbeat libertarian propaganda posters (“Discard Statism. Unbend the Knee!”) and gruff grill cooks who brook no bullshit. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Top Dog has \u003c/span>\u003ca href=\"https://www.sfgate.com/news/article/Top-Dog-Berkeley-libertarian-aid-coronavirus-15200903.php\">\u003cspan style=\"font-weight: 400\">endured\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> for all these years, through various \u003c/span>\u003ca href=\"https://www.berkeleyside.org/2017/08/13/berkeleys-top-dog-fires-employee-went-white-nationalist-rally\">\u003cspan style=\"font-weight: 400\">controversies\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> and nightmarish street parking, for one simple reason: The hot dogs themselves are so damn good. Especially when you walk into the shop at 2 a.m., when every other restaurant in the vicinity is closed, there isn’t a more beautiful sight than the Top Dog flat-top, which is always piled high with dozens of sizzling sausages — more than you would think is advisable to cook at one time. But those grillmasters know what they’re doing. For as long as I’ve lived in the Bay Area, packages of cold Top Dog franks have been easy enough to buy and cook at home. They just never taste as good as they do at the mothership.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13954606\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954606\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Top_Dog_2000px-2.jpg\" alt='Exterior of a hot dog restaurant. The \"Top Dog\" sign has a logo of a hot dog wearing a top hat.' width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Top_Dog_2000px-2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Top_Dog_2000px-2-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Top_Dog_2000px-2-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Top_Dog_2000px-2-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Top_Dog_2000px-2-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Top_Dog_2000px-2-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Top_Dog_2000px-2-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The original Berkeley location has been open since 1966. \u003ccite>(Briana Loewinsohn)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">There are 11 different sausages on the menu, each of them with their own brigade of loyalists. The original kosher all-beef dogs are, of course, unimpeachable, with that snappiness to their casing that’s at the heart of the restaurant’s almost-60-year legacy. If you eat pork, though? Allow me to recommend the garlic frankfurter, which boasts a 75/25 mix of beef and pork and fresh garlic in the sausage itself, resulting in the juiciest, most flavorful dog of them all.\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cspan style=\"color: #2b2b2b;font-weight: 400\">[aside postID='arts_13954112,arts_13930727,arts_13914585']\u003c/span>Really, though, it’s hard to go wrong. The hot links are excellent, more akin to spicy frankfurters than the kind of thing you’d get a barbecue spot. If you’d like something a little softer and squishier, the bockwurst has your name written on it. And, with apologies to anyone from Chicago or New York, I’m convinced that Top Dog’s crusty, well-toasted sesame-seed French rolls might be the greatest hot dog bun of them all. They just have the perfect amount of airiness and chew.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The best thing about eating a Top Dog at 1 o’clock in the morning is the simplicity of the meal. The dogs don’t really need anything added, though a tub of the mild, creamy potato salad makes for a nice side. And the standard, serve-yourself condiments station, in its own way, stays true to the restaurant’s libertarian spirit. Want to drench your hot dog with ketchup like you’re a small child? No one will judge you here.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">You would think that this slice of campus around Durant and Telegraph avenues would be a gold mine for after-hours deliciousness, but the options are surprisingly sparse. There’s Kingpin Donuts (a late-night legend in its own right), a couple of pizzerias, a boba shop — and, honestly, not much else of note. Gourmet sports bars, fancified Taco Bells, \u003c/span>\u003ca href=\"https://www.instagram.com/kqedfood/p/Ct4ciTYR5-t/?img_index=1\">\u003cspan style=\"font-weight: 400\">late-night coffee shops\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> and “Munchie”-themed meal delivery services have come and gone and come again, but at the end of a long, hungry night, Top Dog is still the king. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">May it reign for many years to come.\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=\"http://www.topdoghotdogs.com/\">\u003ci>\u003cspan style=\"font-weight: 400\">Top Dog’s\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\"> original Berkeley location is at 2543 Durant Ave. in Berkeley. It’s open Monday through Thursday from 10 a.m.–2 a.m., Friday 10 a.m.–3 a.m., Saturday 11 a.m.–3 a.m. and Sunday 11 a.m.–2 a.m. \u003c/span>\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"The classic Berkeley hot dog joint has been feeding hungry college kids since 1966.","status":"publish","parent":0,"modified":1711066684,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":13,"wordCount":810},"headData":{"title":"Top Dog Is UC Berkeley’s Reigning Late-Night Hot Dog Champ | KQED","description":"The classic Berkeley hot dog joint has been feeding hungry college kids since 1966.","ogTitle":"Top Dog Is Just as Good as You Remember","ogDescription":"","ogImgId":"","twTitle":"Top Dog Is Just as Good as You Remember","twDescription":"","twImgId":"","socialTitle":"Top Dog Is UC Berkeley’s Reigning Late-Night Hot Dog Champ %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Top Dog Is Just as Good as You Remember","datePublished":"2024-03-21T23:59:55.000Z","dateModified":"2024-03-22T00:18:04.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"The Midnight Diners","sourceUrl":"https://www.kqed.org/arts/tag/the-midnight-diners","sticky":false,"excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13954597/top-dog-late-night-hot-dogs-berkeley-midnight-diners","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13954605\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954605\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Top_dog_2000px-1.jpg\" alt=\"Illustration of two men eating hot dogs standing up, inside the hot dog shop. Behind them, a woman adds ketchup to her hot dog.\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Top_dog_2000px-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Top_dog_2000px-1-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Top_dog_2000px-1-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Top_dog_2000px-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Top_dog_2000px-1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Top_dog_2000px-1-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Top_dog_2000px-1-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">In its own way, Top Dog is a quintessential Berkeley restaurant — one that feeds hungry college students, and also middle-aged cartoonists and writers, until 3 a.m. on weekends. \u003ccite>(Briana Loewinsohn)\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. This week, guest artist \u003c/span>\u003c/i>\u003ca href=\"https://www.instagram.com/brianabreaks/?hl=en\">\u003ci>\u003cspan style=\"font-weight: 400\">Briana Loewinsohn\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\"> joins the excursion.\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">If you attended UC Berkeley, or spent any significant amount of time near campus, then Top Dog requires no introduction. Open since 1966, the original Durant Avenue location is just a slip of a no-frills hot dog joint, with a bar of self-serve condiments and toppings and a small counter where maybe three diners, tops, can stand shoulder-to-shoulder while housing some classic all-beef wieners. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For generations of Berkeleyites, however, the place is magic. People always want to start with Chez Panisse when telling the city’s illustrious food history, but in its own way, Top Dog is just as much of a quintessentially Berkeley restaurant, with its jaunty wiener-in-a-top-hat logo, offbeat libertarian propaganda posters (“Discard Statism. Unbend the Knee!”) and gruff grill cooks who brook no bullshit. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Top Dog has \u003c/span>\u003ca href=\"https://www.sfgate.com/news/article/Top-Dog-Berkeley-libertarian-aid-coronavirus-15200903.php\">\u003cspan style=\"font-weight: 400\">endured\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> for all these years, through various \u003c/span>\u003ca href=\"https://www.berkeleyside.org/2017/08/13/berkeleys-top-dog-fires-employee-went-white-nationalist-rally\">\u003cspan style=\"font-weight: 400\">controversies\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> and nightmarish street parking, for one simple reason: The hot dogs themselves are so damn good. Especially when you walk into the shop at 2 a.m., when every other restaurant in the vicinity is closed, there isn’t a more beautiful sight than the Top Dog flat-top, which is always piled high with dozens of sizzling sausages — more than you would think is advisable to cook at one time. But those grillmasters know what they’re doing. For as long as I’ve lived in the Bay Area, packages of cold Top Dog franks have been easy enough to buy and cook at home. They just never taste as good as they do at the mothership.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13954606\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954606\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Top_Dog_2000px-2.jpg\" alt='Exterior of a hot dog restaurant. The \"Top Dog\" sign has a logo of a hot dog wearing a top hat.' width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Top_Dog_2000px-2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Top_Dog_2000px-2-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Top_Dog_2000px-2-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Top_Dog_2000px-2-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Top_Dog_2000px-2-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Top_Dog_2000px-2-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Top_Dog_2000px-2-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The original Berkeley location has been open since 1966. \u003ccite>(Briana Loewinsohn)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">There are 11 different sausages on the menu, each of them with their own brigade of loyalists. The original kosher all-beef dogs are, of course, unimpeachable, with that snappiness to their casing that’s at the heart of the restaurant’s almost-60-year legacy. If you eat pork, though? Allow me to recommend the garlic frankfurter, which boasts a 75/25 mix of beef and pork and fresh garlic in the sausage itself, resulting in the juiciest, most flavorful dog of them all.\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\">\u003cspan style=\"color: #2b2b2b;font-weight: 400\">\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13954112,arts_13930727,arts_13914585","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/span>Really, though, it’s hard to go wrong. The hot links are excellent, more akin to spicy frankfurters than the kind of thing you’d get a barbecue spot. If you’d like something a little softer and squishier, the bockwurst has your name written on it. And, with apologies to anyone from Chicago or New York, I’m convinced that Top Dog’s crusty, well-toasted sesame-seed French rolls might be the greatest hot dog bun of them all. They just have the perfect amount of airiness and chew.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The best thing about eating a Top Dog at 1 o’clock in the morning is the simplicity of the meal. The dogs don’t really need anything added, though a tub of the mild, creamy potato salad makes for a nice side. And the standard, serve-yourself condiments station, in its own way, stays true to the restaurant’s libertarian spirit. Want to drench your hot dog with ketchup like you’re a small child? No one will judge you here.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">You would think that this slice of campus around Durant and Telegraph avenues would be a gold mine for after-hours deliciousness, but the options are surprisingly sparse. There’s Kingpin Donuts (a late-night legend in its own right), a couple of pizzerias, a boba shop — and, honestly, not much else of note. Gourmet sports bars, fancified Taco Bells, \u003c/span>\u003ca href=\"https://www.instagram.com/kqedfood/p/Ct4ciTYR5-t/?img_index=1\">\u003cspan style=\"font-weight: 400\">late-night coffee shops\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> and “Munchie”-themed meal delivery services have come and gone and come again, but at the end of a long, hungry night, Top Dog is still the king. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">May it reign for many years to come.\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=\"http://www.topdoghotdogs.com/\">\u003ci>\u003cspan style=\"font-weight: 400\">Top Dog’s\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\"> original Berkeley location is at 2543 Durant Ave. in Berkeley. It’s open Monday through Thursday from 10 a.m.–2 a.m., Friday 10 a.m.–3 a.m., Saturday 11 a.m.–3 a.m. and Sunday 11 a.m.–2 a.m. \u003c/span>\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13954597/top-dog-late-night-hot-dogs-berkeley-midnight-diners","authors":["11743","11904"],"categories":["arts_1","arts_12276"],"tags":["arts_1270","arts_10278","arts_1297","arts_8805","arts_21928","arts_21829"],"featImg":"arts_13954601","label":"source_arts_13954597"}},"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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Michel Martin hosts on the weekends.","airtime":"MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.npr.org/programs/all-things-considered/","meta":{"site":"news","source":"npr"},"link":"/radio/program/all-things-considered"},"american-suburb-podcast":{"id":"american-suburb-podcast","title":"American Suburb: The Podcast","tagline":"The flip side of gentrification, told through one town","info":"Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg","officialWebsiteLink":"/news/series/american-suburb-podcast","meta":{"site":"news","source":"kqed","order":"13"},"link":"/news/series/american-suburb-podcast/","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328","tuneIn":"https://tunein.com/radio/American-Suburb-p1086805/","rss":"https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"}},"baycurious":{"id":"baycurious","title":"Bay Curious","tagline":"Exploring the Bay Area, one question at a time","info":"KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. 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Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />","airtime":"SUN 9pm-10pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg","meta":{"site":"radio","source":"npr"},"link":"/radio/program/code-switch-life-kit","subscribe":{"apple":"https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy","spotify":"https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV","rss":"https://feeds.npr.org/510312/podcast.xml"}},"commonwealth-club":{"id":"commonwealth-club","title":"Commonwealth Club of California Podcast","info":"The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. 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