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"content": "\u003cp>“If writing were a person, you would be in an abusive relationship.” So says award-winning author and poet Kim Addonzio, whose career as a writer hasn’t always been pretty. In her new memoir, “Bukowski in a Sundress: Confessions from a Writing Life,” the Bay Area native shares stories of vodka in coffee mugs, online dating, motherhood and, most of all, her dedication to the craft of writing. In this hour of Forum, we’ll talk to Addonizio about her new book and the struggle of writing.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>\u003cstrong>Thursday, September 8: John Jodzio at The Booksmith, SF\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-12010284\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/johnjodzio.jpg\" alt=\"johnjodzio\" width=\"184\" height=\"274\">Grief and a desire for redemption lie underneath the first story in \u003ca href=\"https://www.amazon.com/Knockout-Stories-John-Jodzio/dp/1593766351\">\u003cem>Knockout\u003c/em>\u003c/a> (Soft Skull; 2016), the latest collection from Minneapolis-based writer John Jodzio. “Great Alcoholic-Owned Bed and Breakfasts of the Eastern Seaboard” is narrated by a Jim Beam-swilling bed-and-breakfast owner with a dead wife and a stepson left over from the foiled marriage. He begrudgingly loves the boy, despite the fact that they don’t share the same blood. When a guest, supposedly a travel writer, with her own secrets comes to stay at the crumbling B&B, all hell (quietly) breaks loose. Jodzio’s concise stories of losers, bruisers, and outcasts have also appeared on \u003cem>This American Life\u003c/em> and in \u003cem>McSweeney’s\u003c/em> and \u003cem>One Story\u003c/em>. He’ll e reading on Sept. 8 with a superstar cast of local writers: \u003ca href=\"http://www.katefolk.com/\">Kate Folk\u003c/a>, Dave Madden, and Kara Vernor, whose debut short story collection \u003ca href=\"http://www.splitlippress.com/#!because-i-wanted-to-write-you-a-pop-song/cgrq6\">Because I Wanted to Write You a Pop Song \u003c/a>came out this summer on Split Lip Press. \u003ca href=\"http://www.booksmith.com/event/john-jodzio-knockout-w-special-guests-dave-madden-kara-vernor-and-kate-folk\">Details here \u003c/a>\u003c/p>\n\u003cp>*Jodzio also\u003ca href=\"https://www.facebook.com/events/318574601808671\"> reads at Babylon Salon on Sept. 10\u003c/a> along with Ramona Ausebel, J Ryan Stradel (Kitchens of the Great Midwest), Frances Stroh, and poet Tess Taylor.\u003c/p>\n\u003cp dir=\"ltr\">\u003cstrong>Tuesday, September 13: Mauro Javier Cardenas at Green Apple Books on the Park, SF\u003c/strong>\u003c/p>\n\u003cp dir=\"ltr\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-12010285\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/revb.png\" alt=\"revb\" width=\"183\" height=\"275\">Mauro Javier Cardenas’ debut novel \u003ca href=\"http://coffeehousepress.org/shop/the-revolutionaries-try-again/\">\u003cem>The Revolutionaries Try Again\u003c/em> \u003c/a>(Coffee House Press; 2016) has evoked comparisons to great Latin American novels like Roberto Bolaños \u003cem>The Savage Detectives\u003c/em> and Julio Cortázar’s \u003cem>Hopscotch\u003c/em>. Of course, you don’t have to have read those books to enjoy this exciting, experimental book by one of San Francisco’s most daring novelists (look for a full review in next week’s column). It tells the story of three childhood friends — an expat, a bureaucrat, and a playwright — who are grappling with a dictatorship in Ecuador, and fear of closer betrayals, of the kind that happens between friends. Cardenas will be in conversation with \u003ca href=\"http://www.zyzzyva.org/\">Zyzzyva Magazine \u003c/a>editor Oscar Villalon. \u003ca href=\"https://www.facebook.com/events/171550946580788/\">Details here \u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp dir=\"ltr\">\u003cstrong>Thursday, September 15: Colson Whitehead at Green Apple Books, SF\u003c/strong>\u003c/p>\n\u003cp>Those of us who discovered Colson Whitehead’s writing talent a few years back, thanks to his excellent coming-of-age novel \u003cem>\u003ca href=\"http://www.nytimes.com/2009/05/03/books/review/Toure-t.html\">Sag Harbor,\u003c/a>\u003c/em> weren’t surprised when Oprah declared that she’d stayed up all night reading h\u003cstrong>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-12010298\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/9780385537032-1.jpg\" alt=\"9780385537032-1\" width=\"180\" height=\"275\">\u003c/strong>is latest novel, \u003cem>The Underground Railroad\u003c/em>. And yes, it has been anointed Winfrey’s \u003ca href=\"http://www.usatoday.com/story/life/books/2016/08/10/underground-railroad-colson-whitehead-oprahs-book-club-book-buzz/88480498/\">latest book club pick\u003c/a>. Still, I think we are all happy to see Whitehead, a Pulitzer Prize finalist and recipient of a MacArthur fellowship, gain even wider acclaim. In the novel, Cora, a slave on a cotton plantation in Georgia, attempts to escape by way of the underground railroad, which, it turns out, is no mere metaphor. In the book, it’s the real thing: a secret network of tracks and train stops underneath the Southern soil. Never one to shirk from narrative challenges, Whitehead once again slays the novel form in an entirely new way. \u003ca href=\"http://www.greenapplebooks.com/event/9th-ave-colson-whitehead\">Details her \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Thursday, September 15: Mary Mackey at Modern Times, SF\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-12010300\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/MISTS-OF-AVALON_612x380_0.jpg\" alt=\"MISTS-OF-AVALON_612x380_0\" width=\"255\" height=\"158\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/MISTS-OF-AVALON_612x380_0.jpg 612w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/MISTS-OF-AVALON_612x380_0-400x248.jpg 400w\" sizes=\"(max-width: 255px) 100vw, 255px\">There was a period of time, somewhere in the mid-nineties, when my friends and I obsessively read \u003cem>The Mists of Avalon\u003c/em>, the proto-goddess fantasy novel by Marion Zimmer Bradley, which tells the story of King Arthur from the perspective of the women in his life. It was like the feminist version of all the adventure novels and movies we’d grown up with. Mary Mackey’s novels inhabit similar territory, with a focus on the goddess-worshiping cultures of Neolithic Europe, and the struggle to save them from nomad invaders. \u003cem>The Village of Bones\u003c/em>, Mackey’s latest, is about Sabalah, a young priestess in 4386 B.C. who gives birth Marrah, a girl with the power to save womankind. But first, Sabalah must keep her alive. \u003ca href=\"http://moderntimesbookstore.com/event/mary-mackey-the-village-of-bones/\">Details here \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Sunday, September 18: Amor Towles at Book Passage, Corte Madera\u003c/strong>\u003c/p>\n\u003cp>The Bolshevik revolution, and all that happened in Russia after the 20th century communist revolt against an entrenched aristocracy, stands as one of the most fascinating periods of the last 100 years. Amor Towles follows up his New York Times bestseller \u003cem>The Rules of Civility,\u003c/em> with a new novel, \u003cem>A Gentleman in Moscow\u003c/em> (Viking; 2016) set in 1922, just after the revolution. Deemed an unrepentant aristocrat by a Bolshevik tribunal, Count Alexander Rostov is sentenced to house arrest in a grand hotel across the street from the Kremlin. The prison sentence ends up giving Rostov an opportunity to do some deep soul-searching into the true purpose of his life. For a man whose never worked a day in his life, this is a big deal. \u003ca href=\"http://www.bookpassage.com/event/amor-towles-gentleman-moscow-corte-madera\">Details here \u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Amor Towles also appears at \u003ca href=\"http://www.copperfieldsbooks.com/event/lit-night-amor-towles\">Copperfield’s in Petaluma on September 17\u003c/a>, \u003ca href=\"http://www.rakestrawbooks.com/upcoming-events\">Rakestraw Books in Danville on September 18,\u003c/a> and at \u003ca href=\"http://www.townecenterbooks.com/events.html\">Towne Center Books in Pleasanton on September 19\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Thursday, September 8: John Jodzio at The Booksmith, SF\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-12010284\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/johnjodzio.jpg\" alt=\"johnjodzio\" width=\"184\" height=\"274\">Grief and a desire for redemption lie underneath the first story in \u003ca href=\"https://www.amazon.com/Knockout-Stories-John-Jodzio/dp/1593766351\">\u003cem>Knockout\u003c/em>\u003c/a> (Soft Skull; 2016), the latest collection from Minneapolis-based writer John Jodzio. “Great Alcoholic-Owned Bed and Breakfasts of the Eastern Seaboard” is narrated by a Jim Beam-swilling bed-and-breakfast owner with a dead wife and a stepson left over from the foiled marriage. He begrudgingly loves the boy, despite the fact that they don’t share the same blood. When a guest, supposedly a travel writer, with her own secrets comes to stay at the crumbling B&B, all hell (quietly) breaks loose. Jodzio’s concise stories of losers, bruisers, and outcasts have also appeared on \u003cem>This American Life\u003c/em> and in \u003cem>McSweeney’s\u003c/em> and \u003cem>One Story\u003c/em>. He’ll e reading on Sept. 8 with a superstar cast of local writers: \u003ca href=\"http://www.katefolk.com/\">Kate Folk\u003c/a>, Dave Madden, and Kara Vernor, whose debut short story collection \u003ca href=\"http://www.splitlippress.com/#!because-i-wanted-to-write-you-a-pop-song/cgrq6\">Because I Wanted to Write You a Pop Song \u003c/a>came out this summer on Split Lip Press. \u003ca href=\"http://www.booksmith.com/event/john-jodzio-knockout-w-special-guests-dave-madden-kara-vernor-and-kate-folk\">Details here \u003c/a>\u003c/p>\n\u003cp>*Jodzio also\u003ca href=\"https://www.facebook.com/events/318574601808671\"> reads at Babylon Salon on Sept. 10\u003c/a> along with Ramona Ausebel, J Ryan Stradel (Kitchens of the Great Midwest), Frances Stroh, and poet Tess Taylor.\u003c/p>\n\u003cp dir=\"ltr\">\u003cstrong>Tuesday, September 13: Mauro Javier Cardenas at Green Apple Books on the Park, SF\u003c/strong>\u003c/p>\n\u003cp dir=\"ltr\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-12010285\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/revb.png\" alt=\"revb\" width=\"183\" height=\"275\">Mauro Javier Cardenas’ debut novel \u003ca href=\"http://coffeehousepress.org/shop/the-revolutionaries-try-again/\">\u003cem>The Revolutionaries Try Again\u003c/em> \u003c/a>(Coffee House Press; 2016) has evoked comparisons to great Latin American novels like Roberto Bolaños \u003cem>The Savage Detectives\u003c/em> and Julio Cortázar’s \u003cem>Hopscotch\u003c/em>. Of course, you don’t have to have read those books to enjoy this exciting, experimental book by one of San Francisco’s most daring novelists (look for a full review in next week’s column). It tells the story of three childhood friends — an expat, a bureaucrat, and a playwright — who are grappling with a dictatorship in Ecuador, and fear of closer betrayals, of the kind that happens between friends. Cardenas will be in conversation with \u003ca href=\"http://www.zyzzyva.org/\">Zyzzyva Magazine \u003c/a>editor Oscar Villalon. \u003ca href=\"https://www.facebook.com/events/171550946580788/\">Details here \u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp dir=\"ltr\">\u003cstrong>Thursday, September 15: Colson Whitehead at Green Apple Books, SF\u003c/strong>\u003c/p>\n\u003cp>Those of us who discovered Colson Whitehead’s writing talent a few years back, thanks to his excellent coming-of-age novel \u003cem>\u003ca href=\"http://www.nytimes.com/2009/05/03/books/review/Toure-t.html\">Sag Harbor,\u003c/a>\u003c/em> weren’t surprised when Oprah declared that she’d stayed up all night reading h\u003cstrong>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-12010298\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/9780385537032-1.jpg\" alt=\"9780385537032-1\" width=\"180\" height=\"275\">\u003c/strong>is latest novel, \u003cem>The Underground Railroad\u003c/em>. And yes, it has been anointed Winfrey’s \u003ca href=\"http://www.usatoday.com/story/life/books/2016/08/10/underground-railroad-colson-whitehead-oprahs-book-club-book-buzz/88480498/\">latest book club pick\u003c/a>. Still, I think we are all happy to see Whitehead, a Pulitzer Prize finalist and recipient of a MacArthur fellowship, gain even wider acclaim. In the novel, Cora, a slave on a cotton plantation in Georgia, attempts to escape by way of the underground railroad, which, it turns out, is no mere metaphor. In the book, it’s the real thing: a secret network of tracks and train stops underneath the Southern soil. Never one to shirk from narrative challenges, Whitehead once again slays the novel form in an entirely new way. \u003ca href=\"http://www.greenapplebooks.com/event/9th-ave-colson-whitehead\">Details her \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Thursday, September 15: Mary Mackey at Modern Times, SF\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-12010300\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/MISTS-OF-AVALON_612x380_0.jpg\" alt=\"MISTS-OF-AVALON_612x380_0\" width=\"255\" height=\"158\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/MISTS-OF-AVALON_612x380_0.jpg 612w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/MISTS-OF-AVALON_612x380_0-400x248.jpg 400w\" sizes=\"(max-width: 255px) 100vw, 255px\">There was a period of time, somewhere in the mid-nineties, when my friends and I obsessively read \u003cem>The Mists of Avalon\u003c/em>, the proto-goddess fantasy novel by Marion Zimmer Bradley, which tells the story of King Arthur from the perspective of the women in his life. It was like the feminist version of all the adventure novels and movies we’d grown up with. Mary Mackey’s novels inhabit similar territory, with a focus on the goddess-worshiping cultures of Neolithic Europe, and the struggle to save them from nomad invaders. \u003cem>The Village of Bones\u003c/em>, Mackey’s latest, is about Sabalah, a young priestess in 4386 B.C. who gives birth Marrah, a girl with the power to save womankind. But first, Sabalah must keep her alive. \u003ca href=\"http://moderntimesbookstore.com/event/mary-mackey-the-village-of-bones/\">Details here \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Sunday, September 18: Amor Towles at Book Passage, Corte Madera\u003c/strong>\u003c/p>\n\u003cp>The Bolshevik revolution, and all that happened in Russia after the 20th century communist revolt against an entrenched aristocracy, stands as one of the most fascinating periods of the last 100 years. Amor Towles follows up his New York Times bestseller \u003cem>The Rules of Civility,\u003c/em> with a new novel, \u003cem>A Gentleman in Moscow\u003c/em> (Viking; 2016) set in 1922, just after the revolution. Deemed an unrepentant aristocrat by a Bolshevik tribunal, Count Alexander Rostov is sentenced to house arrest in a grand hotel across the street from the Kremlin. The prison sentence ends up giving Rostov an opportunity to do some deep soul-searching into the true purpose of his life. For a man whose never worked a day in his life, this is a big deal. \u003ca href=\"http://www.bookpassage.com/event/amor-towles-gentleman-moscow-corte-madera\">Details here \u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Amor Towles also appears at \u003ca href=\"http://www.copperfieldsbooks.com/event/lit-night-amor-towles\">Copperfield’s in Petaluma on September 17\u003c/a>, \u003ca href=\"http://www.rakestrawbooks.com/upcoming-events\">Rakestraw Books in Danville on September 18,\u003c/a> and at \u003ca href=\"http://www.townecenterbooks.com/events.html\">Towne Center Books in Pleasanton on September 19\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>When I was a fresh-faced MFA student at a San Francisco private college, we were regularly encouraged by our \u003ca href=\"http://www.daphnegottlieb.com/\">renegade\u003c/a> \u003ca href=\"http://www.ciis.edu/faculty-and-staff-directory/carolyn-cooke\">teachers \u003c/a>to break form, and approach our writing with openness to experimentation. I tried — and failed — to do so in my short stories, over and over. You’d think it would be easy to break the rules. It’s not.\u003c/p>\n\u003cp>So I admire Michelle Tea’s successful attempt to bring transparency to the “strange obligations of storytelling” in her latest book, the hybrid fiction-memoir \u003cem>Black Wave\u003c/em> (The Feminist Press; 2016). Last year, I \u003ca href=\"https://ww2.kqed.org/arts/2015/01/25/michelle-teas-bumpy-back-road-to-adulthood/\">interviewed Tea\u003c/a> on the release of her 2015 memoir \u003cem>How to Grow Up\u003c/em>, and at the time, she mentioned \u003cem>Black Wave\u003c/em>, explaining that she’d been working on a new memoir but had gotten waylaid midway through the process. Her ex had asked that Tea not write about their relationship, but the book’s entire narrative timeline hinged upon it. Tellingly, especially in light of the destabilized, failing world captured in \u003cem>Black Wave\u003c/em>, Tea also said of San Francisco: “The landscape I inhabited [in the 1990’s] is just gone.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11979749 aligncenter\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/BW_Cover-1.jpg\" alt=\"BW_Cover-1\" width=\"396\" height=\"576\">\u003c/p>\n\u003cp>Rather than abandoning the manuscript, Tea dug in, throwing out normative narrative expectations with the dirty bathwater. Call it the ultimate queer narrative. It works.\u003c/p>\n\u003cp>\u003cem>Black Wave\u003c/em> opens on Valencia Street at the Albion, a dive bar in the Mission District. If you’ve read Tea’s previous books — \u003cem>The Passionate Mistakes and Intricate Corruption of One Girl in America\u003c/em>, \u003cem>Valencia\u003c/em>, \u003cem>The Chelsea Whistle\u003c/em>, \u003cem>Rent Girl\u003c/em> — then you’re familiar with her tales of wild, creative, sex-fueled, drug and alcohol-drenched lifestyles in San Francisco’s queer artistic haven of the nineties. And yes, the first half of \u003cem>Black Wave\u003c/em> dwells in this same landscape, but with a twist. It’s 1999, the first tech bubble has raised rents beyond reason, yuppies are taking over the Mission, and the world is, literally, about to end. The native plants have died; the only vegetation thriving are invasive weeds like kudzo. The trees have crumbled to dust. The ocean is blanketed in a thick, poisonous fog from toxins and underwater nuclear tests. Still, everyone goes about their business, only with more sun protection, like frogs in proverbial water slowly coming to a boil. “The ocean was a giant toilet lapping at San Francisco’s edges,” Tea writes, “but mainly things were functioning.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Michelle and her friends continue with their lives: partying, writing poetry, snorting cocaine cut with baby laxatives, and eventually scoring heroin. It’s not until Michelle heads south to Los Angeles with her married, androgynous lover Quinn that the reality of the world’s desolation really starts to set in.\u003c/p>\n\u003cblockquote>\u003cp>“California was on fire and once out of San Francisco the highway shimmered in the windshield like a mirage. The land on the margins was dry, even charred. The farmland decreased as they drove. The water was too ruined for effective farming and the animals were out of whack, the bugs and the birds, the pests and the pollinators. They drove past wide plowed fields whose sickly crops had been abandoned. What Do You Think That Was? Michelle asked, starting at the mangled stalks, everything hay colored underneath the brutal sun. Quinn shrugged and kept her eyes on the road.”\u003c/p>\u003c/blockquote>\n\u003cp>Once Michelle arrives in Los Angeles, the thus-far straightforward narrative begins to unravel. It’s in this second part of the novel, simply titled “Los Angeles,” that the cracks in the storytelling begin to appear. Quinn confesses that Michelle didn’t actually drive to Los Angeles with her. That in real life, Michelle had moved south with Lucretia, her gender-queer partner of eight years. But the real Lu had asked not to be included in the story, making things difficult, making that turn of events impossible.\u003c/p>\n\u003cblockquote>\u003cp>“Michelle felt sad about all the sweet moments she would not be able to write about. The sweet parts were important, without them Michelle just look insane.”\u003c/p>\u003c/blockquote>\n\u003cp>At the same time, the sudden lacuna breaks open \u003cem>Black Wave\u003c/em>’s storytelling. Tea rises to the occasion by capturing the strange confusion of writing, the ultimate weirdness of what it means to write a life. Michelle spends pages trying to work out her novel. Should she try to make it more accessible, perhaps more straight, more white, more male, to have a wider appeal? What makes for a compelling narrator? How queer can a writer be and still possibly cross over to a larger, mainstream audience?\u003c/p>\n\u003cblockquote>\u003cp>“If Michelle had gone to college she was certain she’d have been taught how to write from the perspective of a straight, white, middle-class man. She would have to teach herself how to be universal. She could do it, it would just take time.”\u003c/p>\u003c/blockquote>\n\u003cp>As she struggles to write the story (or screenplay, since she’s in Los Angeles), the fictional Michelle has now taken a job at an archaic used book and record store. Matt Dillon is a customer, which leads to an interesting plot twist later. Her drinking also ventures into dangerous territory, morphing from artsy wild party girl to something more akin to Nicolas Cage’s descent in \u003cem>Leaving Las Vegas\u003c/em>.\u003c/p>\n\u003cp>Los Angeles is particularly suited for apocalyptic fantasies. The used bookstore where fictional Michelle takes a job sits directly across the street from the \u003ca href=\"http://www.scientology.cc/en_US/index.html\">Scientology Celebrity Centre\u003c/a>. One of \u003cem>Black Wave\u003c/em>’ funniest moments (if you share my taste for dark humor) comes when a mass suicide occurs at the gaudy, weird complex. Michelle watches as the bodies of John Travolta, Giovanni Ribisi, Jason Lee, Kirstie Alley and Linda Blair are wheeled out on gurneys. The scene ends with people parading through the streets, chanting “U.S.A.!”, and transforming apocalyptic tragedy into nationalistic jingoism.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11979747 aligncenter\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/BW_Tea-Author-Photo.-Credit-Gretchen-Sayers.jpg\" alt=\"BW_Tea Author Photo. Credit Gretchen Sayers\" width=\"360\" height=\"454\">\u003c/p>\n\u003cp>Later, fictional Michelle has sex with a gun-wielding Matt Dillon, because, why not? The end of the world is coming and fiction allows us to do all kinds of things. And Tea has set us up for these types of outlandish possibilities in earlier pages.\u003c/p>\n\u003cblockquote>\u003cp>“This was the terrible thing about fiction, Michelle could write about whatever she wanted. She could write about dinosaurs mating with unicorns on the lost city Atlantis and some fool would read it. In the face of so many options she spun, paralyzed, overthunk.”\u003c/p>\u003c/blockquote>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>There’s much more to \u003cem>Black Wave\u003c/em>, and for me, it will merit re-reading throughout the years. It’s about survival, sobriety, time-traveling teens, second-chance worlds, love, and everything in between. It’s earned a spot in my library next to Octavia Butler’s \u003ca href=\"https://www.goodreads.com/book/show/52397.Parable_of_the_Sower\">Parable of the Sower\u003c/a> and Claire Vaye Watkins’ \u003ca href=\"http://clairevayewatkins.com/gold-fame-citrus/\">Gold Fame Citrus\u003c/a> — both dystopian classics which place Los Angeles squarely at the center of environmental and social apocalypse. The difference in Tea’s book, and something that I quite enjoyed, is the sense that “care of the soul” — which ultimately means the ability to love deeply — still matters, even if the world outside is crumbling to the ground.\u003c/p>\n\u003cblockquote>\u003cp>“Michelle opened a blank document. She imagined a girl whose openness to everything was its own current, pushing her into life. She remembered the feelings of love and drugs sickening her body, and felt tender towards the experience even as she was glad it was over. She felt the same about the doomed world itself, an impossible tenderness that did not blunt her relief that it was all going to end soon. She began to type.”\u003c/p>\u003c/blockquote>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When I was a fresh-faced MFA student at a San Francisco private college, we were regularly encouraged by our \u003ca href=\"http://www.daphnegottlieb.com/\">renegade\u003c/a> \u003ca href=\"http://www.ciis.edu/faculty-and-staff-directory/carolyn-cooke\">teachers \u003c/a>to break form, and approach our writing with openness to experimentation. I tried — and failed — to do so in my short stories, over and over. You’d think it would be easy to break the rules. It’s not.\u003c/p>\n\u003cp>So I admire Michelle Tea’s successful attempt to bring transparency to the “strange obligations of storytelling” in her latest book, the hybrid fiction-memoir \u003cem>Black Wave\u003c/em> (The Feminist Press; 2016). Last year, I \u003ca href=\"https://ww2.kqed.org/arts/2015/01/25/michelle-teas-bumpy-back-road-to-adulthood/\">interviewed Tea\u003c/a> on the release of her 2015 memoir \u003cem>How to Grow Up\u003c/em>, and at the time, she mentioned \u003cem>Black Wave\u003c/em>, explaining that she’d been working on a new memoir but had gotten waylaid midway through the process. Her ex had asked that Tea not write about their relationship, but the book’s entire narrative timeline hinged upon it. Tellingly, especially in light of the destabilized, failing world captured in \u003cem>Black Wave\u003c/em>, Tea also said of San Francisco: “The landscape I inhabited [in the 1990’s] is just gone.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11979749 aligncenter\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/BW_Cover-1.jpg\" alt=\"BW_Cover-1\" width=\"396\" height=\"576\">\u003c/p>\n\u003cp>Rather than abandoning the manuscript, Tea dug in, throwing out normative narrative expectations with the dirty bathwater. Call it the ultimate queer narrative. It works.\u003c/p>\n\u003cp>\u003cem>Black Wave\u003c/em> opens on Valencia Street at the Albion, a dive bar in the Mission District. If you’ve read Tea’s previous books — \u003cem>The Passionate Mistakes and Intricate Corruption of One Girl in America\u003c/em>, \u003cem>Valencia\u003c/em>, \u003cem>The Chelsea Whistle\u003c/em>, \u003cem>Rent Girl\u003c/em> — then you’re familiar with her tales of wild, creative, sex-fueled, drug and alcohol-drenched lifestyles in San Francisco’s queer artistic haven of the nineties. And yes, the first half of \u003cem>Black Wave\u003c/em> dwells in this same landscape, but with a twist. It’s 1999, the first tech bubble has raised rents beyond reason, yuppies are taking over the Mission, and the world is, literally, about to end. The native plants have died; the only vegetation thriving are invasive weeds like kudzo. The trees have crumbled to dust. The ocean is blanketed in a thick, poisonous fog from toxins and underwater nuclear tests. Still, everyone goes about their business, only with more sun protection, like frogs in proverbial water slowly coming to a boil. “The ocean was a giant toilet lapping at San Francisco’s edges,” Tea writes, “but mainly things were functioning.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Michelle and her friends continue with their lives: partying, writing poetry, snorting cocaine cut with baby laxatives, and eventually scoring heroin. It’s not until Michelle heads south to Los Angeles with her married, androgynous lover Quinn that the reality of the world’s desolation really starts to set in.\u003c/p>\n\u003cblockquote>\u003cp>“California was on fire and once out of San Francisco the highway shimmered in the windshield like a mirage. The land on the margins was dry, even charred. The farmland decreased as they drove. The water was too ruined for effective farming and the animals were out of whack, the bugs and the birds, the pests and the pollinators. They drove past wide plowed fields whose sickly crops had been abandoned. What Do You Think That Was? Michelle asked, starting at the mangled stalks, everything hay colored underneath the brutal sun. Quinn shrugged and kept her eyes on the road.”\u003c/p>\u003c/blockquote>\n\u003cp>Once Michelle arrives in Los Angeles, the thus-far straightforward narrative begins to unravel. It’s in this second part of the novel, simply titled “Los Angeles,” that the cracks in the storytelling begin to appear. Quinn confesses that Michelle didn’t actually drive to Los Angeles with her. That in real life, Michelle had moved south with Lucretia, her gender-queer partner of eight years. But the real Lu had asked not to be included in the story, making things difficult, making that turn of events impossible.\u003c/p>\n\u003cblockquote>\u003cp>“Michelle felt sad about all the sweet moments she would not be able to write about. The sweet parts were important, without them Michelle just look insane.”\u003c/p>\u003c/blockquote>\n\u003cp>At the same time, the sudden lacuna breaks open \u003cem>Black Wave\u003c/em>’s storytelling. Tea rises to the occasion by capturing the strange confusion of writing, the ultimate weirdness of what it means to write a life. Michelle spends pages trying to work out her novel. Should she try to make it more accessible, perhaps more straight, more white, more male, to have a wider appeal? What makes for a compelling narrator? How queer can a writer be and still possibly cross over to a larger, mainstream audience?\u003c/p>\n\u003cblockquote>\u003cp>“If Michelle had gone to college she was certain she’d have been taught how to write from the perspective of a straight, white, middle-class man. She would have to teach herself how to be universal. She could do it, it would just take time.”\u003c/p>\u003c/blockquote>\n\u003cp>As she struggles to write the story (or screenplay, since she’s in Los Angeles), the fictional Michelle has now taken a job at an archaic used book and record store. Matt Dillon is a customer, which leads to an interesting plot twist later. Her drinking also ventures into dangerous territory, morphing from artsy wild party girl to something more akin to Nicolas Cage’s descent in \u003cem>Leaving Las Vegas\u003c/em>.\u003c/p>\n\u003cp>Los Angeles is particularly suited for apocalyptic fantasies. The used bookstore where fictional Michelle takes a job sits directly across the street from the \u003ca href=\"http://www.scientology.cc/en_US/index.html\">Scientology Celebrity Centre\u003c/a>. One of \u003cem>Black Wave\u003c/em>’ funniest moments (if you share my taste for dark humor) comes when a mass suicide occurs at the gaudy, weird complex. Michelle watches as the bodies of John Travolta, Giovanni Ribisi, Jason Lee, Kirstie Alley and Linda Blair are wheeled out on gurneys. The scene ends with people parading through the streets, chanting “U.S.A.!”, and transforming apocalyptic tragedy into nationalistic jingoism.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11979747 aligncenter\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/BW_Tea-Author-Photo.-Credit-Gretchen-Sayers.jpg\" alt=\"BW_Tea Author Photo. Credit Gretchen Sayers\" width=\"360\" height=\"454\">\u003c/p>\n\u003cp>Later, fictional Michelle has sex with a gun-wielding Matt Dillon, because, why not? The end of the world is coming and fiction allows us to do all kinds of things. And Tea has set us up for these types of outlandish possibilities in earlier pages.\u003c/p>\n\u003cblockquote>\u003cp>“This was the terrible thing about fiction, Michelle could write about whatever she wanted. She could write about dinosaurs mating with unicorns on the lost city Atlantis and some fool would read it. In the face of so many options she spun, paralyzed, overthunk.”\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There’s much more to \u003cem>Black Wave\u003c/em>, and for me, it will merit re-reading throughout the years. It’s about survival, sobriety, time-traveling teens, second-chance worlds, love, and everything in between. It’s earned a spot in my library next to Octavia Butler’s \u003ca href=\"https://www.goodreads.com/book/show/52397.Parable_of_the_Sower\">Parable of the Sower\u003c/a> and Claire Vaye Watkins’ \u003ca href=\"http://clairevayewatkins.com/gold-fame-citrus/\">Gold Fame Citrus\u003c/a> — both dystopian classics which place Los Angeles squarely at the center of environmental and social apocalypse. The difference in Tea’s book, and something that I quite enjoyed, is the sense that “care of the soul” — which ultimately means the ability to love deeply — still matters, even if the world outside is crumbling to the ground.\u003c/p>\n\u003cblockquote>\u003cp>“Michelle opened a blank document. She imagined a girl whose openness to everything was its own current, pushing her into life. She remembered the feelings of love and drugs sickening her body, and felt tender towards the experience even as she was glad it was over. She felt the same about the doomed world itself, an impossible tenderness that did not blunt her relief that it was all going to end soon. She began to type.”\u003c/p>\u003c/blockquote>\n\n\u003c/div>\u003c/p>",
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"title": "Google Returns Blog to 'Dangerous Writer' Dennis Cooper",
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"content": "\u003cp>Author Dennis Cooper took on Google over the removal of his long-running blog, and after two months, he’s emerged as a victor: the Goliath of the Internet is giving it back.\u003c/p>\n\u003cp>Cooper, best known for the gritty, drugs-and-sex-fueled series of novels called the \u003ca href=\"http://www.dennis-cooper.net/georgemiles.htm\" target=\"_blank\" rel=\"noopener\">George Miles cycle\u003c/a>, has published regularly on his blog \u003ci>\u003ca href=\"http://denniscooper-theweaklings.blogspot.com/\" target=\"_blank\" rel=\"noopener\">The Weaklings\u003c/a> (\u003c/i>also known as \u003ci>DC’s Blog\u003c/i>) since 2002. But on June 27, he discovered that his blog had vanished. In its place was a note from Google, which hosted it, telling Cooper that his site had been shut down.\u003c/p>\n\u003cp>“They have never said or sent one word to me about what has happened or why,” Cooper said at the time. “I can only guess: either because they had some objection to something I posted on my blog, or it was hacked, or technical problem, or some accident that disabled my account.”\u003c/p>\n\u003cp>When KQED asked why Google removed his blog, the company sent a formulaic response:\u003c/p>\n\u003cblockquote>\u003cp>Thank you for getting in touch. We’re aware of this matter and not able to comment on specific user accounts. Here’s a link to our \u003ca href=\"https://www.google.com/policies/terms/\" target=\"_blank\" rel=\"noopener\">Terms of Service\u003c/a>, \u003ca href=\"https://www.google.com/intl/en_us/mail/help/program_policies.html\" target=\"_blank\" rel=\"noopener\">Gmail Policy\u003c/a> and \u003ca href=\"https://www.blogger.com/content.g?hl=en\" target=\"_blank\" rel=\"noopener\">Blogger Policy\u003c/a>.\u003c/p>\n\u003cp>Best,\u003c/p>\n\u003cp>The Google Press Team\u003c/p>\u003c/blockquote>\n\u003cp>They did not answer any follow up questions.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Perplexed, Cooper began reaching out to the press. He said he was worried that he had lost more than 10 years of irreplaceable compositions when his blog was taken down. The losses included two early examples of GIF novels (novels consisting purely of animated GIFs), one of which, \u003ci>Zac’s Haunted House, \u003c/i>had garnered the writer \u003ca href=\"http://www.newyorker.com/books/page-turner/how-dennis-cooper-creates-fiction-from-gifs\" target=\"_blank\" rel=\"noopener\">critical\u003c/a> \u003ca href=\"http://www.theverge.com/2015/1/16/7556041/dennis-cooper-gif-novel-zacs-haunted-house\" target=\"_blank\" rel=\"noopener\">acclaim\u003c/a>. So Cooper lawyered up and continued to push Google to allow him to at least retrieve his archives.\u003c/p>\n\u003cp>“If I get my blog’s contents back, I’m fairly certain I will continue the blog elsewhere,” Cooper said. “If my 10 years of work, thousands of posts, six days a week effort, and my new GIF novel that I spent 7 months working on are totally lost, I think I might be too heartbroken and dispirited to continue.”\u003c/p>\n\u003cp>Cooper successfully fought Google in the media, getting stories in the \u003cem>\u003ca href=\"http://www.nytimes.com/2016/07/30/opinion/sunday/the-blog-that-disappeared.html\" target=\"_blank\" rel=\"noopener\">New York Times\u003c/a>\u003c/em>, the \u003cem>\u003ca href=\"https://www.theguardian.com/books/2016/jul/14/dennis-cooper-google-censorship-dc-blog\" target=\"_blank\" rel=\"noopener\">Guardian\u003c/a>\u003c/em> and the \u003cem>\u003ca href=\"http://www.newyorker.com/culture/culture-desk/why-did-google-erase-dennis-coopers-beloved-literary-blog\" target=\"_blank\" rel=\"noopener\">New Yorker,\u003c/a>\u003c/em> as well as international publications. Also, the free speech advocacy group \u003ca href=\"https://pen.org/blog/pen-concerned-google-suspension-artist-blog\" target=\"_blank\" rel=\"noopener\">PEN America\u003c/a> has had his back for much of the fight and a \u003ca href=\"https://www.change.org/p/google-restore-dennis-cooper-s-blog-and-email\" target=\"_blank\" rel=\"noopener\">Change.org petition\u003c/a> garnered more than 4,000 signatures.\u003c/p>\n\u003cp>Less than a month later, Google’s lawyers reached out to Cooper’s attorney and \u003ca href=\"https://www.facebook.com/permalink.php?story_fbid=1095110797242053&id=214073142012494\" target=\"_blank\" rel=\"noopener\">began working on a resolution\u003c/a>. On Friday, Aug. 26, Cooper, who lives in France, announced on his \u003ca href=\"https://www.facebook.com/Dennis-Coopers-Blog-214073142012494/\" target=\"_blank\" rel=\"noopener\">Facebook page\u003c/a> in the early morning that Google had agreed to \u003ca href=\"https://www.facebook.com/permalink.php?story_fbid=1114019298684536&id=214073142012494\" target=\"_blank\" rel=\"noopener\">give him his blog back\u003c/a>.\u003c/p>\n\u003cp>“I am very, very happy to be able announce that the two month-long Google-related nightmare is over,” Cooper wrote.\u003c/p>\n\u003cblockquote>\u003cp>“The gist: (1) My DC’s blog will restart in a new location on this coming Monday. Watch this space. I have the data for the archive of my disabled blog, but it’s not something that can be uploaded into the new blog intact. I will need to restore each post by hand, and since there are many thousands of posts, that restoration will happen very gradually over time. (2) I have the data for the 10 years of correspondence in my gmail account. (3) My GIF novel ‘Zac’s Freight Elevator’ has been rescued. It will be published as a free download this November. More details on that are forthcoming.”\u003c/p>\u003c/blockquote>\n\u003cp>\u003cb>Why did Google remove Cooper’s blog?\u003c/b>\u003c/p>\n\u003cp>Google was vague regarding Cooper’s blog, forcing Cooper and other commentators to speculate as to why the blog was removed. All pointed to the same thing: Cooper’s regular posts about ads for male prostitutes.\u003c/p>\n\u003cp>Cooper defends this content. “90-plus percent of my blog posts are about experimental art, writing, film, music, video games, amusement parks, etc. Nothing remotely controversial or objectionable,” Cooper said. “Twice a month I do a post that features profile texts I have taken from various websites where male escorts do their business, usually edited, to emphasize their accidental literary qualities and their emotionality. The escorts whose profiles I use are all adults, and any images I use in those posts aren’t pornographic at all and rarely even show genitalia.”\u003c/p>\n\u003cp>Thanks to the Internet archival website the Wayback Machine, we can see a few of these posts. It’s fair to say that Cooper might not be as vigilant as he should in terms of keeping graphic images off his site. (\u003ca href=\"https://web.archive.org/web/20091016193456/http://denniscooper-theweaklings.blogspot.com/\" target=\"_blank\" rel=\"noopener\">See for yourself\u003c/a>, but warning: NSFW)\u003c/p>\n\u003cp>Yet it’s Cooper’s willingness to spotlight touchy subjects like male prostitution that make him the writer he is today. Fearless with his subjects, Cooper was once called “the most dangerous writer in America” by the \u003cem>Village Voice\u003c/em> and “a master of transgressive literature” by the \u003cem>Guardian\u003c/em>.\u003c/p>\n\u003cp>But now Cooper knows the answer, and it’s nothing like he had initially thought. In his Facebook announcement, Cooper said Google removed his blog after someone reported that a picture posted on his blog back in 2006 featured child pornography.\u003c/p>\n\u003cblockquote>\u003cp>In 2006, I did one of those posts where I asked people to send me things they thought were sexy. I had forgotten all about that post until the other day, and I don’t remember what was in it. I do remember that, upon assembling the post, I realized there was some rather pornographic things therein that could potentially get my blog in trouble. So I set up that Self-Portrait Day on a separate page off the blog that could only be accessed on the blog through a link with an adult content warning.\u003c/p>\n\u003cp>According to Google, around the time my account was disabled, some unknown person came across this ten year-old page, thought one of the images on it constituted child pornography, and reported it to Google who immediately disabled my account. Now let me just say that I know there are people who don’t know me or my work well and think I’m some kind of ultra-transgressive shock-creating monster, but I completely assure you that if someone had sent me an image that I thought was child pornography, I would never have uploaded it, period.\u003c/p>\u003c/blockquote>\n\u003cp>Cooper spent months trying to convince Google to let him get into his blog and remove the offending image. He was refused time and time again. “What followed was about three weeks of discussions, negotiations, and so on,” Cooper said. “Finally, a week ago, Google suddenly announced that they were going to send me the data for the DC’s blog and my email account. They did, and that’s how and when the stand-off ended.”\u003c/p>\n\u003cp>Cooper says his blog will be up again by Monday.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>Read Cooper’s full statement on his Facebook page:\u003c/i>\u003cbr>\nhttps://www.facebook.com/permalink.php?story_fbid=1114019298684536&id=214073142012494\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Author Dennis Cooper took on Google over the removal of his long-running blog, and after two months, he’s emerged as a victor: the Goliath of the Internet is giving it back.\u003c/p>\n\u003cp>Cooper, best known for the gritty, drugs-and-sex-fueled series of novels called the \u003ca href=\"http://www.dennis-cooper.net/georgemiles.htm\" target=\"_blank\" rel=\"noopener\">George Miles cycle\u003c/a>, has published regularly on his blog \u003ci>\u003ca href=\"http://denniscooper-theweaklings.blogspot.com/\" target=\"_blank\" rel=\"noopener\">The Weaklings\u003c/a> (\u003c/i>also known as \u003ci>DC’s Blog\u003c/i>) since 2002. But on June 27, he discovered that his blog had vanished. In its place was a note from Google, which hosted it, telling Cooper that his site had been shut down.\u003c/p>\n\u003cp>“They have never said or sent one word to me about what has happened or why,” Cooper said at the time. “I can only guess: either because they had some objection to something I posted on my blog, or it was hacked, or technical problem, or some accident that disabled my account.”\u003c/p>\n\u003cp>When KQED asked why Google removed his blog, the company sent a formulaic response:\u003c/p>\n\u003cblockquote>\u003cp>Thank you for getting in touch. We’re aware of this matter and not able to comment on specific user accounts. Here’s a link to our \u003ca href=\"https://www.google.com/policies/terms/\" target=\"_blank\" rel=\"noopener\">Terms of Service\u003c/a>, \u003ca href=\"https://www.google.com/intl/en_us/mail/help/program_policies.html\" target=\"_blank\" rel=\"noopener\">Gmail Policy\u003c/a> and \u003ca href=\"https://www.blogger.com/content.g?hl=en\" target=\"_blank\" rel=\"noopener\">Blogger Policy\u003c/a>.\u003c/p>\n\u003cp>Best,\u003c/p>\n\u003cp>The Google Press Team\u003c/p>\u003c/blockquote>\n\u003cp>They did not answer any follow up questions.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Perplexed, Cooper began reaching out to the press. He said he was worried that he had lost more than 10 years of irreplaceable compositions when his blog was taken down. The losses included two early examples of GIF novels (novels consisting purely of animated GIFs), one of which, \u003ci>Zac’s Haunted House, \u003c/i>had garnered the writer \u003ca href=\"http://www.newyorker.com/books/page-turner/how-dennis-cooper-creates-fiction-from-gifs\" target=\"_blank\" rel=\"noopener\">critical\u003c/a> \u003ca href=\"http://www.theverge.com/2015/1/16/7556041/dennis-cooper-gif-novel-zacs-haunted-house\" target=\"_blank\" rel=\"noopener\">acclaim\u003c/a>. So Cooper lawyered up and continued to push Google to allow him to at least retrieve his archives.\u003c/p>\n\u003cp>“If I get my blog’s contents back, I’m fairly certain I will continue the blog elsewhere,” Cooper said. “If my 10 years of work, thousands of posts, six days a week effort, and my new GIF novel that I spent 7 months working on are totally lost, I think I might be too heartbroken and dispirited to continue.”\u003c/p>\n\u003cp>Cooper successfully fought Google in the media, getting stories in the \u003cem>\u003ca href=\"http://www.nytimes.com/2016/07/30/opinion/sunday/the-blog-that-disappeared.html\" target=\"_blank\" rel=\"noopener\">New York Times\u003c/a>\u003c/em>, the \u003cem>\u003ca href=\"https://www.theguardian.com/books/2016/jul/14/dennis-cooper-google-censorship-dc-blog\" target=\"_blank\" rel=\"noopener\">Guardian\u003c/a>\u003c/em> and the \u003cem>\u003ca href=\"http://www.newyorker.com/culture/culture-desk/why-did-google-erase-dennis-coopers-beloved-literary-blog\" target=\"_blank\" rel=\"noopener\">New Yorker,\u003c/a>\u003c/em> as well as international publications. Also, the free speech advocacy group \u003ca href=\"https://pen.org/blog/pen-concerned-google-suspension-artist-blog\" target=\"_blank\" rel=\"noopener\">PEN America\u003c/a> has had his back for much of the fight and a \u003ca href=\"https://www.change.org/p/google-restore-dennis-cooper-s-blog-and-email\" target=\"_blank\" rel=\"noopener\">Change.org petition\u003c/a> garnered more than 4,000 signatures.\u003c/p>\n\u003cp>Less than a month later, Google’s lawyers reached out to Cooper’s attorney and \u003ca href=\"https://www.facebook.com/permalink.php?story_fbid=1095110797242053&id=214073142012494\" target=\"_blank\" rel=\"noopener\">began working on a resolution\u003c/a>. On Friday, Aug. 26, Cooper, who lives in France, announced on his \u003ca href=\"https://www.facebook.com/Dennis-Coopers-Blog-214073142012494/\" target=\"_blank\" rel=\"noopener\">Facebook page\u003c/a> in the early morning that Google had agreed to \u003ca href=\"https://www.facebook.com/permalink.php?story_fbid=1114019298684536&id=214073142012494\" target=\"_blank\" rel=\"noopener\">give him his blog back\u003c/a>.\u003c/p>\n\u003cp>“I am very, very happy to be able announce that the two month-long Google-related nightmare is over,” Cooper wrote.\u003c/p>\n\u003cblockquote>\u003cp>“The gist: (1) My DC’s blog will restart in a new location on this coming Monday. Watch this space. I have the data for the archive of my disabled blog, but it’s not something that can be uploaded into the new blog intact. I will need to restore each post by hand, and since there are many thousands of posts, that restoration will happen very gradually over time. (2) I have the data for the 10 years of correspondence in my gmail account. (3) My GIF novel ‘Zac’s Freight Elevator’ has been rescued. It will be published as a free download this November. More details on that are forthcoming.”\u003c/p>\u003c/blockquote>\n\u003cp>\u003cb>Why did Google remove Cooper’s blog?\u003c/b>\u003c/p>\n\u003cp>Google was vague regarding Cooper’s blog, forcing Cooper and other commentators to speculate as to why the blog was removed. All pointed to the same thing: Cooper’s regular posts about ads for male prostitutes.\u003c/p>\n\u003cp>Cooper defends this content. “90-plus percent of my blog posts are about experimental art, writing, film, music, video games, amusement parks, etc. Nothing remotely controversial or objectionable,” Cooper said. “Twice a month I do a post that features profile texts I have taken from various websites where male escorts do their business, usually edited, to emphasize their accidental literary qualities and their emotionality. The escorts whose profiles I use are all adults, and any images I use in those posts aren’t pornographic at all and rarely even show genitalia.”\u003c/p>\n\u003cp>Thanks to the Internet archival website the Wayback Machine, we can see a few of these posts. It’s fair to say that Cooper might not be as vigilant as he should in terms of keeping graphic images off his site. (\u003ca href=\"https://web.archive.org/web/20091016193456/http://denniscooper-theweaklings.blogspot.com/\" target=\"_blank\" rel=\"noopener\">See for yourself\u003c/a>, but warning: NSFW)\u003c/p>\n\u003cp>Yet it’s Cooper’s willingness to spotlight touchy subjects like male prostitution that make him the writer he is today. Fearless with his subjects, Cooper was once called “the most dangerous writer in America” by the \u003cem>Village Voice\u003c/em> and “a master of transgressive literature” by the \u003cem>Guardian\u003c/em>.\u003c/p>\n\u003cp>But now Cooper knows the answer, and it’s nothing like he had initially thought. In his Facebook announcement, Cooper said Google removed his blog after someone reported that a picture posted on his blog back in 2006 featured child pornography.\u003c/p>\n\u003cblockquote>\u003cp>In 2006, I did one of those posts where I asked people to send me things they thought were sexy. I had forgotten all about that post until the other day, and I don’t remember what was in it. I do remember that, upon assembling the post, I realized there was some rather pornographic things therein that could potentially get my blog in trouble. So I set up that Self-Portrait Day on a separate page off the blog that could only be accessed on the blog through a link with an adult content warning.\u003c/p>\n\u003cp>According to Google, around the time my account was disabled, some unknown person came across this ten year-old page, thought one of the images on it constituted child pornography, and reported it to Google who immediately disabled my account. Now let me just say that I know there are people who don’t know me or my work well and think I’m some kind of ultra-transgressive shock-creating monster, but I completely assure you that if someone had sent me an image that I thought was child pornography, I would never have uploaded it, period.\u003c/p>\u003c/blockquote>\n\u003cp>Cooper spent months trying to convince Google to let him get into his blog and remove the offending image. He was refused time and time again. “What followed was about three weeks of discussions, negotiations, and so on,” Cooper said. “Finally, a week ago, Google suddenly announced that they were going to send me the data for the DC’s blog and my email account. They did, and that’s how and when the stand-off ended.”\u003c/p>\n\u003cp>Cooper says his blog will be up again by Monday.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>Read Cooper’s full statement on his Facebook page:\u003c/i>\u003cbr>\nhttps://www.facebook.com/permalink.php?story_fbid=1114019298684536&id=214073142012494\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "400-issues-life-at-maximum-rocknroll-after-tim-yohannan",
"title": "400 Issues: Life at 'Maximum Rocknroll' After Tim Yohannan",
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"headTitle": "400 Issues: Life at ‘Maximum Rocknroll’ After Tim Yohannan | KQED",
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"content": "\u003cp>The staff at \u003ca href=\"http://www.maximumrocknroll.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>Maximum Rocknroll\u003c/em>\u003c/a> are convinced Tim Yohannan haunts their offices. The founder of the punk magazine died in 1998 at age 52 — too soon — and his opinionated ghost likes to make his presence known during odd moments.\u003c/p>\n\u003cp>“[Once] a shelf of books came toppling down when we spent too much time talking about [the band] Integrity,” Grace Ambrose, \u003cem>Maximum Rocknroll\u003c/em>’s current content coordinator, wrote in an email, referring to the long-running Cleveland hardcore band who was probably a little too metal for Yohannan’s taste.\u003c/p>\n\u003cp>There are stories of needles skipping on ‘80s pop records and of push pins suddenly disappearing from a poster on a wall; basically everyone who has lived in the magazine’s office/living space north of the San Francisco Panhandle since Yohannan’s death 18 years ago has had some kind of supernatural experience. But you don’t have to live there to feel his overwhelming presence, it’s in the green tape on every single one of the thousands of records on the office shelves, the custom 7″ covers and other memorabilia, and in the immaculately clean office — a middle finger to anyone who assumes punks are lazy and gross.\u003c/p>\n\u003cp>Yohannan founded\u003cem> Maximum Rocknroll\u003c/em> (\u003cem>MRR\u003c/em>) in 1982; by now it has been around longer without him than it was with him. The magazine’s longevity can be partially credited to his planning: after he was diagnosed with non-Hodgkins lymphoma, Yohannan elected to find not one, but two replacements for himself because he did so much for the magazine. (The staff later found they actually needed three people to fully fill his shoes.)\u003c/p>\n\u003cfigure id=\"attachment_11981518\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Issue-400-Cover-922x1180.jpeg\" alt=\"Cover of Maximum Rocknroll's 400th issue\" width=\"640\" height=\"819\" class=\"size-large wp-image-11981518\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Issue-400-Cover-922x1180.jpeg 922w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Issue-400-Cover-400x512.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Issue-400-Cover-469x600.jpeg 469w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Issue-400-Cover-768x983.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Issue-400-Cover-1920x2459.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Issue-400-Cover-1180x1511.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Issue-400-Cover-960x1229.jpeg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Cover of Maximum Rocknroll’s 400th issue \u003ccite>(Photo: Shivaun Watchorn)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The staff at \u003cem>Maximum Rocknroll\u003c/em> have also encountered unforeseen obstacles and, without Yohannan’s guidance, managed to keep publishing the zine, never missing a month. Like all legacy print publications, \u003cem>MRR\u003c/em> no longer makes the riches on ad sales that it did during the ’90s (thanks internet). It’s come close to shutting its doors many times, and yet it lives today — the September 2016 issue of the zine is its 400th issue. The issue is dedicated to the volunteers, aka “the shitworkers,” who are mostly responsible for \u003cem>Maximum Rocknroll\u003c/em>’s continuing existence.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It’s an arbitrary numerical milestone, but we always do something for those issues,” \u003cem>MRR\u003c/em> archive coordinator Shivaun Watchorn said. “We have a lot of exciting stuff going on, so we felt like we should support those who made it happen. It’s a labor of love.”\u003c/p>\n\u003cp>\u003cb>After Yohannan’s Death\u003c/b>\u003c/p>\n\u003cp>When Yohannan died in April of 1998, not only was it a tragic end to a local legend, it was sooner than unexpected. The magazine’s staff thought he had at least three more months, and it left the magazine in a bit of a bind; Yohannan still needed to train Mark “Icki” Murrmann.\u003c/p>\n\u003cp>Murrmann, who is now the photo editor at \u003cem>Mother Jones\u003c/em> magazine, applied for the content coordinator position when Yohannan began looking for his replacements. He got far enough along in the process that he was flown out from the Midwest to interview in person, but Yohannan ended up choosing Jen Angel and Jacqueline Pritchard to succeed him. A few months later, he called Murrmann to offer him the job — Yohannan had a falling out with Angel and she was asked to leave the magazine. (She would go on to start \u003cem>Clamor\u003c/em> magazine with Jason Kucsma.)\u003c/p>\n\u003cp>Murrmann drove from Florida to San Francisco and moved into the offices a week after Yohannan died. He says those first days of living at the offices were difficult; the staff was still reeling from Yohannan’s death and Murrmann, who nobody really knew, had to be an authority figure.\u003c/p>\n\u003cfigure id=\"attachment_11979391\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11979391\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Murrmann-2.jpg\" alt='Mark \"Icki\" Murrman' width=\"800\" height=\"531\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Murrmann-2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Murrmann-2-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Murrmann-2-768x510.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mark “Icki” Murrmann \u003ccite>(Photo: Ian Willms)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It was a really tough time to come into a scene where nobody knew you and you were in charge. People were trying decide if they wanted to stick around,” Murrmann said. “They were also dealing with the fact that somebody had stolen a lot of high value records immediately after Tim’s death.”\u003c/p>\n\u003cp>As it turned out, Murrmann didn’t really need Yohannan’s supervision as Pritchard had been trained by Yohannan. But even if she wasn’t there, Yohannan had it covered before he died, compiling instructions for putting the magazine together. The instructions were in a binder that literally said “How to Run Maximum Rocknroll” on the cover.\u003c/p>\n\u003cp>Murrmann would only last about eight months, and his early exit was the result of the number one rule at \u003cem>MRR\u003c/em>: coordinators are not paid for their work. They live at the offices for free but they cannot receive any compensation, which ensures that those who apply for the position are passionate about the job, not the income.\u003c/p>\n\u003cp>“The three tenets of the magazine were that it will always be on newsprint, nobody will get paid and there will never be a color cover,” Murrmann says. “And those are things that basically handicap it.”\u003c/p>\n\u003cp>Murrmann had to take a second job to pay off debt, there were records he wanted to own and he somehow needed to pay for food. But his options for employment were limited thanks to another rule for coordinators — they both had to be present when the office was open from 10am to 6pm, hours that Yohannan could keep because his job as head of shipping and receiving at UC Berkeley freed him up. Murrmann had to find work during unconventional hours.\u003c/p>\n\u003cp>“I worked all types of odd jobs. I worked as security at Tower Records in the Castro, I worked at a catering company on the graveyard shift washing dishes, I made buttons for Busy Beaver buttons, shit like that,” Murrmann says. “Basically I just wasn’t making enough money and I wound up going back to Indiana.”\u003c/p>\n\u003cp>Murrmann’s employment issues did inspire change at the magazine. The magazine has a board of directors made up of \u003cem>MRR\u003c/em> veterans and Yohannan’s friends, set up to ensure the magazine stays true its mission. The board hires new coordinators, approves price increases, and changed the rules before Murrmann’s departure to hire a third coordinator. Now only one coordinator is required to be at the office when \u003cem>MRR\u003c/em> is open.\u003c/p>\n\u003cfigure id=\"attachment_11976289\" class=\"wp-caption aligncenter\" style=\"max-width: 931px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11976289\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/record_green_tape1.png\" alt=\"A MRR sh*tworker adding green tape to records\" width=\"931\" height=\"808\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/record_green_tape1.png 931w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/record_green_tape1-400x347.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/record_green_tape1-691x600.png 691w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/record_green_tape1-768x667.png 768w\" sizes=\"(max-width: 931px) 100vw, 931px\">\u003cfigcaption class=\"wp-caption-text\">A MRR shitworker adding green tape to records \u003ccite>(Photo: Courtesy of Maximum Rocknroll)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>The End of the Heyday\u003c/b>\u003c/p>\n\u003cp>These changes made it easier for coordinators to support themselves, but it didn’t stop the inevitable revolving door in the position. Since Yohannan’s death, the turnover has been so high in the magazine’s top position that it’s difficult to keep track (but the magazine reportedly has a list). A few have left after a year, some after a couple of months. Occasionally some stay in the position for years, such as Pritchard, Layla Gibbon, Golnar Nikpour and Arwen Curry, the third coordinator brought on while Murrmann was still around.\u003c/p>\n\u003caside class=\"pullquote alignright\">\nDuring my tenure we went from having this surplus to really struggling. Sometimes we felt there was an existential threat to the magazine.\u003cbr>\n\u003ccite>Arwen Curry\u003c/cite>\u003cbr>\n\u003c/aside>\n\u003cp>Curry struck up a friendship with Yohannan over email while she was living in Santa Cruz, singing in punk bands and writing a column for the local weekly. She moved up to San Francisco in 1998 but Yohannan died before she could meet him. Still, she went to work at \u003cem>MRR\u003c/em> reviewing records, and as the difficulties of coordinating the magazine increased, it wasn’t long before the board asked Curry to come on as a third coordinator.\u003c/p>\n\u003cp>It was during the turn of the century when Curry says the magazine would see the end of its most profitable era. Before then, as much as the magazine railed against the punk bands like Green Day and Jawbreaker that went mainstream during the ’90s, punk’s popularity was a tide that lifted all boats, acting as a gateway to the bands on smaller independent labels. \u003cem>MRR\u003c/em> profited from that popularity as much as a not-for-profit magazine could. At the end of each year during those salad days, Yohannan would bust open the overflowing coffers and start giving away the would-be-profits to \u003cem>MRR\u003c/em>-related projects — the all-ages music venue \u003ca href=\"http://www.924gilman.org/\" target=\"_blank\" rel=\"noopener\">924 Gilman\u003c/a>, the record store \u003ca href=\"http://www.salon.com/1999/07/01/epicenter/\" target=\"_blank\" rel=\"noopener\">Epicenter Zone\u003c/a>, Blacklist Mailorder — and to the shitworkers, in the form of Christmas bonuses. “The first year I was there, it was a couple hundred dollars per person,” Curry says.\u003c/p>\n\u003cfigure id=\"attachment_11977525\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11977525\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/IMG_2323-1180x885.jpg\" alt=\"A pallet of Maximum Rocknroll issues, ready for distribution\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/IMG_2323-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/IMG_2323-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/IMG_2323-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/IMG_2323-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/IMG_2323-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/IMG_2323-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A pallet of Maximum Rocknroll issues, ready for distribution \u003ccite>(Photo: Kevin L. Jones/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“That changed pretty quickly when punk stopped being mainstream again and slipped back into its regular underground home,” Curry says. “During my tenure we went from having this surplus to really struggling. Sometimes we felt there was an existential threat to the magazine.”\u003c/p>\n\u003cp>As the magazine entered the ’00s, ad sales sank and subscriptions began a steady decline that would go on for years.\u003c/p>\n\u003cp>Not only did the money stop coming in like it used to, the magazine stopped its longtime distribution deal with Mordam Records, which began almost in tandem with \u003cem>MRR\u003c/em>. By then, Mordam was working with labels that were too corporate for the \u003cem>Maximum\u003c/em> staff, so they opted to distribute \u003cem>MRR\u003c/em> themselves and hire someone to help sell the magazine.\u003c/p>\n\u003cp>“That was a challenge. Financially it still is, although it’s the best option we found,” Curry says.\u003c/p>\n\u003cp>The magazine stayed afloat, but not without a few close calls.\u003c/p>\n\u003cp>“It was terrifying for me because you really feel, as the coordinator, that despite all the people who are helping, it’s on your shoulders ultimately,” Curry says. “I was feeling the burden of the possibility that an incredible institution would go under when I’m at the helm.”\u003c/p>\n\u003cp>\u003cb>Back in the Black\u003c/b>\u003c/p>\n\u003cp>Curry left the coordinator position in 2004 and would later head to UC Berkeley’s Graduate School of Journalism, earning her master’s degree two years after Murrmann completed his own at the same school. (She became a filmmaker, working at KQED before starting her own production company, which is currently producing a \u003ca href=\"https://ww2.kqed.org/arts/2016/03/02/ursula-k-le-guin-documentary-raises-200000-with-kickstarter/\" target=\"_blank\" rel=\"noopener\">feature-length documentary\u003c/a> about sci-fi author Ursula K. Le Guin.)\u003c/p>\n\u003cfigure id=\"attachment_11375013\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11375013\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Curry-WOUKL-1180x664.jpg\" alt=\"'Worlds of Ursula K Le Guin' director Arwen Curry and SciFi author Le Guin\" width=\"640\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Curry-WOUKL-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Curry-WOUKL-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Curry-WOUKL-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Curry-WOUKL-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Curry-WOUKL-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Curry-WOUKL.jpg 1799w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">‘Worlds of Ursula K Le Guin’ director Arwen Curry and sci-fi author Le Guin \u003ccite>(Courtesy: Arwen Curry)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Murrmann and Curry continued working for the zine, writing, taking photos and even sitting on the board. And they watched for years as the zine continued to struggle with debt and the fact that \u003ca href=\"http://fortune.com/2015/06/01/print-readership-paywalls/\" target=\"_blank\" rel=\"noopener\">print readership in America has been in constant decline\u003c/a>.\u003c/p>\n\u003cp>“I think I’m exaggerating, but I remember a time five years ago where we went through five coordinators in just as many months,” say Brace Belden, a \u003cem>MRR\u003c/em> columnist since 2008.\u003c/p>\n\u003cp>But now, by all accounts, the state of the magazine is good. Under the leadership of coordinator Grace Ambrose, the magazine has paid off its debts and has even built up a bit of a surplus.\u003c/p>\n\u003cp>“I will say right now that \u003cem>MRR\u003c/em> is definitely in its best incarnation since the ’80s,” Belden says. “Grace does a fucking great job. No knocking any of the other coordinators that have been there since I have been there, but the only person who makes it seem like she’s running a magazine is Grace.”\u003c/p>\n\u003cp>Ambrose, who came to the magazine from Philadelphia in 2014, credits her co-workers — “Nothing that happens at MRR can be credited to any one person,” she says — and some lucky breaks for \u003cem>MRR\u003c/em>‘s current financial standing. With the help of distribution coordinator Eli Wald, she identified and eliminated a lot of “inherited inefficiencies” in all aspects of the magazine’s production and developed a new system for distributing the magazine. She also oversaw the expansion of merchandise options and the release of a Los Crudos double-LP discography (compiled over many years by former \u003cem>MRR\u003c/em> coordinators Mariam Bastani, Martin Sorrondeguy (Los Crudos’s singer), and Lydia Athanasopolou) on the magazine’s label. When the album sold out, the band members donated all the profits to \u003cem>MRR\u003c/em>, enough to pay off a massive debt that had been weighing on the publication for a decade.\u003c/p>\n\u003cfigure id=\"attachment_11980291\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/benfordree.jpg\" alt=\"MRR coordinator Grace Ambrose with long-time MRR columnist Bryony Beynon\" width=\"1024\" height=\"679\" class=\"size-full wp-image-11980291\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/benfordree.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/benfordree-400x265.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/benfordree-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/benfordree-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/benfordree-960x637.jpg 960w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">MRR coordinator Grace Ambrose with long-time MRR columnist Bryony Beynon \u003ccite>(Photo: Ben Fordree)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Cut costs and make more money, that’s the secret to running a business right? We’re figuring it out,” Ambrose says. “Running a print magazine about punk in San Francisco still seems totally improbable, but we’re making it work.”\u003c/p>\n\u003cp>With the magazine on stable footing, Ambrose and staff are working towards the magazine’s next big project: a digital registration of over 50,000 records at \u003cem>Maximum Rocknroll\u003c/em>. The online archive will include a picture, release information and the magazine’s review of each record or cassette in its massive collection. Ambrose even brought out her friend Shivaun Watchorn, a professional archivist, to help with the massive project.\u003c/p>\n\u003cp>“The magazine always had an international readership and it has always been designed to serve the international punk community. We have so many people that read the magazine that are never going to be able to come visit us here in San Francisco,” Ambrose says. “The idea was to do a project that would help us maintain our physical collections that we have here in the building and preserve them for as long as possible. It’s the biggest and most extensive collection of its kind in the world, and we’re making it discoverable and accessible for people all over.”\u003c/p>\n\u003cp>Back in April of 2016, Watchorn started an \u003ca href=\"https://www.indiegogo.com/projects/maximum-rocknroll-archive-and-database-diy-media#/\" target=\"_blank\" rel=\"noopener\">Indiegogo campaign\u003c/a> to raise $15,000 for the project. Within 24 hours it raised half of its goal, and by the second day it was fully funded. By the end of the two-month campaign, the magazine raised over $26,000 for the project.\u003c/p>\n\u003cfigure id=\"attachment_11977526\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11977526\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/IMG_2328-1180x885.jpg\" alt=\"MRR archivist Shivaun Watchorn adding records to the magazine's massive database\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/IMG_2328-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/IMG_2328-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/IMG_2328-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/IMG_2328-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/IMG_2328-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/IMG_2328-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">MRR archivist Shivaun Watchorn adding records to the magazine’s massive database \u003ccite>(Photo: Kevin L. Jones/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Living on as an Example\u003c/b>\u003c/p>\n\u003cp>If Yohannan came back from the dead today, he would see much missing from the \u003cem>Maximum Rocknroll\u003c/em> he left behind. Bruce Roehrs, \u003cem>MRR\u003c/em>‘s longest running columnist, died in 2010. Once-popular columns from Mykel Board and George Tabb have been dropped. Screeching Weasel frontman Ben Weasel, whose column was a favorite in the ’90s, probably wouldn’t be allowed anywhere near the magazine’s offices because of \u003ca href=\"http://www.villagevoice.com/music/ben-weasel-punched-two-women-so-why-do-i-still-want-to-watch-his-band-6639154\" target=\"_blank\" rel=\"noopener\">past incidents\u003c/a>. But the zine is still seen as the “cop of punk” for continuing to comment on issues that pop up in the punk scene, like the \u003ca href=\"http://www.eastbayexpress.com/oakland/boycotters-condemn-924-gilman-st-projects-ethical-backslide/Content?oid=4807011\" target=\"_blank\" rel=\"noopener\">recent Gilman Boycott\u003c/a>. It’s also still read all over the world; to get a record review in \u003cem>MRR \u003c/em>is a huge accomplishment for the unheard-of bands that submit their songs.\u003c/p>\n\u003caside class=\"pullquote alignright\">\nCut costs and make more money, that’s the secret to running a business right?\u003cbr>\n\u003ccite>Grace Ambrose\u003c/cite>\u003cbr>\n\u003c/aside>\n\u003cp>Martin Sprouse, who worked at \u003cem>MRR\u003c/em> for decades and was considered Yohannan’s best friend, says that what mattered most to Yohannan was living by example. Yohannan was known for expressing strong opinions about bands who “sold out,” but these opinions were shared by many in the scene, just like his stances against skinhead violence. Yohannan was so vocal because someone had to say something and the magazine was the perfect pulpit.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“When bands started signing up to majors, we were talking about why that was a bad idea — why would you get in bed with the majors? But bands are always going to do what they want to do and we’re just presenting the alternatives to it, like staying with independent labels,” Sprouse says. “It wasn’t telling people not to do it, it was about living as an example. That’s the key to \u003cem>Maximum\u003c/em> and that’s the key to Gilman. It wasn’t about an idea that lasted six months — \u003cem>Maximum\u003c/em> has lasted 400 issues. That’s incredible, and that’s through living by example.”\u003c/p>\n\n",
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"title": "400 Issues: Life at 'Maximum Rocknroll' After Tim Yohannan | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The staff at \u003ca href=\"http://www.maximumrocknroll.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>Maximum Rocknroll\u003c/em>\u003c/a> are convinced Tim Yohannan haunts their offices. The founder of the punk magazine died in 1998 at age 52 — too soon — and his opinionated ghost likes to make his presence known during odd moments.\u003c/p>\n\u003cp>“[Once] a shelf of books came toppling down when we spent too much time talking about [the band] Integrity,” Grace Ambrose, \u003cem>Maximum Rocknroll\u003c/em>’s current content coordinator, wrote in an email, referring to the long-running Cleveland hardcore band who was probably a little too metal for Yohannan’s taste.\u003c/p>\n\u003cp>There are stories of needles skipping on ‘80s pop records and of push pins suddenly disappearing from a poster on a wall; basically everyone who has lived in the magazine’s office/living space north of the San Francisco Panhandle since Yohannan’s death 18 years ago has had some kind of supernatural experience. But you don’t have to live there to feel his overwhelming presence, it’s in the green tape on every single one of the thousands of records on the office shelves, the custom 7″ covers and other memorabilia, and in the immaculately clean office — a middle finger to anyone who assumes punks are lazy and gross.\u003c/p>\n\u003cp>Yohannan founded\u003cem> Maximum Rocknroll\u003c/em> (\u003cem>MRR\u003c/em>) in 1982; by now it has been around longer without him than it was with him. The magazine’s longevity can be partially credited to his planning: after he was diagnosed with non-Hodgkins lymphoma, Yohannan elected to find not one, but two replacements for himself because he did so much for the magazine. (The staff later found they actually needed three people to fully fill his shoes.)\u003c/p>\n\u003cfigure id=\"attachment_11981518\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Issue-400-Cover-922x1180.jpeg\" alt=\"Cover of Maximum Rocknroll's 400th issue\" width=\"640\" height=\"819\" class=\"size-large wp-image-11981518\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Issue-400-Cover-922x1180.jpeg 922w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Issue-400-Cover-400x512.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Issue-400-Cover-469x600.jpeg 469w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Issue-400-Cover-768x983.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Issue-400-Cover-1920x2459.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Issue-400-Cover-1180x1511.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Issue-400-Cover-960x1229.jpeg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Cover of Maximum Rocknroll’s 400th issue \u003ccite>(Photo: Shivaun Watchorn)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The staff at \u003cem>Maximum Rocknroll\u003c/em> have also encountered unforeseen obstacles and, without Yohannan’s guidance, managed to keep publishing the zine, never missing a month. Like all legacy print publications, \u003cem>MRR\u003c/em> no longer makes the riches on ad sales that it did during the ’90s (thanks internet). It’s come close to shutting its doors many times, and yet it lives today — the September 2016 issue of the zine is its 400th issue. The issue is dedicated to the volunteers, aka “the shitworkers,” who are mostly responsible for \u003cem>Maximum Rocknroll\u003c/em>’s continuing existence.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’s an arbitrary numerical milestone, but we always do something for those issues,” \u003cem>MRR\u003c/em> archive coordinator Shivaun Watchorn said. “We have a lot of exciting stuff going on, so we felt like we should support those who made it happen. It’s a labor of love.”\u003c/p>\n\u003cp>\u003cb>After Yohannan’s Death\u003c/b>\u003c/p>\n\u003cp>When Yohannan died in April of 1998, not only was it a tragic end to a local legend, it was sooner than unexpected. The magazine’s staff thought he had at least three more months, and it left the magazine in a bit of a bind; Yohannan still needed to train Mark “Icki” Murrmann.\u003c/p>\n\u003cp>Murrmann, who is now the photo editor at \u003cem>Mother Jones\u003c/em> magazine, applied for the content coordinator position when Yohannan began looking for his replacements. He got far enough along in the process that he was flown out from the Midwest to interview in person, but Yohannan ended up choosing Jen Angel and Jacqueline Pritchard to succeed him. A few months later, he called Murrmann to offer him the job — Yohannan had a falling out with Angel and she was asked to leave the magazine. (She would go on to start \u003cem>Clamor\u003c/em> magazine with Jason Kucsma.)\u003c/p>\n\u003cp>Murrmann drove from Florida to San Francisco and moved into the offices a week after Yohannan died. He says those first days of living at the offices were difficult; the staff was still reeling from Yohannan’s death and Murrmann, who nobody really knew, had to be an authority figure.\u003c/p>\n\u003cfigure id=\"attachment_11979391\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11979391\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Murrmann-2.jpg\" alt='Mark \"Icki\" Murrman' width=\"800\" height=\"531\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Murrmann-2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Murrmann-2-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Murrmann-2-768x510.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mark “Icki” Murrmann \u003ccite>(Photo: Ian Willms)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It was a really tough time to come into a scene where nobody knew you and you were in charge. People were trying decide if they wanted to stick around,” Murrmann said. “They were also dealing with the fact that somebody had stolen a lot of high value records immediately after Tim’s death.”\u003c/p>\n\u003cp>As it turned out, Murrmann didn’t really need Yohannan’s supervision as Pritchard had been trained by Yohannan. But even if she wasn’t there, Yohannan had it covered before he died, compiling instructions for putting the magazine together. The instructions were in a binder that literally said “How to Run Maximum Rocknroll” on the cover.\u003c/p>\n\u003cp>Murrmann would only last about eight months, and his early exit was the result of the number one rule at \u003cem>MRR\u003c/em>: coordinators are not paid for their work. They live at the offices for free but they cannot receive any compensation, which ensures that those who apply for the position are passionate about the job, not the income.\u003c/p>\n\u003cp>“The three tenets of the magazine were that it will always be on newsprint, nobody will get paid and there will never be a color cover,” Murrmann says. “And those are things that basically handicap it.”\u003c/p>\n\u003cp>Murrmann had to take a second job to pay off debt, there were records he wanted to own and he somehow needed to pay for food. But his options for employment were limited thanks to another rule for coordinators — they both had to be present when the office was open from 10am to 6pm, hours that Yohannan could keep because his job as head of shipping and receiving at UC Berkeley freed him up. Murrmann had to find work during unconventional hours.\u003c/p>\n\u003cp>“I worked all types of odd jobs. I worked as security at Tower Records in the Castro, I worked at a catering company on the graveyard shift washing dishes, I made buttons for Busy Beaver buttons, shit like that,” Murrmann says. “Basically I just wasn’t making enough money and I wound up going back to Indiana.”\u003c/p>\n\u003cp>Murrmann’s employment issues did inspire change at the magazine. The magazine has a board of directors made up of \u003cem>MRR\u003c/em> veterans and Yohannan’s friends, set up to ensure the magazine stays true its mission. The board hires new coordinators, approves price increases, and changed the rules before Murrmann’s departure to hire a third coordinator. Now only one coordinator is required to be at the office when \u003cem>MRR\u003c/em> is open.\u003c/p>\n\u003cfigure id=\"attachment_11976289\" class=\"wp-caption aligncenter\" style=\"max-width: 931px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11976289\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/record_green_tape1.png\" alt=\"A MRR sh*tworker adding green tape to records\" width=\"931\" height=\"808\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/record_green_tape1.png 931w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/record_green_tape1-400x347.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/record_green_tape1-691x600.png 691w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/record_green_tape1-768x667.png 768w\" sizes=\"(max-width: 931px) 100vw, 931px\">\u003cfigcaption class=\"wp-caption-text\">A MRR shitworker adding green tape to records \u003ccite>(Photo: Courtesy of Maximum Rocknroll)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>The End of the Heyday\u003c/b>\u003c/p>\n\u003cp>These changes made it easier for coordinators to support themselves, but it didn’t stop the inevitable revolving door in the position. Since Yohannan’s death, the turnover has been so high in the magazine’s top position that it’s difficult to keep track (but the magazine reportedly has a list). A few have left after a year, some after a couple of months. Occasionally some stay in the position for years, such as Pritchard, Layla Gibbon, Golnar Nikpour and Arwen Curry, the third coordinator brought on while Murrmann was still around.\u003c/p>\n\u003caside class=\"pullquote alignright\">\nDuring my tenure we went from having this surplus to really struggling. Sometimes we felt there was an existential threat to the magazine.\u003cbr>\n\u003ccite>Arwen Curry\u003c/cite>\u003cbr>\n\u003c/aside>\n\u003cp>Curry struck up a friendship with Yohannan over email while she was living in Santa Cruz, singing in punk bands and writing a column for the local weekly. She moved up to San Francisco in 1998 but Yohannan died before she could meet him. Still, she went to work at \u003cem>MRR\u003c/em> reviewing records, and as the difficulties of coordinating the magazine increased, it wasn’t long before the board asked Curry to come on as a third coordinator.\u003c/p>\n\u003cp>It was during the turn of the century when Curry says the magazine would see the end of its most profitable era. Before then, as much as the magazine railed against the punk bands like Green Day and Jawbreaker that went mainstream during the ’90s, punk’s popularity was a tide that lifted all boats, acting as a gateway to the bands on smaller independent labels. \u003cem>MRR\u003c/em> profited from that popularity as much as a not-for-profit magazine could. At the end of each year during those salad days, Yohannan would bust open the overflowing coffers and start giving away the would-be-profits to \u003cem>MRR\u003c/em>-related projects — the all-ages music venue \u003ca href=\"http://www.924gilman.org/\" target=\"_blank\" rel=\"noopener\">924 Gilman\u003c/a>, the record store \u003ca href=\"http://www.salon.com/1999/07/01/epicenter/\" target=\"_blank\" rel=\"noopener\">Epicenter Zone\u003c/a>, Blacklist Mailorder — and to the shitworkers, in the form of Christmas bonuses. “The first year I was there, it was a couple hundred dollars per person,” Curry says.\u003c/p>\n\u003cfigure id=\"attachment_11977525\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11977525\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/IMG_2323-1180x885.jpg\" alt=\"A pallet of Maximum Rocknroll issues, ready for distribution\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/IMG_2323-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/IMG_2323-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/IMG_2323-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/IMG_2323-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/IMG_2323-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/IMG_2323-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A pallet of Maximum Rocknroll issues, ready for distribution \u003ccite>(Photo: Kevin L. Jones/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“That changed pretty quickly when punk stopped being mainstream again and slipped back into its regular underground home,” Curry says. “During my tenure we went from having this surplus to really struggling. Sometimes we felt there was an existential threat to the magazine.”\u003c/p>\n\u003cp>As the magazine entered the ’00s, ad sales sank and subscriptions began a steady decline that would go on for years.\u003c/p>\n\u003cp>Not only did the money stop coming in like it used to, the magazine stopped its longtime distribution deal with Mordam Records, which began almost in tandem with \u003cem>MRR\u003c/em>. By then, Mordam was working with labels that were too corporate for the \u003cem>Maximum\u003c/em> staff, so they opted to distribute \u003cem>MRR\u003c/em> themselves and hire someone to help sell the magazine.\u003c/p>\n\u003cp>“That was a challenge. Financially it still is, although it’s the best option we found,” Curry says.\u003c/p>\n\u003cp>The magazine stayed afloat, but not without a few close calls.\u003c/p>\n\u003cp>“It was terrifying for me because you really feel, as the coordinator, that despite all the people who are helping, it’s on your shoulders ultimately,” Curry says. “I was feeling the burden of the possibility that an incredible institution would go under when I’m at the helm.”\u003c/p>\n\u003cp>\u003cb>Back in the Black\u003c/b>\u003c/p>\n\u003cp>Curry left the coordinator position in 2004 and would later head to UC Berkeley’s Graduate School of Journalism, earning her master’s degree two years after Murrmann completed his own at the same school. (She became a filmmaker, working at KQED before starting her own production company, which is currently producing a \u003ca href=\"https://ww2.kqed.org/arts/2016/03/02/ursula-k-le-guin-documentary-raises-200000-with-kickstarter/\" target=\"_blank\" rel=\"noopener\">feature-length documentary\u003c/a> about sci-fi author Ursula K. Le Guin.)\u003c/p>\n\u003cfigure id=\"attachment_11375013\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11375013\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Curry-WOUKL-1180x664.jpg\" alt=\"'Worlds of Ursula K Le Guin' director Arwen Curry and SciFi author Le Guin\" width=\"640\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Curry-WOUKL-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Curry-WOUKL-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Curry-WOUKL-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Curry-WOUKL-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Curry-WOUKL-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Curry-WOUKL.jpg 1799w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">‘Worlds of Ursula K Le Guin’ director Arwen Curry and sci-fi author Le Guin \u003ccite>(Courtesy: Arwen Curry)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Murrmann and Curry continued working for the zine, writing, taking photos and even sitting on the board. And they watched for years as the zine continued to struggle with debt and the fact that \u003ca href=\"http://fortune.com/2015/06/01/print-readership-paywalls/\" target=\"_blank\" rel=\"noopener\">print readership in America has been in constant decline\u003c/a>.\u003c/p>\n\u003cp>“I think I’m exaggerating, but I remember a time five years ago where we went through five coordinators in just as many months,” say Brace Belden, a \u003cem>MRR\u003c/em> columnist since 2008.\u003c/p>\n\u003cp>But now, by all accounts, the state of the magazine is good. Under the leadership of coordinator Grace Ambrose, the magazine has paid off its debts and has even built up a bit of a surplus.\u003c/p>\n\u003cp>“I will say right now that \u003cem>MRR\u003c/em> is definitely in its best incarnation since the ’80s,” Belden says. “Grace does a fucking great job. No knocking any of the other coordinators that have been there since I have been there, but the only person who makes it seem like she’s running a magazine is Grace.”\u003c/p>\n\u003cp>Ambrose, who came to the magazine from Philadelphia in 2014, credits her co-workers — “Nothing that happens at MRR can be credited to any one person,” she says — and some lucky breaks for \u003cem>MRR\u003c/em>‘s current financial standing. With the help of distribution coordinator Eli Wald, she identified and eliminated a lot of “inherited inefficiencies” in all aspects of the magazine’s production and developed a new system for distributing the magazine. She also oversaw the expansion of merchandise options and the release of a Los Crudos double-LP discography (compiled over many years by former \u003cem>MRR\u003c/em> coordinators Mariam Bastani, Martin Sorrondeguy (Los Crudos’s singer), and Lydia Athanasopolou) on the magazine’s label. When the album sold out, the band members donated all the profits to \u003cem>MRR\u003c/em>, enough to pay off a massive debt that had been weighing on the publication for a decade.\u003c/p>\n\u003cfigure id=\"attachment_11980291\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/benfordree.jpg\" alt=\"MRR coordinator Grace Ambrose with long-time MRR columnist Bryony Beynon\" width=\"1024\" height=\"679\" class=\"size-full wp-image-11980291\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/benfordree.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/benfordree-400x265.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/benfordree-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/benfordree-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/benfordree-960x637.jpg 960w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">MRR coordinator Grace Ambrose with long-time MRR columnist Bryony Beynon \u003ccite>(Photo: Ben Fordree)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Cut costs and make more money, that’s the secret to running a business right? We’re figuring it out,” Ambrose says. “Running a print magazine about punk in San Francisco still seems totally improbable, but we’re making it work.”\u003c/p>\n\u003cp>With the magazine on stable footing, Ambrose and staff are working towards the magazine’s next big project: a digital registration of over 50,000 records at \u003cem>Maximum Rocknroll\u003c/em>. The online archive will include a picture, release information and the magazine’s review of each record or cassette in its massive collection. Ambrose even brought out her friend Shivaun Watchorn, a professional archivist, to help with the massive project.\u003c/p>\n\u003cp>“The magazine always had an international readership and it has always been designed to serve the international punk community. We have so many people that read the magazine that are never going to be able to come visit us here in San Francisco,” Ambrose says. “The idea was to do a project that would help us maintain our physical collections that we have here in the building and preserve them for as long as possible. It’s the biggest and most extensive collection of its kind in the world, and we’re making it discoverable and accessible for people all over.”\u003c/p>\n\u003cp>Back in April of 2016, Watchorn started an \u003ca href=\"https://www.indiegogo.com/projects/maximum-rocknroll-archive-and-database-diy-media#/\" target=\"_blank\" rel=\"noopener\">Indiegogo campaign\u003c/a> to raise $15,000 for the project. Within 24 hours it raised half of its goal, and by the second day it was fully funded. By the end of the two-month campaign, the magazine raised over $26,000 for the project.\u003c/p>\n\u003cfigure id=\"attachment_11977526\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11977526\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/IMG_2328-1180x885.jpg\" alt=\"MRR archivist Shivaun Watchorn adding records to the magazine's massive database\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/IMG_2328-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/IMG_2328-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/IMG_2328-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/IMG_2328-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/IMG_2328-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/IMG_2328-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">MRR archivist Shivaun Watchorn adding records to the magazine’s massive database \u003ccite>(Photo: Kevin L. Jones/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Living on as an Example\u003c/b>\u003c/p>\n\u003cp>If Yohannan came back from the dead today, he would see much missing from the \u003cem>Maximum Rocknroll\u003c/em> he left behind. Bruce Roehrs, \u003cem>MRR\u003c/em>‘s longest running columnist, died in 2010. Once-popular columns from Mykel Board and George Tabb have been dropped. Screeching Weasel frontman Ben Weasel, whose column was a favorite in the ’90s, probably wouldn’t be allowed anywhere near the magazine’s offices because of \u003ca href=\"http://www.villagevoice.com/music/ben-weasel-punched-two-women-so-why-do-i-still-want-to-watch-his-band-6639154\" target=\"_blank\" rel=\"noopener\">past incidents\u003c/a>. But the zine is still seen as the “cop of punk” for continuing to comment on issues that pop up in the punk scene, like the \u003ca href=\"http://www.eastbayexpress.com/oakland/boycotters-condemn-924-gilman-st-projects-ethical-backslide/Content?oid=4807011\" target=\"_blank\" rel=\"noopener\">recent Gilman Boycott\u003c/a>. It’s also still read all over the world; to get a record review in \u003cem>MRR \u003c/em>is a huge accomplishment for the unheard-of bands that submit their songs.\u003c/p>\n\u003caside class=\"pullquote alignright\">\nCut costs and make more money, that’s the secret to running a business right?\u003cbr>\n\u003ccite>Grace Ambrose\u003c/cite>\u003cbr>\n\u003c/aside>\n\u003cp>Martin Sprouse, who worked at \u003cem>MRR\u003c/em> for decades and was considered Yohannan’s best friend, says that what mattered most to Yohannan was living by example. Yohannan was known for expressing strong opinions about bands who “sold out,” but these opinions were shared by many in the scene, just like his stances against skinhead violence. Yohannan was so vocal because someone had to say something and the magazine was the perfect pulpit.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“When bands started signing up to majors, we were talking about why that was a bad idea — why would you get in bed with the majors? But bands are always going to do what they want to do and we’re just presenting the alternatives to it, like staying with independent labels,” Sprouse says. “It wasn’t telling people not to do it, it was about living as an example. That’s the key to \u003cem>Maximum\u003c/em> and that’s the key to Gilman. It wasn’t about an idea that lasted six months — \u003cem>Maximum\u003c/em> has lasted 400 issues. That’s incredible, and that’s through living by example.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "john-lennons-deportation-fight-paved-way-for-obamas-deferred-action-policy",
"title": "John Lennon's Deportation Fight Paved Way for Obama's Deferred Action Policy",
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"headTitle": "John Lennon’s Deportation Fight Paved Way for Obama’s Deferred Action Policy | KQED",
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"content": "\u003cp>\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/490957803/491103757\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\u003c/p>\n\u003cp>Back in 1972, John Lennon hired Leon Wildes, an immigration attorney who had no idea who he was.\u003c/p>\n\u003cp>Wildes’ son, Michael, remembers his father coming home to tell his mother about their first meeting.\u003c/p>\n\u003cp>“And he said, ‘A singer by the name of Jack Lemon and his wife Yoko Moto,’ ” Michael recalls. “My mom looked at him like he wasn’t well. ‘Are you talking about the Beatles and John Lennon?’ My father said, ‘Yeah!’ ”\u003c/p>\n\u003cp>Over the next five years, Lennon and Wildes often were caught on camera outside immigration court in New York City — as well as on late-night talk shows, such as NBC’s \u003cem>The Tomorrow Show With Tom Snyder\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“What is your status in the country right now?” Snyder asked Lennon during a show taping in 1975.\u003c/p>\n\u003cp>“That’s why Leon’s here,” Lennon answers. He glances over at Leon Wildes sitting across from him on a dark TV set. “What, what am I, Leon?”\u003c/p>\n\u003cp>“Well, John was charged with being deportable in the U.S. for being an overstay,” says Wildes, who has written a new book about Lennon’s deportation case called \u003cem>John Lennon vs. The U.S.A\u003c/em>.\u003c/p>\n\u003cp>In other words, Lennon was on a tourist visa that expired while he was helping his wife, Yoko Ono, with a custody battle over her daughter from a previous marriage.\u003c/p>\n\u003cp>So Wildes got that visa extended. But immigration officials gave them only just over month before Lennon would have to leave. Later, Wildes put in an application for a green card, which was denied.\u003c/p>\n\u003cp>But Lennon still wanted to stay in America.\u003c/p>\n\u003cp>“I like to be here because this is where the music came from,” Lennon said. “This is what influenced my whole life and got me where I am today.”\u003c/p>\n\u003cp>Wildes appealed the denial.\u003c/p>\n\u003cp>But FBI files show that the Nixon administration wanted Lennon, along with his anti-war activism and influence over young voters, out of the country.\u003c/p>\n\u003cp>So Wildes started digging for another route.\u003c/p>\n\u003cp>“I always had a feeling that the government must have a program to exercise some discretion,” Wildes said.\u003c/p>\n\u003cp>Asked why he had that feeling, Wildes said it was “because there were rumors of certain guys who were — had critical criminal backgrounds and bad immigration histories and seemed to be still around.”\u003c/p>\n\u003cp>Those guys probably benefited from what’s now known as “prosecutorial discretion.” It’s based mainly on the premise that the federal government doesn’t have enough resources to deport all of the immigrants living in the U.S. illegally.\u003c/p>\n\u003cp>Under federal law, immigration officials can choose to prioritize certain deportation cases while holding off on other ones for humanitarian or political reasons.\u003c/p>\n\u003cp>The problem at the time was that Wildes didn’t have proof that this kind of program existed until he filed a Freedom of Information Act request.\u003c/p>\n\u003cp>“When the box came into my office, there was jubilation!” Wildes said. “Unbelievable feeling that I had succeeded.”\u003c/p>\n\u003cp>In the end, Lennon received a green card, which allowed him to stay in the U.S. But those files led U.S. immigration officials to publicize a secret policy.\u003c/p>\n\u003cp>“Before the work of Mr. Wildes, deferred action was a complete mystery because there wasn’t even a guideline for attorneys and noncitizens,” says Shoba Sivaprasad Wadhia, who teaches immigration law at Penn State University and wrote \u003cem>Beyond Deportation: The Role of Prosecutorial Discretion in Immigration Cases\u003c/em>.\u003c/p>\n\u003cp>The files showed that for decades, the government had shielded some immigrants living in the U.S. illegally from deportation because of their sympathetic cases. The Obama administration used that policy to create the original Deferred Action for Childhood Arrivals program, or DACA.\u003c/p>\n\u003cp>“Eligible individuals who do not present a risk to national security or public safety will be able to request temporary relief from deportation proceedings and apply for work authorization,” said President Obama in a 2012 announcement.\u003c/p>\n\u003cp>An expansion of the program, as well as the creation of a similar program called Deferred Action for Parents of Americans and Lawful Permanent Residents, or DAPA, is currently on hold because of legal challenges.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But today, the original DACA program covers more than 700,000 young people brought to the U.S. as children — all in part because of that immigrant from Liverpool. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=John+Lennon%27s+Deportation+Fight+Paved+Way+For+Obama%27s+Deferred+Action+Policy&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“What is your status in the country right now?” Snyder asked Lennon during a show taping in 1975.\u003c/p>\n\u003cp>“That’s why Leon’s here,” Lennon answers. He glances over at Leon Wildes sitting across from him on a dark TV set. “What, what am I, Leon?”\u003c/p>\n\u003cp>“Well, John was charged with being deportable in the U.S. for being an overstay,” says Wildes, who has written a new book about Lennon’s deportation case called \u003cem>John Lennon vs. The U.S.A\u003c/em>.\u003c/p>\n\u003cp>In other words, Lennon was on a tourist visa that expired while he was helping his wife, Yoko Ono, with a custody battle over her daughter from a previous marriage.\u003c/p>\n\u003cp>So Wildes got that visa extended. But immigration officials gave them only just over month before Lennon would have to leave. Later, Wildes put in an application for a green card, which was denied.\u003c/p>\n\u003cp>But Lennon still wanted to stay in America.\u003c/p>\n\u003cp>“I like to be here because this is where the music came from,” Lennon said. “This is what influenced my whole life and got me where I am today.”\u003c/p>\n\u003cp>Wildes appealed the denial.\u003c/p>\n\u003cp>But FBI files show that the Nixon administration wanted Lennon, along with his anti-war activism and influence over young voters, out of the country.\u003c/p>\n\u003cp>So Wildes started digging for another route.\u003c/p>\n\u003cp>“I always had a feeling that the government must have a program to exercise some discretion,” Wildes said.\u003c/p>\n\u003cp>Asked why he had that feeling, Wildes said it was “because there were rumors of certain guys who were — had critical criminal backgrounds and bad immigration histories and seemed to be still around.”\u003c/p>\n\u003cp>Those guys probably benefited from what’s now known as “prosecutorial discretion.” It’s based mainly on the premise that the federal government doesn’t have enough resources to deport all of the immigrants living in the U.S. illegally.\u003c/p>\n\u003cp>Under federal law, immigration officials can choose to prioritize certain deportation cases while holding off on other ones for humanitarian or political reasons.\u003c/p>\n\u003cp>The problem at the time was that Wildes didn’t have proof that this kind of program existed until he filed a Freedom of Information Act request.\u003c/p>\n\u003cp>“When the box came into my office, there was jubilation!” Wildes said. “Unbelievable feeling that I had succeeded.”\u003c/p>\n\u003cp>In the end, Lennon received a green card, which allowed him to stay in the U.S. But those files led U.S. immigration officials to publicize a secret policy.\u003c/p>\n\u003cp>“Before the work of Mr. Wildes, deferred action was a complete mystery because there wasn’t even a guideline for attorneys and noncitizens,” says Shoba Sivaprasad Wadhia, who teaches immigration law at Penn State University and wrote \u003cem>Beyond Deportation: The Role of Prosecutorial Discretion in Immigration Cases\u003c/em>.\u003c/p>\n\u003cp>The files showed that for decades, the government had shielded some immigrants living in the U.S. illegally from deportation because of their sympathetic cases. The Obama administration used that policy to create the original Deferred Action for Childhood Arrivals program, or DACA.\u003c/p>\n\u003cp>“Eligible individuals who do not present a risk to national security or public safety will be able to request temporary relief from deportation proceedings and apply for work authorization,” said President Obama in a 2012 announcement.\u003c/p>\n\u003cp>An expansion of the program, as well as the creation of a similar program called Deferred Action for Parents of Americans and Lawful Permanent Residents, or DAPA, is currently on hold because of legal challenges.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But today, the original DACA program covers more than 700,000 young people brought to the U.S. as children — all in part because of that immigrant from Liverpool. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=John+Lennon%27s+Deportation+Fight+Paved+Way+For+Obama%27s+Deferred+Action+Policy&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cstrong>Wednesday, August 24: Forrest Leo at Green Apple Books (SF)\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-11955929\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/6174e2-23JL.jpg\" alt=\"6174e2-23JL\" width=\"144\" height=\"216\">Forrest Leo’s debut novel The Gentleman opens with a dramatic flourish. Lionel Savage, a 22-year-old poet in Victorian England, has recently realized that he doesn’t love his wife, only six months into his marriage.\u003c/p>\n\u003cblockquote>\u003cp>I am a poet, I am a married man, and I am resolved to my own immediate suicide – for I married for money instead of love, and when I did I discovered I could no longer write.\u003c/p>\u003c/blockquote>\n\u003cp>Things take a turn for the worse (or maybe better) after Savage hits it off with the Devil, a fellow guest at a society party (the gentleman of the book’s title). At the end of the night, the famous poet realizes that he’s accidentally sold his wife to the Prince of Darkness. Thus begins a fast-paced, comedic farce through hell that has been compared to the best of Oscar Wilde and P.G. Wodehouse. Fans of steampunk and Lemony Snicket will love this one. \u003ca href=\"http://www.greenapplebooks.com/event/9th-ave-forrest-leo\">Details here\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Friday, August 26: Joel Selvin at Copperfield’s Books, Petaluma\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-11955946\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/altamont.jpg\" alt=\"altamont\" width=\"183\" height=\"276\">The disastrous free concert at the Altamont Speedway, headlined by the Rolling Stones in 1969, has long been acknowledged as the true end of the Summer of Love. In \u003cem>Altamont: The Rolling Stones, The Hells Angels, and the Inside Story of Rock’s Darkest Day\u003c/em>, San Francisco Chronicle music writer Joel Selvin compiles three decades of research and interviews for an exhaustive chronicle of the lead-up to the Dec. 6 concert, the murder and accidental deaths that occurred as the Rolling Stones performed before a crowd of thousands, and the concert’s aftermath (Bill Graham, for one, screaming at a show promoter and calling him a murderer). By the end of the night, 18-year-old \u003ca href=\"https://en.wikipedia.org/wiki/Death_of_Meredith_Hunter\">Meredith Hunter \u003c/a>had been \u003ca href=\"https://www.youtube.com/watch?v=0qTKsylrpsg\">stabbed and beaten to death\u003c/a> by a Hells Angel hired as security for the concert, and the Rolling Stones had run off back to England with $1.8 million in their band coffers. \u003ca href=\"http://www.copperfieldsbooks.com/event/joel-selvin\">Details here \u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Saturday, August 27: Dan White at Book Passage, Corte Madera\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-11956085\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/white_w_cover.jpg\" alt=\"white_w_cover\" width=\"257\" height=\"189\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/white_w_cover.jpg 545w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/white_w_cover-400x294.jpg 400w\" sizes=\"(max-width: 257px) 100vw, 257px\">Every summer I vow to camp at least once. And every summer, by late August, I wonder why I didn’t do any camping. I love the idea of it: the dusty tent, sleeping under the stars, sitting around the fire drinking whiskey, hiking through the glories of nature knowing my sleeping bag bed is somewhere nearby. The execution of it all, that’s the challenge. Luckily, Santa Cruz-based writer Dan White has written a wide-ranging book/memoir about the history of camping in the United States, so that I can feel like I’m camping even if I’m staying in the comfort of my own home. In \u003cem>Under the Stars: How America Fell in Love with Camping\u003c/em>, White travels across the nation to explore the history, realities and joy of outdoor recreation. Yes, this does include a stint of glamping. Sunset magazine would be proud. \u003ca href=\"http://www.bookpassage.com/event/dan-white-under-stars-corte-madera\">Details here \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Thursday, September 1: Tahereh Mafi and Ransom Riggs at Kepler’s Books, Menlo Park\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Talk about a literary power couple. Let’s start with Tahereh Mafi. She’s the best-selling author of \u003ca href=\"http://www.taherehbooks.com/book/shatter-me/\">Shatter Me,\u003c/a> a dystopian young adult series about a teenage girl with a fatal touch. Her latest book, \u003cem>Furthermore\u003c/em>, takes the magical themes even further. Mafi, not yet 30, calls it a love letter to her \u003cstrong>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-11956100\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/furthermore_cover-e1471636707423.jpeg\" alt=\"furthermore_cover\" width=\"185\" height=\"278\">\u003c/strong>favorite childhood stories. Her husband, Ransom Riggs, wrote the best-selling \u003cem>Miss Peregrine’s Home for Peculiar Children,\u003c/em> which has been turned into a film by your favorite adaptor of twisted fairytales Tim Burton. Rigg’s latest, \u003cem>Tales of the Peculiar,\u003c/em> delves deeper into a mystical world first introduced in 2011. You can read an excerpt from it \u003ca href=\"http://www.usatoday.com/story/life/books/2016/04/14/ransom-riggs-tales-of-the-peculiar-cover-reveal-exclusive-excerpt/82806822/\">here\u003c/a>. In addition to the Kepler’s appearance, Riggs and Mafi will be traveling around the Bay Area on September 3, \u003ca href=\"http://www.talesofthepeculiar.com/\">stopping in at bookstores to celebrate Loop Day,\u003c/a> a holiday observed by the children in the Miss Peregrine series. \u003ca href=\"http://www.keplers.com/event/tahereh-mafi-conversation-ransom-riggs\">Details here \u003c/a>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Wednesday, August 24: Forrest Leo at Green Apple Books (SF)\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-11955929\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/6174e2-23JL.jpg\" alt=\"6174e2-23JL\" width=\"144\" height=\"216\">Forrest Leo’s debut novel The Gentleman opens with a dramatic flourish. Lionel Savage, a 22-year-old poet in Victorian England, has recently realized that he doesn’t love his wife, only six months into his marriage.\u003c/p>\n\u003cblockquote>\u003cp>I am a poet, I am a married man, and I am resolved to my own immediate suicide – for I married for money instead of love, and when I did I discovered I could no longer write.\u003c/p>\u003c/blockquote>\n\u003cp>Things take a turn for the worse (or maybe better) after Savage hits it off with the Devil, a fellow guest at a society party (the gentleman of the book’s title). At the end of the night, the famous poet realizes that he’s accidentally sold his wife to the Prince of Darkness. Thus begins a fast-paced, comedic farce through hell that has been compared to the best of Oscar Wilde and P.G. Wodehouse. Fans of steampunk and Lemony Snicket will love this one. \u003ca href=\"http://www.greenapplebooks.com/event/9th-ave-forrest-leo\">Details here\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Friday, August 26: Joel Selvin at Copperfield’s Books, Petaluma\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-11955946\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/altamont.jpg\" alt=\"altamont\" width=\"183\" height=\"276\">The disastrous free concert at the Altamont Speedway, headlined by the Rolling Stones in 1969, has long been acknowledged as the true end of the Summer of Love. In \u003cem>Altamont: The Rolling Stones, The Hells Angels, and the Inside Story of Rock’s Darkest Day\u003c/em>, San Francisco Chronicle music writer Joel Selvin compiles three decades of research and interviews for an exhaustive chronicle of the lead-up to the Dec. 6 concert, the murder and accidental deaths that occurred as the Rolling Stones performed before a crowd of thousands, and the concert’s aftermath (Bill Graham, for one, screaming at a show promoter and calling him a murderer). By the end of the night, 18-year-old \u003ca href=\"https://en.wikipedia.org/wiki/Death_of_Meredith_Hunter\">Meredith Hunter \u003c/a>had been \u003ca href=\"https://www.youtube.com/watch?v=0qTKsylrpsg\">stabbed and beaten to death\u003c/a> by a Hells Angel hired as security for the concert, and the Rolling Stones had run off back to England with $1.8 million in their band coffers. \u003ca href=\"http://www.copperfieldsbooks.com/event/joel-selvin\">Details here \u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Saturday, August 27: Dan White at Book Passage, Corte Madera\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-11956085\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/white_w_cover.jpg\" alt=\"white_w_cover\" width=\"257\" height=\"189\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/white_w_cover.jpg 545w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/white_w_cover-400x294.jpg 400w\" sizes=\"(max-width: 257px) 100vw, 257px\">Every summer I vow to camp at least once. And every summer, by late August, I wonder why I didn’t do any camping. I love the idea of it: the dusty tent, sleeping under the stars, sitting around the fire drinking whiskey, hiking through the glories of nature knowing my sleeping bag bed is somewhere nearby. The execution of it all, that’s the challenge. Luckily, Santa Cruz-based writer Dan White has written a wide-ranging book/memoir about the history of camping in the United States, so that I can feel like I’m camping even if I’m staying in the comfort of my own home. In \u003cem>Under the Stars: How America Fell in Love with Camping\u003c/em>, White travels across the nation to explore the history, realities and joy of outdoor recreation. Yes, this does include a stint of glamping. Sunset magazine would be proud. \u003ca href=\"http://www.bookpassage.com/event/dan-white-under-stars-corte-madera\">Details here \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Thursday, September 1: Tahereh Mafi and Ransom Riggs at Kepler’s Books, Menlo Park\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Talk about a literary power couple. Let’s start with Tahereh Mafi. She’s the best-selling author of \u003ca href=\"http://www.taherehbooks.com/book/shatter-me/\">Shatter Me,\u003c/a> a dystopian young adult series about a teenage girl with a fatal touch. Her latest book, \u003cem>Furthermore\u003c/em>, takes the magical themes even further. Mafi, not yet 30, calls it a love letter to her \u003cstrong>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-11956100\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/furthermore_cover-e1471636707423.jpeg\" alt=\"furthermore_cover\" width=\"185\" height=\"278\">\u003c/strong>favorite childhood stories. Her husband, Ransom Riggs, wrote the best-selling \u003cem>Miss Peregrine’s Home for Peculiar Children,\u003c/em> which has been turned into a film by your favorite adaptor of twisted fairytales Tim Burton. Rigg’s latest, \u003cem>Tales of the Peculiar,\u003c/em> delves deeper into a mystical world first introduced in 2011. You can read an excerpt from it \u003ca href=\"http://www.usatoday.com/story/life/books/2016/04/14/ransom-riggs-tales-of-the-peculiar-cover-reveal-exclusive-excerpt/82806822/\">here\u003c/a>. In addition to the Kepler’s appearance, Riggs and Mafi will be traveling around the Bay Area on September 3, \u003ca href=\"http://www.talesofthepeculiar.com/\">stopping in at bookstores to celebrate Loop Day,\u003c/a> a holiday observed by the children in the Miss Peregrine series. \u003ca href=\"http://www.keplers.com/event/tahereh-mafi-conversation-ransom-riggs\">Details here \u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Why Some Moments in Life Feel Like a David Lynch Movie",
"headTitle": "Why Some Moments in Life Feel Like a David Lynch Movie | KQED",
"content": "\u003cp>Reading Dennis Lim’s excellent little book, \u003ci>David Lynch: The Man from Another Place\u003c/i>, I began to notice how much I cite Lynch’s films in the ordinary run of internal life. Last week it was an electrical box droning in the midst an otherwise serene day; a week earlier it was two couples sitting knee-to-knee on a covered patio swing in suburban New Hampshire. \u003c/p>\n\u003cfigure id=\"attachment_11947872\" class=\"wp-caption alignright\" style=\"max-width: 427px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/MFAPCover.jpg\" alt=\"Dennis Lim's 'The Man From Another Place.'\" width=\"427\" height=\"640\" class=\"size-full wp-image-11947872\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/MFAPCover.jpg 427w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/MFAPCover-400x600.jpg 400w\" sizes=\"(max-width: 427px) 100vw, 427px\">\u003cfigcaption class=\"wp-caption-text\">Dennis Lim’s ‘The Man From Another Place.’ \u003ccite>(Courtesy of Houghton Mifflin Harcourt)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It turns out there is a whole category of experience that is somehow clarified, or at least rendered more vivid, by being approached as if it is happening in a David Lynch movie. Lim frequently returns to the idea of Lynch’s films as environments or worlds for the viewer to inhabit and linger, but it’s deliciously unobvious whether we are absorbing the films or they us. \u003c/p>\n\u003cp>Every bit the primer, \u003ci>David Lynch: The Man from Another Place\u003c/i> serves as both an introduction to Lynch’s work and an inducement to return to the fold. Bay Area audiences can do just that when the critic visits the \u003ca href=\"http://bampfa.org/\" target=\"_blank\" rel=\"noopener\">UC Berkeley Art Museum and Pacific Film Archive\u003c/a> (BAMPFA) for a \u003ca href=\"http://bampfa.org/program/david-lynch-man-another-place\" target=\"_blank\" rel=\"noopener\">marathon weekend of screenings\u003c/a> spanning the full sweep of Lynch’s career. \u003c/p>\n\u003cp>Lim’s book briskly recounts the production history of all this work, as well as charting Lynch’s constellation of collaborators (a deep bow for sound designer Alan Splet), influences (how’s Ronald Reagan, Francis Bacon, and the Maharishi for an unlikely trio?), and affectations (buttoned up, fiending for sugar). As for the psychological tie between life and work, how much more needs to be said once you know that a young Lynch himself slept in \u003cem>\u003ca href=\"http://bampfa.org/event/eraserhead-1\" target=\"_blank\" rel=\"noopener\">Eraserhead\u003c/a>\u003c/em>’s (1976) bedroom set?\u003c/p>\n\u003cfigure id=\"attachment_11947870\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Eraserhead.jpg\" alt=\"'Eraserhead' screens at BAMPFA Saturday, Aug. 20 at 8:45pm.\" width=\"1200\" height=\"939\" class=\"size-full wp-image-11947870\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Eraserhead.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Eraserhead-400x313.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Eraserhead-767x600.jpg 767w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Eraserhead-768x601.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Eraserhead-1180x923.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Eraserhead-960x751.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">‘Eraserhead’ screens at BAMPFA Saturday, Aug. 20 at 8:45pm. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lim peppers his descriptions of the films themselves with epigrammatic insights: “Sincerity can rip open a Lynch film as decisively as dread;” “All of [Lynch’s bad guys] wield knowledge they shouldn’t have as an instrument of fear;” “The very presence of mystery suggests realms of possibility, a transformative way of looking at the world.” Intelligent, honed criticism of this kind is always refreshing, but especially so when applied to this particular subject. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Lim perceptively notes how journalists tend to follow Lynch’s own script — and specifically \u003cem>\u003ca href=\"http://bampfa.org/event/blue-velvet-2\" target=\"_blank\" rel=\"noopener\">Blue Velvet\u003c/a>\u003c/em>’s (1986) indelible opening — in searching out the seamy reality underlying Lynch’s bright exterior. The academic equivalent is to respond all too eagerly to the overabundant symbols and enigmas set like so many lures in Lynch’s work. By avoiding interpretive excess, Lim actually helps us to see Lynch’s singular position in film culture as a “populist experimental filmmaker, [who] has only grown freer and more radical with age.” \u003c/p>\n\u003cfigure id=\"attachment_11947871\" class=\"wp-caption aligncenter\" style=\"max-width: 900px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Shadow-History-of-the-Lynchian.jpg\" alt=\"'A Shadow History of the Lynchian: Oddities and Marginalia' plays at BAMPFA Sunday, Aug. 21 at 4:30pm.\" width=\"900\" height=\"600\" class=\"size-full wp-image-11947871\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Shadow-History-of-the-Lynchian.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Shadow-History-of-the-Lynchian-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Shadow-History-of-the-Lynchian-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Shadow-History-of-the-Lynchian-768x512.jpg 768w\" sizes=\"(max-width: 900px) 100vw, 900px\">\u003cfigcaption class=\"wp-caption-text\">‘A Shadow History of the Lynchian: Oddities and Marginalia’ plays at BAMPFA Sunday, Aug. 21 at 4:30pm. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While Lim mostly leaves cultural commentary to a minimum, he rightly pauses over \u003cem>Twin Peaks\u003c/em> to emphasize just how out of the ordinary it seemed in 1990. “The TV terrain of the 1980s was a smaller, safer place,” he recalls — which was precisely the attraction for Lynch. “People are in their own homes and nobody’s bothering them,” he told an interviewer at the time. “They’re well placed for entering into the dream.” \u003c/p>\n\u003cp>We learn that \u003cem>Twin Peaks\u003c/em> was the most recorded television show of its moment, a fact as revealing as it is anachronistic. Along with \u003cem>\u003ca href=\"http://bampfa.org/event/mulholland-drive-0\" target=\"_blank\" rel=\"noopener\">Mulholland Drive\u003c/a>\u003c/em> (2001), which also had its start in television, \u003cem>Twin Peaks\u003c/em> remains the most fully inhabitable of Lynch’s work. \u003c/p>\n\u003cfigure id=\"attachment_11948724\" class=\"wp-caption aligncenter\" style=\"max-width: 623px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Lynch_Twin-Peaks_001.jpg\" alt=\"'Twin Peaks: Fire Walk with Me,' screens at BAMPFA on Sunday, Aug. 21 Sunday, August 21 7pm.\" width=\"623\" height=\"420\" class=\"size-full wp-image-11948724\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lynch_Twin-Peaks_001.jpg 623w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lynch_Twin-Peaks_001-400x270.jpg 400w\" sizes=\"(max-width: 623px) 100vw, 623px\">\u003cfigcaption class=\"wp-caption-text\">‘Twin Peaks: Fire Walk with Me,’ screens at BAMPFA on Sunday, Aug. 21 Sunday, August 21\u003cbr>7pm. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The BAMPFA program includes a rare 35mm screening of \u003cem>\u003ca href=\"http://bampfa.org/event/twin-peaks-fire-walk-me\" target=\"_blank\" rel=\"noopener\">Twin Peaks: Fire Walk With Me\u003c/a>\u003c/em> (1992), the feature-length prequel that annulled any doubt that Lynch would be going his own way. “I happened to be in love with the world of Twin Peaks and the characters that exist there,” he told a press conference at the time. “I wanted to go back into the world before it started on the series and to see what was there, to actually see things that we had heard about.” It’s one of the more remarkable quotations in Lim’s book, suggesting not only that Lynch is comfortable working without a net — indeed, that he is perhaps only comfortable working this way — but that he might well find his own films as strange as the rest of us.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Dennis Lim introduces each screening in the series \u003cb>David Lynch: The Man from Another Place\u003c/b> at the UC Berkeley Art Museum and Pacific Film Archive, Aug. 19-21. For tickets and more information visit \u003ca href=\"http://bampfa.org/program/david-lynch-man-another-place\" target=\"_blank\" rel=\"noopener\">bampfa.org\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"excerpt": "Critic Dennis Lim, author of the excellent 'David Lynch: The Man from Another Place,' brings three days of wild at heart films to BAMPFA this weekend.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Reading Dennis Lim’s excellent little book, \u003ci>David Lynch: The Man from Another Place\u003c/i>, I began to notice how much I cite Lynch’s films in the ordinary run of internal life. Last week it was an electrical box droning in the midst an otherwise serene day; a week earlier it was two couples sitting knee-to-knee on a covered patio swing in suburban New Hampshire. \u003c/p>\n\u003cfigure id=\"attachment_11947872\" class=\"wp-caption alignright\" style=\"max-width: 427px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/MFAPCover.jpg\" alt=\"Dennis Lim's 'The Man From Another Place.'\" width=\"427\" height=\"640\" class=\"size-full wp-image-11947872\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/MFAPCover.jpg 427w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/MFAPCover-400x600.jpg 400w\" sizes=\"(max-width: 427px) 100vw, 427px\">\u003cfigcaption class=\"wp-caption-text\">Dennis Lim’s ‘The Man From Another Place.’ \u003ccite>(Courtesy of Houghton Mifflin Harcourt)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It turns out there is a whole category of experience that is somehow clarified, or at least rendered more vivid, by being approached as if it is happening in a David Lynch movie. Lim frequently returns to the idea of Lynch’s films as environments or worlds for the viewer to inhabit and linger, but it’s deliciously unobvious whether we are absorbing the films or they us. \u003c/p>\n\u003cp>Every bit the primer, \u003ci>David Lynch: The Man from Another Place\u003c/i> serves as both an introduction to Lynch’s work and an inducement to return to the fold. Bay Area audiences can do just that when the critic visits the \u003ca href=\"http://bampfa.org/\" target=\"_blank\" rel=\"noopener\">UC Berkeley Art Museum and Pacific Film Archive\u003c/a> (BAMPFA) for a \u003ca href=\"http://bampfa.org/program/david-lynch-man-another-place\" target=\"_blank\" rel=\"noopener\">marathon weekend of screenings\u003c/a> spanning the full sweep of Lynch’s career. \u003c/p>\n\u003cp>Lim’s book briskly recounts the production history of all this work, as well as charting Lynch’s constellation of collaborators (a deep bow for sound designer Alan Splet), influences (how’s Ronald Reagan, Francis Bacon, and the Maharishi for an unlikely trio?), and affectations (buttoned up, fiending for sugar). As for the psychological tie between life and work, how much more needs to be said once you know that a young Lynch himself slept in \u003cem>\u003ca href=\"http://bampfa.org/event/eraserhead-1\" target=\"_blank\" rel=\"noopener\">Eraserhead\u003c/a>\u003c/em>’s (1976) bedroom set?\u003c/p>\n\u003cfigure id=\"attachment_11947870\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Eraserhead.jpg\" alt=\"'Eraserhead' screens at BAMPFA Saturday, Aug. 20 at 8:45pm.\" width=\"1200\" height=\"939\" class=\"size-full wp-image-11947870\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Eraserhead.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Eraserhead-400x313.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Eraserhead-767x600.jpg 767w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Eraserhead-768x601.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Eraserhead-1180x923.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Eraserhead-960x751.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">‘Eraserhead’ screens at BAMPFA Saturday, Aug. 20 at 8:45pm. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lim peppers his descriptions of the films themselves with epigrammatic insights: “Sincerity can rip open a Lynch film as decisively as dread;” “All of [Lynch’s bad guys] wield knowledge they shouldn’t have as an instrument of fear;” “The very presence of mystery suggests realms of possibility, a transformative way of looking at the world.” Intelligent, honed criticism of this kind is always refreshing, but especially so when applied to this particular subject. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Lim perceptively notes how journalists tend to follow Lynch’s own script — and specifically \u003cem>\u003ca href=\"http://bampfa.org/event/blue-velvet-2\" target=\"_blank\" rel=\"noopener\">Blue Velvet\u003c/a>\u003c/em>’s (1986) indelible opening — in searching out the seamy reality underlying Lynch’s bright exterior. The academic equivalent is to respond all too eagerly to the overabundant symbols and enigmas set like so many lures in Lynch’s work. By avoiding interpretive excess, Lim actually helps us to see Lynch’s singular position in film culture as a “populist experimental filmmaker, [who] has only grown freer and more radical with age.” \u003c/p>\n\u003cfigure id=\"attachment_11947871\" class=\"wp-caption aligncenter\" style=\"max-width: 900px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Shadow-History-of-the-Lynchian.jpg\" alt=\"'A Shadow History of the Lynchian: Oddities and Marginalia' plays at BAMPFA Sunday, Aug. 21 at 4:30pm.\" width=\"900\" height=\"600\" class=\"size-full wp-image-11947871\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Shadow-History-of-the-Lynchian.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Shadow-History-of-the-Lynchian-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Shadow-History-of-the-Lynchian-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Shadow-History-of-the-Lynchian-768x512.jpg 768w\" sizes=\"(max-width: 900px) 100vw, 900px\">\u003cfigcaption class=\"wp-caption-text\">‘A Shadow History of the Lynchian: Oddities and Marginalia’ plays at BAMPFA Sunday, Aug. 21 at 4:30pm. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While Lim mostly leaves cultural commentary to a minimum, he rightly pauses over \u003cem>Twin Peaks\u003c/em> to emphasize just how out of the ordinary it seemed in 1990. “The TV terrain of the 1980s was a smaller, safer place,” he recalls — which was precisely the attraction for Lynch. “People are in their own homes and nobody’s bothering them,” he told an interviewer at the time. “They’re well placed for entering into the dream.” \u003c/p>\n\u003cp>We learn that \u003cem>Twin Peaks\u003c/em> was the most recorded television show of its moment, a fact as revealing as it is anachronistic. Along with \u003cem>\u003ca href=\"http://bampfa.org/event/mulholland-drive-0\" target=\"_blank\" rel=\"noopener\">Mulholland Drive\u003c/a>\u003c/em> (2001), which also had its start in television, \u003cem>Twin Peaks\u003c/em> remains the most fully inhabitable of Lynch’s work. \u003c/p>\n\u003cfigure id=\"attachment_11948724\" class=\"wp-caption aligncenter\" style=\"max-width: 623px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Lynch_Twin-Peaks_001.jpg\" alt=\"'Twin Peaks: Fire Walk with Me,' screens at BAMPFA on Sunday, Aug. 21 Sunday, August 21 7pm.\" width=\"623\" height=\"420\" class=\"size-full wp-image-11948724\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lynch_Twin-Peaks_001.jpg 623w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lynch_Twin-Peaks_001-400x270.jpg 400w\" sizes=\"(max-width: 623px) 100vw, 623px\">\u003cfigcaption class=\"wp-caption-text\">‘Twin Peaks: Fire Walk with Me,’ screens at BAMPFA on Sunday, Aug. 21 Sunday, August 21\u003cbr>7pm. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The BAMPFA program includes a rare 35mm screening of \u003cem>\u003ca href=\"http://bampfa.org/event/twin-peaks-fire-walk-me\" target=\"_blank\" rel=\"noopener\">Twin Peaks: Fire Walk With Me\u003c/a>\u003c/em> (1992), the feature-length prequel that annulled any doubt that Lynch would be going his own way. “I happened to be in love with the world of Twin Peaks and the characters that exist there,” he told a press conference at the time. “I wanted to go back into the world before it started on the series and to see what was there, to actually see things that we had heard about.” It’s one of the more remarkable quotations in Lim’s book, suggesting not only that Lynch is comfortable working without a net — indeed, that he is perhaps only comfortable working this way — but that he might well find his own films as strange as the rest of us.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Dennis Lim introduces each screening in the series \u003cb>David Lynch: The Man from Another Place\u003c/b> at the UC Berkeley Art Museum and Pacific Film Archive, Aug. 19-21. For tickets and more information visit \u003ca href=\"http://bampfa.org/program/david-lynch-man-another-place\" target=\"_blank\" rel=\"noopener\">bampfa.org\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The late poet Amiri Baraka once said, “I wrote poetry ’cause I always had something to say. Always.” Baraka’s work is included in a new anthology, “Of Poetry and Protest: From Emmett Till to Trayvon Martin,” alongside the verses of other poets tackling topics of racism and the killings of black Americans. We speak with the co-editor Michael Warr and other local poets about how the power of the verse has helped to inspire and inform protest movements.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-Tdw6n1ZJCw#action=share\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"title": "In 'Harmony,' Women Are Mysteries, Men Are Open Books",
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"content": "\u003cp>Carolyn Parkhurst’s fourth novel, \u003cem>Harmony\u003c/em>, is told entirely from female perspectives. Alexandra Hammond and her two daughters each get their own chapters to develop the story: Alexandra fills in the past, while prosaic 11-year-old Iris narrates the present. And Tilly, a mercurial 13-year-old on the autistic spectrum, invents wild futures where the Hammonds have become the subjects of wild theorizing and lost lore. But the strange and fascinating thing about \u003cem>Harmony\u003c/em> is how it uses its female points of view to turn the male characters into evocative mysteries. The entire book revolves around the question of what’s going on in the head of one man, children’s counselor Scott Bean. And while Alexandra’s husband Josh is less important to the plot, he’s just as much of an enigma.\u003c/p>\n\u003cp>\u003cem>Harmony\u003c/em> takes its name from a run-down wilderness camp Scott has established for families struggling with children on the spectrum. Alexandra has become dependent on Scott as a parenting consultant, an oasis of calm in a world that’s largely indifferent to her struggles with Tilly. Alexandra worries that Josh is a better parent than she is — certainly he seems to relate to the girls better, and deal with them more casually and comfortably, though it’s hard to entirely interpret his jocular but tense behavior. Scott, on the other hand, seems to understand Alexandra’s secret struggles, and doesn’t judge her for the way she’s withdrawn into mindless distractions. When school after school rejects Tilly, Scott is there to help, and his methods work so well that Alexandra pushes the family to “simplify” by shedding most of their belongings and moving to Camp Harmony to help run the place.\u003c/p>\n\u003cfigure id=\"attachment_11933330\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Carolyn-Parkhurst-2-jpg-1085x1180.jpg\" alt=\"Carolyn Parkhurst.\" width=\"640\" height=\"696\" class=\"size-large wp-image-11933330\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Carolyn-Parkhurst-2-jpg-1085x1180.jpg 1085w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Carolyn-Parkhurst-2-jpg-400x435.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Carolyn-Parkhurst-2-jpg-551x600.jpg 551w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Carolyn-Parkhurst-2-jpg-768x836.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Carolyn-Parkhurst-2-jpg.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Carolyn-Parkhurst-2-jpg-1180x1284.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Carolyn-Parkhurst-2-jpg-960x1045.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Carolyn Parkhurst. \u003ccite>(Pamela Dorman Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Iris’ chapters capture just as much discontent, but in a blunter, less sophisticated voice. She’s jealous of her sister, who gets more attention and causes more trouble. She’s worried about the primitive, computer-free camp, where she’s put to work and surrounded by strangers. And while she loves Tilly with the fierce, mercurial love of a little sister, she’s also exasperated by her disruptions and obliviousness. Iris hasn’t fallen within Scott’s sway, but she’s just as dependent on him to address Tilly’s problems. And only she sees some behavior that she accepts as normal, but that will raise alarms for adult readers.\u003c/p>\n\u003cp>\u003cem>Harmony \u003c/em>is a frustratingly short book that skips past the chance to fully develop some of the plot hooks it teases, like Josh and Alexandra’s growing estrangement, or Scott’s mysterious past. Parkhurst’s past novels have all been unusually structured, high-concept stories: \u003cem>The Dogs Of Babel\u003c/em> deals with a linguist trying to learn more about his dead wife (another Alexandra) by teaching his dog to talk; \u003cem>Lost And Found\u003c/em> follows competing couples on an \u003cem>Amazing Race\u003c/em>-like reality-TV show; and \u003cem>The Nobodies Album\u003c/em> features an aging author trying to rewrite her son’s troubled life by rewriting her own novels. All three books deal intimately with families struggling to communicate with and understand each other, often after a crisis that makes rapprochement an especially tall order.\u003c/p>\n\u003cp>\u003cem>Harmony\u003c/em> fits that pattern, but while Iris, Alexandra, and especially Tilly all have distinctive personal voices, Parkhurst doesn’t get into their characters with her usual depth. The book is a fleet page-turner, as the Hammonds careen toward obvious catastrophe of one kind or another. The question looms: Is Scott a kind genius, a dangerously unprepared amateur, or even a violent cult leader in the making? But the answers come with startling abruptness, cutting off a compelling, seductive narrative that could have sustained much more thorough exploration.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/CoyGtw2WgAAoj_W-400x603.jpg\" alt=\"CoyGtw2WgAAoj_W\" width=\"400\" height=\"603\" class=\"aligncenter size-thumbnail wp-image-11933328\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/CoyGtw2WgAAoj_W-400x603.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/CoyGtw2WgAAoj_W-398x600.jpg 398w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/CoyGtw2WgAAoj_W-768x1158.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/CoyGtw2WgAAoj_W-782x1180.jpg 782w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/CoyGtw2WgAAoj_W.jpg 795w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Harmony\u003c/em>‘s strengths come in its observations about what it takes to parent an unpredictable, unusual child. Alexandra’s exhaustion over constant change, internal and external second-guessing, and the world’s judgment is understandable. But Parkhurst makes it particularly accessible as she teases out her protagonist’s desire to see Tilly fit in, while still preserving the curiosity and energy that makes her different. And the way Alexandra and Iris reflect each other’s fears is particularly touching and compelling. \u003cem>Harmony \u003c/em>deals with ugly family undercurrents of jealousy and resentment remarkably well, and finds sympathy for all its characters in their difficult and sometimes selfish opposition. And it’s unusual and refreshing in its approach to its central mystery. But it’s hard to let go of these characters just as they’re coming into focus. Their troubles, and their story potential, are both deeper than the fast-moving book around them.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Carolyn Parkhurst’s fourth novel, \u003cem>Harmony\u003c/em>, is told entirely from female perspectives. Alexandra Hammond and her two daughters each get their own chapters to develop the story: Alexandra fills in the past, while prosaic 11-year-old Iris narrates the present. And Tilly, a mercurial 13-year-old on the autistic spectrum, invents wild futures where the Hammonds have become the subjects of wild theorizing and lost lore. But the strange and fascinating thing about \u003cem>Harmony\u003c/em> is how it uses its female points of view to turn the male characters into evocative mysteries. The entire book revolves around the question of what’s going on in the head of one man, children’s counselor Scott Bean. And while Alexandra’s husband Josh is less important to the plot, he’s just as much of an enigma.\u003c/p>\n\u003cp>\u003cem>Harmony\u003c/em> takes its name from a run-down wilderness camp Scott has established for families struggling with children on the spectrum. Alexandra has become dependent on Scott as a parenting consultant, an oasis of calm in a world that’s largely indifferent to her struggles with Tilly. Alexandra worries that Josh is a better parent than she is — certainly he seems to relate to the girls better, and deal with them more casually and comfortably, though it’s hard to entirely interpret his jocular but tense behavior. Scott, on the other hand, seems to understand Alexandra’s secret struggles, and doesn’t judge her for the way she’s withdrawn into mindless distractions. When school after school rejects Tilly, Scott is there to help, and his methods work so well that Alexandra pushes the family to “simplify” by shedding most of their belongings and moving to Camp Harmony to help run the place.\u003c/p>\n\u003cfigure id=\"attachment_11933330\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Carolyn-Parkhurst-2-jpg-1085x1180.jpg\" alt=\"Carolyn Parkhurst.\" width=\"640\" height=\"696\" class=\"size-large wp-image-11933330\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Carolyn-Parkhurst-2-jpg-1085x1180.jpg 1085w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Carolyn-Parkhurst-2-jpg-400x435.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Carolyn-Parkhurst-2-jpg-551x600.jpg 551w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Carolyn-Parkhurst-2-jpg-768x836.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Carolyn-Parkhurst-2-jpg.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Carolyn-Parkhurst-2-jpg-1180x1284.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Carolyn-Parkhurst-2-jpg-960x1045.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Carolyn Parkhurst. \u003ccite>(Pamela Dorman Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Iris’ chapters capture just as much discontent, but in a blunter, less sophisticated voice. She’s jealous of her sister, who gets more attention and causes more trouble. She’s worried about the primitive, computer-free camp, where she’s put to work and surrounded by strangers. And while she loves Tilly with the fierce, mercurial love of a little sister, she’s also exasperated by her disruptions and obliviousness. Iris hasn’t fallen within Scott’s sway, but she’s just as dependent on him to address Tilly’s problems. And only she sees some behavior that she accepts as normal, but that will raise alarms for adult readers.\u003c/p>\n\u003cp>\u003cem>Harmony \u003c/em>is a frustratingly short book that skips past the chance to fully develop some of the plot hooks it teases, like Josh and Alexandra’s growing estrangement, or Scott’s mysterious past. Parkhurst’s past novels have all been unusually structured, high-concept stories: \u003cem>The Dogs Of Babel\u003c/em> deals with a linguist trying to learn more about his dead wife (another Alexandra) by teaching his dog to talk; \u003cem>Lost And Found\u003c/em> follows competing couples on an \u003cem>Amazing Race\u003c/em>-like reality-TV show; and \u003cem>The Nobodies Album\u003c/em> features an aging author trying to rewrite her son’s troubled life by rewriting her own novels. All three books deal intimately with families struggling to communicate with and understand each other, often after a crisis that makes rapprochement an especially tall order.\u003c/p>\n\u003cp>\u003cem>Harmony\u003c/em> fits that pattern, but while Iris, Alexandra, and especially Tilly all have distinctive personal voices, Parkhurst doesn’t get into their characters with her usual depth. The book is a fleet page-turner, as the Hammonds careen toward obvious catastrophe of one kind or another. The question looms: Is Scott a kind genius, a dangerously unprepared amateur, or even a violent cult leader in the making? But the answers come with startling abruptness, cutting off a compelling, seductive narrative that could have sustained much more thorough exploration.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/CoyGtw2WgAAoj_W-400x603.jpg\" alt=\"CoyGtw2WgAAoj_W\" width=\"400\" height=\"603\" class=\"aligncenter size-thumbnail wp-image-11933328\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/CoyGtw2WgAAoj_W-400x603.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/CoyGtw2WgAAoj_W-398x600.jpg 398w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/CoyGtw2WgAAoj_W-768x1158.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/CoyGtw2WgAAoj_W-782x1180.jpg 782w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/CoyGtw2WgAAoj_W.jpg 795w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Harmony\u003c/em>‘s strengths come in its observations about what it takes to parent an unpredictable, unusual child. Alexandra’s exhaustion over constant change, internal and external second-guessing, and the world’s judgment is understandable. But Parkhurst makes it particularly accessible as she teases out her protagonist’s desire to see Tilly fit in, while still preserving the curiosity and energy that makes her different. And the way Alexandra and Iris reflect each other’s fears is particularly touching and compelling. \u003cem>Harmony \u003c/em>deals with ugly family undercurrents of jealousy and resentment remarkably well, and finds sympathy for all its characters in their difficult and sometimes selfish opposition. And it’s unusual and refreshing in its approach to its central mystery. But it’s hard to let go of these characters just as they’re coming into focus. Their troubles, and their story potential, are both deeper than the fast-moving book around them.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Local Author's Post About Run-In with Arizona Highway Patrol Goes Viral [UPDATED]",
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"content": "\u003cp>\u003cb>Update Below:\u003c/b> \u003ci>Written Aug. 12, 11pm\u003c/i>\u003c/p>\n\u003cp>Around 2001, Kenneth Walton made headlines for trying to sell a forged Richard Diebenkorn painting, getting caught and then writing a memoir about the experience. Now the San Francisco-based author is in the news again, but this time for a viral Facebook post detailing his side of a run-in with Arizona’s Department of Public Safety (DPS).\u003c/p>\n\u003cp>As of 14 hours after Walton posted his story to Facebook, the post has been shared more than 2,500 times, one of the sharers being outspoken New York Daily News reporter Shaun King. \u003c/p>\n\u003cp>Early Friday morning, Walton posted that he had been pulled over by a highway patrol officer from Arizona’s DPS while driving to the Grand Canyon from Nevada with his daughter. Unfamiliar with the rental car he was driving, Walton said he had issues opening his passenger side window and the officer, growing impatient, pulled his weapon and threatened to shoot Walton.\u003c/p>\n\u003cblockquote>\u003cp>My daughter rolled down her window and I explained that we were in a rental car, that we had no weapons, and I was having trouble figuring out how to roll down the front passenger window from my driver’s side door. The officer didn’t listen, and kept yelling louder and more insistently, ordering me to comply with his request as he leered at me down the barrel of his pistol. My daughter panicked and tried to get out of her booster seat to reach forward to roll down the front window, and the officer screamed her at her not to move as he pointed his pistol at her.\u003c/p>\n\u003cp>Somehow I was able to get the window down, and then the officer ordered me to exit the car with my hands up. I did so slowly and with my hands raised as high in the air as possible, and as he came around to the driver’s side of the car he screamed at me to face away from him, as if I were doing something wrong. (I didn’t know this was the protocol for being arrested at gunpoint.) Then, as I had my hands in the air, he yelled, at the top of his lungs, in a voice I will never forget, as my daughter looked on in terror, “Get your hands away from your waist or I’ll blow two holes through your back right now!”\u003c/p>\u003c/blockquote>\n\u003cfigure id=\"attachment_11928839\" class=\"wp-caption alignright\" style=\"max-width: 654px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11928839\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Walton-and-DAughter-654x600.jpg\" alt=\"Kenneth Walton and his daughter\" width=\"654\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Walton-and-DAughter-654x600.jpg 654w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Walton-and-DAughter-400x367.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Walton-and-DAughter.jpg 722w\" sizes=\"(max-width: 654px) 100vw, 654px\">\u003cfigcaption class=\"wp-caption-text\">Kenneth Walton and his daughter in 2016 \u003ccite>(Photo: Courtesy of Facebook)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Walton says the police officer let him go after determining that he was not driving a stolen vehicle. But Walton’s daughter was traumatized by the incident. In his Facebook post, Walton named the officer who held him at gunpoint — Oton Villegas. Villegas joined the Arizonas DPS’ Highway Patrol in 2008, according to an Arizona Department of Public Safety \u003ca href=\"http://www.azdps.gov/Media/Digest/Home/View/?FileID=259\" target=\"_blank\" rel=\"noopener\">newsletter\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/Ariz.DPS/\" target=\"_blank\" rel=\"noopener\">The Arizona DPS\u003c/a> has yet to respond to Walton’s accusations.\u003c/p>\n\u003cp>A lawyer-turned-businessman, Walton has helped build companies such as HammerTap and the social media game developer KlickNation, and is also the founder of the \u003ca href=\"http://streetfoto.org/\" target=\"_blank\" rel=\"noopener\">StreetFoto San Francisco\u003c/a> festival, an international street photography event.\u003c/p>\n\u003cp>But Walton is perhaps best known for his time as an online art dealer who used dozens of fake profiles to drive up the prices of his eBay auctions and who, in 2000, claimed that a painting he was selling might have been the work of the famous abstract expressionist Diebenkorn. Diebenkorn was a Berkeley resident when he died in 1993 and Walton reportedly bought the painting at a Berkeley garage sale.\u003c/p>\n\u003cp>In 2001, Walton and two other art dealers were arrested and charged with fraud for manipulating eBay auctions. He pleaded guilty in exchange for leniency and was sentenced to nine months probation. Walton also relinquished his law license.\u003c/p>\n\u003cp>In 2006, Simon & Schuster published \u003ci>Fake: Forgery, Lies, & eBay,\u003c/i> Walton’s memoir detailing his time as an online dealer of forged paintings, and his story was covered by publications such as the \u003cem>\u003ca href=\"http://partners.nytimes.com/library/tech/00/05/biztech/articles/10ebay.html\" target=\"_blank\" rel=\"noopener\">New York Times\u003c/a> \u003c/em>and the \u003ca href=\"https://web.archive.org/web/20070107080240/http://dwb.sacbee.com/content/news/story/14251861p-15068114c.html\" target=\"_blank\" rel=\"noopener\">\u003cem>Sacramento Bee\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003cb>UPDATE:\u003c/b> Walton updated his post at 11pm Friday night with a response to critics of his story that included his case number:\u003c/p>\n\u003cblockquote>\u003cp> I get that many of you don’t believe my story. I’ve attached the AHP case number to this post in case you want to verify it. Arizona Highway Patrol district 2, Flagstaff. Officer Villegas, #7251. I have his card but I’m not going to post his personal information here. Check it if you want, but I doubt many of you will.\u003c/p>\n\u003cp>For the record, I don’t have an axe to grind with law enforcement. Nearly every interaction I’ve ever had with police in my life has been polite and professional. I’ve been a victim of violent crime and have been assisted by police officers who went beyond the call of duty to make me feel safe. I have immense respect for the job cops do and the danger they face. My daughter and I ended up in an unfortunate encounter with an officer that I believe responded in and excessive and unreasonable way, and it was terrifying. I wanted people to know about it, and know that what we encountered is an everyday reality for less privileged segments of our society. But I’m not trying to cast blame or disparage all police officers, most of whom are kind and decent people.\u003c/p>\u003c/blockquote>\n\u003cp>He also addressed his involvement in the eBay scandal:\u003c/p>\n\u003cblockquote>\u003cp>And for the record, yes, I was involved in an eBay art forgery scandal that came to light back in in 2000. I cooperated with the authorities, plead guilty, served 9 months of probation, and took responsibility for my actions. I make no excuses for it. If you think that has anything to do with this, there is nothing I can do to change your mind. I’ve also been a taxi driver, a lawyer, a city planner, a video game startup founder, a dad, and a street photographer, in case you want to hold any of those things against me.\u003c/p>\u003c/blockquote>\n\u003cp>\u003ci>Read Walton’s entire post below:\u003c/i>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>https://www.facebook.com/photo.php?fbid=10154366414123077&set=a.43585593076.53031.641348076\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>Update Below:\u003c/b> \u003ci>Written Aug. 12, 11pm\u003c/i>\u003c/p>\n\u003cp>Around 2001, Kenneth Walton made headlines for trying to sell a forged Richard Diebenkorn painting, getting caught and then writing a memoir about the experience. Now the San Francisco-based author is in the news again, but this time for a viral Facebook post detailing his side of a run-in with Arizona’s Department of Public Safety (DPS).\u003c/p>\n\u003cp>As of 14 hours after Walton posted his story to Facebook, the post has been shared more than 2,500 times, one of the sharers being outspoken New York Daily News reporter Shaun King. \u003c/p>\n\u003cp>Early Friday morning, Walton posted that he had been pulled over by a highway patrol officer from Arizona’s DPS while driving to the Grand Canyon from Nevada with his daughter. Unfamiliar with the rental car he was driving, Walton said he had issues opening his passenger side window and the officer, growing impatient, pulled his weapon and threatened to shoot Walton.\u003c/p>\n\u003cblockquote>\u003cp>My daughter rolled down her window and I explained that we were in a rental car, that we had no weapons, and I was having trouble figuring out how to roll down the front passenger window from my driver’s side door. The officer didn’t listen, and kept yelling louder and more insistently, ordering me to comply with his request as he leered at me down the barrel of his pistol. My daughter panicked and tried to get out of her booster seat to reach forward to roll down the front window, and the officer screamed her at her not to move as he pointed his pistol at her.\u003c/p>\n\u003cp>Somehow I was able to get the window down, and then the officer ordered me to exit the car with my hands up. I did so slowly and with my hands raised as high in the air as possible, and as he came around to the driver’s side of the car he screamed at me to face away from him, as if I were doing something wrong. (I didn’t know this was the protocol for being arrested at gunpoint.) Then, as I had my hands in the air, he yelled, at the top of his lungs, in a voice I will never forget, as my daughter looked on in terror, “Get your hands away from your waist or I’ll blow two holes through your back right now!”\u003c/p>\u003c/blockquote>\n\u003cfigure id=\"attachment_11928839\" class=\"wp-caption alignright\" style=\"max-width: 654px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11928839\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Walton-and-DAughter-654x600.jpg\" alt=\"Kenneth Walton and his daughter\" width=\"654\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Walton-and-DAughter-654x600.jpg 654w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Walton-and-DAughter-400x367.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Walton-and-DAughter.jpg 722w\" sizes=\"(max-width: 654px) 100vw, 654px\">\u003cfigcaption class=\"wp-caption-text\">Kenneth Walton and his daughter in 2016 \u003ccite>(Photo: Courtesy of Facebook)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Walton says the police officer let him go after determining that he was not driving a stolen vehicle. But Walton’s daughter was traumatized by the incident. In his Facebook post, Walton named the officer who held him at gunpoint — Oton Villegas. Villegas joined the Arizonas DPS’ Highway Patrol in 2008, according to an Arizona Department of Public Safety \u003ca href=\"http://www.azdps.gov/Media/Digest/Home/View/?FileID=259\" target=\"_blank\" rel=\"noopener\">newsletter\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/Ariz.DPS/\" target=\"_blank\" rel=\"noopener\">The Arizona DPS\u003c/a> has yet to respond to Walton’s accusations.\u003c/p>\n\u003cp>A lawyer-turned-businessman, Walton has helped build companies such as HammerTap and the social media game developer KlickNation, and is also the founder of the \u003ca href=\"http://streetfoto.org/\" target=\"_blank\" rel=\"noopener\">StreetFoto San Francisco\u003c/a> festival, an international street photography event.\u003c/p>\n\u003cp>But Walton is perhaps best known for his time as an online art dealer who used dozens of fake profiles to drive up the prices of his eBay auctions and who, in 2000, claimed that a painting he was selling might have been the work of the famous abstract expressionist Diebenkorn. Diebenkorn was a Berkeley resident when he died in 1993 and Walton reportedly bought the painting at a Berkeley garage sale.\u003c/p>\n\u003cp>In 2001, Walton and two other art dealers were arrested and charged with fraud for manipulating eBay auctions. He pleaded guilty in exchange for leniency and was sentenced to nine months probation. Walton also relinquished his law license.\u003c/p>\n\u003cp>In 2006, Simon & Schuster published \u003ci>Fake: Forgery, Lies, & eBay,\u003c/i> Walton’s memoir detailing his time as an online dealer of forged paintings, and his story was covered by publications such as the \u003cem>\u003ca href=\"http://partners.nytimes.com/library/tech/00/05/biztech/articles/10ebay.html\" target=\"_blank\" rel=\"noopener\">New York Times\u003c/a> \u003c/em>and the \u003ca href=\"https://web.archive.org/web/20070107080240/http://dwb.sacbee.com/content/news/story/14251861p-15068114c.html\" target=\"_blank\" rel=\"noopener\">\u003cem>Sacramento Bee\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003cb>UPDATE:\u003c/b> Walton updated his post at 11pm Friday night with a response to critics of his story that included his case number:\u003c/p>\n\u003cblockquote>\u003cp> I get that many of you don’t believe my story. I’ve attached the AHP case number to this post in case you want to verify it. Arizona Highway Patrol district 2, Flagstaff. Officer Villegas, #7251. I have his card but I’m not going to post his personal information here. Check it if you want, but I doubt many of you will.\u003c/p>\n\u003cp>For the record, I don’t have an axe to grind with law enforcement. Nearly every interaction I’ve ever had with police in my life has been polite and professional. I’ve been a victim of violent crime and have been assisted by police officers who went beyond the call of duty to make me feel safe. I have immense respect for the job cops do and the danger they face. My daughter and I ended up in an unfortunate encounter with an officer that I believe responded in and excessive and unreasonable way, and it was terrifying. I wanted people to know about it, and know that what we encountered is an everyday reality for less privileged segments of our society. But I’m not trying to cast blame or disparage all police officers, most of whom are kind and decent people.\u003c/p>\u003c/blockquote>\n\u003cp>He also addressed his involvement in the eBay scandal:\u003c/p>\n\u003cblockquote>\u003cp>And for the record, yes, I was involved in an eBay art forgery scandal that came to light back in in 2000. I cooperated with the authorities, plead guilty, served 9 months of probation, and took responsibility for my actions. I make no excuses for it. If you think that has anything to do with this, there is nothing I can do to change your mind. I’ve also been a taxi driver, a lawyer, a city planner, a video game startup founder, a dad, and a street photographer, in case you want to hold any of those things against me.\u003c/p>\u003c/blockquote>\n\u003cp>\u003ci>Read Walton’s entire post below:\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report",
"officialWebsiteLink": "/californiareport",
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
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"rss": "https://ww2.kqed.org/news/tag/tcram/feed/podcast"
}
},
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"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Magazine-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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"rss": "https://ww2.kqed.org/news/tag/tcrmag/feed/podcast"
}
},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/02/CAT_2_Tile-scaled.jpg",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
"link": "/podcasts/closealltabs",
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"code-switch-life-kit": {
"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. 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 />",
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"meta": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
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"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. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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},
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"id": "freakonomics-radio",
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"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"here-and-now": {
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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"rss": "https://feeds.npr.org/510308/podcast.xml"
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},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"rss": "https://feeds.npr.org/510313/podcast.xml"
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
"meta": {
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"spotify": "https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x",
"tuneIn": "https://tunein.com/radio/On-Our-Watch-p1436229/",
"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
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