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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Mezzanine, which has an all-woman talent buying team with a focus on electronic music and hip-hop, joins a growing list of long-running independent San Francisco music venues that have shuttered or ceded to corporate control this year. Counterculture mainstay the Hemlock Tavern closed in October after accepting a buyout from Dolmen Property Group, which plans to convert its Polk Street building into a 54-unit commercial/residential property and open a new Hemlock unaffiliated with the original. \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Promotions giant Goldenvoice, which books the Regency Ballroom and the Warfield in San Francisco as well as popular festivals like Coachella and FYF, recently took control of booking at Great American Music Hall and Slim’s, which were previously locally booked and independent. And the Elbo Room, another independently booked venue in the Mission District, will shutter in January 2019 after 30 years. Its building is on the market.\u003c/p>\n\u003cp>When reached by phone, Mezzanine marketing director Chris Sanders said that, so far, Jackman doesn’t have plans to relocate the venue and is focused on what’s left of its programming, which includes electronic music acts like R3HAB and Lost Kings, a New Year’s Eve party with the Knocks and a “Sweet 16” anniversary party in April 2019.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In 2009, Mezzanine hosted \u003ca href=\"https://www.youtube.com/watch?v=t7U7DlWqQPU\" target=\"_blank\" rel=\"noopener\">Lady Gaga’s first club appearance\u003c/a> in San Francisco. The club often partnered with local promoters, like comedy festival Sketchfest (which brought \u003ca href=\"https://www.youtube.com/watch?v=d8RkNpd7hkA\" target=\"_blank\" rel=\"noopener\">Maya Rudolph’s Prince tribute\u003c/a> to the club several years in a row.) LCD Soundsystem, Mos Def, the Chemical Brothers, Autechre, Thievery Corporation and thousands of others have played at the club over the years.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "inside-pulga-artist-refuge-at-center-of-the-camp-fire",
"title": "Inside Pulga, Artist Refuge at the Center of the Camp Fire",
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"headTitle": "Inside Pulga, Artist Refuge at the Center of the Camp Fire | KQED",
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"content": "\u003cp>Six inches of ash settled on the ground beneath smoke so thick, it cloaked the stars.\u003c/p>\n\u003cp>That’s what remained of Betsy Ann Cowley’s two-story house when she returned to Pulga last Monday, four days after the \u003ca href=\"https://www.kqed.org/news/tag/wildfires/\">deadliest and most destructive wildfire\u003c/a> in California history started less than a mile from her doorstep in rural Butte County.\u003c/p>\n\u003cp>The blaze appeared to have touched down at random, razing her home but not the guest lodging, and, nearby on the property, destroying a cabin but not the historic schoolhouse. An airstream trailer seemed to have exploded from within, but the vegetation just feet away was spared.\u003c/p>\n\u003cp>“The fire danced,” said Cowley, 31, wearing overalls and a fur cap when I visited on Wednesday after the fire, embers still smoldering. “It leapt over the valley.”\u003c/p>\n\u003cp>Cowley showed me the sole object she recovered from the ash of her house: a coffee mug from the 5th Avenue Marina arts enclave in Oakland, a relic of the life she left behind in order to build an intentional community in the remote foothills of the Sierra Nevada Mountains.\u003c/p>\n\u003cfigure id=\"attachment_13845121\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13845121\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/5th-Ave-Marina-Cup-800x533.jpg\" alt=\"Betsy Ann Cowley bought Pulga to form an intentional community.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/5th-Ave-Marina-Cup-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/5th-Ave-Marina-Cup-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/5th-Ave-Marina-Cup-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/5th-Ave-Marina-Cup-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/5th-Ave-Marina-Cup-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/5th-Ave-Marina-Cup-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/5th-Ave-Marina-Cup-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/5th-Ave-Marina-Cup-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/5th-Ave-Marina-Cup-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/5th-Ave-Marina-Cup-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/5th-Ave-Marina-Cup-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/5th-Ave-Marina-Cup.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Betsy Ann Cowley bought Pulga to form an intentional community. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And therein laid Cowley’s dilemma, one increasingly common in Northern California. Cowley had bought Pulga in part to provide refuge from the Bay Area housing crisis, only to move north and encounter an environmental nightmare. She brought farming and building skills gathered throughout her itinerant past to a dilapidated ghost town, and drew inspiration from Pulga’s past incarnations (hydroelectric-powered railroad and mining hub, counterculture bohemia, even hypnosis school) to work towards self-sufficiency. Now she’s been dramatically set back.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The Camp Fire, which started days after Cowley \u003ca href=\"https://www.kqed.org/news/11706286/pge-shares-plummet-as-camp-fire-continues-to-burn\">communicated with Pacific Gas and Electric\u003c/a> about power-line maintenance on her property, has steeled her resolve to foster autonomy from statewide utilities. From her perspective, the blaze, which killed 76 with more than 1,000 still missing at press time, illustrates the hazards of a more networked region.\u003c/p>\n\u003cp>“We need to go even smaller. We need more rights to the resources all around us out here,” she said. “We need to localize our infrastructure.”\u003c/p>\n\u003cp>(PG&E, which Cowley and others are suing, maintains the cause of the fire is unknown.)\u003c/p>\n\u003cfigure id=\"attachment_13845123\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13845123\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/Betsys-burned-down-house-in-Pulga-800x533.jpg\" alt=\"The remains of Betsy Cowley's house in Pulga, which was razed in the Camp Fire.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Betsys-burned-down-house-in-Pulga-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Betsys-burned-down-house-in-Pulga-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Betsys-burned-down-house-in-Pulga-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Betsys-burned-down-house-in-Pulga-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Betsys-burned-down-house-in-Pulga-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Betsys-burned-down-house-in-Pulga-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Betsys-burned-down-house-in-Pulga.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The remains of Betsy Cowley’s house in Pulga, which was razed in the Camp Fire. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For the two days that another reporter and I stayed in Pulga, leaving to visit neighbors and nearby towns with provisions in hand, the valley idyll had a tense, mistrustful atmosphere. Armed, private security were stationed at the entrance to the town for unclear reasons. Multiagency caravans drove along the hillside late at night. (Ultimately, California Highway Patrol escorted us out of the evacuation zone after questioning our media credentials.)\u003c/p>\n\u003cp>Cowley was anxious, but relative to the safety of her friends in the region, seemed unconcerned with the damage to her property. Looking past the wan dust of her former home, she observed that the fire cleared part of an old road, one she’d previously only heard about. “It actually revealed so much history,” she said.\u003c/p>\n\u003cp>She’d returned in spite of an evacuation order and, like those who’d sheltered in place in nearby Concow and Yankee Hill, was subject to removal if she left the property. There was no power, and no running water—the fire ruptured her water line. At night, solar-powered lights dimly illuminated the small structures along Pulga Road.\u003c/p>\n\u003cp>“Often you’ll hear music,” she said, suggesting the valley had supernatural protections. “We both did on that first night. But it was different, more of a symphony.”\u003c/p>\n\u003cfigure id=\"attachment_13845133\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13845133\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/Scorched-car-on-the-side-of-Highway-70-800x533.jpg\" alt=\"Abandoned vehicles lined the road to Pulga.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Scorched-car-on-the-side-of-Highway-70-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Scorched-car-on-the-side-of-Highway-70-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Scorched-car-on-the-side-of-Highway-70-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Scorched-car-on-the-side-of-Highway-70-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Scorched-car-on-the-side-of-Highway-70-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Scorched-car-on-the-side-of-Highway-70-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Scorched-car-on-the-side-of-Highway-70.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Abandoned vehicles lined the road to Pulga. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Reviving a Ghost Town\u003c/h2>\n\u003cp>When I arrived, the road to Pulga was guarded by military Humvees and lined with the scorched shells of abandoned vehicles. Some were marked with pink and green ribbons to indicate they’d been checked for cadavers. Rock House, a diner built in part from locally sourced vesuvianite, or “Pulga jade,” was mostly rubble. Scooters, another eatery a mile further on Highway 70, stood intact. The parking lot teemed with first-responder and utilities vehicles. As the elevation increased, the thick smoke reduced visibility to roughly 100 feet.\u003c/p>\n\u003cp>Pulga Road, located within the Plumas National forest, is the last left before the highway crosses Feather River Canyon. It clings to the side of a mountain, descends into a ravine, and then runs alongside Flea Valley Creek. Dozens of renovated cabins and new “glamping pads,” as Cowley \u003ca href=\"https://www.pulgatown.com/\">advertises\u003c/a> them to retreat clients, dot the hillsides. The road ends at the train track, a commercial route that once brought passengers from Oakland.\u003c/p>\n\u003cfigure id=\"attachment_13845138\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13845138\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/Betsy-Ann-Cowley-cropped-800x1016.jpg\" alt=\"Cowley returned to Pulga to find her house burned down.\" width=\"800\" height=\"1016\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Betsy-Ann-Cowley-cropped-800x1016.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Betsy-Ann-Cowley-cropped-160x203.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Betsy-Ann-Cowley-cropped-768x976.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Betsy-Ann-Cowley-cropped-1020x1296.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Betsy-Ann-Cowley-cropped-945x1200.jpg 945w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Betsy-Ann-Cowley-cropped.jpg 1612w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cowley returned to Pulga to find her house burned down. \u003ccite>(April Glaser)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cowley emerged from the office cabin to greet us on Wednesday morning. Like most of the residents we encountered in the evacuation zone, she wasn’t wearing a mask. A gas generator whirred as chickens roamed freely among tapped fire extinguishers. She’d been away when the fire started, and returned to find smoldering stumps and coal-like embers dropping from trees.\u003c/p>\n\u003cp>Even if she’d been home when the fire started, “I would’ve refused to evacuate,” she said. “There’s nothing wrong with not leaving.”\u003c/p>\n\u003cp>Before Pulga, Cowley moved often, learning to cultivate and prepare food in both ideal and less-than-ideal conditions. In Pittsburgh, she gardened on a block full of condemned houses. In New Orleans, she worked in culinary landmark Bayona. In Oakland, Cowley settled into a boat, \u003cem>September Wind\u003c/em>, amid the artists and craftspeople of the 5th Ave. Marina while managing a farm near Sacramento. After a wildfire at the farm, she brought her goats to the urban waterfront.\u003c/p>\n\u003cp>“The farm’s well dried up,” she said. “And then I found Pulga.”\u003c/p>\n\u003cp>At the Marina, Cowley and her peers lived in the shadow of the incoming Brooklyn Basin development, an enormous mixed-use project representing an existential threat to their affordable shoreline community. (The residents of Shadetree, one complex within the marina, recently rallied to \u003ca href=\"https://www.kqed.org/arts/13838421/with-luxury-development-on-all-sides-oakland-artists-buy-the-right-to-stay-put\">cooperatively purchase\u003c/a> their home.) “We felt the city’s instability constantly,” she said. In March 2015, Cowley bought Pulga for $499,000 in partnership with her stepfather, the class-action attorney Charles “Bucky” Zimmerman.\u003c/p>\n\u003cfigure id=\"attachment_13845131\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13845131\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/Pulga-Schoolhouse-800x533.jpg\" alt=\"The Pulga Schoolhouse, which was spared by the Camp Fire.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Pulga-Schoolhouse-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Pulga-Schoolhouse-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Pulga-Schoolhouse-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Pulga-Schoolhouse-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Pulga-Schoolhouse-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Pulga-Schoolhouse-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Pulga-Schoolhouse-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Pulga-Schoolhouse-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Pulga-Schoolhouse-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Pulga-Schoolhouse-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Pulga-Schoolhouse-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Pulga-Schoolhouse.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Pulga Schoolhouse, which was spared by the Camp Fire. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The property’s seller was Lorraine Paloma, who’d lived there for years with Fred Leidecker; he ran the Mystic Valley Retreat, advertising it as a school of “paranormal hypnotism and enlightenment.” (Celebrating the transaction, Leidecker hypnotized several of Cowley’s friends.) Pulga was in disrepair, with only one habitable structure, but Cowley was enamored of it and its natural spring.\u003c/p>\n\u003cp>“There was a lot of interest in the property,” she said. “I think they sold to me because I understood the microclimate.”\u003c/p>\n\u003cp>Jessy Brown was living in a trailer outside an Oakland warehouse when Cowley invited her north in 2015. The city was beginning to feel impossible, she told me, and Cowley’s vision of a rotating cast of residents and visitors in Pulga was contagious, even though the pipes froze, pigs knocked down the front door, and inconsistent internet access foiled her plans to continue working as a freelance prop designer.\u003c/p>\n\u003cp>“Betsy wanted to take the group living common in cities out to the country,” Brown said. “But first we had to clear and build.”\u003c/p>\n\u003cp>As Brown and Cowley hauled away tons of garbage, they discovered overgrown foundations and other signs of the town’s past. “It got to the point that I could tell what was an ancient kit cabin from Sears, and what was even older,” Brown said. They also connected with the Yankee Hill Historical Society, hosting the group in Pulga’s former schoolhouse.\u003c/p>\n\u003cp>“I know about small-town California,” said Brown, who grew up in the Trinity County hamlet Hayfork. “So honestly, I was surprised by the warm reception.”\u003c/p>\n\u003cfigure id=\"attachment_13845129\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13845129\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/Office-in-Pulga-800x533.jpg\" alt=\"The fire spared Cowley's office cabin.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Office-in-Pulga-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Office-in-Pulga-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Office-in-Pulga-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Office-in-Pulga-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Office-in-Pulga-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Office-in-Pulga-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Office-in-Pulga.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The fire spared Cowley’s office cabin. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>In the Eye of a Firestorm\u003c/h2>\n\u003cp>On Thursday, after eating grilled vegetables and sleeping in a guest cabin, Cowley urged me to visit Jeff Evans, a member of the historical society, in nearby Concow.\u003c/p>\n\u003cp>Evans lives with his parents, who are in their 90s, on a dirt road near Lake Concow. The fire came too quickly for them to leave. Cars were abandoned less than a mile from their home; the drivers had fled on foot, plunging into the frigid water of the lake to stay alive. Evans, marooned in the evacuation zone like Cowley, asked if we could bring wine and gasoline. He was caring for eleven dogs, some badly burnt. The area, he said, looked like a moonscape.\u003c/p>\n\u003cp>Evans sat with his father, Chuck, and his neighbor Virginia Wildblood in the dining room under a wavering light. They recalled the morning of the blaze: seeing smoke on the horizon and then, minutes later, being in the eye of a firestorm. The wind huffed like a freight train. They used a tractor and hand tools to move dirt, improvising a firebreak.\u003c/p>\n\u003cp>Others were not so fortunate. Wildblood said that of the two dozen or so members of the Concow Yankee Hill Ladies Club, roughly five still had homes. “It was worse than in 2008,” Evans said, referencing the \u003ca href=\"https://www.sfgate.com/bayarea/article/74-Paradise-homes-destroyed-by-Humboldt-Fire-3209635.php\">Humboldt Fire\u003c/a>, which destroyed 74 homes that year in Paradise. “We didn’t think that was possible.”\u003c/p>\n\u003cfigure id=\"attachment_13845127\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13845127\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/Jeff-Evans-front-800x533.jpg\" alt=\"The fire came too quickly for Jeff Evans to leave.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Jeff-Evans-front-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Jeff-Evans-front-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Jeff-Evans-front-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Jeff-Evans-front-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Jeff-Evans-front-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Jeff-Evans-front-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Jeff-Evans-front.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The fire came too quickly for Jeff Evans to leave. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Evans have deep roots in the area. In the 1960s, the family lived across the river from Pulga. Chuck worked for the Public Roads Administration, and Jeff’s brother was one of a dozen students at Pulga’s schoolhouse before it closed in 1965. When Evans read about Pulga’s sale in 2015, he was intrigued. “Then I saw Betsy post something in a group on Facebook,” he recalled. “’Who knows the history of Pulga?’”\u003c/p>\n\u003cp>The short version is that the earliest European arrivals in Pulga and Mayaro, another once-bustling town nearby, were capitalist frontiersman. William King, a railroad geologist, established Pulga in the 1880s. “He was the only one who knew the railroad was coming through,” Evans said. “So he bought as much land and mining rights as he could.” The Phelps, another early Feather River family, founded Mayaro in anticipation of a road that was never built.\u003c/p>\n\u003cfigure id=\"attachment_13845135\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13845135\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/Train-Tracks-2-800x533.jpg\" alt=\"The end of Pulga Road, at the train tracks.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Train-Tracks-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Train-Tracks-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Train-Tracks-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Train-Tracks-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Train-Tracks-2-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Train-Tracks-2-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Train-Tracks-2.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The end of Pulga Road, at the train tracks. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the early to mid-20th century, Pulga and Mayaro thrived on mining and railroad traffic, with several hundred residents. According to documents shared by Evans, the Western Pacific Railroad ran a steam passenger train called “The Skunk” from Oakland to many of the small towns along the Feather River Route. An Oakland family, the Lovetts, marketed Mayaro Lodge to Bay Area residents as a rural getaway. Pulga and Mayaro, the Evans recalled, were as much destinations for revelry as for business.\u003c/p>\n\u003cp>By the late 1960s, mining was near-bust, and the railroad had discontinued regular passenger service. It was fertile ground for the back-to-the-land movement, and Chuck Evans said “nudist squatters” overtook Mayaro Lodge. In Pulga, dozens of artists and craftspeople lived semi-communally with a surviving descendant of William King.\u003c/p>\n\u003cp>Cowley, who came up from Oakland like so many in Pulga before her, strikes Evans as similarly motivated. “It’s the same mentality of limiting your footprint,” he said. “You can’t call them hippies. There must be a name for them, but I don’t know it.”\u003c/p>\n\u003cfigure id=\"attachment_13845137\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13845137\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/Cowley-repairs-waterline-800x533.jpg\" alt=\"Cowley repairs a water line ruptured by the fire.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Cowley-repairs-waterline-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Cowley-repairs-waterline-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Cowley-repairs-waterline-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Cowley-repairs-waterline-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Cowley-repairs-waterline-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Cowley-repairs-waterline-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Cowley-repairs-waterline-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Cowley-repairs-waterline-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Cowley-repairs-waterline-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Cowley-repairs-waterline-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Cowley-repairs-waterline-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Cowley-repairs-waterline.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cowley repairs a water line ruptured by the fire. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Life Off the Grid\u003c/h2>\n\u003cp>Pulga has yet to repopulate to the extent Cowley imagined when she bought it. Friends such as Brown have stayed for as many as 12 months, helping build out the infrastructure, while others visit for long enough to leave murals and sculptures. The natural spring and farm animals are a stride towards self-sufficiency, but Cowley is also saddled with debt, so she rents the whole town for weddings and corporate retreats accommodating up to 100. (Amusedly, Cowley recalled an employee of a blockchain startup toiling to hack her wi-fi.)\u003c/p>\n\u003cp>“I didn’t mean to become a wedding planner,” she said. “If you’d asked me two years ago to hold a corporate retreat, I would’ve laughed.” But some clients, such as reproductive rights group If/When/How, are inspiring, and she’s come to see the rentals as an opportunity to promote a different future to urbanites, savoring the way visitors from the Bay Area in particular receive Pulga’s country facts-of-life as epiphanies.\u003c/p>\n\u003cp>“People are amazed to be eating a pig, and then to look over and see the fruit that the pig ate,” she said.\u003c/p>\n\u003cfigure id=\"attachment_13845122\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13845122\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/Barn-in-Pulga-800x533.jpg\" alt=\"A barn in Pulga.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Barn-in-Pulga-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Barn-in-Pulga-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Barn-in-Pulga-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Barn-in-Pulga-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Barn-in-Pulga-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Barn-in-Pulga-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Barn-in-Pulga-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Barn-in-Pulga-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Barn-in-Pulga-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Barn-in-Pulga-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Barn-in-Pulga-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Barn-in-Pulga.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A barn in Pulga. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Meanwhile, Cowley has developed complicated feeling towards the utilities and agencies operating in the area, growing fond of their blue-collar workers while resenting grander corporate designs for the region. For example, she’s vehemently opposed to expanding internet access. She recalled a PG&E worker complaining that he had to drive in to manually check Pulga’s meters, since they aren’t the company’s networked SmartMeters.\u003c/p>\n\u003cp>“I told him that’s his job security,” she said.\u003c/p>\n\u003cp>While digitized communications might seem like a security safeguard in the event of disaster, Cowley considers the Camp Fire a counterpoint—especially if it’s definitely linked to power lines. She likes to point out that, in the early 20th century, Pulga ran primarily on hydroelectricity generated from the Feather River, a water source that today largely routes to corporate crops in Central Valley. The people in and around Pulga, in her view, are bound to a potentially hazardous utility—PG&E—and needlessly deprived of safer alternatives.\u003c/p>\n\u003cfigure id=\"attachment_13845126\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13845126\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/Downed-powerline-800x533.jpg\" alt=\"PG&E says the cause of the fire is unknown.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Downed-powerline-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Downed-powerline-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Downed-powerline-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Downed-powerline-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Downed-powerline-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Downed-powerline-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Downed-powerline.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">PG&E says the cause of the fire is unknown. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Winter is Coming\u003c/h2>\n\u003cp>Butte County isn’t Marin, and Pulga shouldn’t be confused with somewhere like Bolinas. Nor can it be compared to Camp Navarro, the Boy Scout camp-turned-corporate retreat outside Mendocino. The median household income in Concow and Yankee Hill, per census figures, is under $25,000, or less than a third of the median income in Sausalito.\u003c/p>\n\u003cp>On Thursday, we visited a Walmart in Chico, where evacuees had formed a large tent city in the parking lot. It resembled homeless encampments in Oakland, and some of the people there said they’d moved to Paradise and Magalia, towns practically leveled by the Camp Fire, to flee the high cost of living in the Bay Area.\u003c/p>\n\u003cp>In other words, the rural devastation may be hundreds of miles from the Bay Area, but it is closely linked to urban pressures. Cowley’s vision for Pulga is prefigurative, imagining a sort of shadow society to escape the financial strain on coastal cities. But the fire has stressed to her the difficulty of outpacing the closely entwined forces of economic and environmental injustice in California.\u003c/p>\n\u003cp>My last night in Pulga, Cowley and I spoke in front of the office cabin by the tracks. A railroad worker radioed to his counterparts about conditions ahead, protesting that he didn’t think it was yet safe to resume running trains due to encroaching flames. Cowley dwelled on the water line, calling the cleared vegetation an opportunity to rethink irrigation. But she’d have to hurry.\u003c/p>\n\u003cp>“I already knew I had winter coming, and that’s a lot,” she said. “Now I have to redo the plumbing.”\u003c/p>\n\u003cp>The air was still thick with smoke as night fell, and Cowley realized that the wake of the fire promised another challenge.\u003c/p>\n\u003cp>“With all the downed trees and loosened soil,” she said, “it’s 100-percent going to flood.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"excerpt": "Betsy Ann Cowley bought Pulga to flee the Bay Area's housing crisis—only to encounter an environmental nightmare. ",
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"title": "Inside Pulga, Artist Refuge at the Center of the Camp Fire | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Six inches of ash settled on the ground beneath smoke so thick, it cloaked the stars.\u003c/p>\n\u003cp>That’s what remained of Betsy Ann Cowley’s two-story house when she returned to Pulga last Monday, four days after the \u003ca href=\"https://www.kqed.org/news/tag/wildfires/\">deadliest and most destructive wildfire\u003c/a> in California history started less than a mile from her doorstep in rural Butte County.\u003c/p>\n\u003cp>The blaze appeared to have touched down at random, razing her home but not the guest lodging, and, nearby on the property, destroying a cabin but not the historic schoolhouse. An airstream trailer seemed to have exploded from within, but the vegetation just feet away was spared.\u003c/p>\n\u003cp>“The fire danced,” said Cowley, 31, wearing overalls and a fur cap when I visited on Wednesday after the fire, embers still smoldering. “It leapt over the valley.”\u003c/p>\n\u003cp>Cowley showed me the sole object she recovered from the ash of her house: a coffee mug from the 5th Avenue Marina arts enclave in Oakland, a relic of the life she left behind in order to build an intentional community in the remote foothills of the Sierra Nevada Mountains.\u003c/p>\n\u003cfigure id=\"attachment_13845121\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13845121\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/5th-Ave-Marina-Cup-800x533.jpg\" alt=\"Betsy Ann Cowley bought Pulga to form an intentional community.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/5th-Ave-Marina-Cup-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/5th-Ave-Marina-Cup-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/5th-Ave-Marina-Cup-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/5th-Ave-Marina-Cup-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/5th-Ave-Marina-Cup-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/5th-Ave-Marina-Cup-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/5th-Ave-Marina-Cup-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/5th-Ave-Marina-Cup-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/5th-Ave-Marina-Cup-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/5th-Ave-Marina-Cup-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/5th-Ave-Marina-Cup-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/5th-Ave-Marina-Cup.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Betsy Ann Cowley bought Pulga to form an intentional community. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And therein laid Cowley’s dilemma, one increasingly common in Northern California. Cowley had bought Pulga in part to provide refuge from the Bay Area housing crisis, only to move north and encounter an environmental nightmare. She brought farming and building skills gathered throughout her itinerant past to a dilapidated ghost town, and drew inspiration from Pulga’s past incarnations (hydroelectric-powered railroad and mining hub, counterculture bohemia, even hypnosis school) to work towards self-sufficiency. Now she’s been dramatically set back.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Camp Fire, which started days after Cowley \u003ca href=\"https://www.kqed.org/news/11706286/pge-shares-plummet-as-camp-fire-continues-to-burn\">communicated with Pacific Gas and Electric\u003c/a> about power-line maintenance on her property, has steeled her resolve to foster autonomy from statewide utilities. From her perspective, the blaze, which killed 76 with more than 1,000 still missing at press time, illustrates the hazards of a more networked region.\u003c/p>\n\u003cp>“We need to go even smaller. We need more rights to the resources all around us out here,” she said. “We need to localize our infrastructure.”\u003c/p>\n\u003cp>(PG&E, which Cowley and others are suing, maintains the cause of the fire is unknown.)\u003c/p>\n\u003cfigure id=\"attachment_13845123\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13845123\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/Betsys-burned-down-house-in-Pulga-800x533.jpg\" alt=\"The remains of Betsy Cowley's house in Pulga, which was razed in the Camp Fire.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Betsys-burned-down-house-in-Pulga-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Betsys-burned-down-house-in-Pulga-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Betsys-burned-down-house-in-Pulga-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Betsys-burned-down-house-in-Pulga-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Betsys-burned-down-house-in-Pulga-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Betsys-burned-down-house-in-Pulga-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Betsys-burned-down-house-in-Pulga.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The remains of Betsy Cowley’s house in Pulga, which was razed in the Camp Fire. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For the two days that another reporter and I stayed in Pulga, leaving to visit neighbors and nearby towns with provisions in hand, the valley idyll had a tense, mistrustful atmosphere. Armed, private security were stationed at the entrance to the town for unclear reasons. Multiagency caravans drove along the hillside late at night. (Ultimately, California Highway Patrol escorted us out of the evacuation zone after questioning our media credentials.)\u003c/p>\n\u003cp>Cowley was anxious, but relative to the safety of her friends in the region, seemed unconcerned with the damage to her property. Looking past the wan dust of her former home, she observed that the fire cleared part of an old road, one she’d previously only heard about. “It actually revealed so much history,” she said.\u003c/p>\n\u003cp>She’d returned in spite of an evacuation order and, like those who’d sheltered in place in nearby Concow and Yankee Hill, was subject to removal if she left the property. There was no power, and no running water—the fire ruptured her water line. At night, solar-powered lights dimly illuminated the small structures along Pulga Road.\u003c/p>\n\u003cp>“Often you’ll hear music,” she said, suggesting the valley had supernatural protections. “We both did on that first night. But it was different, more of a symphony.”\u003c/p>\n\u003cfigure id=\"attachment_13845133\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13845133\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/Scorched-car-on-the-side-of-Highway-70-800x533.jpg\" alt=\"Abandoned vehicles lined the road to Pulga.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Scorched-car-on-the-side-of-Highway-70-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Scorched-car-on-the-side-of-Highway-70-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Scorched-car-on-the-side-of-Highway-70-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Scorched-car-on-the-side-of-Highway-70-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Scorched-car-on-the-side-of-Highway-70-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Scorched-car-on-the-side-of-Highway-70-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Scorched-car-on-the-side-of-Highway-70.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Abandoned vehicles lined the road to Pulga. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Reviving a Ghost Town\u003c/h2>\n\u003cp>When I arrived, the road to Pulga was guarded by military Humvees and lined with the scorched shells of abandoned vehicles. Some were marked with pink and green ribbons to indicate they’d been checked for cadavers. Rock House, a diner built in part from locally sourced vesuvianite, or “Pulga jade,” was mostly rubble. Scooters, another eatery a mile further on Highway 70, stood intact. The parking lot teemed with first-responder and utilities vehicles. As the elevation increased, the thick smoke reduced visibility to roughly 100 feet.\u003c/p>\n\u003cp>Pulga Road, located within the Plumas National forest, is the last left before the highway crosses Feather River Canyon. It clings to the side of a mountain, descends into a ravine, and then runs alongside Flea Valley Creek. Dozens of renovated cabins and new “glamping pads,” as Cowley \u003ca href=\"https://www.pulgatown.com/\">advertises\u003c/a> them to retreat clients, dot the hillsides. The road ends at the train track, a commercial route that once brought passengers from Oakland.\u003c/p>\n\u003cfigure id=\"attachment_13845138\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13845138\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/Betsy-Ann-Cowley-cropped-800x1016.jpg\" alt=\"Cowley returned to Pulga to find her house burned down.\" width=\"800\" height=\"1016\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Betsy-Ann-Cowley-cropped-800x1016.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Betsy-Ann-Cowley-cropped-160x203.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Betsy-Ann-Cowley-cropped-768x976.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Betsy-Ann-Cowley-cropped-1020x1296.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Betsy-Ann-Cowley-cropped-945x1200.jpg 945w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Betsy-Ann-Cowley-cropped.jpg 1612w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cowley returned to Pulga to find her house burned down. \u003ccite>(April Glaser)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cowley emerged from the office cabin to greet us on Wednesday morning. Like most of the residents we encountered in the evacuation zone, she wasn’t wearing a mask. A gas generator whirred as chickens roamed freely among tapped fire extinguishers. She’d been away when the fire started, and returned to find smoldering stumps and coal-like embers dropping from trees.\u003c/p>\n\u003cp>Even if she’d been home when the fire started, “I would’ve refused to evacuate,” she said. “There’s nothing wrong with not leaving.”\u003c/p>\n\u003cp>Before Pulga, Cowley moved often, learning to cultivate and prepare food in both ideal and less-than-ideal conditions. In Pittsburgh, she gardened on a block full of condemned houses. In New Orleans, she worked in culinary landmark Bayona. In Oakland, Cowley settled into a boat, \u003cem>September Wind\u003c/em>, amid the artists and craftspeople of the 5th Ave. Marina while managing a farm near Sacramento. After a wildfire at the farm, she brought her goats to the urban waterfront.\u003c/p>\n\u003cp>“The farm’s well dried up,” she said. “And then I found Pulga.”\u003c/p>\n\u003cp>At the Marina, Cowley and her peers lived in the shadow of the incoming Brooklyn Basin development, an enormous mixed-use project representing an existential threat to their affordable shoreline community. (The residents of Shadetree, one complex within the marina, recently rallied to \u003ca href=\"https://www.kqed.org/arts/13838421/with-luxury-development-on-all-sides-oakland-artists-buy-the-right-to-stay-put\">cooperatively purchase\u003c/a> their home.) “We felt the city’s instability constantly,” she said. In March 2015, Cowley bought Pulga for $499,000 in partnership with her stepfather, the class-action attorney Charles “Bucky” Zimmerman.\u003c/p>\n\u003cfigure id=\"attachment_13845131\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13845131\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/Pulga-Schoolhouse-800x533.jpg\" alt=\"The Pulga Schoolhouse, which was spared by the Camp Fire.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Pulga-Schoolhouse-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Pulga-Schoolhouse-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Pulga-Schoolhouse-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Pulga-Schoolhouse-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Pulga-Schoolhouse-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Pulga-Schoolhouse-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Pulga-Schoolhouse-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Pulga-Schoolhouse-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Pulga-Schoolhouse-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Pulga-Schoolhouse-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Pulga-Schoolhouse-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Pulga-Schoolhouse.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Pulga Schoolhouse, which was spared by the Camp Fire. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The property’s seller was Lorraine Paloma, who’d lived there for years with Fred Leidecker; he ran the Mystic Valley Retreat, advertising it as a school of “paranormal hypnotism and enlightenment.” (Celebrating the transaction, Leidecker hypnotized several of Cowley’s friends.) Pulga was in disrepair, with only one habitable structure, but Cowley was enamored of it and its natural spring.\u003c/p>\n\u003cp>“There was a lot of interest in the property,” she said. “I think they sold to me because I understood the microclimate.”\u003c/p>\n\u003cp>Jessy Brown was living in a trailer outside an Oakland warehouse when Cowley invited her north in 2015. The city was beginning to feel impossible, she told me, and Cowley’s vision of a rotating cast of residents and visitors in Pulga was contagious, even though the pipes froze, pigs knocked down the front door, and inconsistent internet access foiled her plans to continue working as a freelance prop designer.\u003c/p>\n\u003cp>“Betsy wanted to take the group living common in cities out to the country,” Brown said. “But first we had to clear and build.”\u003c/p>\n\u003cp>As Brown and Cowley hauled away tons of garbage, they discovered overgrown foundations and other signs of the town’s past. “It got to the point that I could tell what was an ancient kit cabin from Sears, and what was even older,” Brown said. They also connected with the Yankee Hill Historical Society, hosting the group in Pulga’s former schoolhouse.\u003c/p>\n\u003cp>“I know about small-town California,” said Brown, who grew up in the Trinity County hamlet Hayfork. “So honestly, I was surprised by the warm reception.”\u003c/p>\n\u003cfigure id=\"attachment_13845129\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13845129\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/Office-in-Pulga-800x533.jpg\" alt=\"The fire spared Cowley's office cabin.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Office-in-Pulga-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Office-in-Pulga-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Office-in-Pulga-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Office-in-Pulga-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Office-in-Pulga-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Office-in-Pulga-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Office-in-Pulga.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The fire spared Cowley’s office cabin. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>In the Eye of a Firestorm\u003c/h2>\n\u003cp>On Thursday, after eating grilled vegetables and sleeping in a guest cabin, Cowley urged me to visit Jeff Evans, a member of the historical society, in nearby Concow.\u003c/p>\n\u003cp>Evans lives with his parents, who are in their 90s, on a dirt road near Lake Concow. The fire came too quickly for them to leave. Cars were abandoned less than a mile from their home; the drivers had fled on foot, plunging into the frigid water of the lake to stay alive. Evans, marooned in the evacuation zone like Cowley, asked if we could bring wine and gasoline. He was caring for eleven dogs, some badly burnt. The area, he said, looked like a moonscape.\u003c/p>\n\u003cp>Evans sat with his father, Chuck, and his neighbor Virginia Wildblood in the dining room under a wavering light. They recalled the morning of the blaze: seeing smoke on the horizon and then, minutes later, being in the eye of a firestorm. The wind huffed like a freight train. They used a tractor and hand tools to move dirt, improvising a firebreak.\u003c/p>\n\u003cp>Others were not so fortunate. Wildblood said that of the two dozen or so members of the Concow Yankee Hill Ladies Club, roughly five still had homes. “It was worse than in 2008,” Evans said, referencing the \u003ca href=\"https://www.sfgate.com/bayarea/article/74-Paradise-homes-destroyed-by-Humboldt-Fire-3209635.php\">Humboldt Fire\u003c/a>, which destroyed 74 homes that year in Paradise. “We didn’t think that was possible.”\u003c/p>\n\u003cfigure id=\"attachment_13845127\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13845127\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/Jeff-Evans-front-800x533.jpg\" alt=\"The fire came too quickly for Jeff Evans to leave.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Jeff-Evans-front-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Jeff-Evans-front-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Jeff-Evans-front-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Jeff-Evans-front-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Jeff-Evans-front-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Jeff-Evans-front-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Jeff-Evans-front.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The fire came too quickly for Jeff Evans to leave. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Evans have deep roots in the area. In the 1960s, the family lived across the river from Pulga. Chuck worked for the Public Roads Administration, and Jeff’s brother was one of a dozen students at Pulga’s schoolhouse before it closed in 1965. When Evans read about Pulga’s sale in 2015, he was intrigued. “Then I saw Betsy post something in a group on Facebook,” he recalled. “’Who knows the history of Pulga?’”\u003c/p>\n\u003cp>The short version is that the earliest European arrivals in Pulga and Mayaro, another once-bustling town nearby, were capitalist frontiersman. William King, a railroad geologist, established Pulga in the 1880s. “He was the only one who knew the railroad was coming through,” Evans said. “So he bought as much land and mining rights as he could.” The Phelps, another early Feather River family, founded Mayaro in anticipation of a road that was never built.\u003c/p>\n\u003cfigure id=\"attachment_13845135\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13845135\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/Train-Tracks-2-800x533.jpg\" alt=\"The end of Pulga Road, at the train tracks.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Train-Tracks-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Train-Tracks-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Train-Tracks-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Train-Tracks-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Train-Tracks-2-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Train-Tracks-2-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Train-Tracks-2.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The end of Pulga Road, at the train tracks. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the early to mid-20th century, Pulga and Mayaro thrived on mining and railroad traffic, with several hundred residents. According to documents shared by Evans, the Western Pacific Railroad ran a steam passenger train called “The Skunk” from Oakland to many of the small towns along the Feather River Route. An Oakland family, the Lovetts, marketed Mayaro Lodge to Bay Area residents as a rural getaway. Pulga and Mayaro, the Evans recalled, were as much destinations for revelry as for business.\u003c/p>\n\u003cp>By the late 1960s, mining was near-bust, and the railroad had discontinued regular passenger service. It was fertile ground for the back-to-the-land movement, and Chuck Evans said “nudist squatters” overtook Mayaro Lodge. In Pulga, dozens of artists and craftspeople lived semi-communally with a surviving descendant of William King.\u003c/p>\n\u003cp>Cowley, who came up from Oakland like so many in Pulga before her, strikes Evans as similarly motivated. “It’s the same mentality of limiting your footprint,” he said. “You can’t call them hippies. There must be a name for them, but I don’t know it.”\u003c/p>\n\u003cfigure id=\"attachment_13845137\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13845137\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/Cowley-repairs-waterline-800x533.jpg\" alt=\"Cowley repairs a water line ruptured by the fire.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Cowley-repairs-waterline-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Cowley-repairs-waterline-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Cowley-repairs-waterline-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Cowley-repairs-waterline-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Cowley-repairs-waterline-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Cowley-repairs-waterline-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Cowley-repairs-waterline-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Cowley-repairs-waterline-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Cowley-repairs-waterline-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Cowley-repairs-waterline-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Cowley-repairs-waterline-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Cowley-repairs-waterline.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cowley repairs a water line ruptured by the fire. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Life Off the Grid\u003c/h2>\n\u003cp>Pulga has yet to repopulate to the extent Cowley imagined when she bought it. Friends such as Brown have stayed for as many as 12 months, helping build out the infrastructure, while others visit for long enough to leave murals and sculptures. The natural spring and farm animals are a stride towards self-sufficiency, but Cowley is also saddled with debt, so she rents the whole town for weddings and corporate retreats accommodating up to 100. (Amusedly, Cowley recalled an employee of a blockchain startup toiling to hack her wi-fi.)\u003c/p>\n\u003cp>“I didn’t mean to become a wedding planner,” she said. “If you’d asked me two years ago to hold a corporate retreat, I would’ve laughed.” But some clients, such as reproductive rights group If/When/How, are inspiring, and she’s come to see the rentals as an opportunity to promote a different future to urbanites, savoring the way visitors from the Bay Area in particular receive Pulga’s country facts-of-life as epiphanies.\u003c/p>\n\u003cp>“People are amazed to be eating a pig, and then to look over and see the fruit that the pig ate,” she said.\u003c/p>\n\u003cfigure id=\"attachment_13845122\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13845122\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/Barn-in-Pulga-800x533.jpg\" alt=\"A barn in Pulga.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Barn-in-Pulga-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Barn-in-Pulga-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Barn-in-Pulga-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Barn-in-Pulga-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Barn-in-Pulga-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Barn-in-Pulga-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Barn-in-Pulga-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Barn-in-Pulga-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Barn-in-Pulga-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Barn-in-Pulga-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Barn-in-Pulga-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Barn-in-Pulga.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A barn in Pulga. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Meanwhile, Cowley has developed complicated feeling towards the utilities and agencies operating in the area, growing fond of their blue-collar workers while resenting grander corporate designs for the region. For example, she’s vehemently opposed to expanding internet access. She recalled a PG&E worker complaining that he had to drive in to manually check Pulga’s meters, since they aren’t the company’s networked SmartMeters.\u003c/p>\n\u003cp>“I told him that’s his job security,” she said.\u003c/p>\n\u003cp>While digitized communications might seem like a security safeguard in the event of disaster, Cowley considers the Camp Fire a counterpoint—especially if it’s definitely linked to power lines. She likes to point out that, in the early 20th century, Pulga ran primarily on hydroelectricity generated from the Feather River, a water source that today largely routes to corporate crops in Central Valley. The people in and around Pulga, in her view, are bound to a potentially hazardous utility—PG&E—and needlessly deprived of safer alternatives.\u003c/p>\n\u003cfigure id=\"attachment_13845126\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13845126\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/Downed-powerline-800x533.jpg\" alt=\"PG&E says the cause of the fire is unknown.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Downed-powerline-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Downed-powerline-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Downed-powerline-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Downed-powerline-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Downed-powerline-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Downed-powerline-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Downed-powerline.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">PG&E says the cause of the fire is unknown. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Winter is Coming\u003c/h2>\n\u003cp>Butte County isn’t Marin, and Pulga shouldn’t be confused with somewhere like Bolinas. Nor can it be compared to Camp Navarro, the Boy Scout camp-turned-corporate retreat outside Mendocino. The median household income in Concow and Yankee Hill, per census figures, is under $25,000, or less than a third of the median income in Sausalito.\u003c/p>\n\u003cp>On Thursday, we visited a Walmart in Chico, where evacuees had formed a large tent city in the parking lot. It resembled homeless encampments in Oakland, and some of the people there said they’d moved to Paradise and Magalia, towns practically leveled by the Camp Fire, to flee the high cost of living in the Bay Area.\u003c/p>\n\u003cp>In other words, the rural devastation may be hundreds of miles from the Bay Area, but it is closely linked to urban pressures. Cowley’s vision for Pulga is prefigurative, imagining a sort of shadow society to escape the financial strain on coastal cities. But the fire has stressed to her the difficulty of outpacing the closely entwined forces of economic and environmental injustice in California.\u003c/p>\n\u003cp>My last night in Pulga, Cowley and I spoke in front of the office cabin by the tracks. A railroad worker radioed to his counterparts about conditions ahead, protesting that he didn’t think it was yet safe to resume running trains due to encroaching flames. Cowley dwelled on the water line, calling the cleared vegetation an opportunity to rethink irrigation. But she’d have to hurry.\u003c/p>\n\u003cp>“I already knew I had winter coming, and that’s a lot,” she said. “Now I have to redo the plumbing.”\u003c/p>\n\u003cp>The air was still thick with smoke as night fell, and Cowley realized that the wake of the fire promised another challenge.\u003c/p>\n\u003cp>“With all the downed trees and loosened soil,” she said, “it’s 100-percent going to flood.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Syko, Producer of Mac Dre's 'Thizzle Dance,' Reported Dead",
"headTitle": "Syko, Producer of Mac Dre’s ‘Thizzle Dance,’ Reported Dead | KQED",
"content": "\u003cp>Syko, the Seattle rapper and producer best known for producing Mac Dre’s iconic hyphy anthem “\u003ca href=\"https://www.youtube.com/watch?v=lhPUi_RbFwU\" target=\"_blank\" rel=\"noopener\">Thizzle Dance\u003c/a>,” was killed in a car accident on Friday, Nov. 16, according to friends and fans posting on social media.\u003c/p>\n\u003cp>Many of those mourning the producer shared a \u003ca href=\"https://komonews.com/news/local/man-dead-after-crashing-car-near-boeing-in-everett?fbclid=IwAR2mwFvaiqT4DSDb2DK3JHzyrJPpE7KGbRa6y6cBxfptg4VfWCGzh5NmDCM\" target=\"_blank\" rel=\"noopener\">KOMO News article\u003c/a> about an unnamed man who crashed in Everett, Washington Friday. The Snohomish County medical examiner’s office confirmed that death to KQED, and one of Syko’s close friends, Darryl Reese, confirmed that Syko, real name Theophilus Adams, did indeed pass away yesterday.\u003c/p>\n\u003cfigure id=\"attachment_13845115\" class=\"wp-caption alignright\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13845115\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/IMG_4641.jpg\" alt=\"Syko.\" width=\"750\" height=\"689\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IMG_4641.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IMG_4641-160x147.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IMG_4641-240x220.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IMG_4641-375x345.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IMG_4641-520x478.jpg 520w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">Syko. \u003ccite>(Darryl Reese)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Reese described Syko, who was originally from Portland, Ore., as a passionate musician, good friend and devoted father of two kids. “He was a very happy dude,” Reese says. “I never argued with Syko. He was crazy, tremendous energy. He would light up a room every time he stepped in it.”\u003c/p>\n\u003cp>Syko helped define the Bay Area’s hyphy movement with his bouncy, bass-heavy production on Mac Dre’s 2002 \u003cem>Thizzelle Washington\u003c/em> album, including the ubiquitous “Thizzle Dance” and “Boss Tycoon.” Syko’s sound later inspired artists like Mistah F.A.B. and E-40 as hyphy, the Bay Area’s best-known rap subculture, became a phenomenon in the mid 2000s.\u003c/p>\n\u003cp>In addition to his own production work, Syko was an advocate for other producers and underground musicians.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“People don’t realize he was a champion of that sound,” said Reese, who interviewed Syko for his podcast, \u003ca href=\"https://soundcloud.com/theglowupcast/the-glow-up-ep-10-og-west-coast-producer-syko\" target=\"_blank\" rel=\"noopener\">\u003cem>The Glow Up\u003c/em>\u003c/a>, last year, where the producer spoke extensively about his work with Mac Dre. “That’s what always mattered to him, producers getting their credit.”\u003c/p>\n\u003cp>https://youtu.be/wS6NXlfkAgw\u003c/p>\n\u003cp>“\u003cspan class=\"s1\">The main thing he wanted to do always was support and show love,” said Gizzle McFly, a Richmond, Calif. rapper who collaborated with Syko extensively since 2012. The two of them were in the process of recording an album together at the time of Syko’s death. “Any conversation with him, he based that off what he learned from Mac Dre—which was somebody who believed in him and gave him a shot. And from him having that shot, he made some of the most memorable and influential songs in West Coast and—I would say—rap history.”\u003c/span>\u003c/p>\n\u003cp>In his final \u003ca href=\"https://www.instagram.com/p/BqRPfX4gySO/\" target=\"_blank\" rel=\"noopener\">Instagram post\u003c/a>, Syko hinted at the future.\u003c/p>\n\u003cp>“Don’t define me by Thizzle Dance and Boss Tycoon,” Syko wrote. “If I can make Drake dance on stage to my shit, I know I got some more work to do.”\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was updated on Nov. 19 to include quotes from Gizzle McFly.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Syko, the Seattle rapper and producer best known for producing Mac Dre’s iconic hyphy anthem “\u003ca href=\"https://www.youtube.com/watch?v=lhPUi_RbFwU\" target=\"_blank\" rel=\"noopener\">Thizzle Dance\u003c/a>,” was killed in a car accident on Friday, Nov. 16, according to friends and fans posting on social media.\u003c/p>\n\u003cp>Many of those mourning the producer shared a \u003ca href=\"https://komonews.com/news/local/man-dead-after-crashing-car-near-boeing-in-everett?fbclid=IwAR2mwFvaiqT4DSDb2DK3JHzyrJPpE7KGbRa6y6cBxfptg4VfWCGzh5NmDCM\" target=\"_blank\" rel=\"noopener\">KOMO News article\u003c/a> about an unnamed man who crashed in Everett, Washington Friday. The Snohomish County medical examiner’s office confirmed that death to KQED, and one of Syko’s close friends, Darryl Reese, confirmed that Syko, real name Theophilus Adams, did indeed pass away yesterday.\u003c/p>\n\u003cfigure id=\"attachment_13845115\" class=\"wp-caption alignright\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13845115\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/IMG_4641.jpg\" alt=\"Syko.\" width=\"750\" height=\"689\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IMG_4641.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IMG_4641-160x147.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IMG_4641-240x220.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IMG_4641-375x345.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IMG_4641-520x478.jpg 520w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">Syko. \u003ccite>(Darryl Reese)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Reese described Syko, who was originally from Portland, Ore., as a passionate musician, good friend and devoted father of two kids. “He was a very happy dude,” Reese says. “I never argued with Syko. He was crazy, tremendous energy. He would light up a room every time he stepped in it.”\u003c/p>\n\u003cp>Syko helped define the Bay Area’s hyphy movement with his bouncy, bass-heavy production on Mac Dre’s 2002 \u003cem>Thizzelle Washington\u003c/em> album, including the ubiquitous “Thizzle Dance” and “Boss Tycoon.” Syko’s sound later inspired artists like Mistah F.A.B. and E-40 as hyphy, the Bay Area’s best-known rap subculture, became a phenomenon in the mid 2000s.\u003c/p>\n\u003cp>In addition to his own production work, Syko was an advocate for other producers and underground musicians.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“People don’t realize he was a champion of that sound,” said Reese, who interviewed Syko for his podcast, \u003ca href=\"https://soundcloud.com/theglowupcast/the-glow-up-ep-10-og-west-coast-producer-syko\" target=\"_blank\" rel=\"noopener\">\u003cem>The Glow Up\u003c/em>\u003c/a>, last year, where the producer spoke extensively about his work with Mac Dre. “That’s what always mattered to him, producers getting their credit.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/wS6NXlfkAgw'\n title='//www.youtube.com/embed/wS6NXlfkAgw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“\u003cspan class=\"s1\">The main thing he wanted to do always was support and show love,” said Gizzle McFly, a Richmond, Calif. rapper who collaborated with Syko extensively since 2012. The two of them were in the process of recording an album together at the time of Syko’s death. “Any conversation with him, he based that off what he learned from Mac Dre—which was somebody who believed in him and gave him a shot. And from him having that shot, he made some of the most memorable and influential songs in West Coast and—I would say—rap history.”\u003c/span>\u003c/p>\n\u003cp>In his final \u003ca href=\"https://www.instagram.com/p/BqRPfX4gySO/\" target=\"_blank\" rel=\"noopener\">Instagram post\u003c/a>, Syko hinted at the future.\u003c/p>\n\u003cp>“Don’t define me by Thizzle Dance and Boss Tycoon,” Syko wrote. “If I can make Drake dance on stage to my shit, I know I got some more work to do.”\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was updated on Nov. 19 to include quotes from Gizzle McFly.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Escape the Smoke: These San Francisco Museums Are Free This Weekend",
"headTitle": "Escape the Smoke: These San Francisco Museums Are Free This Weekend | KQED",
"content": "\u003cp>As the Butte County fire rages on and air quality reaches “very unhealthy” and “hazardous” levels across Northern California, Bay Area residents have been advised to stay indoors as much as possible to avoid breathing in the toxic particles in the atmosphere. Fortunately, many of San Francisco’s world-class art museums are opening their doors for free this weekend—not only to offer local art lovers an escape from the outside air, but to provide some much-needed spiritual nourishment as the fire’s death toll climbs. [contextly_sidebar id=”2RbXaT6m7FBO5y2ZlHHowqUPbU7EOtzg”]\u003c/p>\n\u003ch2>San Francisco Museum of Modern Art\u003c/h2>\n\u003cp>Like it did last weekend when the smoke first hit, \u003ca href=\"https://www.facebook.com/sfmoma/?__tn__=kC-R&eid=ARBuSaLGPNquaftk2d379dz0NlrJg_8dT8DBlh_vAg-8uBL6alpVuDKEVebYMtIg557D9EezM2ATQ62F&hc_ref=ARSKQU9mAo9xl-0COY42njDgVYo1uDzGG02U-biP4kWiCQ8Z4b-7pgb_RyVSSo8W0gg&fref=nf&__xts__%5B0%5D=68.ARCCF5FNBzz9lUp2vw0-UQDZB9frVfQhp_dlF6vYtqZNjGq2ucMImjrDPfmV-Bz2RhJGSX1Cr4uh1mcvkK9yem3Gio7UVfZQUPP47cv-NKeVl7OawX9BfYRb-oCTkMLfko_0xGCEmapLGv_sLIPtqhxhC6Wwq7NVml6N_G0Pr8wiox5ZRR-3w8ADWwocSGy-zuwj3nQJuyhtKamp-TXd33wOHZz1V0G2iqiL0l7Ax8hp_GrBlo0DZHIITpCN8ENVZcXEA55OJZmvPmAJ0UMJrPGO2BEKQaUshcYP-RqWZUmMthiRJFkomy1BPYs-4YIzAbvgO7Grv6jNhoiNyQ\" target=\"_blank\" rel=\"noopener\">SFMOMA\u003c/a> offers its second-floor gallery free of charge on Nov. 17 and 18, no ticket required. The museum’s second floor houses its \u003ca href=\"https://www.sfmoma.org/exhibition/open-ended/\" target=\"_blank\" rel=\"noopener\">permanent collection\u003c/a>, which features painting and sculpture by renowned artists like Frida Kahlo, Marcel Duchamp, Diego Rivera, Mark Rothko, Frank Stella and more. Bay Area artist \u003ca href=\"https://www.sfmoma.org/exhibition/wayne-thiebaud-artists-choice/\" target=\"_blank\" rel=\"noopener\">Wayne Thiebaud\u003c/a>‘s two concurrent solo shows are also free.\u003c/p>\n\u003ch2>Asian Art Museum\u003c/h2>\n\u003cp>[contextly_sidebar id=”ygdoAXCWGka6xjkzlMTtDrJEDSIyWeyh”]\u003cbr>\nThe Asian Art Museum is free today, Nov. 16, through Nov. 18. Its offerings include the vibrant contemporary exhibit \u003ca href=\"http://www.asianart.org/exhibitions/mithila-painting\" target=\"_blank\" rel=\"noopener\">\u003cem>Painting Is My Everything: Art From India’s Mithila Region\u003c/em>\u003c/a>; Haroon Mirza’s nightclub-meets-temple installation \u003ca href=\"http://www.asianart.org/exhibitions/night-journey\" target=\"_blank\" rel=\"noopener\">\u003cem>The Night Journey\u003c/em>\u003c/a>; and contemporary Korean artist Kim Heecheon’s \u003ca href=\"http://www.asianart.org/exhibitions/night-journey\" target=\"_blank\" rel=\"noopener\">\u003cem>Lifting Barbells\u003c/em>\u003c/a>.\u003c/p>\n\u003ch2>Museum of the African Diaspora\u003c/h2>\n\u003cp>Smithsonian affiliate MoAD offers free admission today through Nov. 18. The museum’s current offerings include the first West Coast solo show of Eritrean-American abstract painter \u003ca href=\"https://www.moadsf.org/exhibition/ficre-ghebreyesus-city-with-a-river-running-through/\" target=\"_blank\" rel=\"noopener\">Ficre Ghebreyesus\u003c/a>; \u003ca href=\"https://www.moadsf.org/exhibition/second-look-twice/\" target=\"_blank\" rel=\"noopener\">\u003cem>Second Look, Twice\u003c/em>\u003c/a>, a group show featuring renowned artists like Kara Walker and Martin Puryear; emerging Bay Area artist Shushan Tesfuzigta’s solo show, \u003ca href=\"https://www.moadsf.org/exhibition/i-told-you-who-am-i/\" target=\"_blank\" rel=\"noopener\">\u003cem>I Told You Who Am I\u003c/em>\u003c/a>; and the 5/5 collective’s exhibition, \u003ca href=\"https://www.moadsf.org/exhibition/moad-emerging-artists-presents-5-5-collective/\" target=\"_blank\" rel=\"noopener\">\u003cem>black no(where)\u003c/em>\u003c/a>.\u003c/p>\n\u003ch2>deYoung Museum\u003c/h2>\n\u003cp>[contextly_sidebar id=”hmSnwbSFERi1usyO6LcNVMNEG8wg3eLm”]\u003cbr>\nThe deYoung Museum offers its large \u003ca href=\"https://deyoung.famsf.org/collections\" target=\"_blank\" rel=\"noopener\">permanent collection\u003c/a> for free today through Nov. 18. It features vast arrays of African, Oceanic and North and South American folk art; photography; textile art; and a graphic arts collection with names like Rembrandt and Degas. Its excellent, new Muslim fashion exhibit is open for an additional fee.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As the Butte County fire rages on and air quality reaches “very unhealthy” and “hazardous” levels across Northern California, Bay Area residents have been advised to stay indoors as much as possible to avoid breathing in the toxic particles in the atmosphere. Fortunately, many of San Francisco’s world-class art museums are opening their doors for free this weekend—not only to offer local art lovers an escape from the outside air, but to provide some much-needed spiritual nourishment as the fire’s death toll climbs. \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003ch2>San Francisco Museum of Modern Art\u003c/h2>\n\u003cp>Like it did last weekend when the smoke first hit, \u003ca href=\"https://www.facebook.com/sfmoma/?__tn__=kC-R&eid=ARBuSaLGPNquaftk2d379dz0NlrJg_8dT8DBlh_vAg-8uBL6alpVuDKEVebYMtIg557D9EezM2ATQ62F&hc_ref=ARSKQU9mAo9xl-0COY42njDgVYo1uDzGG02U-biP4kWiCQ8Z4b-7pgb_RyVSSo8W0gg&fref=nf&__xts__%5B0%5D=68.ARCCF5FNBzz9lUp2vw0-UQDZB9frVfQhp_dlF6vYtqZNjGq2ucMImjrDPfmV-Bz2RhJGSX1Cr4uh1mcvkK9yem3Gio7UVfZQUPP47cv-NKeVl7OawX9BfYRb-oCTkMLfko_0xGCEmapLGv_sLIPtqhxhC6Wwq7NVml6N_G0Pr8wiox5ZRR-3w8ADWwocSGy-zuwj3nQJuyhtKamp-TXd33wOHZz1V0G2iqiL0l7Ax8hp_GrBlo0DZHIITpCN8ENVZcXEA55OJZmvPmAJ0UMJrPGO2BEKQaUshcYP-RqWZUmMthiRJFkomy1BPYs-4YIzAbvgO7Grv6jNhoiNyQ\" target=\"_blank\" rel=\"noopener\">SFMOMA\u003c/a> offers its second-floor gallery free of charge on Nov. 17 and 18, no ticket required. The museum’s second floor houses its \u003ca href=\"https://www.sfmoma.org/exhibition/open-ended/\" target=\"_blank\" rel=\"noopener\">permanent collection\u003c/a>, which features painting and sculpture by renowned artists like Frida Kahlo, Marcel Duchamp, Diego Rivera, Mark Rothko, Frank Stella and more. Bay Area artist \u003ca href=\"https://www.sfmoma.org/exhibition/wayne-thiebaud-artists-choice/\" target=\"_blank\" rel=\"noopener\">Wayne Thiebaud\u003c/a>‘s two concurrent solo shows are also free.\u003c/p>\n\u003ch2>Asian Art Museum\u003c/h2>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003cbr>\nThe Asian Art Museum is free today, Nov. 16, through Nov. 18. Its offerings include the vibrant contemporary exhibit \u003ca href=\"http://www.asianart.org/exhibitions/mithila-painting\" target=\"_blank\" rel=\"noopener\">\u003cem>Painting Is My Everything: Art From India’s Mithila Region\u003c/em>\u003c/a>; Haroon Mirza’s nightclub-meets-temple installation \u003ca href=\"http://www.asianart.org/exhibitions/night-journey\" target=\"_blank\" rel=\"noopener\">\u003cem>The Night Journey\u003c/em>\u003c/a>; and contemporary Korean artist Kim Heecheon’s \u003ca href=\"http://www.asianart.org/exhibitions/night-journey\" target=\"_blank\" rel=\"noopener\">\u003cem>Lifting Barbells\u003c/em>\u003c/a>.\u003c/p>\n\u003ch2>Museum of the African Diaspora\u003c/h2>\n\u003cp>Smithsonian affiliate MoAD offers free admission today through Nov. 18. The museum’s current offerings include the first West Coast solo show of Eritrean-American abstract painter \u003ca href=\"https://www.moadsf.org/exhibition/ficre-ghebreyesus-city-with-a-river-running-through/\" target=\"_blank\" rel=\"noopener\">Ficre Ghebreyesus\u003c/a>; \u003ca href=\"https://www.moadsf.org/exhibition/second-look-twice/\" target=\"_blank\" rel=\"noopener\">\u003cem>Second Look, Twice\u003c/em>\u003c/a>, a group show featuring renowned artists like Kara Walker and Martin Puryear; emerging Bay Area artist Shushan Tesfuzigta’s solo show, \u003ca href=\"https://www.moadsf.org/exhibition/i-told-you-who-am-i/\" target=\"_blank\" rel=\"noopener\">\u003cem>I Told You Who Am I\u003c/em>\u003c/a>; and the 5/5 collective’s exhibition, \u003ca href=\"https://www.moadsf.org/exhibition/moad-emerging-artists-presents-5-5-collective/\" target=\"_blank\" rel=\"noopener\">\u003cem>black no(where)\u003c/em>\u003c/a>.\u003c/p>\n\u003ch2>deYoung Museum\u003c/h2>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003cbr>\nThe deYoung Museum offers its large \u003ca href=\"https://deyoung.famsf.org/collections\" target=\"_blank\" rel=\"noopener\">permanent collection\u003c/a> for free today through Nov. 18. It features vast arrays of African, Oceanic and North and South American folk art; photography; textile art; and a graphic arts collection with names like Rembrandt and Degas. Its excellent, new Muslim fashion exhibit is open for an additional fee.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Stan Lee, the creative dynamo who revolutionized the comic book and helped make billions for Hollywood by introducing human frailties in superheroes such as Spider-Man, the Fantastic Four and the Incredible Hulk, died Monday. He was 95.\u003c/p>\n\u003cp>Lee was declared dead at Cedars-Sinai Medical Center in Los Angeles, according to Kirk Schenck, an attorney for Lee’s daughter, J.C. Lee.\u003c/p>\n\u003cp>As the top writer at Marvel Comics and later as its publisher, Lee was widely considered the architect of the contemporary comic book. He revived the industry in the 1960s by offering the costumes and action craved by younger readers while insisting on sophisticated plots, college-level dialogue, satire, science fiction, even philosophy.\u003c/p>\n\u003cp>Millions responded to the unlikely mix of realistic fantasy, and many of his characters, including Spider-Man, the Hulk and X-Men went on to become stars of blockbuster films. Recent projects he helped make possible range from the films \u003cem>Black Panther\u003c/em> and \u003cem>Doctor Strange\u003c/em> to such TV series as \u003cem>Agents of S.H.I.E.L.D\u003c/em> and \u003cem>Guardians of the Galaxy\u003c/em>.\u003c/p>\n\u003cp>“I think everybody loves things that are bigger than life. … I think of them as fairy tales for grown-ups,” he told The Associated Press in a 2006 interview. “We all grew up with giants and ogres and witches. Well, you get a little bit older and you’re too old to read fairy tales. But I don’t think you ever outgrow your love for those kind of things, things that are bigger than life and magical and very imaginative.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Lee considered the comic-book medium an art form and he was prolific: By some accounts, he came up with a new comic book every day for 10 years.\u003c/p>\n\u003cp>“I wrote so many I don’t even know. I wrote either hundreds or thousands of them,” he told the AP in 2006.\u003c/p>\n\u003cp>He hit his stride in the 1960s when he brought the Fantastic Four, the Hulk, Spider-Man, Iron Man and numerous others to life.\u003c/p>\n\u003cp>“It was like there was something in the air. I couldn’t do anything wrong,” he recalled.\u003c/p>\n\u003cp>His heroes, meanwhile, were a far cry from virtuous do-gooders such as rival DC Comics’ Superman.\u003c/p>\n\u003cp>The Fantastic Four fought with each other. Spider-Man was goaded into superhero work by his alter ego, Peter Parker, who suffered from unrequited crushes, money problems and dandruff. The Silver Surfer, an alien doomed to wander Earth’s atmosphere, waxed about the woeful nature of man. The Hulk was marked by self-loathing. Daredevil was blind and Iron Man had a weak heart.\u003c/p>\n\u003cp>“The beauty of Stan Lee’s characters is that they were characters first and superheroes next,” Jeff Kline, executive producer of the \u003cem>Men in Black\u003c/em> animated television series, told The Blade of Toledo, Ohio, in 1998.\u003c/p>\n\u003cp>Some of Lee’s creations became symbols of social change — the inner turmoil of Spider-Man represented ’60s America, for example, while The Black Panther and The Savage She-Hulk mirrored the travails of minorities and women.\u003c/p>\n\u003cp>Lee scripted most of Marvel’s superhero comics himself during the ’60s, including \u003cem>The Avengers\u003c/em> and the \u003cem>X-Men\u003c/em>, two of the most enduring. In 1972, he became Marvel’s publisher and editorial director; four years later, 72 million copies of \u003cem>Spider-Man\u003c/em> were sold.\u003c/p>\n\u003cp>“He’s become our Mickey Mouse,” he once said of the masked, web-crawling crusader.\u003c/p>\n\u003cp>Lee also published several books, including \u003cem>The Superhero Women\u003c/em> in 1977 and \u003cem>How to Draw Comics the Marvel Way\u003c/em> the following year, when he was named publisher of the year by the Periodical and Book Association of America.\u003c/p>\n\u003cp>CBS turned the Hulk into a successful TV series, with Bill Bixby and Lou Ferrigno portraying the doomed scientist from 1978-82. A Spider-Man series ran briefly in 1978. Both characters were featured in animated TV series as well.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The first big-budget movie based on Lee’s characters, \u003cem>X-Men\u003c/em>, was a smash in 2000, earning more than $130 million at North American theaters. \u003cem>Spider-Man\u003c/em> did even better, taking in more than $400 million in 2002.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Stan Lee, the creative dynamo who revolutionized the comic book and helped make billions for Hollywood by introducing human frailties in superheroes such as Spider-Man, the Fantastic Four and the Incredible Hulk, died Monday. He was 95.\u003c/p>\n\u003cp>Lee was declared dead at Cedars-Sinai Medical Center in Los Angeles, according to Kirk Schenck, an attorney for Lee’s daughter, J.C. Lee.\u003c/p>\n\u003cp>As the top writer at Marvel Comics and later as its publisher, Lee was widely considered the architect of the contemporary comic book. He revived the industry in the 1960s by offering the costumes and action craved by younger readers while insisting on sophisticated plots, college-level dialogue, satire, science fiction, even philosophy.\u003c/p>\n\u003cp>Millions responded to the unlikely mix of realistic fantasy, and many of his characters, including Spider-Man, the Hulk and X-Men went on to become stars of blockbuster films. Recent projects he helped make possible range from the films \u003cem>Black Panther\u003c/em> and \u003cem>Doctor Strange\u003c/em> to such TV series as \u003cem>Agents of S.H.I.E.L.D\u003c/em> and \u003cem>Guardians of the Galaxy\u003c/em>.\u003c/p>\n\u003cp>“I think everybody loves things that are bigger than life. … I think of them as fairy tales for grown-ups,” he told The Associated Press in a 2006 interview. “We all grew up with giants and ogres and witches. Well, you get a little bit older and you’re too old to read fairy tales. But I don’t think you ever outgrow your love for those kind of things, things that are bigger than life and magical and very imaginative.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Lee considered the comic-book medium an art form and he was prolific: By some accounts, he came up with a new comic book every day for 10 years.\u003c/p>\n\u003cp>“I wrote so many I don’t even know. I wrote either hundreds or thousands of them,” he told the AP in 2006.\u003c/p>\n\u003cp>He hit his stride in the 1960s when he brought the Fantastic Four, the Hulk, Spider-Man, Iron Man and numerous others to life.\u003c/p>\n\u003cp>“It was like there was something in the air. I couldn’t do anything wrong,” he recalled.\u003c/p>\n\u003cp>His heroes, meanwhile, were a far cry from virtuous do-gooders such as rival DC Comics’ Superman.\u003c/p>\n\u003cp>The Fantastic Four fought with each other. Spider-Man was goaded into superhero work by his alter ego, Peter Parker, who suffered from unrequited crushes, money problems and dandruff. The Silver Surfer, an alien doomed to wander Earth’s atmosphere, waxed about the woeful nature of man. The Hulk was marked by self-loathing. Daredevil was blind and Iron Man had a weak heart.\u003c/p>\n\u003cp>“The beauty of Stan Lee’s characters is that they were characters first and superheroes next,” Jeff Kline, executive producer of the \u003cem>Men in Black\u003c/em> animated television series, told The Blade of Toledo, Ohio, in 1998.\u003c/p>\n\u003cp>Some of Lee’s creations became symbols of social change — the inner turmoil of Spider-Man represented ’60s America, for example, while The Black Panther and The Savage She-Hulk mirrored the travails of minorities and women.\u003c/p>\n\u003cp>Lee scripted most of Marvel’s superhero comics himself during the ’60s, including \u003cem>The Avengers\u003c/em> and the \u003cem>X-Men\u003c/em>, two of the most enduring. In 1972, he became Marvel’s publisher and editorial director; four years later, 72 million copies of \u003cem>Spider-Man\u003c/em> were sold.\u003c/p>\n\u003cp>“He’s become our Mickey Mouse,” he once said of the masked, web-crawling crusader.\u003c/p>\n\u003cp>Lee also published several books, including \u003cem>The Superhero Women\u003c/em> in 1977 and \u003cem>How to Draw Comics the Marvel Way\u003c/em> the following year, when he was named publisher of the year by the Periodical and Book Association of America.\u003c/p>\n\u003cp>CBS turned the Hulk into a successful TV series, with Bill Bixby and Lou Ferrigno portraying the doomed scientist from 1978-82. A Spider-Man series ran briefly in 1978. Both characters were featured in animated TV series as well.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The first big-budget movie based on Lee’s characters, \u003cem>X-Men\u003c/em>, was a smash in 2000, earning more than $130 million at North American theaters. \u003cem>Spider-Man\u003c/em> did even better, taking in more than $400 million in 2002.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Con Su Pluma En Su Mano, Gustavo Arellano Inspires Stage Tribute in San Jose",
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"content": "\u003cp>The \u003ca href=\"https://ocweekly.com\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>OC Weekly\u003c/i>\u003c/a> column \u003ca href=\"https://www.amazon.com/Ask-Mexican-Gustavo-Arellano/dp/1416540032\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Ask a Mexican\u003c/em>\u003c/a> started out as a joke in 2004, but within a couple of years, \u003ca href=\"https://tinyletter.com/gustavoarellanosweekly\" target=\"_blank\" rel=\"noopener noreferrer\">Gustavo Arellano\u003c/a> became a nationally syndicated spokesman for Orange County: the good, the bad and the very, very racist. This weekend, you can see his sense of humor interpreted for the stage in San Jose with \u003cem>\u003ca href=\"https://www.eventbrite.com/e/interview-with-a-mexican-tickets-50795561893\" target=\"_blank\" rel=\"noopener noreferrer\">¡Interview with a Mexican!\u003c/a>\u003c/em> at Movimiento de Arte y Cultura Latino Americana, or \u003ca href=\"https://maclaarte.org\" target=\"_blank\" rel=\"noopener noreferrer\">MACLA\u003c/a> for short.\u003c/p>\n\u003cp>The 39 year-old Mexican-American born and raised in Anaheim has covered many topics over the course of his journalistic career: “Tacos, pedophile priests, Mexicans and neo-Nazis. Hey, it’s a living right?” Love his pointed sense of humor or hate it, you’d be hard-pressed to find anyone else who does such a wickedly funny job documenting Orange County’s historically uber-right politics, and politically incorrect attitudes.\u003c/p>\n\u003cp>In \u003cem>Ask a Mexican\u003c/em>, which ended in 2017, Arellano blended a genuine desire to educate with a sarcastic edge that makes the lesson amusing to readers — whether they know the answer already or find themselves quietly taking notes. Here is but one example:\u003c/p>\n\u003cblockquote>\n\u003cp id=\"p_1_1\" class=\"container\">\u003cstrong>Dear Mexican: Believe I’ve heard from you, in an interview, that “gringo” is either out-of-date or inappropriate and that \u003cem>gabacho\u003c/em> is the better choice. I’ve checked online and most sources say that \u003cem>gabacho\u003c/em> is a pejorative and/or generally refers to Europeans. Is this the case, or is \u003cem>gabacho\u003c/em> just a better word than “gringo”? Also, as a native SoCal cracker, is it acceptable for me to use \u003cem>gabacho\u003c/em> or to refer to myself as such? What is the proper etiquette and usage so I don’t offend anyone or embarrass myself? I’ve also asked friends, but the vote seems to be split. \u003c/strong>\u003c/p>\n\u003cp id=\"p_1_2\" class=\"container\">\u003cstrong>Gringo-Gabacho Greg\u003c/strong>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp id=\"p_1_3\" class=\"container\">Dear Gabacho: As I’ve explained in this \u003cem>columna\u003c/em> before, \u003cem>gabacho\u003c/em> and gringo are synonyms for the same thing—\u003cem>gabachos\u003c/em>, with the key differences being certainty in their respective etymology (\u003cem>gabacho\u003c/em> comes from Provencal, while no one has ever put forth a definite origin story for “gringo”), and the important fact that \u003cem>gabachos\u003c/em> long ago appropriated “gringo” into a harmless term that has absolutely no sting, while \u003cem>gabacho\u003c/em> maintains its sting. And now you want to proudly refer to yourself as a \u003cem>gabacho\u003c/em>, \u003cem>gabacho\u003c/em>? No. Content yourself with the theft of half of Mexico back in the day, and leave our treasures alone once and for all.\u003c/p>\n\u003c/blockquote>\n\u003cfigure id=\"attachment_13844650\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13844650\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/RS33830_IMG_0959-qut-800x450.jpg\" alt=\"The Mexican “Goldhat,” played by actor Lorenzo Gonzalez, plays off of Gustavo Arellano's stereotype-busting column, "Ask a Mexican."\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33830_IMG_0959-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33830_IMG_0959-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33830_IMG_0959-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33830_IMG_0959-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33830_IMG_0959-qut-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33830_IMG_0959-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33830_IMG_0959-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33830_IMG_0959-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33830_IMG_0959-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33830_IMG_0959-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33830_IMG_0959-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Mexican “Goldhat,” played by actor Lorenzo Gonzalez, plays off of Gustavo Arellano’s stereotype-busting column, “Ask a Mexican.” \u003ccite>(Photo: Courtesy of Steven Abeyta)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp class=\"css-1xl4flh e2kc3sl0\">You can see why Arellano has taken heat from readers on the political left as well as right. He takes pride in the criticism, calling himself a Jeremiah, the Old Testament prophet whose complaints about the Jews were not greeted with enthusiasm or warmth by the Chosen People. “I say how it is, whether people like it or not. Most of the time, people don’t like it, but that’s OK,” Arellano says.\u003c/p>\n\u003cp>Arellano \u003ca class=\"css-1g7m0tk\" title=\"\" href=\"https://www.ocregister.com/2017/10/13/gustavo-arellano-editor-in-chief-of-oc-weekly-says-he-quit-instead-of-laying-off-staffers/\" target=\"_blank\" rel=\"noopener noreferrer\">resigned\u003c/a> as editor in chief of the \u003cem>OC Weekly\u003c/em> in 2017, rather than capitulate to a demand by the publication’s owners to lay off most of his staff. Soon after, he began writing a weekly column for the opinion section of \u003cem>\u003ca href=\"http://www.latimes.com/opinion/op-ed/la-oe-arellano-california-20170103-story.html\" target=\"_blank\" rel=\"noopener noreferrer\">The Los Angeles Times\u003c/a>,\u003c/em> and he delivers regular commentary in a series called\u003cem> \u003ca href=\"https://www.kcrw.com/people/gustavo-arellano\" target=\"_blank\" rel=\"noopener noreferrer\">Orange County Line\u003c/a>\u003c/em> for the Santa Monica public radio station KCRW. But the copyright for the \u003cem>Ask A Mexican\u003c/em> column remains the property of the \u003cem>OC Weekly\u003c/em>, even if it has no value without Arellano’s trademark wit.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I would have never imagined that the column would even run that long,” he says. “There was a proposed television show. That flamed out. \u003cem>Ask a Mexican: The Movie.\u003c/em> Yeah, that wasn’t going to happen.”\u003c/p>\n\u003cp>There was even a play, but that died after one reading. But Arellano knew playwright Anthony Garcia, executive artistic director of the Denver theatre company\u003ca href=\"http://suteatro.org\" target=\"_blank\" rel=\"noopener noreferrer\"> Su Teatro\u003c/a>. So when Garcia pitched his concept for another play, “I trusted him,” Arellano says. “And he came up with a great piece of theatre.”\u003c/p>\n\u003cfigure id=\"attachment_13844651\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13844651\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/RS33829_IMG_0942-qut-800x450.jpg\" alt=\"Ramon (Miguel Martimen) and Andrea (Paola Miranda) eat tamales in ¡Interview with a Mexican! at Movimiento de Arte y Cultura Latino Americana in San Jose.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33829_IMG_0942-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33829_IMG_0942-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33829_IMG_0942-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33829_IMG_0942-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33829_IMG_0942-qut-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33829_IMG_0942-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33829_IMG_0942-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33829_IMG_0942-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33829_IMG_0942-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33829_IMG_0942-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33829_IMG_0942-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ramon (Miguel Martimen) and Andrea (Paola Miranda) eat tamales in ¡Interview with a Mexican! at Movimiento de Arte y Cultura Latino Americana in San Jose. \u003ccite>(Photo: Courtesy of Steven Abeyta)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2 class=\"css-1xl4flh e2kc3sl0\">So how does this become a play?\u003c/h2>\n\u003cp>To make it work for the stage, Garcia married bits from Arellano’s columns and books with music, dance, and back-and-forth with the audience. “The whole piece really is about asking questions. We say, “Ask, so you don’t look like a \u003ci>pendejo\u003c/i>.” I.e. stupid. “You can get educated and insulted at the same time.”\u003c/p>\n\u003cp>In the last year since the first staged reading at MACLA, \u003cem>¡Interview with a Mexican!\u003c/em> played in Denver and Albuquerque before returning to the Bay Area.\u003c/p>\n\u003cp>Garcia says he’s been surprised at how warmly audiences accept the edgy humor. “There is a conversation about how we can’t talk about race anymore without understanding everybody’s personal vibe. Clearly, I know enough to know when to keep my mouth shut, but on stage, I don’t think we have those same restrictions.”\u003c/p>\n\u003cp>Garcia has led Su Teatro for half a century, and says Arellano’s humor plays well in Denver. “There are Chicanos who’ve been there for a very long time. There’s recent immigrants. There’s second and third-generation Mexican-Americans kids who call themselves Mexicanos but don’t know shit about the Virgen de Guadalupe. And these are my students!” says Garcia, who’s also an adjunct professor at Metro State College in Denver.\u003c/p>\n\u003cp>Garcia adds he hopes this play can serve as a tool to help younger generations understand more about themselves in a palatable fashion. “We love to laugh at ourselves.”\u003c/p>\n\u003cp>Is there one question Arellano gets all the time: “If you hate Orange County so much, why do you live here?”\u003c/p>\n\u003cp>His answer: “You can only truly love Orange County if you despise it. Cause there’s a lot of horrible things with Orange County, but those things are slowly going away.”\u003c/p>\n\u003cp>Does that make Gustavo Arellano an optimist or a pessimist? Well, he’s still living there.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>\u003cstrong>\u003ca href=\"https://www.eventbrite.com/e/interview-with-a-mexican-tickets-50795561893\" target=\"_blank\" rel=\"noopener noreferrer\">¡Interview with a Mexican!\u003c/a> \u003c/strong>runs through November 11, 2018 at Movimiento de Arte y Cultura Latino Americana in San Jose. For more information, click \u003cstrong>\u003ca href=\"https://maclaarte.org\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>\u003c/strong>.\u003c/em>\u003c/p>\n\n",
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"title": "Con Su Pluma En Su Mano, Gustavo Arellano Inspires Stage Tribute in San Jose | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003ca href=\"https://ocweekly.com\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>OC Weekly\u003c/i>\u003c/a> column \u003ca href=\"https://www.amazon.com/Ask-Mexican-Gustavo-Arellano/dp/1416540032\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Ask a Mexican\u003c/em>\u003c/a> started out as a joke in 2004, but within a couple of years, \u003ca href=\"https://tinyletter.com/gustavoarellanosweekly\" target=\"_blank\" rel=\"noopener noreferrer\">Gustavo Arellano\u003c/a> became a nationally syndicated spokesman for Orange County: the good, the bad and the very, very racist. This weekend, you can see his sense of humor interpreted for the stage in San Jose with \u003cem>\u003ca href=\"https://www.eventbrite.com/e/interview-with-a-mexican-tickets-50795561893\" target=\"_blank\" rel=\"noopener noreferrer\">¡Interview with a Mexican!\u003c/a>\u003c/em> at Movimiento de Arte y Cultura Latino Americana, or \u003ca href=\"https://maclaarte.org\" target=\"_blank\" rel=\"noopener noreferrer\">MACLA\u003c/a> for short.\u003c/p>\n\u003cp>The 39 year-old Mexican-American born and raised in Anaheim has covered many topics over the course of his journalistic career: “Tacos, pedophile priests, Mexicans and neo-Nazis. Hey, it’s a living right?” Love his pointed sense of humor or hate it, you’d be hard-pressed to find anyone else who does such a wickedly funny job documenting Orange County’s historically uber-right politics, and politically incorrect attitudes.\u003c/p>\n\u003cp>In \u003cem>Ask a Mexican\u003c/em>, which ended in 2017, Arellano blended a genuine desire to educate with a sarcastic edge that makes the lesson amusing to readers — whether they know the answer already or find themselves quietly taking notes. Here is but one example:\u003c/p>\n\u003cblockquote>\n\u003cp id=\"p_1_1\" class=\"container\">\u003cstrong>Dear Mexican: Believe I’ve heard from you, in an interview, that “gringo” is either out-of-date or inappropriate and that \u003cem>gabacho\u003c/em> is the better choice. I’ve checked online and most sources say that \u003cem>gabacho\u003c/em> is a pejorative and/or generally refers to Europeans. Is this the case, or is \u003cem>gabacho\u003c/em> just a better word than “gringo”? Also, as a native SoCal cracker, is it acceptable for me to use \u003cem>gabacho\u003c/em> or to refer to myself as such? What is the proper etiquette and usage so I don’t offend anyone or embarrass myself? I’ve also asked friends, but the vote seems to be split. \u003c/strong>\u003c/p>\n\u003cp id=\"p_1_2\" class=\"container\">\u003cstrong>Gringo-Gabacho Greg\u003c/strong>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp id=\"p_1_3\" class=\"container\">Dear Gabacho: As I’ve explained in this \u003cem>columna\u003c/em> before, \u003cem>gabacho\u003c/em> and gringo are synonyms for the same thing—\u003cem>gabachos\u003c/em>, with the key differences being certainty in their respective etymology (\u003cem>gabacho\u003c/em> comes from Provencal, while no one has ever put forth a definite origin story for “gringo”), and the important fact that \u003cem>gabachos\u003c/em> long ago appropriated “gringo” into a harmless term that has absolutely no sting, while \u003cem>gabacho\u003c/em> maintains its sting. And now you want to proudly refer to yourself as a \u003cem>gabacho\u003c/em>, \u003cem>gabacho\u003c/em>? No. Content yourself with the theft of half of Mexico back in the day, and leave our treasures alone once and for all.\u003c/p>\n\u003c/blockquote>\n\u003cfigure id=\"attachment_13844650\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13844650\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/RS33830_IMG_0959-qut-800x450.jpg\" alt=\"The Mexican “Goldhat,” played by actor Lorenzo Gonzalez, plays off of Gustavo Arellano's stereotype-busting column, "Ask a Mexican."\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33830_IMG_0959-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33830_IMG_0959-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33830_IMG_0959-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33830_IMG_0959-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33830_IMG_0959-qut-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33830_IMG_0959-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33830_IMG_0959-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33830_IMG_0959-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33830_IMG_0959-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33830_IMG_0959-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33830_IMG_0959-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Mexican “Goldhat,” played by actor Lorenzo Gonzalez, plays off of Gustavo Arellano’s stereotype-busting column, “Ask a Mexican.” \u003ccite>(Photo: Courtesy of Steven Abeyta)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp class=\"css-1xl4flh e2kc3sl0\">You can see why Arellano has taken heat from readers on the political left as well as right. He takes pride in the criticism, calling himself a Jeremiah, the Old Testament prophet whose complaints about the Jews were not greeted with enthusiasm or warmth by the Chosen People. “I say how it is, whether people like it or not. Most of the time, people don’t like it, but that’s OK,” Arellano says.\u003c/p>\n\u003cp>Arellano \u003ca class=\"css-1g7m0tk\" title=\"\" href=\"https://www.ocregister.com/2017/10/13/gustavo-arellano-editor-in-chief-of-oc-weekly-says-he-quit-instead-of-laying-off-staffers/\" target=\"_blank\" rel=\"noopener noreferrer\">resigned\u003c/a> as editor in chief of the \u003cem>OC Weekly\u003c/em> in 2017, rather than capitulate to a demand by the publication’s owners to lay off most of his staff. Soon after, he began writing a weekly column for the opinion section of \u003cem>\u003ca href=\"http://www.latimes.com/opinion/op-ed/la-oe-arellano-california-20170103-story.html\" target=\"_blank\" rel=\"noopener noreferrer\">The Los Angeles Times\u003c/a>,\u003c/em> and he delivers regular commentary in a series called\u003cem> \u003ca href=\"https://www.kcrw.com/people/gustavo-arellano\" target=\"_blank\" rel=\"noopener noreferrer\">Orange County Line\u003c/a>\u003c/em> for the Santa Monica public radio station KCRW. But the copyright for the \u003cem>Ask A Mexican\u003c/em> column remains the property of the \u003cem>OC Weekly\u003c/em>, even if it has no value without Arellano’s trademark wit.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I would have never imagined that the column would even run that long,” he says. “There was a proposed television show. That flamed out. \u003cem>Ask a Mexican: The Movie.\u003c/em> Yeah, that wasn’t going to happen.”\u003c/p>\n\u003cp>There was even a play, but that died after one reading. But Arellano knew playwright Anthony Garcia, executive artistic director of the Denver theatre company\u003ca href=\"http://suteatro.org\" target=\"_blank\" rel=\"noopener noreferrer\"> Su Teatro\u003c/a>. So when Garcia pitched his concept for another play, “I trusted him,” Arellano says. “And he came up with a great piece of theatre.”\u003c/p>\n\u003cfigure id=\"attachment_13844651\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13844651\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/RS33829_IMG_0942-qut-800x450.jpg\" alt=\"Ramon (Miguel Martimen) and Andrea (Paola Miranda) eat tamales in ¡Interview with a Mexican! at Movimiento de Arte y Cultura Latino Americana in San Jose.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33829_IMG_0942-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33829_IMG_0942-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33829_IMG_0942-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33829_IMG_0942-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33829_IMG_0942-qut-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33829_IMG_0942-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33829_IMG_0942-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33829_IMG_0942-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33829_IMG_0942-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33829_IMG_0942-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33829_IMG_0942-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ramon (Miguel Martimen) and Andrea (Paola Miranda) eat tamales in ¡Interview with a Mexican! at Movimiento de Arte y Cultura Latino Americana in San Jose. \u003ccite>(Photo: Courtesy of Steven Abeyta)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2 class=\"css-1xl4flh e2kc3sl0\">So how does this become a play?\u003c/h2>\n\u003cp>To make it work for the stage, Garcia married bits from Arellano’s columns and books with music, dance, and back-and-forth with the audience. “The whole piece really is about asking questions. We say, “Ask, so you don’t look like a \u003ci>pendejo\u003c/i>.” I.e. stupid. “You can get educated and insulted at the same time.”\u003c/p>\n\u003cp>In the last year since the first staged reading at MACLA, \u003cem>¡Interview with a Mexican!\u003c/em> played in Denver and Albuquerque before returning to the Bay Area.\u003c/p>\n\u003cp>Garcia says he’s been surprised at how warmly audiences accept the edgy humor. “There is a conversation about how we can’t talk about race anymore without understanding everybody’s personal vibe. Clearly, I know enough to know when to keep my mouth shut, but on stage, I don’t think we have those same restrictions.”\u003c/p>\n\u003cp>Garcia has led Su Teatro for half a century, and says Arellano’s humor plays well in Denver. “There are Chicanos who’ve been there for a very long time. There’s recent immigrants. There’s second and third-generation Mexican-Americans kids who call themselves Mexicanos but don’t know shit about the Virgen de Guadalupe. And these are my students!” says Garcia, who’s also an adjunct professor at Metro State College in Denver.\u003c/p>\n\u003cp>Garcia adds he hopes this play can serve as a tool to help younger generations understand more about themselves in a palatable fashion. “We love to laugh at ourselves.”\u003c/p>\n\u003cp>Is there one question Arellano gets all the time: “If you hate Orange County so much, why do you live here?”\u003c/p>\n\u003cp>His answer: “You can only truly love Orange County if you despise it. Cause there’s a lot of horrible things with Orange County, but those things are slowly going away.”\u003c/p>\n\u003cp>Does that make Gustavo Arellano an optimist or a pessimist? Well, he’s still living there.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>As the \u003ca href=\"https://www.kqed.org/news/11705243/california-wildfires-what-you-need-to-know\" target=\"_blank\" rel=\"noopener\">Butte County fire\u003c/a> continues to burn, the air quality in San Francisco is on red, or unhealthy, according to the city’s Department of Emergency Management. Residents are expected to feel the effects of the smoke throughout the holiday weekend. With thousands of people fleeing their homes and multiple fatalities as of publication, the mood is heavy across Northern California.\u003c/p>\n\u003cp>To give local art lovers some relief, two museums are free this weekend. The San Francisco Museum of Modern Art announced Friday that its \u003ca href=\"https://www.sfmoma.org/artists-artworks/public-dialogue/public-knowledge/?gclid=EAIaIQobChMI84jizLrI3gIVicpkCh1PBwR0EAAYASAAEgKrUvD_BwE\" target=\"_blank\" rel=\"noopener\">Public Knowledge Library\u003c/a> and second floor gallery, which houses its permanent collection, will be free and open to the public this weekend, Nov. 10 and 11, “to offer a place of reflection as we all continue to find ways to cope with the ongoing impact of the fire and smoke.”\u003c/p>\n\u003cp>Likewise, the de Young is offering free general admission this weekend. “For those directly affected by the fires, or for those seeking to escape the poor air conditions, the de Young wants to offer a free and safe space,” the museum said \u003ca href=\"https://www.instagram.com/p/BqAi7umFfFA/\" rel=\"noopener\" target=\"_blank\">in a statement\u003c/a>.\u003c/p>\n\u003cp>The second floor of the SFMOMA is home to its\u003ca href=\"https://www.sfmoma.org/exhibition/open-ended/\" target=\"_blank\" rel=\"noopener\">\u003cem> Open Ended\u003c/em>\u003c/a> exhibit, which features painting and sculpture from 1900 to today and includes world-class artists such as Jackson Pollock, Marcel Duchamp, Georgia O’Keeffe, Frida Kahlo and Mark Rothko. Bay Area artist \u003ca href=\"https://www.sfmoma.org/exhibition/wayne-thiebaud-artists-choice/\" target=\"_blank\" rel=\"noopener\">Wayne Thiebaud\u003c/a>‘s two concurrent solo shows, also on the second floor, will be free as well.\u003c/p>\n\u003cp>In addition to its massive permanent collection, free this weekend, the de Young is currently showing \u003cem>\u003ca href=\"https://www.kqed.org/arts/13844505/beyond-the-burka-contemporary-muslim-fashion-at-the-de-young\" rel=\"noopener\" target=\"_blank\">Contemporary Muslim Fashions\u003c/a>\u003c/em> for an additional entry fee.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.instagram.com/p/BqAi7umFfFA/?utm_source=ig_web_copy_link\u003c/p>\n\u003cp>–\u003c/p>\n\u003cp>https://www.instagram.com/p/Bp-TzahALtl/?utm_source=ig_web_copy_link\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As the \u003ca href=\"https://www.kqed.org/news/11705243/california-wildfires-what-you-need-to-know\" target=\"_blank\" rel=\"noopener\">Butte County fire\u003c/a> continues to burn, the air quality in San Francisco is on red, or unhealthy, according to the city’s Department of Emergency Management. Residents are expected to feel the effects of the smoke throughout the holiday weekend. With thousands of people fleeing their homes and multiple fatalities as of publication, the mood is heavy across Northern California.\u003c/p>\n\u003cp>To give local art lovers some relief, two museums are free this weekend. The San Francisco Museum of Modern Art announced Friday that its \u003ca href=\"https://www.sfmoma.org/artists-artworks/public-dialogue/public-knowledge/?gclid=EAIaIQobChMI84jizLrI3gIVicpkCh1PBwR0EAAYASAAEgKrUvD_BwE\" target=\"_blank\" rel=\"noopener\">Public Knowledge Library\u003c/a> and second floor gallery, which houses its permanent collection, will be free and open to the public this weekend, Nov. 10 and 11, “to offer a place of reflection as we all continue to find ways to cope with the ongoing impact of the fire and smoke.”\u003c/p>\n\u003cp>Likewise, the de Young is offering free general admission this weekend. “For those directly affected by the fires, or for those seeking to escape the poor air conditions, the de Young wants to offer a free and safe space,” the museum said \u003ca href=\"https://www.instagram.com/p/BqAi7umFfFA/\" rel=\"noopener\" target=\"_blank\">in a statement\u003c/a>.\u003c/p>\n\u003cp>The second floor of the SFMOMA is home to its\u003ca href=\"https://www.sfmoma.org/exhibition/open-ended/\" target=\"_blank\" rel=\"noopener\">\u003cem> Open Ended\u003c/em>\u003c/a> exhibit, which features painting and sculpture from 1900 to today and includes world-class artists such as Jackson Pollock, Marcel Duchamp, Georgia O’Keeffe, Frida Kahlo and Mark Rothko. Bay Area artist \u003ca href=\"https://www.sfmoma.org/exhibition/wayne-thiebaud-artists-choice/\" target=\"_blank\" rel=\"noopener\">Wayne Thiebaud\u003c/a>‘s two concurrent solo shows, also on the second floor, will be free as well.\u003c/p>\n\u003cp>In addition to its massive permanent collection, free this weekend, the de Young is currently showing \u003cem>\u003ca href=\"https://www.kqed.org/arts/13844505/beyond-the-burka-contemporary-muslim-fashion-at-the-de-young\" rel=\"noopener\" target=\"_blank\">Contemporary Muslim Fashions\u003c/a>\u003c/em> for an additional entry fee.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The \u003ca href=\"http://www.sfopera.com\" target=\"_blank\" rel=\"noopener\">San Francisco Opera\u003c/a> has dropped a famous singer accused of sexual assault from its roster for next year.\u003c/p>\n\u003cp>The American star countertenor David Daniels was scheduled to play the principle character of Medoro in the company’s June 2019 production of Handel’s \u003cem>Orlando\u003c/em> at the War Memorial Opera House.\u003c/p>\n\u003cp>San Francisco Opera issued a statement Thursday saying it has removed Daniels from the cast in the wake of multiple sexual assault allegations against the singer that emerged in recent months.\u003c/p>\n\u003cp>One of Daniels’ voice students at the University of Michigan \u003ca href=\"https://www.npr.org/2018/10/25/660555257/second-man-accuses-opera-star-david-daniels-of-sexual-assault\" target=\"_blank\" rel=\"noopener\">filed a lawsuit two weeks ago\u003c/a> alleging his teacher drugged and assaulted him and sent him sexually explicit photos and videos in 2017.\u003c/p>\n\u003cp>Another singer came forward in August saying Daniels raped him in 2010.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Daniels, 52, took a leave of absence at the University of Michigan after the first accusation emerged. He denies both allegations.\u003c/p>\n\u003cp>“The decision to part ways with Mr. Daniels, for business and professional reasons, was reached after considerable deliberation given the serious allegations of sexual assault, an on-going police investigation and a lawsuit filed against the American opera singer,” reads the San Francisco Opera’s statement. “While these situations remain under investigation, San Francisco Opera is unable to present the artist on the War Memorial Opera House stage.”\u003c/p>\n\u003cp>One of the world’s most renowned contemporary exponents of the “countertenor” voice (a rare, high male voice similar in range to that of a female contralto), Daniels has appeared in five San Francisco Opera productions since 1997.\u003c/p>\n\u003cp>\u003cb>\u003c/b>“David Daniels is very beloved as a singer,” said \u003ca href=\"http://operatattler.com/\" target=\"_blank\" rel=\"noopener\">San Francisco-based opera blogger Charlise Tiee\u003c/a> in a phone interview. “He’s probably the most famous singer of that voice type in the world.”\u003c/p>\n\u003cp>\u003cb>\u003c/b>Tiee said the opera community has come out in support of the alleged victims. “I haven’t seen anyone disbelieve the accusers. They sound pretty credible,” Tiee said. “I mean, why would you make allegations if they weren’t true, especially against somebody who is very famous and powerful?”\u003c/p>\n\u003cp>Tiee said firing Daniels was the right thing for San Francisco Opera to do, even if the move comes months after the initial accusations emerged. “I was surprised they didn’t drop him right away after the first allegations,” Tiee said.\u003c/p>\n\u003cp>San Francisco Opera didn’t immediately respond to questions about the timing of the decision.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003ca href=\"http://www.sfopera.com\" target=\"_blank\" rel=\"noopener\">San Francisco Opera\u003c/a> has dropped a famous singer accused of sexual assault from its roster for next year.\u003c/p>\n\u003cp>The American star countertenor David Daniels was scheduled to play the principle character of Medoro in the company’s June 2019 production of Handel’s \u003cem>Orlando\u003c/em> at the War Memorial Opera House.\u003c/p>\n\u003cp>San Francisco Opera issued a statement Thursday saying it has removed Daniels from the cast in the wake of multiple sexual assault allegations against the singer that emerged in recent months.\u003c/p>\n\u003cp>One of Daniels’ voice students at the University of Michigan \u003ca href=\"https://www.npr.org/2018/10/25/660555257/second-man-accuses-opera-star-david-daniels-of-sexual-assault\" target=\"_blank\" rel=\"noopener\">filed a lawsuit two weeks ago\u003c/a> alleging his teacher drugged and assaulted him and sent him sexually explicit photos and videos in 2017.\u003c/p>\n\u003cp>Another singer came forward in August saying Daniels raped him in 2010.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Daniels, 52, took a leave of absence at the University of Michigan after the first accusation emerged. He denies both allegations.\u003c/p>\n\u003cp>“The decision to part ways with Mr. Daniels, for business and professional reasons, was reached after considerable deliberation given the serious allegations of sexual assault, an on-going police investigation and a lawsuit filed against the American opera singer,” reads the San Francisco Opera’s statement. “While these situations remain under investigation, San Francisco Opera is unable to present the artist on the War Memorial Opera House stage.”\u003c/p>\n\u003cp>One of the world’s most renowned contemporary exponents of the “countertenor” voice (a rare, high male voice similar in range to that of a female contralto), Daniels has appeared in five San Francisco Opera productions since 1997.\u003c/p>\n\u003cp>\u003cb>\u003c/b>“David Daniels is very beloved as a singer,” said \u003ca href=\"http://operatattler.com/\" target=\"_blank\" rel=\"noopener\">San Francisco-based opera blogger Charlise Tiee\u003c/a> in a phone interview. “He’s probably the most famous singer of that voice type in the world.”\u003c/p>\n\u003cp>\u003cb>\u003c/b>Tiee said the opera community has come out in support of the alleged victims. “I haven’t seen anyone disbelieve the accusers. They sound pretty credible,” Tiee said. “I mean, why would you make allegations if they weren’t true, especially against somebody who is very famous and powerful?”\u003c/p>\n\u003cp>Tiee said firing Daniels was the right thing for San Francisco Opera to do, even if the move comes months after the initial accusations emerged. “I was surprised they didn’t drop him right away after the first allegations,” Tiee said.\u003c/p>\n\u003cp>San Francisco Opera didn’t immediately respond to questions about the timing of the decision.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>There aren’t a lot of early music historians who are also celebrities, but the Catalonian composer and musician \u003ca href=\"http://www.allianceartistmanagement.com/artist.php?id=jsavall\" target=\"_blank\" rel=\"noopener\">Jordi Savall\u003c/a> is one of them. He shot onto the international scene in 1991 with his heart-stopping viola da gamba performances in the film \u003ci>Tous les Matins du monde\u003c/i>. He has made more than 100 recordings, and his books have been published in eight languages.\u003c/p>\n\u003cp>Over the breadth of his half-century career, Savall has used his celebrity to draw crowds to hear epic musical adventures into history, sharing the stage with family and talents far beyond his home country of Spain.\u003c/p>\n\u003cp>\u003cem>With\u003c/em>\u003ca href=\"http://www.allianceartistmanagement.com/artist.php?id=jsavall&aview=prog&rid=2725\" target=\"_blank\" rel=\"noopener\">\u003cem> The Routes of Slavery\u003c/em>\u003c/a>, Savall has been touring the world with a couple dozen musicians, singers, and dancers from four continents, pairing them with local narrators and academics to cover the transatlantic slave trade. The troupe performs at \u003ca href=\"http://calperformances.org/performances/2018-19/early-music/jordi-savall-the-routes-of-slavery-1444-1888.php?fbclid=IwAR2VfpyTkokbiTJmma-noG9X-Jsu-w4BUTchzV3csFZy5_wuLnv-l2wbzCU\" target=\"_blank\" rel=\"noopener\">UC Berkeley\u003c/a> and at \u003ca href=\"https://live.stanford.edu/calendar/november-2018/routes-slavery\" target=\"_blank\" rel=\"noopener\">Stanford\u003c/a> this weekend, before heading to Seattle and then Austin.\u003c/p>\n\u003cp>For the purposes of \u003cem>Routes\u003c/em>, Savall sets his boundaries thusly: 1444, when the Portuguese began trading slaves, and 1888, when Brazil became the last Western country to abolish slavery. During that time, tens of millions of people were forcibly shipped from Africa to the Americas. (Estimates vary, depending on whether you account for those who died en route.)\u003c/p>\n\u003cfigure id=\"attachment_13844117\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13844117\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/RS33608_Press_Photo-qut-800x1200.jpg\" alt=\"The Catalan musical historian Jordi Savall collaborates with artists from around the world on a musical exploration of the transatlantic slave trade.\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33608_Press_Photo-qut-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33608_Press_Photo-qut-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33608_Press_Photo-qut-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33608_Press_Photo-qut-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33608_Press_Photo-qut-1920x2880.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33608_Press_Photo-qut-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33608_Press_Photo-qut-960x1440.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33608_Press_Photo-qut-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33608_Press_Photo-qut-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33608_Press_Photo-qut-520x780.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33608_Press_Photo-qut.jpg 1365w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Catalan musical historian Jordi Savall collaborates with artists from around the world on a musical exploration of the transatlantic slave trade. \u003ccite>(Photo: Courtesy of Jordi Savall)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“This was the primary economic engine of the world economy for centuries,” says US history professor \u003ca href=\"https://history.stanford.edu/people/james-t-campbell\" target=\"_blank\" rel=\"noopener\">Jim Campbell\u003c/a>, who will be part of the pre-show talk at Bing Concert Hall on Sunday. “It’s hard to imagine any history that we in the West have managed or contrived to forget and evade more thoroughly. Most Americans have no clue of the scope, duration and historical significance of the transatlantic slave trade.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Then, to emphasize his point, Campbell gets Biblical. “You know, there’s a passage from the story of Jacob where he prophesies the diaspora.”\u003c/p>\n\u003cblockquote>\u003cp>And thy seed shall be as the dust of the earth, and thou shalt spread abroad to the west, and to the east, and to the north, and to the south: and in thee and in thy seed shall all the families of the earth be blessed. – Genesis 28:14\u003c/p>\u003c/blockquote>\n\u003cp>“That grim but oddly hopeful prophecy is, to me, also the story of the transatlantic slave trade — and we here see it realized musically.”\u003c/p>\n\u003cp>The result is lush, moving and even joyful.\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=MBKj_5nUXVw]\u003c/p>\n\u003cp>Campbell’s partner in the talk is \u003ca href=\"https://classics.stanford.edu/people/grant-parker\" target=\"_blank\" rel=\"noopener\">Grant Parker\u003c/a>, an associate professor of classics at Stanford who’s also involved in the university’s \u003ca href=\"https://africanstudies.stanford.edu\" target=\"_blank\" rel=\"noopener\">Center for African Studies\u003c/a>.\u003c/p>\n\u003cp>“It’s clear that Jordi Savall is very conscious of the problems of celebration in the context of such a grim history. Yet he has pulled it off with such a sensitivity, making it very clear that he’s interested in the individuals the lives involved and adding a human dimension to people that are otherwise names or perhaps not even names,” Parker says.\u003c/p>\n\u003cp>In this era when the personal narrative reigns supreme, it’s hard for many audience members to wrap their arms around a multi-century epic with so little written record from the people who were enslaved.\u003c/p>\n\u003cp>Between the music, Savall has narrators read from a variety of sources. There’s a passage from an 1855 Abraham Lincoln wrote to a friend and slave owner in Kentucky. There’s a passage from Martin Luther-King Jr’s 1963 book, \u003cem>Why We Can’t Wait. \u003c/em>Perhaps most horrifying is the first reading from the 1444 book the \u003cem>Chronicle of the Discovery and Conquest of Guinea, \u003c/em>by Gomes Eannes de Azurara.\u003c/p>\n\u003cblockquote>\u003cp>Very early in the morning because of the heat, a few Portuguese seamen unloaded their African cargo consisting of 235 slaves on the south west point of the Algarve in Portugal. This arrival of this collection of Africans was a novelty which attracted the curiosity of a number of people, including Prince Hendry of Portugal.\u003cspan class=\"Apple-converted-space\"> \u003c/span> He watched impassive on horseback and himself received 46 of the slaves present, the royal fifth.\u003c/p>\u003c/blockquote>\n\u003cp>“The fact that they’re human beings is inconsequential,” says Santa Clara University theatre professor and actor \u003ca href=\"https://www.scu.edu/theatre/faculty--staff/aldo-billingslea/\" target=\"_blank\" rel=\"noopener\">Aldo Billingslea\u003c/a>, who’s serving as the narrator for the Saturday performance at Zellerbach. “All of it speaks to me in some way. These beautiful sounds go right through your cartilage, your bone, your flesh and move your soul. It’s a spiritual event.”\u003cspan class=\"Apple-converted-space\"> \u003c/span>\u003c/p>\n\u003cp>What Savall has fixed on is that music is a form of history. Those slaves are speaking to us across the centuries about their experience.\u003cspan class=\"Apple-converted-space\"> \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>The Routes of Slavery\u003c/strong> plays Saturday November 3, 2018 at Zellerbach Hall and Sunday, November 4, 2018 at Bing Concert Hall. For more information, click \u003cstrong>\u003ca href=\"http://calperformances.org/performances/2018-19/early-music/jordi-savall-the-routes-of-slavery-1444-1888.php?fbclid=IwAR2VfpyTkokbiTJmma-noG9X-Jsu-w4BUTchzV3csFZy5_wuLnv-l2wbzCU\" target=\"_blank\" rel=\"noopener\">here\u003c/a>\u003c/strong> and \u003ca href=\"https://live.stanford.edu/calendar/november-2018/routes-slavery\" target=\"_blank\" rel=\"noopener\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There aren’t a lot of early music historians who are also celebrities, but the Catalonian composer and musician \u003ca href=\"http://www.allianceartistmanagement.com/artist.php?id=jsavall\" target=\"_blank\" rel=\"noopener\">Jordi Savall\u003c/a> is one of them. He shot onto the international scene in 1991 with his heart-stopping viola da gamba performances in the film \u003ci>Tous les Matins du monde\u003c/i>. He has made more than 100 recordings, and his books have been published in eight languages.\u003c/p>\n\u003cp>Over the breadth of his half-century career, Savall has used his celebrity to draw crowds to hear epic musical adventures into history, sharing the stage with family and talents far beyond his home country of Spain.\u003c/p>\n\u003cp>\u003cem>With\u003c/em>\u003ca href=\"http://www.allianceartistmanagement.com/artist.php?id=jsavall&aview=prog&rid=2725\" target=\"_blank\" rel=\"noopener\">\u003cem> The Routes of Slavery\u003c/em>\u003c/a>, Savall has been touring the world with a couple dozen musicians, singers, and dancers from four continents, pairing them with local narrators and academics to cover the transatlantic slave trade. The troupe performs at \u003ca href=\"http://calperformances.org/performances/2018-19/early-music/jordi-savall-the-routes-of-slavery-1444-1888.php?fbclid=IwAR2VfpyTkokbiTJmma-noG9X-Jsu-w4BUTchzV3csFZy5_wuLnv-l2wbzCU\" target=\"_blank\" rel=\"noopener\">UC Berkeley\u003c/a> and at \u003ca href=\"https://live.stanford.edu/calendar/november-2018/routes-slavery\" target=\"_blank\" rel=\"noopener\">Stanford\u003c/a> this weekend, before heading to Seattle and then Austin.\u003c/p>\n\u003cp>For the purposes of \u003cem>Routes\u003c/em>, Savall sets his boundaries thusly: 1444, when the Portuguese began trading slaves, and 1888, when Brazil became the last Western country to abolish slavery. During that time, tens of millions of people were forcibly shipped from Africa to the Americas. (Estimates vary, depending on whether you account for those who died en route.)\u003c/p>\n\u003cfigure id=\"attachment_13844117\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13844117\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/RS33608_Press_Photo-qut-800x1200.jpg\" alt=\"The Catalan musical historian Jordi Savall collaborates with artists from around the world on a musical exploration of the transatlantic slave trade.\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33608_Press_Photo-qut-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33608_Press_Photo-qut-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33608_Press_Photo-qut-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33608_Press_Photo-qut-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33608_Press_Photo-qut-1920x2880.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33608_Press_Photo-qut-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33608_Press_Photo-qut-960x1440.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33608_Press_Photo-qut-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33608_Press_Photo-qut-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33608_Press_Photo-qut-520x780.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33608_Press_Photo-qut.jpg 1365w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Catalan musical historian Jordi Savall collaborates with artists from around the world on a musical exploration of the transatlantic slave trade. \u003ccite>(Photo: Courtesy of Jordi Savall)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“This was the primary economic engine of the world economy for centuries,” says US history professor \u003ca href=\"https://history.stanford.edu/people/james-t-campbell\" target=\"_blank\" rel=\"noopener\">Jim Campbell\u003c/a>, who will be part of the pre-show talk at Bing Concert Hall on Sunday. “It’s hard to imagine any history that we in the West have managed or contrived to forget and evade more thoroughly. Most Americans have no clue of the scope, duration and historical significance of the transatlantic slave trade.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Then, to emphasize his point, Campbell gets Biblical. “You know, there’s a passage from the story of Jacob where he prophesies the diaspora.”\u003c/p>\n\u003cblockquote>\u003cp>And thy seed shall be as the dust of the earth, and thou shalt spread abroad to the west, and to the east, and to the north, and to the south: and in thee and in thy seed shall all the families of the earth be blessed. – Genesis 28:14\u003c/p>\u003c/blockquote>\n\u003cp>“That grim but oddly hopeful prophecy is, to me, also the story of the transatlantic slave trade — and we here see it realized musically.”\u003c/p>\n\u003cp>The result is lush, moving and even joyful.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/MBKj_5nUXVw'\n title='//www.youtube.com/embed/MBKj_5nUXVw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Campbell’s partner in the talk is \u003ca href=\"https://classics.stanford.edu/people/grant-parker\" target=\"_blank\" rel=\"noopener\">Grant Parker\u003c/a>, an associate professor of classics at Stanford who’s also involved in the university’s \u003ca href=\"https://africanstudies.stanford.edu\" target=\"_blank\" rel=\"noopener\">Center for African Studies\u003c/a>.\u003c/p>\n\u003cp>“It’s clear that Jordi Savall is very conscious of the problems of celebration in the context of such a grim history. Yet he has pulled it off with such a sensitivity, making it very clear that he’s interested in the individuals the lives involved and adding a human dimension to people that are otherwise names or perhaps not even names,” Parker says.\u003c/p>\n\u003cp>In this era when the personal narrative reigns supreme, it’s hard for many audience members to wrap their arms around a multi-century epic with so little written record from the people who were enslaved.\u003c/p>\n\u003cp>Between the music, Savall has narrators read from a variety of sources. There’s a passage from an 1855 Abraham Lincoln wrote to a friend and slave owner in Kentucky. There’s a passage from Martin Luther-King Jr’s 1963 book, \u003cem>Why We Can’t Wait. \u003c/em>Perhaps most horrifying is the first reading from the 1444 book the \u003cem>Chronicle of the Discovery and Conquest of Guinea, \u003c/em>by Gomes Eannes de Azurara.\u003c/p>\n\u003cblockquote>\u003cp>Very early in the morning because of the heat, a few Portuguese seamen unloaded their African cargo consisting of 235 slaves on the south west point of the Algarve in Portugal. This arrival of this collection of Africans was a novelty which attracted the curiosity of a number of people, including Prince Hendry of Portugal.\u003cspan class=\"Apple-converted-space\"> \u003c/span> He watched impassive on horseback and himself received 46 of the slaves present, the royal fifth.\u003c/p>\u003c/blockquote>\n\u003cp>“The fact that they’re human beings is inconsequential,” says Santa Clara University theatre professor and actor \u003ca href=\"https://www.scu.edu/theatre/faculty--staff/aldo-billingslea/\" target=\"_blank\" rel=\"noopener\">Aldo Billingslea\u003c/a>, who’s serving as the narrator for the Saturday performance at Zellerbach. “All of it speaks to me in some way. These beautiful sounds go right through your cartilage, your bone, your flesh and move your soul. It’s a spiritual event.”\u003cspan class=\"Apple-converted-space\"> \u003c/span>\u003c/p>\n\u003cp>What Savall has fixed on is that music is a form of history. Those slaves are speaking to us across the centuries about their experience.\u003cspan class=\"Apple-converted-space\"> \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>The Routes of Slavery\u003c/strong> plays Saturday November 3, 2018 at Zellerbach Hall and Sunday, November 4, 2018 at Bing Concert Hall. For more information, click \u003cstrong>\u003ca href=\"http://calperformances.org/performances/2018-19/early-music/jordi-savall-the-routes-of-slavery-1444-1888.php?fbclid=IwAR2VfpyTkokbiTJmma-noG9X-Jsu-w4BUTchzV3csFZy5_wuLnv-l2wbzCU\" target=\"_blank\" rel=\"noopener\">here\u003c/a>\u003c/strong> and \u003ca href=\"https://live.stanford.edu/calendar/november-2018/routes-slavery\" target=\"_blank\" rel=\"noopener\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "a-black-cultural-corridor-takes-shape-on-oaklands-san-pablo-avenue",
"title": "A Black Cultural Corridor Takes Shape on Oakland's San Pablo Avenue",
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"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">O\u003c/span>n a recent Sunday, in the parking lot behind the California Hotel on Oakland’s San Pablo Avenue, the Harvest Festival is bustling. Parents line up for plates of barbecue; kids decorate pumpkins in the pumpkin patch; and neighbors of all ages hang out while a DJ spins funk, soul and old school R&B.\u003c/p>\n\u003cp>The scene is just one example of how longtime, mostly African-American West Oakland residents are revitalizing a formerly blighted stretch of San Pablo Avenue with the help of \u003ca href=\"http://ebaldc.org/\" target=\"_blank\" rel=\"noopener\">East Bay Asian Local Development Corporation\u003c/a> (EBALDC), one of Oakland’s largest affordable housing developers. Soon, the California Hotel will be at the center of a new cultural hub that will include a music venue, recording studio, restaurant, black culinary collective and a youth-focused music education program.\u003c/p>\n\u003cp>Such efforts began in 2011, when EBALDC purchased the California Hotel and converted it into 137 below–market-rate units, mostly studio apartments. The hotel, which had been vacant since 2007, is part of an EBALDC project called \u003ca href=\"http://ebaldc.org/what-we-do/neighborhood-collaborations/sparc/\" target=\"_blank\" rel=\"noopener\">SPARC\u003c/a>, or San Pablo Area Revitalization Collaborative, which seeks to cultivate a cultural hub on San Pablo Avenue that harks back to West Oakland’s legacy as a stronghold of black business.\u003c/p>\n\u003cfigure id=\"attachment_13844013\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13844013\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/CA-Hotel-800x646.png\" alt=\"The California Hotel. \" width=\"800\" height=\"646\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/CA-Hotel-800x646.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/CA-Hotel-160x129.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/CA-Hotel-768x620.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/CA-Hotel-1020x824.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/CA-Hotel-960x775.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/CA-Hotel-240x194.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/CA-Hotel-375x303.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/CA-Hotel-520x420.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/CA-Hotel.png 1106w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The California Hotel. \u003ccite>(EBALDC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There’s a beautiful history in place here,” says EBALDC’s associate director of neighborhood collaborations, Romi Hall, adding EBALDC will begin construction on affordable family housing on the same block next year. “I think we’ve got to work really hard to preserve that part of the story and make it new, and that’s what we’re really trying to do in the neighborhood in partnership with residents.”\u003c/p>\n\u003cp>As early as February 2019, the California Hotel will open a new brick-and-mortar location of popular Oakland eatery \u003ca href=\"https://www.icravebbq.com/copy-of-home-1\" target=\"_blank\" rel=\"noopener\">Crave BBQ\u003c/a> (which recently closed its pop-up on 17th and Center Streets). Crave BBQ’s new space will feature a music venue, The New Zanzibar Stage. It gets its name from the California Hotel’s original restaurant, The Zanzibar, where prominent performers like Billie Holiday, James Brown, Ray Charles, B.B. King, \u003ca href=\"https://www.kqed.org/arts/13819256/tell-em-about-the-dream-kronos-quartet-explores-moment-mlk-went-off-script\" target=\"_blank\" rel=\"noopener\">Mahalia Jackson\u003c/a>, Pete Escovedo and Big Mama Thornton once played.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The \u003ca href=\"https://opcmusic.org/\" target=\"_blank\" rel=\"noopener\">Oakland Public Conservatory of Music\u003c/a> (OPC), a music education nonprofit specializing in African American musical traditions, is collaborating with Crave BBQ on concert and educational programming at the new space. OPC’s founding director Angela Wellman says that while The New Zanzibar will honor the hotel’s legacy of jazz, blues, funk, soul and Latin music, it will also cater to young people.\u003c/p>\n\u003cp>“It’s going to be music that’s grounded in the African American experience,” she says. “But we have to try to stay relevant. We can’t reinvent a museum type of situation—that’s what it would be, like a living museum. That will be part of what we’re doing, but we also have to be relevant and make sure we showcase exactly what’s happening right now and how the music is continuing to evolve.”\u003c/p>\n\u003cfigure id=\"attachment_13844010\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13844010\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/ca-hotel-2-800x533.jpg\" alt=\"EBALDC's Romi Hall. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/ca-hotel-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/ca-hotel-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/ca-hotel-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/ca-hotel-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/ca-hotel-2-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/ca-hotel-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/ca-hotel-2-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/ca-hotel-2-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/ca-hotel-2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/ca-hotel-2-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/ca-hotel-2-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">EBALDC’s Romi Hall. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span>mid Oakland’s rising real estate prices, EBALDC’s below–market-rate commercial rents are a big reason African-American small businesses and nonprofits have been able to anchor themselves in the neighborhood. OPC moved into the California Hotel’s downstairs commercial space a year ago after being displaced from its previous location in 2014. And \u003ca href=\"https://blackballuniverse.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Blackball Universe\u003c/a>, Grammy-winning Oakland musician \u003ca href=\"https://www.kqed.org/arts/11836975/oakland-on-the-precipice-a-video-postcard-with-fantastic-negrito\" target=\"_blank\" rel=\"noopener\">Fantastic Negrito\u003c/a>‘s record label, found a home in another EBALDC property down the block—a former liquor store—after losing its previous Jack London Square location.\u003c/p>\n\u003cp>Cultural preservation is front-of-mind for the new EBALDC tenants as Oakland’s black population continues to decline amid ongoing gentrification. (African Americans made up 47 percent of Oakland’s population in 1980, compared to 24.7 percent according to the \u003ca href=\"https://www.census.gov/quickfacts/fact/table/oaklandcitycalifornia/RHI125217#viewtop\" target=\"_blank\" rel=\"noopener\">latest census estimate\u003c/a>.) “The way to sustain our culture is to make sure young people are acquiring skills to sustain it,” says Wellman, adding that she and Rashad Armstead, the owner of Crave BBQ, will offer workshops and activities for young people interested in the music and restaurant businesses.[contextly_sidebar id=”k77Kc9PvZ1cZ76SY09YMV8xm0vHyY9HV”]\u003c/p>\n\u003cp>When the California hotel opened in 1929, West Oakland was a thriving African-American and Latino neighborhood with an active cultural scene. That changed in the 1950s, ’60s and ’70s, when infrastructure projects like the interstate highway system, BART and the U.S. Postal Service building on 7th Street displaced many of West Oakland’s cultural institutions and longtime residents. In the ’70s and ’80s, the crack epidemic and mass incarceration further ravaged the community. And in recent years, West Oakland became the front line of a culture war as wealthier, whiter residents move in and upscale coffee shops and luxury apartment buildings spring up near homeless encampments and under-resourced schools.\u003c/p>\n\u003cp>“We have a lot of deep connections to West Oakland. My great-grandmother opened her first restaurant in the ’60s, back when 7th Street was all black businesses,” says Armstead. He plans to run a black food collective out of his new space, with food trucks, guest chefs, consumer products and and live cooking demos from black-owned businesses. The goal is to share resources with other black restaurateurs getting their projects off the ground.\u003c/p>\n\u003cp>“That is our way of combating gentrification,” says Armstead. “Almost like setting the culture for businesses coming in here, letting them know we’re not going anywhere.”\u003c/p>\n\u003cfigure id=\"attachment_13844008\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13844008\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/ca-hotel-1-800x533.jpg\" alt=\"Annette Miller of the Hoover/Foster Resident Action Council.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/ca-hotel-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/ca-hotel-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/ca-hotel-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/ca-hotel-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/ca-hotel-1-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/ca-hotel-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/ca-hotel-1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/ca-hotel-1-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/ca-hotel-1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/ca-hotel-1-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/ca-hotel-1-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Annette Miller of the Hoover/Foster Resident Action Council. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Local residents seem to resonate with this mission. Annette Miller, who was handing out handmade gift baskets to kids at the Harvest Festival’s pumpkin patch when I visited, is a lifelong West Oaklander who went through an \u003ca href=\"https://www.modernluxury.com/san-francisco/story/the-guardians-of-ghost-town\" target=\"_blank\" rel=\"noopener\">arduous fight\u003c/a> to save her grandmother’s home from foreclosure. Not long after winning her house back, Miller’s 19-year-old son was shot and killed. Those experiences motivated her to pour herself into community organizing; she’s the chair of a neighborhood advocacy group called the Hoover/Foster Resident Action Council, which supports EBALDC’s efforts to revitalize San Pablo Avenue.[contextly_sidebar id=”g4PVE00FJ2GSEOO9O1urHJBOlubwSCrT”]\u003c/p>\n\u003cp>“My thing is, even though I lost my loss, I feel that I still need to stay connected to the community to let folks know, there’s actually different ways to heal, like meetings, being around kids, support organizations,” she tells me while helping a little girl with glitter on her cheeks select a pumpkin. “As long as I mix myself with other organizations like SPARC, I believe we can make a difference.”\u003c/p>\n\u003cp>During my visit, I check out another party in the California Hotel’s downstairs rec room, where residents of all ages serve themselves from a soul food steam table as one neighbor regales them with his conga playing. “[The residents] hold a lot of history, they have a lot of opinions on how things should play out,” says Monique Kennedy, EBALDC’s West Oakland resident services manager. Her job is to help the residents of the hotel and neighboring EBALDC properties coordinate events and advocate for their interests.\u003c/p>\n\u003cfigure id=\"attachment_13844023\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13844023\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/CAHotel-800x506.jpg\" alt=\"The lobby of the California Hotel in West Oakland.\" width=\"800\" height=\"506\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/CAHotel-800x506.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/CAHotel-160x101.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/CAHotel-768x486.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/CAHotel-1020x645.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/CAHotel-1200x759.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/CAHotel.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/CAHotel-1180x746.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/CAHotel-960x607.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/CAHotel-240x152.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/CAHotel-375x237.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/CAHotel-520x329.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The lobby of the California Hotel in West Oakland. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We wanted to come here because we wanted to be part of a solution to rebuild our neighborhoods,” says Field, the manager of Blackball Universe, which released Fantastic Negrito’s 2016 album titled \u003cem>The Last Days of Oakland\u003c/em>.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“We wanted Blackball Universe to help create the type of environment we feel is necessary in Oakland—now, before it’s gone. Black Oakland is rapidly declining, and if we’re not part of the solution to help establish something, we’re participating in the decline.”\u003c/p>\n\n",
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"title": "A Black Cultural Corridor Takes Shape on Oakland's San Pablo Avenue | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">O\u003c/span>n a recent Sunday, in the parking lot behind the California Hotel on Oakland’s San Pablo Avenue, the Harvest Festival is bustling. Parents line up for plates of barbecue; kids decorate pumpkins in the pumpkin patch; and neighbors of all ages hang out while a DJ spins funk, soul and old school R&B.\u003c/p>\n\u003cp>The scene is just one example of how longtime, mostly African-American West Oakland residents are revitalizing a formerly blighted stretch of San Pablo Avenue with the help of \u003ca href=\"http://ebaldc.org/\" target=\"_blank\" rel=\"noopener\">East Bay Asian Local Development Corporation\u003c/a> (EBALDC), one of Oakland’s largest affordable housing developers. Soon, the California Hotel will be at the center of a new cultural hub that will include a music venue, recording studio, restaurant, black culinary collective and a youth-focused music education program.\u003c/p>\n\u003cp>Such efforts began in 2011, when EBALDC purchased the California Hotel and converted it into 137 below–market-rate units, mostly studio apartments. The hotel, which had been vacant since 2007, is part of an EBALDC project called \u003ca href=\"http://ebaldc.org/what-we-do/neighborhood-collaborations/sparc/\" target=\"_blank\" rel=\"noopener\">SPARC\u003c/a>, or San Pablo Area Revitalization Collaborative, which seeks to cultivate a cultural hub on San Pablo Avenue that harks back to West Oakland’s legacy as a stronghold of black business.\u003c/p>\n\u003cfigure id=\"attachment_13844013\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13844013\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/CA-Hotel-800x646.png\" alt=\"The California Hotel. \" width=\"800\" height=\"646\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/CA-Hotel-800x646.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/CA-Hotel-160x129.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/CA-Hotel-768x620.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/CA-Hotel-1020x824.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/CA-Hotel-960x775.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/CA-Hotel-240x194.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/CA-Hotel-375x303.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/CA-Hotel-520x420.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/CA-Hotel.png 1106w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The California Hotel. \u003ccite>(EBALDC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There’s a beautiful history in place here,” says EBALDC’s associate director of neighborhood collaborations, Romi Hall, adding EBALDC will begin construction on affordable family housing on the same block next year. “I think we’ve got to work really hard to preserve that part of the story and make it new, and that’s what we’re really trying to do in the neighborhood in partnership with residents.”\u003c/p>\n\u003cp>As early as February 2019, the California Hotel will open a new brick-and-mortar location of popular Oakland eatery \u003ca href=\"https://www.icravebbq.com/copy-of-home-1\" target=\"_blank\" rel=\"noopener\">Crave BBQ\u003c/a> (which recently closed its pop-up on 17th and Center Streets). Crave BBQ’s new space will feature a music venue, The New Zanzibar Stage. It gets its name from the California Hotel’s original restaurant, The Zanzibar, where prominent performers like Billie Holiday, James Brown, Ray Charles, B.B. King, \u003ca href=\"https://www.kqed.org/arts/13819256/tell-em-about-the-dream-kronos-quartet-explores-moment-mlk-went-off-script\" target=\"_blank\" rel=\"noopener\">Mahalia Jackson\u003c/a>, Pete Escovedo and Big Mama Thornton once played.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The \u003ca href=\"https://opcmusic.org/\" target=\"_blank\" rel=\"noopener\">Oakland Public Conservatory of Music\u003c/a> (OPC), a music education nonprofit specializing in African American musical traditions, is collaborating with Crave BBQ on concert and educational programming at the new space. OPC’s founding director Angela Wellman says that while The New Zanzibar will honor the hotel’s legacy of jazz, blues, funk, soul and Latin music, it will also cater to young people.\u003c/p>\n\u003cp>“It’s going to be music that’s grounded in the African American experience,” she says. “But we have to try to stay relevant. We can’t reinvent a museum type of situation—that’s what it would be, like a living museum. That will be part of what we’re doing, but we also have to be relevant and make sure we showcase exactly what’s happening right now and how the music is continuing to evolve.”\u003c/p>\n\u003cfigure id=\"attachment_13844010\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13844010\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/ca-hotel-2-800x533.jpg\" alt=\"EBALDC's Romi Hall. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/ca-hotel-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/ca-hotel-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/ca-hotel-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/ca-hotel-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/ca-hotel-2-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/ca-hotel-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/ca-hotel-2-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/ca-hotel-2-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/ca-hotel-2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/ca-hotel-2-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/ca-hotel-2-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">EBALDC’s Romi Hall. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span>mid Oakland’s rising real estate prices, EBALDC’s below–market-rate commercial rents are a big reason African-American small businesses and nonprofits have been able to anchor themselves in the neighborhood. OPC moved into the California Hotel’s downstairs commercial space a year ago after being displaced from its previous location in 2014. And \u003ca href=\"https://blackballuniverse.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Blackball Universe\u003c/a>, Grammy-winning Oakland musician \u003ca href=\"https://www.kqed.org/arts/11836975/oakland-on-the-precipice-a-video-postcard-with-fantastic-negrito\" target=\"_blank\" rel=\"noopener\">Fantastic Negrito\u003c/a>‘s record label, found a home in another EBALDC property down the block—a former liquor store—after losing its previous Jack London Square location.\u003c/p>\n\u003cp>Cultural preservation is front-of-mind for the new EBALDC tenants as Oakland’s black population continues to decline amid ongoing gentrification. (African Americans made up 47 percent of Oakland’s population in 1980, compared to 24.7 percent according to the \u003ca href=\"https://www.census.gov/quickfacts/fact/table/oaklandcitycalifornia/RHI125217#viewtop\" target=\"_blank\" rel=\"noopener\">latest census estimate\u003c/a>.) “The way to sustain our culture is to make sure young people are acquiring skills to sustain it,” says Wellman, adding that she and Rashad Armstead, the owner of Crave BBQ, will offer workshops and activities for young people interested in the music and restaurant businesses.\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>When the California hotel opened in 1929, West Oakland was a thriving African-American and Latino neighborhood with an active cultural scene. That changed in the 1950s, ’60s and ’70s, when infrastructure projects like the interstate highway system, BART and the U.S. Postal Service building on 7th Street displaced many of West Oakland’s cultural institutions and longtime residents. In the ’70s and ’80s, the crack epidemic and mass incarceration further ravaged the community. And in recent years, West Oakland became the front line of a culture war as wealthier, whiter residents move in and upscale coffee shops and luxury apartment buildings spring up near homeless encampments and under-resourced schools.\u003c/p>\n\u003cp>“We have a lot of deep connections to West Oakland. My great-grandmother opened her first restaurant in the ’60s, back when 7th Street was all black businesses,” says Armstead. He plans to run a black food collective out of his new space, with food trucks, guest chefs, consumer products and and live cooking demos from black-owned businesses. The goal is to share resources with other black restaurateurs getting their projects off the ground.\u003c/p>\n\u003cp>“That is our way of combating gentrification,” says Armstead. “Almost like setting the culture for businesses coming in here, letting them know we’re not going anywhere.”\u003c/p>\n\u003cfigure id=\"attachment_13844008\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13844008\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/ca-hotel-1-800x533.jpg\" alt=\"Annette Miller of the Hoover/Foster Resident Action Council.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/ca-hotel-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/ca-hotel-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/ca-hotel-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/ca-hotel-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/ca-hotel-1-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/ca-hotel-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/ca-hotel-1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/ca-hotel-1-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/ca-hotel-1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/ca-hotel-1-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/ca-hotel-1-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Annette Miller of the Hoover/Foster Resident Action Council. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Local residents seem to resonate with this mission. Annette Miller, who was handing out handmade gift baskets to kids at the Harvest Festival’s pumpkin patch when I visited, is a lifelong West Oaklander who went through an \u003ca href=\"https://www.modernluxury.com/san-francisco/story/the-guardians-of-ghost-town\" target=\"_blank\" rel=\"noopener\">arduous fight\u003c/a> to save her grandmother’s home from foreclosure. Not long after winning her house back, Miller’s 19-year-old son was shot and killed. Those experiences motivated her to pour herself into community organizing; she’s the chair of a neighborhood advocacy group called the Hoover/Foster Resident Action Council, which supports EBALDC’s efforts to revitalize San Pablo Avenue.\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“My thing is, even though I lost my loss, I feel that I still need to stay connected to the community to let folks know, there’s actually different ways to heal, like meetings, being around kids, support organizations,” she tells me while helping a little girl with glitter on her cheeks select a pumpkin. “As long as I mix myself with other organizations like SPARC, I believe we can make a difference.”\u003c/p>\n\u003cp>During my visit, I check out another party in the California Hotel’s downstairs rec room, where residents of all ages serve themselves from a soul food steam table as one neighbor regales them with his conga playing. “[The residents] hold a lot of history, they have a lot of opinions on how things should play out,” says Monique Kennedy, EBALDC’s West Oakland resident services manager. Her job is to help the residents of the hotel and neighboring EBALDC properties coordinate events and advocate for their interests.\u003c/p>\n\u003cfigure id=\"attachment_13844023\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13844023\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/CAHotel-800x506.jpg\" alt=\"The lobby of the California Hotel in West Oakland.\" width=\"800\" height=\"506\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/CAHotel-800x506.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/CAHotel-160x101.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/CAHotel-768x486.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/CAHotel-1020x645.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/CAHotel-1200x759.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/CAHotel.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/CAHotel-1180x746.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/CAHotel-960x607.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/CAHotel-240x152.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/CAHotel-375x237.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/CAHotel-520x329.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The lobby of the California Hotel in West Oakland. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We wanted to come here because we wanted to be part of a solution to rebuild our neighborhoods,” says Field, the manager of Blackball Universe, which released Fantastic Negrito’s 2016 album titled \u003cem>The Last Days of Oakland\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp class=\"p1\">\u003cspan class=\"s1\">Welcome to the first chapter of KQED Arts’ special, five-part Bay Brilliant audio series of Culture Dates!\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">Over the next few weeks, join KQED reporter Chloe Veltman and producer Ashleyanne Krigbaum as they head out on a variety of cultural adventures around the Bay Area with a handful of this year’s Bay Brilliant honorees.\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">This week: \u003ca href=\"https://www.kqed.org/arts/13839026/bay-brilliant-india-sky-davis\">\u003cspan class=\"s2\">India Sky Davis\u003c/span>\u003c/a>, the artistic director and co-founder of \u003ca href=\"https://www.facebook.com/topsyturvycircus/\">\u003cspan class=\"s2\">Topsy Turvy Queer Circus\u003c/span>\u003c/a>, goes searching for inspiration from the sea on a whale watching tour. \u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">Click the play button above to listen to India and Chloe discuss how the movements of sea life play a role in Davis’s choreography—while they search the waves to spot a whale.\u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>India Sky Davis performs Thursday, Nov. 1, at the \u003ca href=\"https://www.eventbrite.com/e/ritual-laboratories-night-show-tickets-51435748709\">Ritual Laboratories Night Show\u003c/a> at Red Bay Coffee Roastery & Bar in Oakland.\u003c/em>\u003c/p>\n\n",
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"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 />",
"airtime": "SUN 9pm-10pm",
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"meta": {
"site": "radio",
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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",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"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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"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"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"
}
},
"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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"id": "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": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
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"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"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",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
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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",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"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",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"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": {
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"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)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"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",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"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/",
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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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"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": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
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"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
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