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"content": "\u003cp>\u003ca href=\"http://www.npr.org/artists/15131132/geri-allen\" target=\"_blank\" rel=\"noopener\">Geri Allen\u003c/a>, a widely influential jazz pianist, composer and educator who defied classification while steadfastly affirming her roots in the hard-bop tradition of her native Detroit, died Tuesday in Philadelphia. She was 60, and had lived for the last four years in Pittsburgh.\u003c/p>\n\u003cp>The cause was cancer, said Ora Harris, her manager of 30 years. The news shocked Allen’s devoted listeners, as well as her peers and the many pianists she directly influenced.\u003c/p>\n\u003cp>In addition to her varied and commanding work as a leader, Allen made her mark as a venturesome improviser on notable albums with the saxophonist-composers \u003ca href=\"http://www.npr.org/artists/15393592/ornette-coleman\" target=\"_blank\" rel=\"noopener\">Ornette Coleman\u003c/a>, Oliver Lake, \u003ca href=\"http://www.npr.org/artists/129299340/steve-coleman\" target=\"_blank\" rel=\"noopener\">Steve Coleman\u003c/a> and \u003ca href=\"http://www.npr.org/artists/15839986/charles-lloyd\" target=\"_blank\" rel=\"noopener\">Charles Lloyd\u003c/a>; drummer Ralph Peterson, Jr.; bassist \u003ca href=\"http://www.npr.org/artists/15393702/charlie-haden\" target=\"_blank\" rel=\"noopener\">Charlie Haden\u003c/a> and drummer \u003ca href=\"http://www.npr.org/artists/15401669/paul-motian\" target=\"_blank\" rel=\"noopener\">Paul Motian\u003c/a>; and many others. Her recent collaborations with drummer \u003ca href=\"http://www.npr.org/artists/101472592/terri-lyne-carrington\" target=\"_blank\" rel=\"noopener\">Terri Lyne Carrington\u003c/a>, in separate trios featuring bassist \u003ca href=\"http://www.npr.org/artists/90478159/esperanza-spalding\" target=\"_blank\" rel=\"noopener\">Esperanza Spalding\u003c/a> and tenor saxophonist David Murray, found her in a ceaselessly exploratory mode, probing new harmonic expanses and dynamic arcs.\u003c/p>\n\u003cp>Allen’s solo piano work, from \u003cem>Home Grown\u003c/em> in 1985 to \u003cem>Flying Toward the Sound\u003c/em> in 2010, reveals an uncommon technical prowess and kaleidoscopic tonal range. The subtitle of \u003cem>Flying Toward the Sound\u003c/em> claims inspiration from \u003ca href=\"http://www.npr.org/artists/15696501/cecil-taylor\" target=\"_blank\" rel=\"noopener\">Cecil Taylor\u003c/a>, \u003ca href=\"http://www.npr.org/artists/15678496/mccoy-tyner\" target=\"_blank\" rel=\"noopener\">McCoy Tyner\u003c/a> and \u003ca href=\"http://www.npr.org/artists/15294441/herbie-hancock\" target=\"_blank\" rel=\"noopener\">Herbie Hancock\u003c/a> specifically, but on this and other recordings we hear Allen, unfailingly distinctive. From \u003cem>Home Grown\u003c/em>, the track “Black Man,” with its looping, interlocking pulses and forward momentum, points clearly toward a rhythmic sensibility heard today from such celebrated pianists as \u003ca href=\"http://www.npr.org/artists/127899386/craig-taborn\" target=\"_blank\" rel=\"noopener\">Craig Taborn\u003c/a> and \u003ca href=\"http://www.npr.org/artists/92749291/vijay-iyer\" target=\"_blank\" rel=\"noopener\">Vijay Iyer\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=z27W_1BcfR0\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Geri Antoinette Allen was born June 12, 1957 in Pontiac, Mich., and raised in Detroit. Her father, Mount V. Allen, Jr., was a principal in the Detroit public school system, and her mother, Barbara Jean, was a defense contract administrator for the U.S. government.\u003c/p>\n\u003cp>Allen took up the piano at age 7 and went on to graduate from Cass Technical High School, the alma mater of jazz greats on the order of Paul Chambers, Wardell Gray, \u003ca href=\"http://www.npr.org/artists/15156346/gerald-wilson\" target=\"_blank\" rel=\"noopener\">Gerald Wilson\u003c/a> and Donald Byrd.\u003c/p>\n\u003cp>While in school Allen became a protégé of the late trumpeter Marcus Belgrave, who directed the Jazz Development Workshop and also mentored saxophonist \u003ca href=\"http://www.npr.org/artists/15398179/kenny-garrett\" target=\"_blank\" rel=\"noopener\">Kenny Garrett\u003c/a> and violinist \u003ca href=\"http://www.npr.org/artists/15237513/regina-carter\" target=\"_blank\" rel=\"noopener\">Regina Carter\u003c/a>, among many others. (Belgrave would go on to appear on Allen’s albums \u003cem>The Nurturer\u003c/em> and \u003cem>Maroons\u003c/em> in the early 1990s.) From another mentor, the late drummer Roy Brooks, Allen developed a deep love for \u003ca href=\"http://www.npr.org/artists/15130415/thelonious-monk\" target=\"_blank\" rel=\"noopener\">Thelonious Monk\u003c/a>, whose compositions she masterfully interpreted.\u003c/p>\n\u003cp>Allen graduated from Howard University in 1979, as one of the first students to complete a jazz studies degree there. She earned an M.A. in ethnomusicology from the University of Pittsburgh in 1982. For part of a year she sustained herself touring with former Supreme Mary Wilson. In 1984 she debuted with \u003cem>The Printmakers\u003c/em>, a tight, imaginative trio session with bassist Anthony Cox and drummer Andrew Cyrille.\u003c/p>\n\u003cp>Soon afterward, Allen made a series of statements with the vanguardist M-Base Collective, spearheaded by Steve Coleman. She appeared on his debut album, \u003cem>Motherland Pulse\u003c/em>, in 1985, and on several subsequent releases by his flagship band, Five Elements. Her own album \u003cem>Open On All Sides In The Middle\u003c/em>, from 1986, featured Coleman in a bustling electro-acoustic ensemble, alongside other players including Belgrave and trombonist Robin Eubanks.\u003c/p>\n\u003cp>Trio summits followed with \u003ca href=\"http://www.npr.org/artists/15032659/ron-carter\" target=\"_blank\" rel=\"noopener\">Ron Carter\u003c/a>, a fellow Cass Tech alum, and \u003ca href=\"http://www.npr.org/artists/16073856/tony-williams\" target=\"_blank\" rel=\"noopener\">Tony Williams\u003c/a> (\u003cem>Twenty One\u003c/em>); with Haden and Motian (\u003cem>Etudes\u003c/em>, \u003cem>Live at the Village Vanguard\u003c/em>); and with \u003ca href=\"http://www.npr.org/artists/15404006/dave-holland\" target=\"_blank\" rel=\"noopener\">Dave Holland\u003c/a> and \u003ca href=\"http://www.npr.org/artists/15124740/jack-dejohnette\" target=\"_blank\" rel=\"noopener\">Jack DeJohnette\u003c/a> (\u003cem>The Life of a Song\u003c/em>). In each setting, Allen proved more than a virtuoso able to marshal the greatest rhythm sections; she was a musical partner with prodigious ears, motivated by the percussive energy of the avant-garde, the elusive unified spark of straight-ahead swing and the expressive truth of piano balladry.\u003c/p>\n\u003cp>Allen’s 1996 encounter with Ornette Coleman, documented on the albums \u003cem>Sound Museum: Hidden Man\u003c/em> and \u003cem>Sound Museum: Three Women,\u003c/em> stands out in part for its historical significance: this was the first time since Walter Norris on \u003cem>Somethin’ Else!!!!\u003c/em> in 1958 that an acoustic pianist had recorded with Coleman.\u003c/p>\n\u003cp>The piano had little use in his free-floating music because it tended to impose a conventional chordal fixity. Not with Allen on the bandstand. She played a multifaceted textural and contrapuntal role, her ocean-deep harmonic knowledge guiding but never limiting her, from gorgeous and evocative rubato episodes to urgent free blowing. Her melodic voice, too, sometimes moving in unison with Coleman, brought a clarion intensity that remains unique in his output.\u003c/p>\n\u003cp>Along with her rare qualities as a player, Allen had significant impact as an educator for 10 years at the University of Michigan. She began as director of jazz studies at the University of Pittsburgh, her alma mater, in 2013, succeeding one of her mentors, Nathan Davis. Three years later she became artistic director of the Carr Center — characterized by Mark Stryker, author of the forthcoming book \u003cem>Made In Detroit: Jazz From The Motor City\u003c/em>, as “a downtown Detroit arts organization that primarily champions African-American culture and has a strong arts education program.”\u003c/p>\n\u003cp>In both her institutional work and her musical projects, Allen engaged in a serious way with jazz as part of a larger African-American continuum in the arts. Her 2013 album \u003cem>Grand River Crossings: Motown & Motor City Inspirations\u003c/em> was a hometown homage, but also a reflection on the porous boundaries of black music. Last year the artist Carrie Mae Weems welcomed Allen and her trio to the Guggenheim Museum for part of a performance series called “Past Tense/Future Perfect.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=gkCHb5R43XI\u003c/p>\n\u003cp>In her own work, Allen often sought to broaden her reference points and sonic palette, featuring the Atlanta Jazz Chorus on \u003cem>Timeless Portraits and Dreams\u003c/em> (2006); the electric and acoustic guitar of Living Colour’s Vernon Reid on \u003cem>The Gathering\u003c/em> (1998); and tap dancers Lloyd Storey, on \u003cem>Open On All Sides In The Middle\u003c/em>, and Maurice Chestnut, on \u003cem>Geri Allen & Time Line Live\u003c/em> (2010). She shed light on the legacy of the still underappreciated pianist and composer Mary Lou Williams on \u003cem>Zodiac Suite: Revisited\u003c/em>, credited to the Mary Lou Williams Collective, with bassist Buster Williams and drummers Billy Hart and Andrew Cyrille.\u003c/p>\n\u003cp>Allen is survived by her father; her brother, Mount Allen III; and three children, Laila Deen, Wallace Vernell and Barbara Ann. Her marriage to the trumpeter \u003ca href=\"http://www.npr.org/artists/15401658/wallace-roney\" target=\"_blank\" rel=\"noopener\">Wallace Roney\u003c/a> ended in divorce.\u003c/p>\n\u003cp>Along with a Guggenheim Fellowship, in 2008, Allen received the African American Classical Music Award from Spelman College, and a Distinguished Alumni Award from Howard. In 1995 she became the first recipient of Soul Train’s Lady of Soul Award for jazz album of the year, for \u003cem>Twenty-One\u003c/em>. The following year she became the first woman to win the Jazzpar Prize, a highly prestigious Danish honor.\u003c/p>\n\u003cp>Over years of seeing Allen live, it’s striking to recall her at Caramoor in 1994, when she shared a solo piano bill with the great \u003ca href=\"http://www.npr.org/artists/16114983/kenny-barron\" target=\"_blank\" rel=\"noopener\">Kenny Barron\u003c/a>. She parsed Monk and other material, including her own, and encored in a riotous two-piano showdown with Barron on “Tea For Two,” dealing impressively with a tune of older vintage. Years later, at the Village Vanguard, she led an engrossing quartet with Hart, bassist (and Cass Tech alum) Robert Hurst and percussionist Mino Cinelu.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>In terms of the unexpected, however, don’t for a moment discount Allen’s 2011 Christmas album, \u003ca href=\"https://youtu.be/jj81T6Ytm0o\">\u003cem>A Child Is Born\u003c/em>\u003c/a>. She plays not just piano but also Farfisa organ, celeste, clavinet and Fender Rhodes, taking “Angels We Have Heard On High” and “O Come, O Come, Emmanuel” to harmonic places they’ve likely never been. Even at its most searching, complex and sonically novel, there’s a contemplative quality in the music that makes this a worthy listen as we mourn Allen’s untimely passing. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 WBGO. To see more, visit \u003ca href=\"http://www.wbgo.org\">WBGO\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Geri+Allen%2C+Pianist%2C+Composer+And+Educator%2C+Dies+At+60&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://www.npr.org/artists/15131132/geri-allen\" target=\"_blank\" rel=\"noopener\">Geri Allen\u003c/a>, a widely influential jazz pianist, composer and educator who defied classification while steadfastly affirming her roots in the hard-bop tradition of her native Detroit, died Tuesday in Philadelphia. She was 60, and had lived for the last four years in Pittsburgh.\u003c/p>\n\u003cp>The cause was cancer, said Ora Harris, her manager of 30 years. The news shocked Allen’s devoted listeners, as well as her peers and the many pianists she directly influenced.\u003c/p>\n\u003cp>In addition to her varied and commanding work as a leader, Allen made her mark as a venturesome improviser on notable albums with the saxophonist-composers \u003ca href=\"http://www.npr.org/artists/15393592/ornette-coleman\" target=\"_blank\" rel=\"noopener\">Ornette Coleman\u003c/a>, Oliver Lake, \u003ca href=\"http://www.npr.org/artists/129299340/steve-coleman\" target=\"_blank\" rel=\"noopener\">Steve Coleman\u003c/a> and \u003ca href=\"http://www.npr.org/artists/15839986/charles-lloyd\" target=\"_blank\" rel=\"noopener\">Charles Lloyd\u003c/a>; drummer Ralph Peterson, Jr.; bassist \u003ca href=\"http://www.npr.org/artists/15393702/charlie-haden\" target=\"_blank\" rel=\"noopener\">Charlie Haden\u003c/a> and drummer \u003ca href=\"http://www.npr.org/artists/15401669/paul-motian\" target=\"_blank\" rel=\"noopener\">Paul Motian\u003c/a>; and many others. Her recent collaborations with drummer \u003ca href=\"http://www.npr.org/artists/101472592/terri-lyne-carrington\" target=\"_blank\" rel=\"noopener\">Terri Lyne Carrington\u003c/a>, in separate trios featuring bassist \u003ca href=\"http://www.npr.org/artists/90478159/esperanza-spalding\" target=\"_blank\" rel=\"noopener\">Esperanza Spalding\u003c/a> and tenor saxophonist David Murray, found her in a ceaselessly exploratory mode, probing new harmonic expanses and dynamic arcs.\u003c/p>\n\u003cp>Allen’s solo piano work, from \u003cem>Home Grown\u003c/em> in 1985 to \u003cem>Flying Toward the Sound\u003c/em> in 2010, reveals an uncommon technical prowess and kaleidoscopic tonal range. The subtitle of \u003cem>Flying Toward the Sound\u003c/em> claims inspiration from \u003ca href=\"http://www.npr.org/artists/15696501/cecil-taylor\" target=\"_blank\" rel=\"noopener\">Cecil Taylor\u003c/a>, \u003ca href=\"http://www.npr.org/artists/15678496/mccoy-tyner\" target=\"_blank\" rel=\"noopener\">McCoy Tyner\u003c/a> and \u003ca href=\"http://www.npr.org/artists/15294441/herbie-hancock\" target=\"_blank\" rel=\"noopener\">Herbie Hancock\u003c/a> specifically, but on this and other recordings we hear Allen, unfailingly distinctive. From \u003cem>Home Grown\u003c/em>, the track “Black Man,” with its looping, interlocking pulses and forward momentum, points clearly toward a rhythmic sensibility heard today from such celebrated pianists as \u003ca href=\"http://www.npr.org/artists/127899386/craig-taborn\" target=\"_blank\" rel=\"noopener\">Craig Taborn\u003c/a> and \u003ca href=\"http://www.npr.org/artists/92749291/vijay-iyer\" target=\"_blank\" rel=\"noopener\">Vijay Iyer\u003c/a>.\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/z27W_1BcfR0'\n title='//www.youtube.com/embed/z27W_1BcfR0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Geri Antoinette Allen was born June 12, 1957 in Pontiac, Mich., and raised in Detroit. Her father, Mount V. Allen, Jr., was a principal in the Detroit public school system, and her mother, Barbara Jean, was a defense contract administrator for the U.S. government.\u003c/p>\n\u003cp>Allen took up the piano at age 7 and went on to graduate from Cass Technical High School, the alma mater of jazz greats on the order of Paul Chambers, Wardell Gray, \u003ca href=\"http://www.npr.org/artists/15156346/gerald-wilson\" target=\"_blank\" rel=\"noopener\">Gerald Wilson\u003c/a> and Donald Byrd.\u003c/p>\n\u003cp>While in school Allen became a protégé of the late trumpeter Marcus Belgrave, who directed the Jazz Development Workshop and also mentored saxophonist \u003ca href=\"http://www.npr.org/artists/15398179/kenny-garrett\" target=\"_blank\" rel=\"noopener\">Kenny Garrett\u003c/a> and violinist \u003ca href=\"http://www.npr.org/artists/15237513/regina-carter\" target=\"_blank\" rel=\"noopener\">Regina Carter\u003c/a>, among many others. (Belgrave would go on to appear on Allen’s albums \u003cem>The Nurturer\u003c/em> and \u003cem>Maroons\u003c/em> in the early 1990s.) From another mentor, the late drummer Roy Brooks, Allen developed a deep love for \u003ca href=\"http://www.npr.org/artists/15130415/thelonious-monk\" target=\"_blank\" rel=\"noopener\">Thelonious Monk\u003c/a>, whose compositions she masterfully interpreted.\u003c/p>\n\u003cp>Allen graduated from Howard University in 1979, as one of the first students to complete a jazz studies degree there. She earned an M.A. in ethnomusicology from the University of Pittsburgh in 1982. For part of a year she sustained herself touring with former Supreme Mary Wilson. In 1984 she debuted with \u003cem>The Printmakers\u003c/em>, a tight, imaginative trio session with bassist Anthony Cox and drummer Andrew Cyrille.\u003c/p>\n\u003cp>Soon afterward, Allen made a series of statements with the vanguardist M-Base Collective, spearheaded by Steve Coleman. She appeared on his debut album, \u003cem>Motherland Pulse\u003c/em>, in 1985, and on several subsequent releases by his flagship band, Five Elements. Her own album \u003cem>Open On All Sides In The Middle\u003c/em>, from 1986, featured Coleman in a bustling electro-acoustic ensemble, alongside other players including Belgrave and trombonist Robin Eubanks.\u003c/p>\n\u003cp>Trio summits followed with \u003ca href=\"http://www.npr.org/artists/15032659/ron-carter\" target=\"_blank\" rel=\"noopener\">Ron Carter\u003c/a>, a fellow Cass Tech alum, and \u003ca href=\"http://www.npr.org/artists/16073856/tony-williams\" target=\"_blank\" rel=\"noopener\">Tony Williams\u003c/a> (\u003cem>Twenty One\u003c/em>); with Haden and Motian (\u003cem>Etudes\u003c/em>, \u003cem>Live at the Village Vanguard\u003c/em>); and with \u003ca href=\"http://www.npr.org/artists/15404006/dave-holland\" target=\"_blank\" rel=\"noopener\">Dave Holland\u003c/a> and \u003ca href=\"http://www.npr.org/artists/15124740/jack-dejohnette\" target=\"_blank\" rel=\"noopener\">Jack DeJohnette\u003c/a> (\u003cem>The Life of a Song\u003c/em>). In each setting, Allen proved more than a virtuoso able to marshal the greatest rhythm sections; she was a musical partner with prodigious ears, motivated by the percussive energy of the avant-garde, the elusive unified spark of straight-ahead swing and the expressive truth of piano balladry.\u003c/p>\n\u003cp>Allen’s 1996 encounter with Ornette Coleman, documented on the albums \u003cem>Sound Museum: Hidden Man\u003c/em> and \u003cem>Sound Museum: Three Women,\u003c/em> stands out in part for its historical significance: this was the first time since Walter Norris on \u003cem>Somethin’ Else!!!!\u003c/em> in 1958 that an acoustic pianist had recorded with Coleman.\u003c/p>\n\u003cp>The piano had little use in his free-floating music because it tended to impose a conventional chordal fixity. Not with Allen on the bandstand. She played a multifaceted textural and contrapuntal role, her ocean-deep harmonic knowledge guiding but never limiting her, from gorgeous and evocative rubato episodes to urgent free blowing. Her melodic voice, too, sometimes moving in unison with Coleman, brought a clarion intensity that remains unique in his output.\u003c/p>\n\u003cp>Along with her rare qualities as a player, Allen had significant impact as an educator for 10 years at the University of Michigan. She began as director of jazz studies at the University of Pittsburgh, her alma mater, in 2013, succeeding one of her mentors, Nathan Davis. Three years later she became artistic director of the Carr Center — characterized by Mark Stryker, author of the forthcoming book \u003cem>Made In Detroit: Jazz From The Motor City\u003c/em>, as “a downtown Detroit arts organization that primarily champions African-American culture and has a strong arts education program.”\u003c/p>\n\u003cp>In both her institutional work and her musical projects, Allen engaged in a serious way with jazz as part of a larger African-American continuum in the arts. Her 2013 album \u003cem>Grand River Crossings: Motown & Motor City Inspirations\u003c/em> was a hometown homage, but also a reflection on the porous boundaries of black music. Last year the artist Carrie Mae Weems welcomed Allen and her trio to the Guggenheim Museum for part of a performance series called “Past Tense/Future Perfect.”\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/gkCHb5R43XI'\n title='//www.youtube.com/embed/gkCHb5R43XI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In her own work, Allen often sought to broaden her reference points and sonic palette, featuring the Atlanta Jazz Chorus on \u003cem>Timeless Portraits and Dreams\u003c/em> (2006); the electric and acoustic guitar of Living Colour’s Vernon Reid on \u003cem>The Gathering\u003c/em> (1998); and tap dancers Lloyd Storey, on \u003cem>Open On All Sides In The Middle\u003c/em>, and Maurice Chestnut, on \u003cem>Geri Allen & Time Line Live\u003c/em> (2010). She shed light on the legacy of the still underappreciated pianist and composer Mary Lou Williams on \u003cem>Zodiac Suite: Revisited\u003c/em>, credited to the Mary Lou Williams Collective, with bassist Buster Williams and drummers Billy Hart and Andrew Cyrille.\u003c/p>\n\u003cp>Allen is survived by her father; her brother, Mount Allen III; and three children, Laila Deen, Wallace Vernell and Barbara Ann. Her marriage to the trumpeter \u003ca href=\"http://www.npr.org/artists/15401658/wallace-roney\" target=\"_blank\" rel=\"noopener\">Wallace Roney\u003c/a> ended in divorce.\u003c/p>\n\u003cp>Along with a Guggenheim Fellowship, in 2008, Allen received the African American Classical Music Award from Spelman College, and a Distinguished Alumni Award from Howard. In 1995 she became the first recipient of Soul Train’s Lady of Soul Award for jazz album of the year, for \u003cem>Twenty-One\u003c/em>. The following year she became the first woman to win the Jazzpar Prize, a highly prestigious Danish honor.\u003c/p>\n\u003cp>Over years of seeing Allen live, it’s striking to recall her at Caramoor in 1994, when she shared a solo piano bill with the great \u003ca href=\"http://www.npr.org/artists/16114983/kenny-barron\" target=\"_blank\" rel=\"noopener\">Kenny Barron\u003c/a>. She parsed Monk and other material, including her own, and encored in a riotous two-piano showdown with Barron on “Tea For Two,” dealing impressively with a tune of older vintage. Years later, at the Village Vanguard, she led an engrossing quartet with Hart, bassist (and Cass Tech alum) Robert Hurst and percussionist Mino Cinelu.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In terms of the unexpected, however, don’t for a moment discount Allen’s 2011 Christmas album, \u003ca href=\"https://youtu.be/jj81T6Ytm0o\">\u003cem>A Child Is Born\u003c/em>\u003c/a>. She plays not just piano but also Farfisa organ, celeste, clavinet and Fender Rhodes, taking “Angels We Have Heard On High” and “O Come, O Come, Emmanuel” to harmonic places they’ve likely never been. Even at its most searching, complex and sonically novel, there’s a contemplative quality in the music that makes this a worthy listen as we mourn Allen’s untimely passing. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 WBGO. To see more, visit \u003ca href=\"http://www.wbgo.org\">WBGO\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Geri+Allen%2C+Pianist%2C+Composer+And+Educator%2C+Dies+At+60&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Tim Westergren, the co-founder of Pandora who returned to the company’s chief executive seat last year after the \u003ca href=\"http://www.billboard.com/articles/business/7317933/pandora-tim-westergren-brian-mcandrews-executive-shakeup-behind-the-scenes\" target=\"_blank\" rel=\"noopener\">exit of Brian McAndrews\u003c/a>, is leaving the company he started over 17 years ago, it was announced this morning. He will resign his position as chief executive and exit the company’s board of directors.\u003c/p>\n\u003cp>“I believe Pandora is perfectly poised for its next chapter,” Westergren says in a statement regarding the move. Chief financial officer Naveen Chopra will assume the vacated seat until a replacement is found. The company also announced that chief marketing officer Nick Bartle and president Mike Herring will be leaving Pandora as well, and that Jason Hirschhorn, founder of the media aggregation company ReDEF and a former co-president of Myspace, would be appointed a director, and receive $40,000 and equity for his trouble.\u003c/p>\n\u003cp>Pandora has had a tumultuous few months in the boardroom; after securing $150 million in funding from private equity group KKR — and adding former AEG CEO Tim Leiweke as an independent director and advisor — it dropped that deal for a \u003ca href=\"http://www.npr.org/sections/therecord/2017/06/09/532255970/siriusxm-invests-480-million-in-pandora\" target=\"_blank\" rel=\"noopener\">$480 million investment\u003c/a> from satellite broadcaster SiriusXM. SiriusXM also gained three seats on the company’s board in the deal.\u003c/p>\n\u003cp>The company’s stock has steadily declined over the past few years — from a high of $37.42 a share to $8.32 today — as Spotify and Apple Music have gained dominance in the digital listening market. Pandora offers two subscriptions: the cheaper Pandora Plus, which augments its radio service and removes ads, and Pandora Premium, its competitor to the on-demand services. However, it spent much of 2016 building Premium from the pieces of Rdio, which it acquired at the end of 2015 — losing precious time as the streaming market became ever more mainstream.\u003c/p>\n\u003cp>Westergren often shared his backstory as a musician \u003ca href=\"https://www.youtube.com/watch?v=Rb58FvEz2zo\" target=\"_blank\" rel=\"noopener\">“living out of a van”\u003c/a> before launching Pandora in 2000. (Once initial funding ran out, the company infamously asked its employees to work for free \u003ca href=\"https://thehustle.co/pandora-speech\" target=\"_blank\" rel=\"noopener\">for two years\u003c/a>.) From there, he helped direct the development of the Music Genome Project, a unique hybrid recommendation engine that utilized musicologists’ analyses of recordings in order to better recommend music to the service’s users. Before too long, Pandora became relatively synonymous with “radio on the internet.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Pandora’s competitor Spotify had no comment on Westergren’s departure; Warner Music Group, Universal Music Group and Sony Music — companies which Westergren spent much of 2016 repairing relationships with — did not immediately respond to a request for comment.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Updated\u003c/strong>, 10:58am, June 27: This article was updated with information from a financial filing released subsequent to the announcement of Westergren’s departure.\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Pandora+Co-Founder+And+CEO+Tim+Westergren+To+Step+Down&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Tim Westergren, the co-founder of Pandora who returned to the company’s chief executive seat last year after the \u003ca href=\"http://www.billboard.com/articles/business/7317933/pandora-tim-westergren-brian-mcandrews-executive-shakeup-behind-the-scenes\" target=\"_blank\" rel=\"noopener\">exit of Brian McAndrews\u003c/a>, is leaving the company he started over 17 years ago, it was announced this morning. He will resign his position as chief executive and exit the company’s board of directors.\u003c/p>\n\u003cp>“I believe Pandora is perfectly poised for its next chapter,” Westergren says in a statement regarding the move. Chief financial officer Naveen Chopra will assume the vacated seat until a replacement is found. The company also announced that chief marketing officer Nick Bartle and president Mike Herring will be leaving Pandora as well, and that Jason Hirschhorn, founder of the media aggregation company ReDEF and a former co-president of Myspace, would be appointed a director, and receive $40,000 and equity for his trouble.\u003c/p>\n\u003cp>Pandora has had a tumultuous few months in the boardroom; after securing $150 million in funding from private equity group KKR — and adding former AEG CEO Tim Leiweke as an independent director and advisor — it dropped that deal for a \u003ca href=\"http://www.npr.org/sections/therecord/2017/06/09/532255970/siriusxm-invests-480-million-in-pandora\" target=\"_blank\" rel=\"noopener\">$480 million investment\u003c/a> from satellite broadcaster SiriusXM. SiriusXM also gained three seats on the company’s board in the deal.\u003c/p>\n\u003cp>The company’s stock has steadily declined over the past few years — from a high of $37.42 a share to $8.32 today — as Spotify and Apple Music have gained dominance in the digital listening market. Pandora offers two subscriptions: the cheaper Pandora Plus, which augments its radio service and removes ads, and Pandora Premium, its competitor to the on-demand services. However, it spent much of 2016 building Premium from the pieces of Rdio, which it acquired at the end of 2015 — losing precious time as the streaming market became ever more mainstream.\u003c/p>\n\u003cp>Westergren often shared his backstory as a musician \u003ca href=\"https://www.youtube.com/watch?v=Rb58FvEz2zo\" target=\"_blank\" rel=\"noopener\">“living out of a van”\u003c/a> before launching Pandora in 2000. (Once initial funding ran out, the company infamously asked its employees to work for free \u003ca href=\"https://thehustle.co/pandora-speech\" target=\"_blank\" rel=\"noopener\">for two years\u003c/a>.) From there, he helped direct the development of the Music Genome Project, a unique hybrid recommendation engine that utilized musicologists’ analyses of recordings in order to better recommend music to the service’s users. Before too long, Pandora became relatively synonymous with “radio on the internet.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Pandora’s competitor Spotify had no comment on Westergren’s departure; Warner Music Group, Universal Music Group and Sony Music — companies which Westergren spent much of 2016 repairing relationships with — did not immediately respond to a request for comment.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Updated\u003c/strong>, 10:58am, June 27: This article was updated with information from a financial filing released subsequent to the announcement of Westergren’s departure.\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Pandora+Co-Founder+And+CEO+Tim+Westergren+To+Step+Down&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Not Far From Hollywood, This State Park Is a Scene-Stealer",
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"content": "\u003cp>If you stay in \u003ca href=\"https://www.parks.ca.gov/?page_id=631\" target=\"_blank\" rel=\"noopener noreferrer\">Red Rock Canyon State Park\u003c/a> on a clear night under a crescent moon, make sure to spend some time looking up. Unzip your tent and step out after everyone else has gone to sleep and spend a moment alone on planet Earth. That's what I do on a recent trip here with my two teenage sons.\u003c/p>\n\u003cp>Shooting stars abound. The Milky Way looks like someone took a giant paintbrush and swiped the sky with glitter. The fluted cliffs abutting the campground look like dark curtains cast in moonlight.\u003c/p>\n\u003cp>Except for a random bird call, there's a silence that feels almost pristine.\u003c/p>\n\u003cfigure id=\"attachment_11533697\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11533697\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/06/RedRockCamp-800x1106.jpg\" alt=\"Desert cliffs add drama and beauty to Ricardo Campground. \" width=\"800\" height=\"1106\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/06/RedRockCamp-800x1106.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RedRockCamp-160x221.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RedRockCamp-1020x1410.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RedRockCamp.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RedRockCamp-1180x1631.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RedRockCamp-960x1327.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RedRockCamp-240x332.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RedRockCamp-375x518.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RedRockCamp-520x719.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Desert cliffs add drama and beauty to Ricardo Campground. \u003ccite>(Alice Daniel/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even during the day, visitors can easily find themselves alone on one of the many trails in the park.\u003c/p>\n\u003cp>There's stunning scenery, but for many travelers, it’s merely a pit stop on Highway 14 on the eastern side of the Sierra Nevada. Travelers point out the red cliffs on the way to Joshua Tree or Death Valley but many fail to delve deeper into this 27,000 acre state park.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Lots of people just pull off the highway, take a few pictures and keep going,” says Park Ranger Damion Laughlin. “They don’t realize how much there is besides what you can see from the highway.”\u003c/p>\n\u003cp>Layers of mudstone and sandstone form buttes and cliffs that tower over Hagen Canyon. Joshua Trees stand guard on the desert floor, and there are way more lizards than people here.\u003c/p>\n\u003cp>It’s no wonder this place has been the backdrop for a lot of Westerns.\u003c/p>\n\u003cfigure id=\"attachment_11528796\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11528796\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/06/011-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">About two hours north of Hollywood, hundreds of movies including Westerns have been filmed here. \u003ccite>(Alice Daniel/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the 1953 classic \"Law and Order,\" Ronald Reagan stood on a rock near here and took shots to scare an outlaw.\u003c/p>\n\u003cp>Just a couple hours from Hollywood, this otherworldly landscape has been the setting for \u003ca href=\"https://www.youtube.com/watch?v=kWy86ZENzFk\" target=\"_blank\" rel=\"noopener noreferrer\">hundreds of movies\u003c/a>, TV shows and commercials: \"Buck Rogers,\" \"20,000 Leagues Under the Sea\" and even \"Jurassic Park,\" for a scene that’s supposed to resemble the Montana badlands.\u003c/p>\n\u003cp>We weren’t chased by velociraptors, but my teenage sons and I did escape. We headed deep into the backcountry on some of the rutted dirt roads. It's good to have a four-wheel drive car with high clearance, and plenty of water in case you get stuck.\u003c/p>\n\u003cp>[contextly_sidebar id=\"oJyru51LSamxtXtV6LXSyRwOBiwlf5vP\"]\u003c/p>\n\u003cp>And if you are traveling with teens, they might notice that some of the dirt roads here don’t \u003cem>really\u003c/em> require a driver’s license.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>My 15-year-old decided this would be a safe place to learn to drive a stick shift. With no one around, we switched seats. But after he forgot to use the break and the car lurched forward one too many times, my nerves got frayed. After all, it wasn't what we came there to do. I’d rather watch the colors of the desert shift in the sunlight and the ravens soar overhead.\u003c/p>\n\u003cfigure id=\"attachment_11528797\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11528797 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/06/004-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/06/004-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/004-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/004-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/004-1920x1280.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/004-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/004-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/004-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/004-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/004-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Spring is a great time to visit. It's not too hot, and wildflowers abound. \u003ccite>(Alice Daniel/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you stay in \u003ca href=\"https://www.parks.ca.gov/?page_id=631\" target=\"_blank\" rel=\"noopener noreferrer\">Red Rock Canyon State Park\u003c/a> on a clear night under a crescent moon, make sure to spend some time looking up. Unzip your tent and step out after everyone else has gone to sleep and spend a moment alone on planet Earth. That's what I do on a recent trip here with my two teenage sons.\u003c/p>\n\u003cp>Shooting stars abound. The Milky Way looks like someone took a giant paintbrush and swiped the sky with glitter. The fluted cliffs abutting the campground look like dark curtains cast in moonlight.\u003c/p>\n\u003cp>Except for a random bird call, there's a silence that feels almost pristine.\u003c/p>\n\u003cfigure id=\"attachment_11533697\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11533697\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/06/RedRockCamp-800x1106.jpg\" alt=\"Desert cliffs add drama and beauty to Ricardo Campground. \" width=\"800\" height=\"1106\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/06/RedRockCamp-800x1106.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RedRockCamp-160x221.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RedRockCamp-1020x1410.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RedRockCamp.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RedRockCamp-1180x1631.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RedRockCamp-960x1327.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RedRockCamp-240x332.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RedRockCamp-375x518.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RedRockCamp-520x719.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Desert cliffs add drama and beauty to Ricardo Campground. \u003ccite>(Alice Daniel/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even during the day, visitors can easily find themselves alone on one of the many trails in the park.\u003c/p>\n\u003cp>There's stunning scenery, but for many travelers, it’s merely a pit stop on Highway 14 on the eastern side of the Sierra Nevada. Travelers point out the red cliffs on the way to Joshua Tree or Death Valley but many fail to delve deeper into this 27,000 acre state park.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Lots of people just pull off the highway, take a few pictures and keep going,” says Park Ranger Damion Laughlin. “They don’t realize how much there is besides what you can see from the highway.”\u003c/p>\n\u003cp>Layers of mudstone and sandstone form buttes and cliffs that tower over Hagen Canyon. Joshua Trees stand guard on the desert floor, and there are way more lizards than people here.\u003c/p>\n\u003cp>It’s no wonder this place has been the backdrop for a lot of Westerns.\u003c/p>\n\u003cfigure id=\"attachment_11528796\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11528796\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/06/011-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">About two hours north of Hollywood, hundreds of movies including Westerns have been filmed here. \u003ccite>(Alice Daniel/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the 1953 classic \"Law and Order,\" Ronald Reagan stood on a rock near here and took shots to scare an outlaw.\u003c/p>\n\u003cp>Just a couple hours from Hollywood, this otherworldly landscape has been the setting for \u003ca href=\"https://www.youtube.com/watch?v=kWy86ZENzFk\" target=\"_blank\" rel=\"noopener noreferrer\">hundreds of movies\u003c/a>, TV shows and commercials: \"Buck Rogers,\" \"20,000 Leagues Under the Sea\" and even \"Jurassic Park,\" for a scene that’s supposed to resemble the Montana badlands.\u003c/p>\n\u003cp>We weren’t chased by velociraptors, but my teenage sons and I did escape. We headed deep into the backcountry on some of the rutted dirt roads. It's good to have a four-wheel drive car with high clearance, and plenty of water in case you get stuck.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>And if you are traveling with teens, they might notice that some of the dirt roads here don’t \u003cem>really\u003c/em> require a driver’s license.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>My 15-year-old decided this would be a safe place to learn to drive a stick shift. With no one around, we switched seats. But after he forgot to use the break and the car lurched forward one too many times, my nerves got frayed. After all, it wasn't what we came there to do. I’d rather watch the colors of the desert shift in the sunlight and the ravens soar overhead.\u003c/p>\n\u003cfigure id=\"attachment_11528797\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11528797 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/06/004-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/06/004-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/004-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/004-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/004-1920x1280.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/004-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/004-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/004-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/004-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/004-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Spring is a great time to visit. It's not too hot, and wildflowers abound. \u003ccite>(Alice Daniel/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A Spanish judge on Monday ordered the remains of artist Salvador Dali to be exhumed to settle a paternity suit, despite opposition from the state-run foundation that manages the artist’s estate.\u003c/p>\n\u003cp>Dali, considered one of the fathers of surrealist art, died in 1989 and is buried in his museum in the northeastern town of Figueres.\u003c/p>\n\u003cp>Pilar Abel, a tarot-card reader from the nearby city of Girona who was born in 1956, says she is the offspring of an affair between Dali and her mother, Antonia.\u003c/p>\n\u003cp>At the time of the alleged affair, Dali was married to his muse, Gala, who died seven years before the painter. Gala had a daughter from an earlier marriage but the couple had no children of their own. Upon his death, at age 84, Dali bestowed his estate to the Spanish state.\u003c/p>\n\u003cp>On Monday, a Madrid court statement said that tests with DNA from Dali’s embalmed body were necessary because there were no other existing biological remains with which to make a genetic comparison.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Abel’s court litigation started in 2015 when she sued the Ministry of Finance, as the trustee of Dali’s estate, and the Gala Dali Foundation that was created to administer it.\u003c/p>\n\u003cp>“What she wants is to have a result of the tests with full guarantee in order to finish with this as soon as possible,” Abel’s lawyer Enrique Blanquez told The Associated Press.\u003c/p>\n\u003cp>If there’s a match, Abel could use Dali as her surname and pursue further legal action to claim her rights over the artist’s work and property, which according to regional laws could amount to 25 percent of all of the estate.\u003c/p>\n\u003cp>The Gala Dali Foundation will appeal Monday’s decision, foundation spokeswoman Imma Parada said in an e-mailed statement.\u003c/p>\n\u003cp>But according to Blanquez, the appeal could not immediately stop the exhuming of Dali’s remains.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The first hearing in the case is scheduled for Sept. 18, the lawyer said.\u003cbr>\n__\u003cbr>\nAP writer Ciaran Giles contributed to this story.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A Spanish judge on Monday ordered the remains of artist Salvador Dali to be exhumed to settle a paternity suit, despite opposition from the state-run foundation that manages the artist’s estate.\u003c/p>\n\u003cp>Dali, considered one of the fathers of surrealist art, died in 1989 and is buried in his museum in the northeastern town of Figueres.\u003c/p>\n\u003cp>Pilar Abel, a tarot-card reader from the nearby city of Girona who was born in 1956, says she is the offspring of an affair between Dali and her mother, Antonia.\u003c/p>\n\u003cp>At the time of the alleged affair, Dali was married to his muse, Gala, who died seven years before the painter. Gala had a daughter from an earlier marriage but the couple had no children of their own. Upon his death, at age 84, Dali bestowed his estate to the Spanish state.\u003c/p>\n\u003cp>On Monday, a Madrid court statement said that tests with DNA from Dali’s embalmed body were necessary because there were no other existing biological remains with which to make a genetic comparison.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Abel’s court litigation started in 2015 when she sued the Ministry of Finance, as the trustee of Dali’s estate, and the Gala Dali Foundation that was created to administer it.\u003c/p>\n\u003cp>“What she wants is to have a result of the tests with full guarantee in order to finish with this as soon as possible,” Abel’s lawyer Enrique Blanquez told The Associated Press.\u003c/p>\n\u003cp>If there’s a match, Abel could use Dali as her surname and pursue further legal action to claim her rights over the artist’s work and property, which according to regional laws could amount to 25 percent of all of the estate.\u003c/p>\n\u003cp>The Gala Dali Foundation will appeal Monday’s decision, foundation spokeswoman Imma Parada said in an e-mailed statement.\u003c/p>\n\u003cp>But according to Blanquez, the appeal could not immediately stop the exhuming of Dali’s remains.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The first hearing in the case is scheduled for Sept. 18, the lawyer said.\u003cbr>\n__\u003cbr>\nAP writer Ciaran Giles contributed to this story.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Tim Westergren, the co-founder and CEO of the music streaming service Pandora, plans to step down from his post, according to reports.\u003c/p>\n\u003cp>\u003ca href=\"https://www.recode.net/2017/6/25/15871686/pandora-ceo-tim-westergren-steps-down-sirius\" target=\"_blank\" rel=\"noopener\">Recode reported Sunday\u003c/a> that Westergren, who took the reins of the Oakland-based company again last year after a three-year break, does not have a replacement CEO lined up. Westergren is expected to stay in the post until a suitable candidate has been found, according to Recode’s sources. \u003c/p>\n\u003cp>Founded in 2000 as a way to \u003ca href=\"https://thehustle.co/pandora-speech\" target=\"_blank\" rel=\"noopener\">provide individualized “radio stations” based on musical preferences\u003c/a>, Pandora was an early streaming music provider that eventually attracted 80 million subscribers, thanks to its free web-based service. The company also made headlines for being aggressive in securing affordable streaming rights, sometimes at the expense of the artists behind the music on the site. In 2013, after a public campaign by opponents, Pandora \u003ca href=\"https://www.eastbayexpress.com/oakland/pandoras-price/Content?oid=3789202\" target=\"_blank\" rel=\"noopener\">stopped pushing for legislation\u003c/a> that would slash royalty payments to artists.\u003c/p>\n\u003cp>In the wake of streaming music options having multiplied, with Spotify, Apple, Amazon and Tidal, Pandora \u003ca href=\"http://money.cnn.com/2017/06/26/technology/pandora-ceo-tim-westergren/index.html\" target=\"_blank\" rel=\"noopener\">has struggled\u003c/a>. In March of this year, Pandora unveiled “\u003ca href=\"https://www.engadget.com/2017/03/13/pandora-premium-music-streaming-hands-on/\" target=\"_blank\" rel=\"noopener\">Pandora Premium\u003c/a>,” its conversion of the Rdio app that Pandora \u003ca href=\"https://www.engadget.com/2015/11/16/pandora-buying-rdio/\" target=\"_blank\" rel=\"noopener\">acquired in 2015\u003c/a>. Last month, it appeared possible that Pandora would be bought out by Sirius XM; instead, the satellite radio service \u003ca href=\"http://www.billboard.com/articles/business/7825618/siriusxm-buy-480m-stake-pandora\" target=\"_blank\" rel=\"noopener\">bought a stake\u003c/a> in Pandora for $480 million.\u003c/p>\n\u003cp>Westergren served as Pandora’s CEO from 2002 to 2013 before being replaced by Brian McAndrews, a former product manager at General Mills Inc. Westergren took back the role in 2016.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Representatives from Pandora have yet to comment on the reports of Westergren’s decision.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Tim Westergren, the co-founder and CEO of the music streaming service Pandora, plans to step down from his post, according to reports.\u003c/p>\n\u003cp>\u003ca href=\"https://www.recode.net/2017/6/25/15871686/pandora-ceo-tim-westergren-steps-down-sirius\" target=\"_blank\" rel=\"noopener\">Recode reported Sunday\u003c/a> that Westergren, who took the reins of the Oakland-based company again last year after a three-year break, does not have a replacement CEO lined up. Westergren is expected to stay in the post until a suitable candidate has been found, according to Recode’s sources. \u003c/p>\n\u003cp>Founded in 2000 as a way to \u003ca href=\"https://thehustle.co/pandora-speech\" target=\"_blank\" rel=\"noopener\">provide individualized “radio stations” based on musical preferences\u003c/a>, Pandora was an early streaming music provider that eventually attracted 80 million subscribers, thanks to its free web-based service. The company also made headlines for being aggressive in securing affordable streaming rights, sometimes at the expense of the artists behind the music on the site. In 2013, after a public campaign by opponents, Pandora \u003ca href=\"https://www.eastbayexpress.com/oakland/pandoras-price/Content?oid=3789202\" target=\"_blank\" rel=\"noopener\">stopped pushing for legislation\u003c/a> that would slash royalty payments to artists.\u003c/p>\n\u003cp>In the wake of streaming music options having multiplied, with Spotify, Apple, Amazon and Tidal, Pandora \u003ca href=\"http://money.cnn.com/2017/06/26/technology/pandora-ceo-tim-westergren/index.html\" target=\"_blank\" rel=\"noopener\">has struggled\u003c/a>. In March of this year, Pandora unveiled “\u003ca href=\"https://www.engadget.com/2017/03/13/pandora-premium-music-streaming-hands-on/\" target=\"_blank\" rel=\"noopener\">Pandora Premium\u003c/a>,” its conversion of the Rdio app that Pandora \u003ca href=\"https://www.engadget.com/2015/11/16/pandora-buying-rdio/\" target=\"_blank\" rel=\"noopener\">acquired in 2015\u003c/a>. Last month, it appeared possible that Pandora would be bought out by Sirius XM; instead, the satellite radio service \u003ca href=\"http://www.billboard.com/articles/business/7825618/siriusxm-buy-480m-stake-pandora\" target=\"_blank\" rel=\"noopener\">bought a stake\u003c/a> in Pandora for $480 million.\u003c/p>\n\u003cp>Westergren served as Pandora’s CEO from 2002 to 2013 before being replaced by Brian McAndrews, a former product manager at General Mills Inc. Westergren took back the role in 2016.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Tupac Shakur Biopic 'All Eyez On Me' Hit With Copyright Infringement Lawsuit",
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"content": "\u003cp>A week after opening to a \u003ca href=\"https://www.rottentomatoes.com/m/all_eyez_on_me_2017/\">tepid\u003c/a> critical response and \u003ca href=\"http://www.complex.com/pop-culture/2017/06/jada-pinkett-smith-says-all-eyez-on-me-deeply-hurtful\" target=\"_blank\" rel=\"noopener\">accusations\u003c/a> of historical inaccuracies from actress Jada Pinkett Smith — as well as a \u003ca href=\"http://news.hiphopearly.com/all-eyez-on-me-gets-roasted-because-of-alleged-iphone-appearance/\" target=\"_blank\" rel=\"noopener\">misinterpreted Internet joke\u003c/a> that had many searching in vain for the appearance of an iPhone in the film — the Tupac Shakur biopic \u003cem>All Eyez On Me\u003c/em> has now been hit with a copyright infringement lawsuit.\u003c/p>\n\u003cp>The suit — filed today by Kevin Powell, a longtime pop culture writer, author, activist — accuses the film’s executive producers, screenwriters and distributors of cribbing from three cover stories on Shakur that Powell wrote for \u003cem>Vibe\u003c/em> during the height of Shakur’s career. \u003cem>[Disclosure: NPR Music published an article by Powell, a remembrance of the recently deceased rapper Prodigy, earlier today.]\u003c/em>\u003c/p>\n\u003cp>Powell addressed the suit \u003ca href=\"https://www.facebook.com/kevinpowellinbrooklyn/posts/10213323542862488?comment_id=10213323677825862¬if_t=comment_mention¬if_id=1498238887678816\" target=\"_blank\" rel=\"noopener\">on Facebook\u003c/a>, writing:\u003c/p>\n\u003cblockquote>\n\u003cp>“After viewing the movie twice in the past few days, it is clear that my exclusive \u003cem>Vibe\u003c/em> cover stories on Tupac Shakur (when he was alive), were lifted, without proper credit or compensation of any kind to me.”\u003c/p>\n\u003c/blockquote>\n\u003cp>The list of defendants includes executive producers James G. Robinson, L.T. Hutton, screenwriters Steven Bagatourian, Jeremy Haft and Eddie Gonzales, as well as Morgan Creek Productions, Lions Gate and Program Pictures. Director Benny Boom was not named in the suit. Powell is seeking a series of damages, including $180,000 for each “broadcast” of the film.\u003c/p>\n\u003cp>Lions Gate and Morgan Creek were not immediately available for comment on the allegations.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The three \u003cem>Vibe \u003c/em>articles in question — “Exclusive: Is Tupac Crazy or Just Misunderstood”, “Tupac Shakur Jailhouse Exclusive”, “Live from Deathrow” — were published in February 1994, April 1995 and February 1996, and offer a striking view into Shakur’s famously nuanced thinking during the most critical time of his career.\u003c/p>\n\u003cp>Notably, the suit’s allegations rest, in part, on creations and embellishments that Powell placed in his \u003cem>Vibe\u003c/em> articles. “While some of the content in these articles was factual,” the complaint reads, “some portions of the article were changed or embellished by Plaintiff … In fact, the name and character of ‘Nigel’ in [the \u003cem>Vibe \u003c/em>articles] was specifically created by the Plaintiff without the authority or encouragement of Tupac Shakur. This made up character of Nigel was the embellishment of a real life character that was central to the narrative in [Powell’s] articles.” It also claims as infringing the use in the film of “metaphorical slang and strong language, including but limited to the liberal use of the f-word, indicative of the way rappers in the 1990’s talk.” As \u003ca href=\"http://www.hollywoodreporter.com/thr-esq/all-eyez-me-prompts-journalist-admit-having-embellished-tupac-articles-1016372\" target=\"_blank\" rel=\"noopener\">\u003cem>The Hollywood Reporter \u003c/em>points out\u003c/a>, these admissions could be interpreted as a legal tactic that allows Powell to claim ownership over biographical facts.\u003c/p>\n\u003cp>Powell’s attorney, Keith White, may have been pre-empting criticism of Powell on these points in a statement today, writing that “Kevin took creative license to protect the complex human being that was Tupac Shakur. This included fact-specific narrative changes and character creation in an effort to protect the legacy that Tupac was still building. Kevin’s exclusive and intimate access to Tupac Shakur came as a result of the trust established over the years. The narrative that Kevin developed from many intense and exclusive moments with Tupac should not have been used in any film without Kevin’s approval and consultation.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Powell’s lawsuit caps a week of controversy for Benny Boom’s film, which grossed $31 million domestically in its opening weekend. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Tupac+Shakur+Biopic+%27All+Eyez+On+Me%27+Hit+With+Copyright+Infringement+Lawsuit&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "Kevin Powell conducted Tupac's career-defining interviews; now he's suing the filmmakers behind the biopic for using them without his permission.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A week after opening to a \u003ca href=\"https://www.rottentomatoes.com/m/all_eyez_on_me_2017/\">tepid\u003c/a> critical response and \u003ca href=\"http://www.complex.com/pop-culture/2017/06/jada-pinkett-smith-says-all-eyez-on-me-deeply-hurtful\" target=\"_blank\" rel=\"noopener\">accusations\u003c/a> of historical inaccuracies from actress Jada Pinkett Smith — as well as a \u003ca href=\"http://news.hiphopearly.com/all-eyez-on-me-gets-roasted-because-of-alleged-iphone-appearance/\" target=\"_blank\" rel=\"noopener\">misinterpreted Internet joke\u003c/a> that had many searching in vain for the appearance of an iPhone in the film — the Tupac Shakur biopic \u003cem>All Eyez On Me\u003c/em> has now been hit with a copyright infringement lawsuit.\u003c/p>\n\u003cp>The suit — filed today by Kevin Powell, a longtime pop culture writer, author, activist — accuses the film’s executive producers, screenwriters and distributors of cribbing from three cover stories on Shakur that Powell wrote for \u003cem>Vibe\u003c/em> during the height of Shakur’s career. \u003cem>[Disclosure: NPR Music published an article by Powell, a remembrance of the recently deceased rapper Prodigy, earlier today.]\u003c/em>\u003c/p>\n\u003cp>Powell addressed the suit \u003ca href=\"https://www.facebook.com/kevinpowellinbrooklyn/posts/10213323542862488?comment_id=10213323677825862¬if_t=comment_mention¬if_id=1498238887678816\" target=\"_blank\" rel=\"noopener\">on Facebook\u003c/a>, writing:\u003c/p>\n\u003cblockquote>\n\u003cp>“After viewing the movie twice in the past few days, it is clear that my exclusive \u003cem>Vibe\u003c/em> cover stories on Tupac Shakur (when he was alive), were lifted, without proper credit or compensation of any kind to me.”\u003c/p>\n\u003c/blockquote>\n\u003cp>The list of defendants includes executive producers James G. Robinson, L.T. Hutton, screenwriters Steven Bagatourian, Jeremy Haft and Eddie Gonzales, as well as Morgan Creek Productions, Lions Gate and Program Pictures. Director Benny Boom was not named in the suit. Powell is seeking a series of damages, including $180,000 for each “broadcast” of the film.\u003c/p>\n\u003cp>Lions Gate and Morgan Creek were not immediately available for comment on the allegations.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The three \u003cem>Vibe \u003c/em>articles in question — “Exclusive: Is Tupac Crazy or Just Misunderstood”, “Tupac Shakur Jailhouse Exclusive”, “Live from Deathrow” — were published in February 1994, April 1995 and February 1996, and offer a striking view into Shakur’s famously nuanced thinking during the most critical time of his career.\u003c/p>\n\u003cp>Notably, the suit’s allegations rest, in part, on creations and embellishments that Powell placed in his \u003cem>Vibe\u003c/em> articles. “While some of the content in these articles was factual,” the complaint reads, “some portions of the article were changed or embellished by Plaintiff … In fact, the name and character of ‘Nigel’ in [the \u003cem>Vibe \u003c/em>articles] was specifically created by the Plaintiff without the authority or encouragement of Tupac Shakur. This made up character of Nigel was the embellishment of a real life character that was central to the narrative in [Powell’s] articles.” It also claims as infringing the use in the film of “metaphorical slang and strong language, including but limited to the liberal use of the f-word, indicative of the way rappers in the 1990’s talk.” As \u003ca href=\"http://www.hollywoodreporter.com/thr-esq/all-eyez-me-prompts-journalist-admit-having-embellished-tupac-articles-1016372\" target=\"_blank\" rel=\"noopener\">\u003cem>The Hollywood Reporter \u003c/em>points out\u003c/a>, these admissions could be interpreted as a legal tactic that allows Powell to claim ownership over biographical facts.\u003c/p>\n\u003cp>Powell’s attorney, Keith White, may have been pre-empting criticism of Powell on these points in a statement today, writing that “Kevin took creative license to protect the complex human being that was Tupac Shakur. This included fact-specific narrative changes and character creation in an effort to protect the legacy that Tupac was still building. Kevin’s exclusive and intimate access to Tupac Shakur came as a result of the trust established over the years. The narrative that Kevin developed from many intense and exclusive moments with Tupac should not have been used in any film without Kevin’s approval and consultation.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Powell’s lawsuit caps a week of controversy for Benny Boom’s film, which grossed $31 million domestically in its opening weekend. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Tupac+Shakur+Biopic+%27All+Eyez+On+Me%27+Hit+With+Copyright+Infringement+Lawsuit&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Going to Napa? Take a Break From Wine and Check Out This Mill",
"title": "Going to Napa? Take a Break From Wine and Check Out This Mill",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>It’s easy to miss the Bale Grist Mill.\u003c/p>\n\u003cp>Its nondescript sign off Highway 29 blends in among the dozens of wineries and vineyards that fill the Napa Valley.\u003c/p>\n\u003cp>\"This was here for a very long time, and it sort of became part of the wallpaper,” said Steve Harle. “It's something that people are aware of and used to driving straight past it, but are maybe not used to stopping in.\"\u003c/p>\n\u003cp>Harle is the head miller at the \u003ca href=\"http://napavalleystateparks.org/local-activities-attractions/\" target=\"_blank\" rel=\"noopener noreferrer\">Bale Grist Mill\u003c/a> located in the picturesque upper valley between Calistoga and St. Helena.\u003c/p>\n\u003cp>The mill was founded in the mid-1840s by Dr. Edward Bale, an English surgeon who came to Mexican California on a whaling ship. In 1849, Bale died, leaving his 27-year-old widow Maria Soberanes Bale to care for the mill, their six young children and a sizable debt.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[gallery type=\"rectangular\" size=\"medium\" ids=\"11524293,11524294,11524289\"]\u003cbr>\n\u003cem>Archival photos courtesy of the Napa Valley State Parks Association\u003c/em>\u003c/p>\n\u003cp>Maria responded by building one of the largest waterwheels in North America. At 36 feet tall, it was the same height as a modern telephone pole. She needed the big wheel to power the new \u003ca href=\"http://www.historyisfun.org/blog/oliver-evans-invention/\" target=\"_blank\" rel=\"noopener noreferrer\">Evans custom mill\u003c/a> she installed, an automated mill that is considered one of the first continuous production systems in the world.\u003c/p>\n\u003cp>“I never realized a wheel could be so big,” said Pat Cuthbertson, who was visiting from London where she’s toured several other mills. “The wheel is huge compared to what I’ve seen before.”\u003c/p>\n\u003cp>The souped-up mill’s increased productivity -- combined with the thousands of people flowing into California looking for gold in the late 1840s and early 1850s -- took Maria from indebtedness in 1848 to being the third richest person in the Napa Valley by 1853.\u003c/p>\n\u003caside class=\"pullquote alignright\">'It was a wreck. It was a complete derelict mess.'\u003ccite>Mario Scalise,\u003cbr>Mill Historian\u003cbr>\n\u003c/cite>\u003c/aside>\n\u003cp>Maria later gave the mill to one of her daughters, who sold it in 1860. It operated under various owners until the early 1900s when it stopped production completely, falling into disrepair over the years.\u003c/p>\n\u003cp>\"I first came here when I was about seven years old in the early '60s, and back in those days you couldn't get in,” said Mario Scalise, a third-generation miller and the Bale Grist Mill historian. “It was a wreck. It was a complete derelict mess.”\u003c/p>\n\u003cp>The California State Parks took over the mill in the 1970s and started a decades-long restoration process. In 2000, the mill reopened for active milling and for public tours.\u003c/p>\n\u003cp>Harle gives a tour standing in the shadow of Maria Soberanes Bale’s 36-foot waterwheel, a redwood ferris wheel slowly turning with clock-like gears. The wheel connects to the mill building itself, the sidecar to the massive wheel’s motorcycle.\u003c/p>\n\u003cfigure id=\"attachment_11524299\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11524299\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/06/RS25730_TOUR-qut-1-800x530.jpg\" alt=\"\" width=\"800\" height=\"530\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25730_TOUR-qut-1-800x530.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25730_TOUR-qut-1-160x106.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25730_TOUR-qut-1-1020x676.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25730_TOUR-qut-1.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25730_TOUR-qut-1-1180x782.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25730_TOUR-qut-1-960x636.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25730_TOUR-qut-1-240x159.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25730_TOUR-qut-1-375x248.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25730_TOUR-qut-1-520x345.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Head miller and tour guide Steve Harle (right) tells visitors the history of the Bale Grist Mill. \u003ccite>(Ryan Levi/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Harle -- dressed like Indiana Jones in a white collared shirt, brown vest and fedora -- leads the group inside the mill for a demonstration. He walks them through the pre-milling process: Grain is dropped into a basin, carried by elevators to a cleaner and dropped into another basin where it awaits milling.\u003c/p>\n\u003cp>Harle gets down on his hands and knees to adjust the two French Buhr millstones between which the grain will actually be milled. Once the millstones are set, he turns a metal crank, opening up the waterwheel and starting the process.\u003c/p>\n\u003cp>[contextly_sidebar id=\"BjhKNvvePq6WpGd1z1TFbbXlja4DRz1q\"]\u003c/p>\n\u003cp>The quiet room begins to hum with the turning of the millstones, and soon it’s overtaken by the “song of the damsel,” an incessant banging of a vertical rod called a damsel, which looks like a metal tuning fork, against the wooden basin.\u003c/p>\n\u003cp>Unlike Scalise, Harle doesn’t have a history in milling.\u003c/p>\n\u003cp>He moved to the Napa Valley a year ago with his family, after living in Australia for about 15 years where he worked in information technology. Harle learned about the mill from his in-laws, who live in the area, and brought his wife and two little kids for a visit.\u003c/p>\n\u003cp>“I just thought, ‘This is awesome,’” he said.\u003c/p>\n\u003cp>Then he saw an ad in the local paper for the head miller position at the Bale Grist Mill and found himself with a decision to make.\u003c/p>\n\u003cfigure id=\"attachment_11524302\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11524302\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/06/RS25729_HARLE-qut-1-800x530.jpg\" alt=\"\" width=\"800\" height=\"530\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25729_HARLE-qut-1-800x530.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25729_HARLE-qut-1-160x106.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25729_HARLE-qut-1-1020x676.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25729_HARLE-qut-1.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25729_HARLE-qut-1-1180x782.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25729_HARLE-qut-1-960x636.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25729_HARLE-qut-1-240x159.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25729_HARLE-qut-1-375x248.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25729_HARLE-qut-1-520x345.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">After moving to the United States from Australia, Harle decided to switch careers from IT to milling. \u003ccite>(Ryan Levi/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Do I want to commute two hours a day down to the Bay Area and two hours back, or do I want to maybe take a cut in pay and see my kids a bit more and go and do something like this, which is pretty unique? So I chose the unique option,” Harle said.\u003c/p>\n\u003cp>Now he’s trying to get more people to visit his unique workplace. He said the mill gets a few thousand visitors per year, but could handle a lot more. He’s working on creating more awareness of the landmark through social media and regular community events at the mill.\u003c/p>\n\u003cp>“You might not think you are into this stuff, but it is really impressive that they managed to put something like this together with what they had at hand over 100, 150 years ago,” he said.\u003c/p>\n\u003cp>The couple of dozen visitors out on a recent spring day were certainly impressed.\u003c/p>\n\u003cp>“It's just really interesting to see how everything works the way they used to do it,” said Amber Bamberg, who was visiting from Santa Rosa with her husband. “I could smell the flour when he was milling it.”\u003c/p>\n\u003cfigure id=\"attachment_11524306\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11524306 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/06/RS25732_BAMBERGS-qut-1-800x530.jpg\" alt=\"\" width=\"800\" height=\"530\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25732_BAMBERGS-qut-1-800x530.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25732_BAMBERGS-qut-1-160x106.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25732_BAMBERGS-qut-1-1020x676.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25732_BAMBERGS-qut-1.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25732_BAMBERGS-qut-1-1180x782.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25732_BAMBERGS-qut-1-960x636.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25732_BAMBERGS-qut-1-240x159.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25732_BAMBERGS-qut-1-375x248.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25732_BAMBERGS-qut-1-520x345.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Donny and Amber Bamberg stand in front of Maria Soberanes Bale's 36-foot waterwheel. They live just a few miles away in Santa Rosa, but this was their first time at the mill. \u003ccite>(Ryan Levi/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Amber’s husband Donny Bamberg works with machines all day and spends a lot of time researching how they used to work. He said it was amazing to see the same type of machine he’s read about in books actually being used to produce flour.\u003c/p>\n\u003cp>“We've probably driven past here a hundred times and never really put thought into ‘Hey, what's that?’” said Donny.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“It's something you have to look for,” added Amber. “I'm going to go look for other things like this because this was so much fun.”\u003c/p>\n\n",
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"excerpt": "The 36-foot-tall Bale Grist Mill has stood in the upper Napa Valley since California was a part of Mexico.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s easy to miss the Bale Grist Mill.\u003c/p>\n\u003cp>Its nondescript sign off Highway 29 blends in among the dozens of wineries and vineyards that fill the Napa Valley.\u003c/p>\n\u003cp>\"This was here for a very long time, and it sort of became part of the wallpaper,” said Steve Harle. “It's something that people are aware of and used to driving straight past it, but are maybe not used to stopping in.\"\u003c/p>\n\u003cp>Harle is the head miller at the \u003ca href=\"http://napavalleystateparks.org/local-activities-attractions/\" target=\"_blank\" rel=\"noopener noreferrer\">Bale Grist Mill\u003c/a> located in the picturesque upper valley between Calistoga and St. Helena.\u003c/p>\n\u003cp>The mill was founded in the mid-1840s by Dr. Edward Bale, an English surgeon who came to Mexican California on a whaling ship. In 1849, Bale died, leaving his 27-year-old widow Maria Soberanes Bale to care for the mill, their six young children and a sizable debt.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cbr>\n\u003cem>Archival photos courtesy of the Napa Valley State Parks Association\u003c/em>\u003c/p>\n\u003cp>Maria responded by building one of the largest waterwheels in North America. At 36 feet tall, it was the same height as a modern telephone pole. She needed the big wheel to power the new \u003ca href=\"http://www.historyisfun.org/blog/oliver-evans-invention/\" target=\"_blank\" rel=\"noopener noreferrer\">Evans custom mill\u003c/a> she installed, an automated mill that is considered one of the first continuous production systems in the world.\u003c/p>\n\u003cp>“I never realized a wheel could be so big,” said Pat Cuthbertson, who was visiting from London where she’s toured several other mills. “The wheel is huge compared to what I’ve seen before.”\u003c/p>\n\u003cp>The souped-up mill’s increased productivity -- combined with the thousands of people flowing into California looking for gold in the late 1840s and early 1850s -- took Maria from indebtedness in 1848 to being the third richest person in the Napa Valley by 1853.\u003c/p>\n\u003caside class=\"pullquote alignright\">'It was a wreck. It was a complete derelict mess.'\u003ccite>Mario Scalise,\u003cbr>Mill Historian\u003cbr>\n\u003c/cite>\u003c/aside>\n\u003cp>Maria later gave the mill to one of her daughters, who sold it in 1860. It operated under various owners until the early 1900s when it stopped production completely, falling into disrepair over the years.\u003c/p>\n\u003cp>\"I first came here when I was about seven years old in the early '60s, and back in those days you couldn't get in,” said Mario Scalise, a third-generation miller and the Bale Grist Mill historian. “It was a wreck. It was a complete derelict mess.”\u003c/p>\n\u003cp>The California State Parks took over the mill in the 1970s and started a decades-long restoration process. In 2000, the mill reopened for active milling and for public tours.\u003c/p>\n\u003cp>Harle gives a tour standing in the shadow of Maria Soberanes Bale’s 36-foot waterwheel, a redwood ferris wheel slowly turning with clock-like gears. The wheel connects to the mill building itself, the sidecar to the massive wheel’s motorcycle.\u003c/p>\n\u003cfigure id=\"attachment_11524299\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11524299\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/06/RS25730_TOUR-qut-1-800x530.jpg\" alt=\"\" width=\"800\" height=\"530\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25730_TOUR-qut-1-800x530.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25730_TOUR-qut-1-160x106.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25730_TOUR-qut-1-1020x676.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25730_TOUR-qut-1.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25730_TOUR-qut-1-1180x782.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25730_TOUR-qut-1-960x636.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25730_TOUR-qut-1-240x159.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25730_TOUR-qut-1-375x248.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25730_TOUR-qut-1-520x345.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Head miller and tour guide Steve Harle (right) tells visitors the history of the Bale Grist Mill. \u003ccite>(Ryan Levi/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Harle -- dressed like Indiana Jones in a white collared shirt, brown vest and fedora -- leads the group inside the mill for a demonstration. He walks them through the pre-milling process: Grain is dropped into a basin, carried by elevators to a cleaner and dropped into another basin where it awaits milling.\u003c/p>\n\u003cp>Harle gets down on his hands and knees to adjust the two French Buhr millstones between which the grain will actually be milled. Once the millstones are set, he turns a metal crank, opening up the waterwheel and starting the process.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The quiet room begins to hum with the turning of the millstones, and soon it’s overtaken by the “song of the damsel,” an incessant banging of a vertical rod called a damsel, which looks like a metal tuning fork, against the wooden basin.\u003c/p>\n\u003cp>Unlike Scalise, Harle doesn’t have a history in milling.\u003c/p>\n\u003cp>He moved to the Napa Valley a year ago with his family, after living in Australia for about 15 years where he worked in information technology. Harle learned about the mill from his in-laws, who live in the area, and brought his wife and two little kids for a visit.\u003c/p>\n\u003cp>“I just thought, ‘This is awesome,’” he said.\u003c/p>\n\u003cp>Then he saw an ad in the local paper for the head miller position at the Bale Grist Mill and found himself with a decision to make.\u003c/p>\n\u003cfigure id=\"attachment_11524302\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11524302\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/06/RS25729_HARLE-qut-1-800x530.jpg\" alt=\"\" width=\"800\" height=\"530\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25729_HARLE-qut-1-800x530.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25729_HARLE-qut-1-160x106.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25729_HARLE-qut-1-1020x676.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25729_HARLE-qut-1.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25729_HARLE-qut-1-1180x782.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25729_HARLE-qut-1-960x636.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25729_HARLE-qut-1-240x159.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25729_HARLE-qut-1-375x248.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25729_HARLE-qut-1-520x345.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">After moving to the United States from Australia, Harle decided to switch careers from IT to milling. \u003ccite>(Ryan Levi/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Do I want to commute two hours a day down to the Bay Area and two hours back, or do I want to maybe take a cut in pay and see my kids a bit more and go and do something like this, which is pretty unique? So I chose the unique option,” Harle said.\u003c/p>\n\u003cp>Now he’s trying to get more people to visit his unique workplace. He said the mill gets a few thousand visitors per year, but could handle a lot more. He’s working on creating more awareness of the landmark through social media and regular community events at the mill.\u003c/p>\n\u003cp>“You might not think you are into this stuff, but it is really impressive that they managed to put something like this together with what they had at hand over 100, 150 years ago,” he said.\u003c/p>\n\u003cp>The couple of dozen visitors out on a recent spring day were certainly impressed.\u003c/p>\n\u003cp>“It's just really interesting to see how everything works the way they used to do it,” said Amber Bamberg, who was visiting from Santa Rosa with her husband. “I could smell the flour when he was milling it.”\u003c/p>\n\u003cfigure id=\"attachment_11524306\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11524306 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/06/RS25732_BAMBERGS-qut-1-800x530.jpg\" alt=\"\" width=\"800\" height=\"530\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25732_BAMBERGS-qut-1-800x530.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25732_BAMBERGS-qut-1-160x106.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25732_BAMBERGS-qut-1-1020x676.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25732_BAMBERGS-qut-1.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25732_BAMBERGS-qut-1-1180x782.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25732_BAMBERGS-qut-1-960x636.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25732_BAMBERGS-qut-1-240x159.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25732_BAMBERGS-qut-1-375x248.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25732_BAMBERGS-qut-1-520x345.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Donny and Amber Bamberg stand in front of Maria Soberanes Bale's 36-foot waterwheel. They live just a few miles away in Santa Rosa, but this was their first time at the mill. \u003ccite>(Ryan Levi/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Amber’s husband Donny Bamberg works with machines all day and spends a lot of time researching how they used to work. He said it was amazing to see the same type of machine he’s read about in books actually being used to produce flour.\u003c/p>\n\u003cp>“We've probably driven past here a hundred times and never really put thought into ‘Hey, what's that?’” said Donny.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It's something you have to look for,” added Amber. “I'm going to go look for other things like this because this was so much fun.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "33 Years After Her Death, Eccentric Opera Singer's Garden Still Grows",
"title": "33 Years After Her Death, Eccentric Opera Singer's Garden Still Grows",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>Like many, Madame Ganna Walska came to California in search of spiritual enlightenment.\u003c/p>\n\u003cp>Walska was a Polish opera diva. She toured Europe and the United States, collecting numerous husbands along the way. In 1941, encouraged by her sixth and final spouse (who was also her yoga guru), she purchased a 37-acre estate in Montecito, in Santa Barbara County. But a few years later, when the marriage fell apart, Walska claimed the estate as her own. She called it \u003ca href=\"http://www.lotusland.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Lotusland\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11524458\" class=\"wp-caption aligncenter\" style=\"max-width: 660px\">\u003cimg class=\"wp-image-11524458 size-full\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/06/RS25748_MGW-in-Garden-kneeling-qut.jpg\" alt=\"Madame Ganna Walska poses for a photographer in the garden. (Lotusland)\" width=\"660\" height=\"444\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25748_MGW-in-Garden-kneeling-qut.jpg 660w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25748_MGW-in-Garden-kneeling-qut-160x108.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25748_MGW-in-Garden-kneeling-qut-240x161.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25748_MGW-in-Garden-kneeling-qut-375x252.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25748_MGW-in-Garden-kneeling-qut-520x350.jpg 520w\" sizes=\"(max-width: 660px) 100vw, 660px\">\u003cfigcaption class=\"wp-caption-text\">Madame Ganna Walska poses for a photographer in the garden. \u003ccite>(Courtesy of Lotusland)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It is impossible to separate the creation from the creator. This is a very personal garden. It’s all Madame Ganna Walska,” said Gwen Stauffer, Lotusland’s executive director. She smiled as she described Walska. “She was a collector by heart. She collected all kinds of things, and when she found out plants were collectible she was collecting them with a vengeance, from all over the world.”\u003c/p>\n\u003cp>Eccentric hats, opulent gowns and glittering gemstones took a backseat to exotic flora and fauna. And Walska had an incredible knack for showcasing her newfound passion. For maximum dramatic effect, she’d instruct her gardeners to group hundreds of the same plants together, like the barrel cacti that line the estate’s driveway.\u003c/p>\n\u003cfigure id=\"attachment_11524522\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11524522 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/06/RS25749_IMG_9883-qut-e1498077258498-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25749_IMG_9883-qut-e1498077258498-800x1067.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25749_IMG_9883-qut-e1498077258498-160x213.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25749_IMG_9883-qut-e1498077258498-1020x1360.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25749_IMG_9883-qut-e1498077258498-1180x1573.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25749_IMG_9883-qut-e1498077258498-960x1280.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25749_IMG_9883-qut-e1498077258498-240x320.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25749_IMG_9883-qut-e1498077258498-375x500.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25749_IMG_9883-qut-e1498077258498-520x693.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25749_IMG_9883-qut-e1498077258498.jpg 1440w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mike Furner's been the gardener at Lotusland for 38 years. \u003ccite>(Diane Bock/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mike Furner has worked at Lotusland for 38 years. “When Madame was trying to get ahold of one of the gardeners, she would almost sing out their names.\" In a falsetto voice, he imitated her. “She’d be going, ‘Chaaaarlieeee’ or ‘Mr. Tiiiilst.'\"\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Today, Furner tends the bromeliad garden. Also known as air plants, they’re tucked into an enchanted forest, just beyond the secluded, fanciful theatre garden where Walska sometimes performed.\u003c/p>\n\u003cp>“To me, it’s pretty magical walking through here,\" said Furner. “You come out of a succulent garden, and bam, there all of a sudden, you’re in this tropical area, as if you were walking through the forest in Costa Rica.”\u003c/p>\n\u003cp>A big part of Lotusland’s charm is the contrast between its classic elements -- like the impressive rose garden and expansive lawns -- and the unique plant specimens that Walska sought out. Her final creation, and a must-see stop on the tour, is the cycad garden. Cycads are Jurassic-era plants that resemble palm trees, and Lotusland features some extraordinarily rare specimens. In 1977, Walska auctioned off her treasured jewelry to create this collection.\u003c/p>\n\u003cp>Walska died at Lotusland in 1984. She was 96. The gardens opened to the public for tours seven years later.\u003c/p>\n\u003cp>Lotusland Director Gwen Stauffer admires Walska and her legacy.\u003c/p>\n\u003cp>“She was extraordinary,\" Stauffer said. \"You know, I can understand why people called her eccentric; she didn’t think like anybody else. Thank goodness, because who else would come up with this incredible, crazy, beautiful designs and these gardens? Normal people don’t do that. This is fun.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Just like the lady herself, Walska’s horticultural legacy is over-the-top and unforgettable.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Like many, Madame Ganna Walska came to California in search of spiritual enlightenment.\u003c/p>\n\u003cp>Walska was a Polish opera diva. She toured Europe and the United States, collecting numerous husbands along the way. In 1941, encouraged by her sixth and final spouse (who was also her yoga guru), she purchased a 37-acre estate in Montecito, in Santa Barbara County. But a few years later, when the marriage fell apart, Walska claimed the estate as her own. She called it \u003ca href=\"http://www.lotusland.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Lotusland\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11524458\" class=\"wp-caption aligncenter\" style=\"max-width: 660px\">\u003cimg class=\"wp-image-11524458 size-full\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/06/RS25748_MGW-in-Garden-kneeling-qut.jpg\" alt=\"Madame Ganna Walska poses for a photographer in the garden. (Lotusland)\" width=\"660\" height=\"444\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25748_MGW-in-Garden-kneeling-qut.jpg 660w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25748_MGW-in-Garden-kneeling-qut-160x108.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25748_MGW-in-Garden-kneeling-qut-240x161.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25748_MGW-in-Garden-kneeling-qut-375x252.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25748_MGW-in-Garden-kneeling-qut-520x350.jpg 520w\" sizes=\"(max-width: 660px) 100vw, 660px\">\u003cfigcaption class=\"wp-caption-text\">Madame Ganna Walska poses for a photographer in the garden. \u003ccite>(Courtesy of Lotusland)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It is impossible to separate the creation from the creator. This is a very personal garden. It’s all Madame Ganna Walska,” said Gwen Stauffer, Lotusland’s executive director. She smiled as she described Walska. “She was a collector by heart. She collected all kinds of things, and when she found out plants were collectible she was collecting them with a vengeance, from all over the world.”\u003c/p>\n\u003cp>Eccentric hats, opulent gowns and glittering gemstones took a backseat to exotic flora and fauna. And Walska had an incredible knack for showcasing her newfound passion. For maximum dramatic effect, she’d instruct her gardeners to group hundreds of the same plants together, like the barrel cacti that line the estate’s driveway.\u003c/p>\n\u003cfigure id=\"attachment_11524522\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11524522 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/06/RS25749_IMG_9883-qut-e1498077258498-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25749_IMG_9883-qut-e1498077258498-800x1067.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25749_IMG_9883-qut-e1498077258498-160x213.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25749_IMG_9883-qut-e1498077258498-1020x1360.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25749_IMG_9883-qut-e1498077258498-1180x1573.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25749_IMG_9883-qut-e1498077258498-960x1280.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25749_IMG_9883-qut-e1498077258498-240x320.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25749_IMG_9883-qut-e1498077258498-375x500.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25749_IMG_9883-qut-e1498077258498-520x693.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25749_IMG_9883-qut-e1498077258498.jpg 1440w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mike Furner's been the gardener at Lotusland for 38 years. \u003ccite>(Diane Bock/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mike Furner has worked at Lotusland for 38 years. “When Madame was trying to get ahold of one of the gardeners, she would almost sing out their names.\" In a falsetto voice, he imitated her. “She’d be going, ‘Chaaaarlieeee’ or ‘Mr. Tiiiilst.'\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Today, Furner tends the bromeliad garden. Also known as air plants, they’re tucked into an enchanted forest, just beyond the secluded, fanciful theatre garden where Walska sometimes performed.\u003c/p>\n\u003cp>“To me, it’s pretty magical walking through here,\" said Furner. “You come out of a succulent garden, and bam, there all of a sudden, you’re in this tropical area, as if you were walking through the forest in Costa Rica.”\u003c/p>\n\u003cp>A big part of Lotusland’s charm is the contrast between its classic elements -- like the impressive rose garden and expansive lawns -- and the unique plant specimens that Walska sought out. Her final creation, and a must-see stop on the tour, is the cycad garden. Cycads are Jurassic-era plants that resemble palm trees, and Lotusland features some extraordinarily rare specimens. In 1977, Walska auctioned off her treasured jewelry to create this collection.\u003c/p>\n\u003cp>Walska died at Lotusland in 1984. She was 96. The gardens opened to the public for tours seven years later.\u003c/p>\n\u003cp>Lotusland Director Gwen Stauffer admires Walska and her legacy.\u003c/p>\n\u003cp>“She was extraordinary,\" Stauffer said. \"You know, I can understand why people called her eccentric; she didn’t think like anybody else. Thank goodness, because who else would come up with this incredible, crazy, beautiful designs and these gardens? Normal people don’t do that. This is fun.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Just like the lady herself, Walska’s horticultural legacy is over-the-top and unforgettable.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Gotham City may have Batman. Metropolis may have Superman. But Glendora has the Donut Man.\u003c/p>\n\u003cp>“I am the Donut Man,” says Jim Nakano. “Everyone calls me that wherever I go now. They don’t know me as Jim anymore. Even my good friends a lot of times say, ‘oh, he’s the Donut Man.’”\u003c/p>\n\u003cp>People come to Nakano for what many call the best donuts in Southern California, lining up at the window of his small shop that’s open 24 hours a day, seven days a week on Route 66.\u003c/p>\n\u003cp>[audio src=\"http://www.kqed.org/.stream/anon/radio/tcrmag/2017/06/20170623atcrmag.mp3\" Image=\"https://u.s.kqed.net/2017/06/23/DonutManSignAud.jpg\" Title=\"Are These the Best Donuts in Southern California?\" program=\"The California Report\"]\u003c/p>\n\u003cp>On this commercial stretch of the Mother Road at 7:30 a.m. on a Monday, there’s not a lot of kicks to get, unless they involve donuts. And at The Donut Man, there’s one kick above all others.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I definitely heard a lot about the strawberry one,” says Jason Abdalla. He’s from Chicago. This is his first Donut Man experience. “That’s like, kind of the iconic one if you look them up online or anything like that.”\u003c/p>\n\u003cp>Abdalla eyes a fresh tray of the legendary strawberry donuts in the window and gives his assessment.\u003c/p>\n\u003cp>“Insane. Absolutely insane,” he says with awed appreciation. “I don’t know how you eat that.”\u003c/p>\n\u003cfigure id=\"attachment_11526966\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/06/DonutManNakano-800x525.jpg\" alt=\"Jim Nakano, aka the Donut Man, at the shop he's run since 1972 in Glendora.\" width=\"800\" height=\"525\" class=\"size-medium wp-image-11526966\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/06/DonutManNakano-800x525.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/06/DonutManNakano-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/06/DonutManNakano-1020x670.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/06/DonutManNakano.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/06/DonutManNakano-1180x775.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/06/DonutManNakano-960x631.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/06/DonutManNakano-240x158.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/06/DonutManNakano-375x246.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/06/DonutManNakano-520x342.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jim Nakano, aka the Donut Man, at the shop he’s run since 1972 in Glendora. \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The source of this insanity, “the strawberry one,” is a shell of fried dough jammed with fresh strawberries drenched in a thick strawberry syrup. It’s been the main attraction at Donut Man since its debut in 1974, two years after the shop opened.\u003c/p>\n\u003cp>“My wife, in the early ’70s, she said we should just go for the American dream and we were thinking, ‘what kind of business?'” recalls Jim Nakano. “And she said to me, ‘I like hot donuts.'”\u003c/p>\n\u003cp>That’s how it all began, though Nakano has survived a lot more than just 45 years in the donut trade. An East L.A. native, he and his family were sent to an internment camp in Arizona during World War II. During the Vietnam War, Nakano joined the Naval Air Corps. He made it through to make a life in donuts.\u003c/p>\n\u003cp>[contextly_sidebar id=”ik3MYCcrevZnqWinPXyuLuThX4RCYTbQ”]\u003c/p>\n\u003cp>That’s what’s happening right now in the small shop, where quarters are close and the handful of employees on the morning shift go about their business — frying, baking, mixing and sprinkling — with military precision.\u003c/p>\n\u003cp>For Katelyn Johnson, who fills fried shells with strawberries, it comes with a sense of pride.\u003c/p>\n\u003cp>“I mean yeah, cause you turn around [to the window], and you watch people’s faces come up and they’re like, ‘Oh my God — that thing’s huge, it’s massive.’”\u003c/p>\n\u003cp>Johnson lays out yet another tray of the confections. The donuts glisten in the morning sun as customers ogle them through the window.\u003c/p>\n\u003cp>“Just looking at them, you get hungry,” she says. “It’s like, you’re happy because people look at it and they’re like, ‘Oh my gosh, I want one.’”\u003c/p>\n\u003cfigure id=\"attachment_11526776\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/06/DonutManSign-800x1034.jpg\" alt=\"Jim Nakano says donuts are an anytime of the day food: 'You can eat it in the morning, you can eat it as a snack and you can eat it for lunch because it’s so big.'\" width=\"800\" height=\"1034\" class=\"size-medium wp-image-11526776\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/06/DonutManSign-800x1034.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/06/DonutManSign-160x207.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/06/DonutManSign-1020x1319.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/06/DonutManSign.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/06/DonutManSign-1180x1525.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/06/DonutManSign-960x1241.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/06/DonutManSign-240x310.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/06/DonutManSign-375x485.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/06/DonutManSign-520x672.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jim Nakano says donuts are an anytime-of-the-day food: ‘You can eat it in the morning, you can eat it as a snack and you can eat it for lunch because it’s so big.’\u003cbr> \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During strawberry season — between February and September — Nakano and his crew of 36 are moving donuts as fast as they can put them out, baking around the clock. Why not? In Nakano’s world, any time is a good time for donuts.\u003c/p>\n\u003cp>“You can eat in the morning, you can eat it as a snack and you can eat it for lunch because it’s so big,” he says. “And a lot of people eat it for desserts in the evening. So you could use that strawberry donut for many uses.”\u003c/p>\n\u003cp>Including glazed apologies.\u003c/p>\n\u003cp>“The strawberries have gotten me out of trouble with the wife so many times,” admits Jim, a Glendora local, who began coming to The Donut Man 40 years ago. He shows up on an almost daily basis, chatting and joking with Nakano and the crew as he picks up a box to take to his job as an usher at Angel Stadium in Anaheim.\u003c/p>\n\u003cp>“The donuts are fantastic, the people are even better,” he says.\u003c/p>\n\u003cp>For Nakano, the feeling is mutual.\u003c/p>\n\u003cp>“I think that’s one of the reasons I’m still here, is that the customers are just so good,” he says. “We’re on about our third generation of kids. You see the grandparents say, ‘God, Jim, I’m bringing in grandkids now and all that’ and I laugh. ‘Yup. I remember when you were kinda young too. We were both young.’”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>At 77, Nakano is still at the shop every morning at 6:30 a.m. He says he has no interest in retiring from the business of making donuts, and of making people happy.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Gotham City may have Batman. Metropolis may have Superman. But Glendora has the Donut Man.\u003c/p>\n\u003cp>“I am the Donut Man,” says Jim Nakano. “Everyone calls me that wherever I go now. They don’t know me as Jim anymore. Even my good friends a lot of times say, ‘oh, he’s the Donut Man.’”\u003c/p>\n\u003cp>People come to Nakano for what many call the best donuts in Southern California, lining up at the window of his small shop that’s open 24 hours a day, seven days a week on Route 66.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On this commercial stretch of the Mother Road at 7:30 a.m. on a Monday, there’s not a lot of kicks to get, unless they involve donuts. And at The Donut Man, there’s one kick above all others.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I definitely heard a lot about the strawberry one,” says Jason Abdalla. He’s from Chicago. This is his first Donut Man experience. “That’s like, kind of the iconic one if you look them up online or anything like that.”\u003c/p>\n\u003cp>Abdalla eyes a fresh tray of the legendary strawberry donuts in the window and gives his assessment.\u003c/p>\n\u003cp>“Insane. Absolutely insane,” he says with awed appreciation. “I don’t know how you eat that.”\u003c/p>\n\u003cfigure id=\"attachment_11526966\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/06/DonutManNakano-800x525.jpg\" alt=\"Jim Nakano, aka the Donut Man, at the shop he's run since 1972 in Glendora.\" width=\"800\" height=\"525\" class=\"size-medium wp-image-11526966\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/06/DonutManNakano-800x525.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/06/DonutManNakano-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/06/DonutManNakano-1020x670.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/06/DonutManNakano.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/06/DonutManNakano-1180x775.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/06/DonutManNakano-960x631.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/06/DonutManNakano-240x158.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/06/DonutManNakano-375x246.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/06/DonutManNakano-520x342.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jim Nakano, aka the Donut Man, at the shop he’s run since 1972 in Glendora. \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The source of this insanity, “the strawberry one,” is a shell of fried dough jammed with fresh strawberries drenched in a thick strawberry syrup. It’s been the main attraction at Donut Man since its debut in 1974, two years after the shop opened.\u003c/p>\n\u003cp>“My wife, in the early ’70s, she said we should just go for the American dream and we were thinking, ‘what kind of business?'” recalls Jim Nakano. “And she said to me, ‘I like hot donuts.'”\u003c/p>\n\u003cp>That’s how it all began, though Nakano has survived a lot more than just 45 years in the donut trade. An East L.A. native, he and his family were sent to an internment camp in Arizona during World War II. During the Vietnam War, Nakano joined the Naval Air Corps. He made it through to make a life in donuts.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>That’s what’s happening right now in the small shop, where quarters are close and the handful of employees on the morning shift go about their business — frying, baking, mixing and sprinkling — with military precision.\u003c/p>\n\u003cp>For Katelyn Johnson, who fills fried shells with strawberries, it comes with a sense of pride.\u003c/p>\n\u003cp>“I mean yeah, cause you turn around [to the window], and you watch people’s faces come up and they’re like, ‘Oh my God — that thing’s huge, it’s massive.’”\u003c/p>\n\u003cp>Johnson lays out yet another tray of the confections. The donuts glisten in the morning sun as customers ogle them through the window.\u003c/p>\n\u003cp>“Just looking at them, you get hungry,” she says. “It’s like, you’re happy because people look at it and they’re like, ‘Oh my gosh, I want one.’”\u003c/p>\n\u003cfigure id=\"attachment_11526776\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/06/DonutManSign-800x1034.jpg\" alt=\"Jim Nakano says donuts are an anytime of the day food: 'You can eat it in the morning, you can eat it as a snack and you can eat it for lunch because it’s so big.'\" width=\"800\" height=\"1034\" class=\"size-medium wp-image-11526776\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/06/DonutManSign-800x1034.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/06/DonutManSign-160x207.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/06/DonutManSign-1020x1319.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/06/DonutManSign.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/06/DonutManSign-1180x1525.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/06/DonutManSign-960x1241.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/06/DonutManSign-240x310.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/06/DonutManSign-375x485.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/06/DonutManSign-520x672.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jim Nakano says donuts are an anytime-of-the-day food: ‘You can eat it in the morning, you can eat it as a snack and you can eat it for lunch because it’s so big.’\u003cbr> \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During strawberry season — between February and September — Nakano and his crew of 36 are moving donuts as fast as they can put them out, baking around the clock. Why not? In Nakano’s world, any time is a good time for donuts.\u003c/p>\n\u003cp>“You can eat in the morning, you can eat it as a snack and you can eat it for lunch because it’s so big,” he says. “And a lot of people eat it for desserts in the evening. So you could use that strawberry donut for many uses.”\u003c/p>\n\u003cp>Including glazed apologies.\u003c/p>\n\u003cp>“The strawberries have gotten me out of trouble with the wife so many times,” admits Jim, a Glendora local, who began coming to The Donut Man 40 years ago. He shows up on an almost daily basis, chatting and joking with Nakano and the crew as he picks up a box to take to his job as an usher at Angel Stadium in Anaheim.\u003c/p>\n\u003cp>“The donuts are fantastic, the people are even better,” he says.\u003c/p>\n\u003cp>For Nakano, the feeling is mutual.\u003c/p>\n\u003cp>“I think that’s one of the reasons I’m still here, is that the customers are just so good,” he says. “We’re on about our third generation of kids. You see the grandparents say, ‘God, Jim, I’m bringing in grandkids now and all that’ and I laugh. ‘Yup. I remember when you were kinda young too. We were both young.’”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>At 77, Nakano is still at the shop every morning at 6:30 a.m. He says he has no interest in retiring from the business of making donuts, and of making people happy.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It’s \u003ca href=\"http://www.sfpride.org/schedule/\" target=\"_blank\" rel=\"noopener noreferrer\">Pride\u003c/a> weekend in San Francisco. Get ready for a lot of rainbows and resistance on Saturday and Sunday. The theme this year is “A Celebration of Diversity.”\u003c/p>\n\u003cp>“We should serve one another not because of our common humanity but rather for our distinctiveness,” said Amy Sueyoshi, one of six Community Grand Marshals of this year’s San Francisco Pride Parade and March. “Get your queer on and make the world a better place.”\u003c/p>\n\u003cp>More than 20 builders and artists spent Thursday in a Mission Bay warehouse on San Francisco’s Pier 54 painting, sawing, nailing and rigging, tacking boas, attaching styrofoam balls and using a healthy dose of glitter to decorate some of the more than 40 floats expected to make their way down Market Street in Sunday’s parade.\u003c/p>\n\u003cfigure id=\"attachment_11528131\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/06/RS25802_DSCF2388-qut.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11528131\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/06/RS25802_DSCF2388-qut.jpg\" alt=\"\" width=\"1920\" height=\"1082\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/06/RS25802_DSCF2388-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/06/RS25802_DSCF2388-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/06/RS25802_DSCF2388-qut-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/06/RS25802_DSCF2388-qut-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/06/RS25802_DSCF2388-qut-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/06/RS25802_DSCF2388-qut-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/06/RS25802_DSCF2388-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/06/RS25802_DSCF2388-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/06/RS25802_DSCF2388-qut-520x293.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Artists and organizers worked to prepare for the parade. \u003ccite>(Peter Arcuni/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Because it’s ‘Summer of Love,’ everybody’s getting into the ’60s psychedelic thing, which has been just a blast to work with,” said Stephanie Mufson, a veteran float builder.\u003c/p>\n\u003cp>Mufson roamed the warehouse keeping everyone organized and on task. She was backed up by a count-down clock hanging on the wall, reminding the volunteers that only three days and 20 hours remained until parade time.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[gallery type=\"rectangular\" ids=\"11528136,11528135,11528132,11528129\"]\u003c/p>\n\u003cp>“It’s a lot of putting on floral sheeting and trim and things like that,” said artist Yulia Rashkovskaya as she prepped an enchanted forest-themed float. “There’s a lot of fabrication: making these giant flowers, making the lips, making this tree out of styrofoam and wood.”\u003c/p>\n\u003cp>Gay pride parades have always been a combination of fun, pride and politics. In 1978, gay activist Harvey Milk led parade protests against Proposition 6, the so-called Briggs Initiative that would have banned openly gay school teachers in California. In other years, HIV/AIDS policies of the Reagan and Bush years were the targets of anger.\u003c/p>\n\u003cp>Here’s a KQED archival video from the 1979 parade, then called the “Gay Freedom Day Parade”:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=VTFZBIju9Ok\u003c/p>\n\u003cp>This year, with President Trump in the White House, there will be an especially loud and clear statement about the community’s values.\u003c/p>\n\u003cp>“Many of us, in fact I’d say most in our community, recognize that resisting Donald Trump is part and parcel of every fiber of our being,” said San Francisco Supervisor Jeff Sheehy. He represents the city’s largely gay Castro neighborhood, where Trump got less than 2 percent of the vote in some precincts. Sheehy said part of the message in this year’s parade is that LGBT people are everywhere.\u003c/p>\n\u003cp>“Some of the first communities that have been attacked, like our Muslim brothers and sisters — well there’s LGBTQ Muslims, or immigrants. Any community includes LGBTQ folk,” Sheehy said.\u003c/p>\n\u003cfigure id=\"attachment_11528128\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/06/RS25791_DSCF2377-qut.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11528128\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/06/RS25791_DSCF2377-qut.jpg\" alt=\"\" width=\"1920\" height=\"1082\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/06/RS25791_DSCF2377-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/06/RS25791_DSCF2377-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/06/RS25791_DSCF2377-qut-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/06/RS25791_DSCF2377-qut-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/06/RS25791_DSCF2377-qut-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/06/RS25791_DSCF2377-qut-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/06/RS25791_DSCF2377-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/06/RS25791_DSCF2377-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/06/RS25791_DSCF2377-qut-520x293.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The San Francisco Pride parade and celebration will include political resistance. \u003ccite>(Peter Arcuni/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ahead of those colorful floats still being prepped, the parade will be led by what organizers are calling a “Resistant Contingent.”\u003c/p>\n\u003cp>“Eschewing the usual floats and music, representatives from about 20 diverse organizations will lead the parade with an all-on-foot march down Market Street,” organizers wrote \u003ca href=\"http://www.sfpride.org/resist/\" target=\"_blank\" rel=\"noopener noreferrer\">on their website\u003c/a>. “Highlighting concerns ranging from women’s rights to immigration policies and the profiling persecution of African Americans, these voices will lead the normally celebratory event with a political statement reminiscent of the very milestone it commemorates — The Stonewall Rebellion.”\u003c/p>\n\u003cp>The “Resistance Contingent” will include S.F. Black Community Matters, International Migrants Alliance, Indivisible and other groups.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>KQED’s Peter Arcuni contributed to this story.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s \u003ca href=\"http://www.sfpride.org/schedule/\" target=\"_blank\" rel=\"noopener noreferrer\">Pride\u003c/a> weekend in San Francisco. Get ready for a lot of rainbows and resistance on Saturday and Sunday. The theme this year is “A Celebration of Diversity.”\u003c/p>\n\u003cp>“We should serve one another not because of our common humanity but rather for our distinctiveness,” said Amy Sueyoshi, one of six Community Grand Marshals of this year’s San Francisco Pride Parade and March. “Get your queer on and make the world a better place.”\u003c/p>\n\u003cp>More than 20 builders and artists spent Thursday in a Mission Bay warehouse on San Francisco’s Pier 54 painting, sawing, nailing and rigging, tacking boas, attaching styrofoam balls and using a healthy dose of glitter to decorate some of the more than 40 floats expected to make their way down Market Street in Sunday’s parade.\u003c/p>\n\u003cfigure id=\"attachment_11528131\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/06/RS25802_DSCF2388-qut.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11528131\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/06/RS25802_DSCF2388-qut.jpg\" alt=\"\" width=\"1920\" height=\"1082\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/06/RS25802_DSCF2388-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/06/RS25802_DSCF2388-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/06/RS25802_DSCF2388-qut-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/06/RS25802_DSCF2388-qut-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/06/RS25802_DSCF2388-qut-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/06/RS25802_DSCF2388-qut-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/06/RS25802_DSCF2388-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/06/RS25802_DSCF2388-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/06/RS25802_DSCF2388-qut-520x293.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Artists and organizers worked to prepare for the parade. \u003ccite>(Peter Arcuni/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Because it’s ‘Summer of Love,’ everybody’s getting into the ’60s psychedelic thing, which has been just a blast to work with,” said Stephanie Mufson, a veteran float builder.\u003c/p>\n\u003cp>Mufson roamed the warehouse keeping everyone organized and on task. She was backed up by a count-down clock hanging on the wall, reminding the volunteers that only three days and 20 hours remained until parade time.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’s a lot of putting on floral sheeting and trim and things like that,” said artist Yulia Rashkovskaya as she prepped an enchanted forest-themed float. “There’s a lot of fabrication: making these giant flowers, making the lips, making this tree out of styrofoam and wood.”\u003c/p>\n\u003cp>Gay pride parades have always been a combination of fun, pride and politics. In 1978, gay activist Harvey Milk led parade protests against Proposition 6, the so-called Briggs Initiative that would have banned openly gay school teachers in California. In other years, HIV/AIDS policies of the Reagan and Bush years were the targets of anger.\u003c/p>\n\u003cp>Here’s a KQED archival video from the 1979 parade, then called the “Gay Freedom Day Parade”:\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/VTFZBIju9Ok'\n title='//www.youtube.com/embed/VTFZBIju9Ok'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This year, with President Trump in the White House, there will be an especially loud and clear statement about the community’s values.\u003c/p>\n\u003cp>“Many of us, in fact I’d say most in our community, recognize that resisting Donald Trump is part and parcel of every fiber of our being,” said San Francisco Supervisor Jeff Sheehy. He represents the city’s largely gay Castro neighborhood, where Trump got less than 2 percent of the vote in some precincts. Sheehy said part of the message in this year’s parade is that LGBT people are everywhere.\u003c/p>\n\u003cp>“Some of the first communities that have been attacked, like our Muslim brothers and sisters — well there’s LGBTQ Muslims, or immigrants. Any community includes LGBTQ folk,” Sheehy said.\u003c/p>\n\u003cfigure id=\"attachment_11528128\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/06/RS25791_DSCF2377-qut.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11528128\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/06/RS25791_DSCF2377-qut.jpg\" alt=\"\" width=\"1920\" height=\"1082\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/06/RS25791_DSCF2377-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/06/RS25791_DSCF2377-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/06/RS25791_DSCF2377-qut-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/06/RS25791_DSCF2377-qut-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/06/RS25791_DSCF2377-qut-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/06/RS25791_DSCF2377-qut-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/06/RS25791_DSCF2377-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/06/RS25791_DSCF2377-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/06/RS25791_DSCF2377-qut-520x293.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The San Francisco Pride parade and celebration will include political resistance. \u003ccite>(Peter Arcuni/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ahead of those colorful floats still being prepped, the parade will be led by what organizers are calling a “Resistant Contingent.”\u003c/p>\n\u003cp>“Eschewing the usual floats and music, representatives from about 20 diverse organizations will lead the parade with an all-on-foot march down Market Street,” organizers wrote \u003ca href=\"http://www.sfpride.org/resist/\" target=\"_blank\" rel=\"noopener noreferrer\">on their website\u003c/a>. “Highlighting concerns ranging from women’s rights to immigration policies and the profiling persecution of African Americans, these voices will lead the normally celebratory event with a political statement reminiscent of the very milestone it commemorates — The Stonewall Rebellion.”\u003c/p>\n\u003cp>The “Resistance Contingent” will include S.F. Black Community Matters, International Migrants Alliance, Indivisible and other groups.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>KQED’s Peter Arcuni contributed to this story.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Peter Tosh's Son Beaten Into Coma in New Jersey Jail",
"headTitle": "Peter Tosh’s Son Beaten Into Coma in New Jersey Jail | KQED",
"content": "\u003cp>The family of legendary reggae artist Peter Tosh is filing a civil rights lawsuit and seeking a U.S. Department of Justice investigation after Tosh’s son, 37-year-old Jawara McIntosh — himself a musician and marijuana legalization activist — was left in a coma after being beaten while in the custody of the Bergen County Jail in New Jersey four months ago.\u003c/p>\n\u003cp>According to McIntosh’s family, the beating occurred on Feb. 21; the resulting brain injuries were so severe that he has been comatose ever since. He was first hospitalized at New Jersey’s Hackensack Medical Center and has since been moved to a hospital in Massachusetts, where he resides.\u003c/p>\n\u003cp>McIntosh’s family says that they learned of the beating when his mother, Melody Cunningham, received a call from the Hackensack hospital saying McIntosh needed a “life-saving medical procedure” after being attacked at the jail. Niambe McIntosh, Jawara’s sister, tells NPR today that their mother then received a call from the jail’s warden, saying that the incident involved another inmate.\u003c/p>\n\u003cp>Niambe McIntosh adds, “We have since, upon request, got an incident report that just didn’t really give a lot of information, but it just said there was another inmate [involved]. There was very little detail as to what happened.”\u003c/p>\n\u003cp>The family has announced that they are seeking to file a civil rights lawsuit against the county and the jail “for failing to protect Jawara while he was in its custody, or directly participating in this brutal beating.” The family is being represented by attorney Jasmine Rand, who has in the past represented the families of Trayvon Martin and Michael Brown.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>They are also seeking the immediate release of additional information and evidence from the incident, and have sent a request to the federal Department of Justice asking for an impartial investigation into what transpired at the jail.\u003c/p>\n\u003cp>A spokesman for the Bergen County sheriff’s office told NPR this afternoon that there was no statement immediately forthcoming, but there “may” be one issued later.\u003c/p>\n\u003cp>A statement from the family \u003ca href=\"http://petertosh.com/justice-for-jawara/\" target=\"_blank\" rel=\"noopener\">asserts\u003c/a> that Jawara McIntosh is “presently unable to speak or use any form of communication; nor is he able to move with intent.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zkp7Q70hXtg\u003c/p>\n\u003cp>McIntosh is the father of four children, ranging in age from 6 to 11, and as an artist performs under the name Tosh1. He is also a longtime advocate for the legalization of cannabis. Like his father, McIntosh is a practicing Rastafarian; within the religion, cannabis is considered sacred.\u003c/p>\n\u003cp>Peter Tosh, was, along with Bob Marley and Bunny Wailer, one of the founding members of The Wailers; Marley and Tosh co-wrote the anthemic “Get Up Stand Up.” As a solo artist, Tosh wrote and recorded 1976’s \u003ca href=\"https://www.youtube.com/watch?v=ABc8ciT5QLs\" target=\"_blank\" rel=\"noopener\">“Legalize It”\u003c/a> — a song that McIntosh also frequently performed.\u003c/p>\n\u003cp>At the time of the attack, McIntosh was about two months into serving a six-month sentence, after pleading guilty to marijuana possession. In a phone call today with NPR, Jasmine Rand said that before this arrest and sentencing, McIntosh had no prior criminal record.\u003c/p>\n\u003cp>Rand also asserts, “To me, it was completely egregious that Bergen County Jail had really not provided them any information how it had transpired. They were not forthcoming with evidence. They had not provided any video, any audio, any photographs, or really told the family exactly how it is that while in their custody, Jawara was so violently beaten to a point where he’s now been in a coma for four months.”\u003c/p>\n\u003cp>\u003cstrong>\u003c/strong>“We are also working with the family,” Rand says, “on a larger legalization effort. As we know, many states have decriminalized or legalized cannabis — and there are far too many people in this nation that are imprisoned on cannabis charges, resulting in mass incarceration, police brutality, murder and, in this case, has left Jawara in a coma. So the issue that the Tosh family is facing is not an isolated issue. It’s an issue that are nation is facing.”\u003c/p>\n\u003cp>“And as we continue to decriminalize cannabis,” Rand continues, “we need to look at what happens with prisoners. We need to look at record expungement, restoration of voting rights. The family of Peter Tosh, Jawara’s family, are very committed to protecting not just Jawara’s rights, but rights of other people throughout this nation.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In a video posted yesterday, the family wrote: “40 years ago, our father began the fight to legalize cannabis and despite its medicinal value and many states completely legalizing it, some states are still clinging to antiquated laws and a broken criminal justice system to deal with it. This is criminal. We can’t be bystanders any longer.” \u003c/p>\n\u003caside class=\"aligncenter noborder\">\nhttps://vimeo.com/222620226\u003cbr>\n\u003c/aside>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Peter+Tosh%27s+Son+Beaten+Into+Coma+In+New+Jersey+Jail&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The family of legendary reggae artist Peter Tosh is filing a civil rights lawsuit and seeking a U.S. Department of Justice investigation after Tosh’s son, 37-year-old Jawara McIntosh — himself a musician and marijuana legalization activist — was left in a coma after being beaten while in the custody of the Bergen County Jail in New Jersey four months ago.\u003c/p>\n\u003cp>According to McIntosh’s family, the beating occurred on Feb. 21; the resulting brain injuries were so severe that he has been comatose ever since. He was first hospitalized at New Jersey’s Hackensack Medical Center and has since been moved to a hospital in Massachusetts, where he resides.\u003c/p>\n\u003cp>McIntosh’s family says that they learned of the beating when his mother, Melody Cunningham, received a call from the Hackensack hospital saying McIntosh needed a “life-saving medical procedure” after being attacked at the jail. Niambe McIntosh, Jawara’s sister, tells NPR today that their mother then received a call from the jail’s warden, saying that the incident involved another inmate.\u003c/p>\n\u003cp>Niambe McIntosh adds, “We have since, upon request, got an incident report that just didn’t really give a lot of information, but it just said there was another inmate [involved]. There was very little detail as to what happened.”\u003c/p>\n\u003cp>The family has announced that they are seeking to file a civil rights lawsuit against the county and the jail “for failing to protect Jawara while he was in its custody, or directly participating in this brutal beating.” The family is being represented by attorney Jasmine Rand, who has in the past represented the families of Trayvon Martin and Michael Brown.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>They are also seeking the immediate release of additional information and evidence from the incident, and have sent a request to the federal Department of Justice asking for an impartial investigation into what transpired at the jail.\u003c/p>\n\u003cp>A spokesman for the Bergen County sheriff’s office told NPR this afternoon that there was no statement immediately forthcoming, but there “may” be one issued later.\u003c/p>\n\u003cp>A statement from the family \u003ca href=\"http://petertosh.com/justice-for-jawara/\" target=\"_blank\" rel=\"noopener\">asserts\u003c/a> that Jawara McIntosh is “presently unable to speak or use any form of communication; nor is he able to move with intent.”\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/zkp7Q70hXtg'\n title='//www.youtube.com/embed/zkp7Q70hXtg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>McIntosh is the father of four children, ranging in age from 6 to 11, and as an artist performs under the name Tosh1. He is also a longtime advocate for the legalization of cannabis. Like his father, McIntosh is a practicing Rastafarian; within the religion, cannabis is considered sacred.\u003c/p>\n\u003cp>Peter Tosh, was, along with Bob Marley and Bunny Wailer, one of the founding members of The Wailers; Marley and Tosh co-wrote the anthemic “Get Up Stand Up.” As a solo artist, Tosh wrote and recorded 1976’s \u003ca href=\"https://www.youtube.com/watch?v=ABc8ciT5QLs\" target=\"_blank\" rel=\"noopener\">“Legalize It”\u003c/a> — a song that McIntosh also frequently performed.\u003c/p>\n\u003cp>At the time of the attack, McIntosh was about two months into serving a six-month sentence, after pleading guilty to marijuana possession. In a phone call today with NPR, Jasmine Rand said that before this arrest and sentencing, McIntosh had no prior criminal record.\u003c/p>\n\u003cp>Rand also asserts, “To me, it was completely egregious that Bergen County Jail had really not provided them any information how it had transpired. They were not forthcoming with evidence. They had not provided any video, any audio, any photographs, or really told the family exactly how it is that while in their custody, Jawara was so violently beaten to a point where he’s now been in a coma for four months.”\u003c/p>\n\u003cp>\u003cstrong>\u003c/strong>“We are also working with the family,” Rand says, “on a larger legalization effort. As we know, many states have decriminalized or legalized cannabis — and there are far too many people in this nation that are imprisoned on cannabis charges, resulting in mass incarceration, police brutality, murder and, in this case, has left Jawara in a coma. So the issue that the Tosh family is facing is not an isolated issue. It’s an issue that are nation is facing.”\u003c/p>\n\u003cp>“And as we continue to decriminalize cannabis,” Rand continues, “we need to look at what happens with prisoners. We need to look at record expungement, restoration of voting rights. The family of Peter Tosh, Jawara’s family, are very committed to protecting not just Jawara’s rights, but rights of other people throughout this nation.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In a video posted yesterday, the family wrote: “40 years ago, our father began the fight to legalize cannabis and despite its medicinal value and many states completely legalizing it, some states are still clinging to antiquated laws and a broken criminal justice system to deal with it. This is criminal. We can’t be bystanders any longer.” \u003c/p>\n\u003caside class=\"aligncenter noborder\">\nhttps://vimeo.com/222620226\u003cbr>\n\u003c/aside>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Peter+Tosh%27s+Son+Beaten+Into+Coma+In+New+Jersey+Jail&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "mission-cultural-center-for-latino-arts-unveils-restored-mural",
"title": "Mission Cultural Center for Latino Arts Unveils Restored Mural",
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"content": "\u003cp>Beloved artistic traditions weaved together in front of the Mission Cultural Center for Latino Arts (MCCLA) Thursday evening at the unveiling of the center’s newly restored mural.\u003c/p>\n\u003cp>The celebration captured the Latino-American artistic lineage cultivated in the Mission. With the scent of copal in the air, Aztec dancers from the Mixcoatl Anahuac troupe, dressed in vibrant \u003ci>penacho\u003c/i>s, led the re-dedication for MCCLA’s newly restored mural, “Spirit of the Arts.” The unveiling honored its original artists Carlos Loarca and Betsie Miller-Kusz, in addition to muralists Carlos Gonzalez, Suaro Cervantes, Paul Kensinger and Aureliano Rivera — all of whom received a commendation from the City of San Francisco.\u003c/p>\n\u003cp>“[The mural is] just a testament to the vibrancy and the diversity of this community, and that’s what we’re here celebrating,” said MCCLA Director Jennie Rodriguez in her opening address at the celebration. “In these difficult moments, some of us think that maybe difficult moments are in our way, but it’s a time for the community to come together, and again, pledge their support to these institutions that are here supporting the community as well and bringing a lot of value and quality of life to our communities.”\u003c/p>\n\u003cp>The mural’s month-long restoration process — a collaboration between MCCLA and the San Francisco Arts Commission — comes 35 years after the mural’s original completion.\u003c/p>\n\u003cp>Borrowing from Aztec, Incan and Mayan iconography, “Spirit of the Arts” is sprightly, textured and rich with history and homage. It covers the entirety of the Center’s 3,700 square-foot façade. “Spirit of the Arts” was originally painted in 1982 by Loarca, Miller-Kusz and Manuel Villamor, all of whom returned to work on its restoration to commemorate the center’s role as a fixture of the Mission district’s artistic community.\u003c/p>\n\u003cfigure id=\"attachment_13501610\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13501610\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Unveiling-Ceremony-800x600.jpg\" alt=\"Dancers performing in front of the Mission Cultural Center for Latino Arts\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Unveiling-Ceremony-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Unveiling-Ceremony-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Unveiling-Ceremony-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Unveiling-Ceremony-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Unveiling-Ceremony.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Unveiling-Ceremony-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Unveiling-Ceremony-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Unveiling-Ceremony-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Unveiling-Ceremony-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Unveiling-Ceremony-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dancers performing in front of the Mission Cultural Center for Latino Arts. \u003ccite>(Kevin L. Jones/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In its modern manifestation, the mural symbolizes heightened political stakes both on a local and national level. District 9 Supervisor Hillary Ronen, who was slated to appear at the festivities, was not able to attend due to ongoing city budget negotiations.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The Center’s inaugural director, former San Francisco poet laureate Alejandro Murguía, was in attendance for the event, as was former District 9 Supervisor David Campos. Campos, according to a press release, helped secure funding for the restoration project through an add-back.\u003c/p>\n\u003cp>“We’re talking about a president who’s in the process of engaging and pushing forward mass deportation,” Campos said at the event. “It is at a time where that is about to happen at the national level that we need to stand around and say ‘Mr. Trump, Latinos are as much a part of this community as everyone else. Whether you like it or not, we’re here and we’re here to stay. We’re not going away.’ This is our community as much as it is anyone’s, so that’s the message that we hope we’re making.”\u003c/p>\n\u003cp>Opened in 1977, the Mission Cultural Center for Latino Arts is the largest Latino cultural center in the continental United States. The Center hosts art workshops, gallery exhibitions, film screenings and art classes, including an annual summer arts program for local youth.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>MCCLA, along with the Bayview Opera House, SOMArts and the African American Art and Culture Complex, is one of four city-owned, community-operated art spaces to offer artistic resources to San Francisco residents. The Calle 24 Latino Cultural District, where the center is located, was chosen as a semi-finalist for the California Cultural District’s pilot program.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Beloved artistic traditions weaved together in front of the Mission Cultural Center for Latino Arts (MCCLA) Thursday evening at the unveiling of the center’s newly restored mural.\u003c/p>\n\u003cp>The celebration captured the Latino-American artistic lineage cultivated in the Mission. With the scent of copal in the air, Aztec dancers from the Mixcoatl Anahuac troupe, dressed in vibrant \u003ci>penacho\u003c/i>s, led the re-dedication for MCCLA’s newly restored mural, “Spirit of the Arts.” The unveiling honored its original artists Carlos Loarca and Betsie Miller-Kusz, in addition to muralists Carlos Gonzalez, Suaro Cervantes, Paul Kensinger and Aureliano Rivera — all of whom received a commendation from the City of San Francisco.\u003c/p>\n\u003cp>“[The mural is] just a testament to the vibrancy and the diversity of this community, and that’s what we’re here celebrating,” said MCCLA Director Jennie Rodriguez in her opening address at the celebration. “In these difficult moments, some of us think that maybe difficult moments are in our way, but it’s a time for the community to come together, and again, pledge their support to these institutions that are here supporting the community as well and bringing a lot of value and quality of life to our communities.”\u003c/p>\n\u003cp>The mural’s month-long restoration process — a collaboration between MCCLA and the San Francisco Arts Commission — comes 35 years after the mural’s original completion.\u003c/p>\n\u003cp>Borrowing from Aztec, Incan and Mayan iconography, “Spirit of the Arts” is sprightly, textured and rich with history and homage. It covers the entirety of the Center’s 3,700 square-foot façade. “Spirit of the Arts” was originally painted in 1982 by Loarca, Miller-Kusz and Manuel Villamor, all of whom returned to work on its restoration to commemorate the center’s role as a fixture of the Mission district’s artistic community.\u003c/p>\n\u003cfigure id=\"attachment_13501610\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13501610\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Unveiling-Ceremony-800x600.jpg\" alt=\"Dancers performing in front of the Mission Cultural Center for Latino Arts\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Unveiling-Ceremony-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Unveiling-Ceremony-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Unveiling-Ceremony-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Unveiling-Ceremony-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Unveiling-Ceremony.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Unveiling-Ceremony-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Unveiling-Ceremony-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Unveiling-Ceremony-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Unveiling-Ceremony-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Unveiling-Ceremony-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dancers performing in front of the Mission Cultural Center for Latino Arts. \u003ccite>(Kevin L. Jones/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In its modern manifestation, the mural symbolizes heightened political stakes both on a local and national level. District 9 Supervisor Hillary Ronen, who was slated to appear at the festivities, was not able to attend due to ongoing city budget negotiations.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Center’s inaugural director, former San Francisco poet laureate Alejandro Murguía, was in attendance for the event, as was former District 9 Supervisor David Campos. Campos, according to a press release, helped secure funding for the restoration project through an add-back.\u003c/p>\n\u003cp>“We’re talking about a president who’s in the process of engaging and pushing forward mass deportation,” Campos said at the event. “It is at a time where that is about to happen at the national level that we need to stand around and say ‘Mr. Trump, Latinos are as much a part of this community as everyone else. Whether you like it or not, we’re here and we’re here to stay. We’re not going away.’ This is our community as much as it is anyone’s, so that’s the message that we hope we’re making.”\u003c/p>\n\u003cp>Opened in 1977, the Mission Cultural Center for Latino Arts is the largest Latino cultural center in the continental United States. The Center hosts art workshops, gallery exhibitions, film screenings and art classes, including an annual summer arts program for local youth.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>MCCLA, along with the Bayview Opera House, SOMArts and the African American Art and Culture Complex, is one of four city-owned, community-operated art spaces to offer artistic resources to San Francisco residents. The Calle 24 Latino Cultural District, where the center is located, was chosen as a semi-finalist for the California Cultural District’s pilot program.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"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. ",
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"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. ",
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"marketplace": {
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"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",
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"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>",
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"order": 12
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"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?",
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"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",
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"planet-money": {
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"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",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
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},
"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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"rss": "http://feeds.revealradio.org/revealpodcast"
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
},
"link": "/podcasts/rightnowish",
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},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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},
"snap-judgment": {
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