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"content": "\u003cp>Bryant Tan’s job must be fun sometimes — it certainly appeared to be last night, when the Entertainment Commission president oversaw the approval of three separate venues’ “place of entertainment” permits, and wished them good luck.\u003c/p>\n\u003cp>One of those was Mission District live-music venue Amnesia, whose permit was granted in an outpouring of support from commissioners and community members alike. Officer Parker from the SFPD’s Mission Station came to the microphone to express excitement that the bar’s new owner Craig Wathen plans to continue to present “a diversity of live music.” And in terms of security, Parker was clear: as long as Wathen maintains the system already in place, “I see no reason to fix something that isn’t broken.”\u003c/p>\n\u003cp>In the chamber inside City Hall, it was clear from the onset via commissioners’ supportive comments and the packed house that the permit would be approved. However, public comment is usually opened anyway in such cases, and President Tan graciously allowed this. Before doing so, however, and “in the interests of time,” he called for a show of hands of those in favor of granting the permit. Every single audience member raised a hand. He then asked “Is anyone opposed?” No hands were raised.\u003c/p>\n\u003cp>A number of Amnesia regulars spoke during the ensuing public comment period, including the venue’s bookkeeper and close neighbor, Heidi-Jane Schwabe, who said she had passed a petition around the neighborhood. “And even someone who notoriously calls the police on everyone said ‘Oh, Amnesia?’ I’ll absolutely support that,” she said. She also noted the number of jobs created by the small bar. “This is the livelihood of a lot of people,” she said.\u003c/p>\n\u003cp>“Same house, same call,” in commissionese, means the six-member regulatory group is satisfied and expects to see a venue operating in a manner consistent with its past — Amnesia’s large community of musicians, friends, and neighbors seems to hope the same.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Bryant Tan’s job must be fun sometimes — it certainly appeared to be last night, when the Entertainment Commission president oversaw the approval of three separate venues’ “place of entertainment” permits, and wished them good luck.\u003c/p>\n\u003cp>One of those was Mission District live-music venue Amnesia, whose permit was granted in an outpouring of support from commissioners and community members alike. Officer Parker from the SFPD’s Mission Station came to the microphone to express excitement that the bar’s new owner Craig Wathen plans to continue to present “a diversity of live music.” And in terms of security, Parker was clear: as long as Wathen maintains the system already in place, “I see no reason to fix something that isn’t broken.”\u003c/p>\n\u003cp>In the chamber inside City Hall, it was clear from the onset via commissioners’ supportive comments and the packed house that the permit would be approved. However, public comment is usually opened anyway in such cases, and President Tan graciously allowed this. Before doing so, however, and “in the interests of time,” he called for a show of hands of those in favor of granting the permit. Every single audience member raised a hand. He then asked “Is anyone opposed?” No hands were raised.\u003c/p>\n\u003cp>A number of Amnesia regulars spoke during the ensuing public comment period, including the venue’s bookkeeper and close neighbor, Heidi-Jane Schwabe, who said she had passed a petition around the neighborhood. “And even someone who notoriously calls the police on everyone said ‘Oh, Amnesia?’ I’ll absolutely support that,” she said. She also noted the number of jobs created by the small bar. “This is the livelihood of a lot of people,” she said.\u003c/p>\n\u003cp>“Same house, same call,” in commissionese, means the six-member regulatory group is satisfied and expects to see a venue operating in a manner consistent with its past — Amnesia’s large community of musicians, friends, and neighbors seems to hope the same.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Well, this comes as a surprise: After nearly a year of collective groaning following the announcement that the \u003ca href=\"http://www.elbo.com/\" target=\"_blank\" rel=\"noopener\">Elbo Room\u003c/a> would close in November of this year, the owner of the Mission District bar and venue announced on Facebook last night (Aug. 18) that the club’s lease had been extended through the end of the year, and will go month-to-month in 2016. Lovers of dark back booths and stiff well drinks served in pint glasses, rejoice!\u003c/p>\n\u003cp>From Matt Shapiro’s \u003ca href=\"https://www.facebook.com/matt.shapiro.1656/posts/10152978942002601?pnref=story\" target=\"_blank\" rel=\"noopener\">joyful post \u003c/a>[asterisks ours]:\u003c/p>\n\u003cblockquote>\u003cp>Big f***in News! Elbo Room’s lease is extended til the end of the year!!!!With monthly options in 2016. This came out of nowhere. As of yesterday we were told we needed to be completely out by November 9th.\u003c/p>\u003c/blockquote>\n\u003cp>In April, \u003ca href=\"http://ww2.kqed.org/arts/2015/04/22/its-official-elbo-room-to-close-in-november/\" target=\"_blank\" rel=\"noopener\">as KQED Arts previously reported,\u003c/a> Shapiro had somberly delivered the official word that the club at 647 Valencia Street — which has a bar on the first floor and a stage and dancefloor on the second level — would be closing. Building owners Dennis and Susan Ring planned to replace it with with a five-story, nine-unit, “senior-friendly” condo development in which the \u003ca href=\"http://sfist.com/2014/11/10/elbo_room_to_become_retirement_room.php\" target=\"_blank\" rel=\"noopener\">couple themselves could live.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_10905584\" class=\"wp-caption alignright\" style=\"max-width: 515px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/B2Gc94rCQAEiOfO-e1440020404594.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-10905584\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/B2Gc94rCQAEiOfO-e1440020404594-400x174.jpg\" alt=\"An artist's rendering of the proposed condos that would replace the Elbo Room at 647 Valencia Street. \" width=\"515\" height=\"224\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/B2Gc94rCQAEiOfO-e1440020404594-400x174.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/B2Gc94rCQAEiOfO-e1440020404594.jpg 594w\" sizes=\"(max-width: 515px) 100vw, 515px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">An artist’s rendering of the proposed condos that would replace the Elbo Room at 647 Valencia Street.\u003c/figcaption>\u003c/figure>\n\u003cp>But the development faces delays, and Shapiro told KQED that Dennis Ring delivered news of the lease extension “in person.”\u003c/p>\n\u003cp>“The only thing he said was they realized it would be better for the building not to stand empty while they are waiting for the project to continue,” said Shapiro. “This really did come out of nowhere and Erik [Cantu, the bar’s co-owner] and I are both still in shock, and quite happy.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At a meeting last November \u003ca href=\"http://ww2.kqed.org/arts/2014/11/21/the-elbo-room-is-far-from-dying-but-theres-still-a-movement-to-save-it/\" target=\"_blank\" rel=\"noopener\">attended by KQED’s Kevin Jones\u003c/a>, supporters of the bar kicked around the idea of trying to get it designated as a historic building, pointing to its previous life as the lesbian bar Amelia’s (Shapiro and co. still hoist the old sign each Pride weekend in salute). But it’s unclear whether that or some other hitch in the permit process caused the “project” to take longer than the Rings were perhaps expecting. We’ll update this post if/when we know more.\u003c/p>\n\u003cp>In the meantime: See you at the bar?\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Screen-Shot-2015-08-19-at-2.34.28-PM.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright wp-image-10905583 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Screen-Shot-2015-08-19-at-2.34.28-PM.png\" alt=\"Screen Shot 2015-08-19 at 2.34.28 PM\" width=\"499\" height=\"85\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Screen-Shot-2015-08-19-at-2.34.28-PM.png 499w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Screen-Shot-2015-08-19-at-2.34.28-PM-400x68.png 400w\" sizes=\"(max-width: 499px) 100vw, 499px\">\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Well, this comes as a surprise: After nearly a year of collective groaning following the announcement that the \u003ca href=\"http://www.elbo.com/\" target=\"_blank\" rel=\"noopener\">Elbo Room\u003c/a> would close in November of this year, the owner of the Mission District bar and venue announced on Facebook last night (Aug. 18) that the club’s lease had been extended through the end of the year, and will go month-to-month in 2016. Lovers of dark back booths and stiff well drinks served in pint glasses, rejoice!\u003c/p>\n\u003cp>From Matt Shapiro’s \u003ca href=\"https://www.facebook.com/matt.shapiro.1656/posts/10152978942002601?pnref=story\" target=\"_blank\" rel=\"noopener\">joyful post \u003c/a>[asterisks ours]:\u003c/p>\n\u003cblockquote>\u003cp>Big f***in News! Elbo Room’s lease is extended til the end of the year!!!!With monthly options in 2016. This came out of nowhere. As of yesterday we were told we needed to be completely out by November 9th.\u003c/p>\u003c/blockquote>\n\u003cp>In April, \u003ca href=\"http://ww2.kqed.org/arts/2015/04/22/its-official-elbo-room-to-close-in-november/\" target=\"_blank\" rel=\"noopener\">as KQED Arts previously reported,\u003c/a> Shapiro had somberly delivered the official word that the club at 647 Valencia Street — which has a bar on the first floor and a stage and dancefloor on the second level — would be closing. Building owners Dennis and Susan Ring planned to replace it with with a five-story, nine-unit, “senior-friendly” condo development in which the \u003ca href=\"http://sfist.com/2014/11/10/elbo_room_to_become_retirement_room.php\" target=\"_blank\" rel=\"noopener\">couple themselves could live.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_10905584\" class=\"wp-caption alignright\" style=\"max-width: 515px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/B2Gc94rCQAEiOfO-e1440020404594.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-10905584\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/B2Gc94rCQAEiOfO-e1440020404594-400x174.jpg\" alt=\"An artist's rendering of the proposed condos that would replace the Elbo Room at 647 Valencia Street. \" width=\"515\" height=\"224\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/B2Gc94rCQAEiOfO-e1440020404594-400x174.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/B2Gc94rCQAEiOfO-e1440020404594.jpg 594w\" sizes=\"(max-width: 515px) 100vw, 515px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">An artist’s rendering of the proposed condos that would replace the Elbo Room at 647 Valencia Street.\u003c/figcaption>\u003c/figure>\n\u003cp>But the development faces delays, and Shapiro told KQED that Dennis Ring delivered news of the lease extension “in person.”\u003c/p>\n\u003cp>“The only thing he said was they realized it would be better for the building not to stand empty while they are waiting for the project to continue,” said Shapiro. “This really did come out of nowhere and Erik [Cantu, the bar’s co-owner] and I are both still in shock, and quite happy.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At a meeting last November \u003ca href=\"http://ww2.kqed.org/arts/2014/11/21/the-elbo-room-is-far-from-dying-but-theres-still-a-movement-to-save-it/\" target=\"_blank\" rel=\"noopener\">attended by KQED’s Kevin Jones\u003c/a>, supporters of the bar kicked around the idea of trying to get it designated as a historic building, pointing to its previous life as the lesbian bar Amelia’s (Shapiro and co. still hoist the old sign each Pride weekend in salute). But it’s unclear whether that or some other hitch in the permit process caused the “project” to take longer than the Rings were perhaps expecting. We’ll update this post if/when we know more.\u003c/p>\n\u003cp>In the meantime: See you at the bar?\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Screen-Shot-2015-08-19-at-2.34.28-PM.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright wp-image-10905583 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Screen-Shot-2015-08-19-at-2.34.28-PM.png\" alt=\"Screen Shot 2015-08-19 at 2.34.28 PM\" width=\"499\" height=\"85\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Screen-Shot-2015-08-19-at-2.34.28-PM.png 499w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Screen-Shot-2015-08-19-at-2.34.28-PM-400x68.png 400w\" sizes=\"(max-width: 499px) 100vw, 499px\">\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Yvonne Craig, Best Known as 'Batgirl,' Dies at 78",
"headTitle": "Yvonne Craig, Best Known as ‘Batgirl,’ Dies at 78 | KQED",
"content": "\u003cp>Yvonne Craig, best known for her role as Batgirl in the iconic 1960s television series \u003cem>Batman,\u003c/em> died Monday. She was 78.\u003c/p>\n\u003cp>Craig died at her home in Pacific Palisades, Calif., as a result of complications from breast cancer that had spread to her liver. In a \u003ca href=\"http://www.yvonnecraig.com/news/2015/08/19/a-word-from-yvonne-craigs-family/\" target=\"_blank\" rel=\"noopener\">statement posted to her website\u003c/a>, family members said:\u003c/p>\n\u003cblockquote>\n\u003cp>“She had been in chemo almost continuously for the past two plus years since being diagnosed and that had weakened her immune system as well as her body. This didn’t dampen her sense of humor or her spirit, she intended to fight and win this battle. In the end, her mind still wanted to fight but her body had given up.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Craig was a trained dancer who had studied at the Ballet Russe de Monte Carlo and toured for three years. Those dancing skills came in handy when the character of Batgirl debuted on ABC’s popular superhero crime-fighting series in 1967. Craig was able to perform her own stunts alongside Adam West, who played Batman.\u003c/p>\n\u003cp>As with many characters on the show, she had to play two roles. By day, she was librarian Barbara Gordon, daughter of Gotham City police Commissioner James Gordon. But in times of need, she transformed into the caped crusader fighting crime alongside Batman and Robin. She even had a purple motorcycle with white lace trim.\u003c/p>\n\u003cp>\u003cem>Star Trek\u003c/em> fans will remember Craig’s work, too. She played Marta, the green-skinned Orion slave girl who wanted to kill Captain Kirk in Season 3.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=1H2QvmWLT4s\u003c/p>\n\u003cp>Other roles include the 1963 movie \u003cem>It Happened at the World’s Fair\u003c/em> and 1964’s \u003cem>Kissin’ Cousins\u003c/em>, both staring Elvis Presley. She also made guest appearances on popular TV shows throughout the 1970s, including \u003cem>Starsky & Hutch\u003c/em>, \u003cem>The Six Million Dollar Man\u003c/em> and \u003cem>Kojak\u003c/em>.\u003c/p>\n\u003cp>More recently, she did voice work for the Nickelodeon animated series \u003cem>Olivia \u003c/em>about an imaginative and creative pig.\u003c/p>\n\u003cp>Outside of acting, Craig had a real-estate career and also was involved with philanthropy. She was an advocate for workers unions, free mammograms and equal pay for women.\u003c/p>\n\u003cp>The family’s statement said Craig had two wishes:\u003c/p>\n\u003cblockquote>\n\u003cp>“Wish Number One, is that her family, friends and fans would know how much she loved them and always treasured her time with them. Wish Number Two, was that no one waste a moment of their time in mourning for her loss in sadness but instead celebrate the awesome life she had been fortunate enough to live. She felt that she lived a wonderful life and was blessed in many ways.”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>Craig is survived by her husband, Kenneth Aldrich, as well as by her sister, Meridel Carson, and nephews Christopher and Todd Carson. \u003c/p>\n\u003cfigure id=\"attachment_10905405\" class=\"wp-caption aligncenter\" style=\"max-width: 474px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/yvonne-craig-as-marta-0f837dba4f4d8c9ea36843eebd0606b03d91f289.jpg\" alt=\"Yvonne Craig appears in a publicity photo for the TV series Star Trek in 1969. She played the role of Orion Marta in the episode titled 'Whom Gods Destroy.'\" width=\"474\" height=\"355\" class=\"size-full wp-image-10905405\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/yvonne-craig-as-marta-0f837dba4f4d8c9ea36843eebd0606b03d91f289.jpg 474w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/yvonne-craig-as-marta-0f837dba4f4d8c9ea36843eebd0606b03d91f289-400x300.jpg 400w\" sizes=\"(max-width: 474px) 100vw, 474px\">\u003cfigcaption class=\"wp-caption-text\">Yvonne Craig appears in a publicity photo for the TV series \u003cem>Star Trek\u003c/em> in 1969. She played the role of Orion Marta in the episode titled ‘Whom Gods Destroy.’ \u003ccite>(Silver Screen Collection/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Yvonne+Craig%2C+Best+Known+As+%27Batgirl%2C%27+Dies+At+78&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Yvonne Craig, best known for her role as Batgirl in the iconic 1960s television series \u003cem>Batman,\u003c/em> died Monday. She was 78.\u003c/p>\n\u003cp>Craig died at her home in Pacific Palisades, Calif., as a result of complications from breast cancer that had spread to her liver. In a \u003ca href=\"http://www.yvonnecraig.com/news/2015/08/19/a-word-from-yvonne-craigs-family/\" target=\"_blank\" rel=\"noopener\">statement posted to her website\u003c/a>, family members said:\u003c/p>\n\u003cblockquote>\n\u003cp>“She had been in chemo almost continuously for the past two plus years since being diagnosed and that had weakened her immune system as well as her body. This didn’t dampen her sense of humor or her spirit, she intended to fight and win this battle. In the end, her mind still wanted to fight but her body had given up.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Craig was a trained dancer who had studied at the Ballet Russe de Monte Carlo and toured for three years. Those dancing skills came in handy when the character of Batgirl debuted on ABC’s popular superhero crime-fighting series in 1967. Craig was able to perform her own stunts alongside Adam West, who played Batman.\u003c/p>\n\u003cp>As with many characters on the show, she had to play two roles. By day, she was librarian Barbara Gordon, daughter of Gotham City police Commissioner James Gordon. But in times of need, she transformed into the caped crusader fighting crime alongside Batman and Robin. She even had a purple motorcycle with white lace trim.\u003c/p>\n\u003cp>\u003cem>Star Trek\u003c/em> fans will remember Craig’s work, too. She played Marta, the green-skinned Orion slave girl who wanted to kill Captain Kirk in Season 3.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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/1H2QvmWLT4s'\n title='//www.youtube.com/embed/1H2QvmWLT4s'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Other roles include the 1963 movie \u003cem>It Happened at the World’s Fair\u003c/em> and 1964’s \u003cem>Kissin’ Cousins\u003c/em>, both staring Elvis Presley. She also made guest appearances on popular TV shows throughout the 1970s, including \u003cem>Starsky & Hutch\u003c/em>, \u003cem>The Six Million Dollar Man\u003c/em> and \u003cem>Kojak\u003c/em>.\u003c/p>\n\u003cp>More recently, she did voice work for the Nickelodeon animated series \u003cem>Olivia \u003c/em>about an imaginative and creative pig.\u003c/p>\n\u003cp>Outside of acting, Craig had a real-estate career and also was involved with philanthropy. She was an advocate for workers unions, free mammograms and equal pay for women.\u003c/p>\n\u003cp>The family’s statement said Craig had two wishes:\u003c/p>\n\u003cblockquote>\n\u003cp>“Wish Number One, is that her family, friends and fans would know how much she loved them and always treasured her time with them. Wish Number Two, was that no one waste a moment of their time in mourning for her loss in sadness but instead celebrate the awesome life she had been fortunate enough to live. She felt that she lived a wonderful life and was blessed in many ways.”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>Craig is survived by her husband, Kenneth Aldrich, as well as by her sister, Meridel Carson, and nephews Christopher and Todd Carson. \u003c/p>\n\u003cfigure id=\"attachment_10905405\" class=\"wp-caption aligncenter\" style=\"max-width: 474px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/yvonne-craig-as-marta-0f837dba4f4d8c9ea36843eebd0606b03d91f289.jpg\" alt=\"Yvonne Craig appears in a publicity photo for the TV series Star Trek in 1969. She played the role of Orion Marta in the episode titled 'Whom Gods Destroy.'\" width=\"474\" height=\"355\" class=\"size-full wp-image-10905405\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/yvonne-craig-as-marta-0f837dba4f4d8c9ea36843eebd0606b03d91f289.jpg 474w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/yvonne-craig-as-marta-0f837dba4f4d8c9ea36843eebd0606b03d91f289-400x300.jpg 400w\" sizes=\"(max-width: 474px) 100vw, 474px\">\u003cfigcaption class=\"wp-caption-text\">Yvonne Craig appears in a publicity photo for the TV series \u003cem>Star Trek\u003c/em> in 1969. She played the role of Orion Marta in the episode titled ‘Whom Gods Destroy.’ \u003ccite>(Silver Screen Collection/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Yvonne+Craig%2C+Best+Known+As+%27Batgirl%2C%27+Dies+At+78&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>This past Friday, Aug. 14, the record producer Bob Johnston died in hospice care near his home in Nashville, Tenn. He was 83 years old.\u003cstrong>\u003cem>\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>More than any other single practitioner of that post, Johnston helped give shape, heft and durability to some of the most transformative American music of the past five decades, framing the sounds and intentions of an era — when invention was valued on par with accessibility; lines were confused and maps were being redrawn — and helping to foster a culture of autonomy and liberation for visionary artists that remains vital to this day, and continues to evolve.\u003c/p>\n\u003cp>As a staff producer for Columbia Records (and then as a free agent) Bob Johnston was a guiding force behind the artists on his watch — playing priest and lifeguard, counselor and agitator to such standard-bearers and upstarts as \u003ca href=\"http://www.npr.org/artists/15165794/johnny-cash\" target=\"_blank\" rel=\"noopener\">Johnny Cash\u003c/a>, Marty Robbins, \u003ca href=\"http://www.npr.org/artists/15392685/leonard-cohen\" target=\"_blank\" rel=\"noopener\">Leonard Cohen\u003c/a>, \u003ca href=\"http://www.npr.org/artists/98847896/simon-garfunkel\" target=\"_blank\" rel=\"noopener\">Simon and Garfunkel\u003c/a>, and \u003ca href=\"http://www.npr.org/artists/15786738/the-byrds\" target=\"_blank\" rel=\"noopener\">The Byrds\u003c/a>, to name a scant few.\u003c/p>\n\u003cp>On behalf of Cash, Johnston stood up fearlessly against Columbia’s executives — who had threatened both men’s continued affiliation with the label should they follow through with the singer’s outlandish desire to record live concert albums at the maximum security prisons at Folsom and San Quentin — albums that proved to be not only blockbusters both, but definitive statements in burnishing the heroic and populist image of the rough-and-tumble Cash and helping to transfigure his standing from country star to national icon.\u003c/p>\n\u003cp>Leonard Cohen, already a successful novelist and poet in his native Canada, nonetheless regarded himself a novitiate as a musician, and was skittish in the studio. His debut album for Columbia — begun by legendary producer John Hammond, then handed off to John Simon — had proved arduous and creatively unsatisfying to Cohen, who felt it too dense and over-worked, leaving him unsure he would ever make another. But he knew Johnston’s work and reputation, and loved country music; on a chance encounter between the two in Los Angeles, Johnston promised to find Cohen a log cabin to rent in the woods outside of Nashville. He pledged as well to fight the label for Cohen’s right to make the kind of album he truly wanted to, and to help him see it through.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Once in the studio together, Johnston pushed Cohen’s weary and soulful vocals far into the foreground, allowing each song’s story and its teller to trump the weather of whatever else might musically be happening around it. He insisted that the guarded Cohen fully inhabit his own authority as a poetic songwriter and transcendent performer. Following the studio sessions, Johnston was charged with assembling a touring band that could conjure in concert the mystic quality of the recorded songs, and said simply of his criteria that he wanted only, “people who look up — I didn’t want anybody looking down.”\u003c/p>\n\u003cp>To be sure, that says as much about Johnston’s musical ethos as anything could, favoring as he did musicians who were eager and able to disappear into the service of the sacred unnameable, who could abandon ego and trusted methodology in favor of real-time discovery.\u003c/p>\n\u003cp>For many of us, though, had Johnston only worked with \u003ca href=\"http://www.npr.org/artists/15193203/bob-dylan\" target=\"_blank\" rel=\"noopener\">Bob Dylan\u003c/a>, our collective debt to him would be immeasurable.\u003c/p>\n\u003cp>In the summer of 1965, there was a riot going on following the release of Dylan’s breakthrough single “\u003ca href=\"http://video.bobdylan.com/desktop.html\" target=\"_blank\" rel=\"noopener\">Like A Rolling Stone\u003c/a>” that found the one-time folk darling marrying the personal and cryptic imagery of the beat poets with the gritty, sensual swagger of electric blues. But when the young singer/songwriter reconvened in Columbia’s Studio A on 30th Street in Manhattan a few weeks later — itching to expand his newly minted and confounding revolution into a full-length album, following his \u003ca href=\"http://www.npr.org/2015/07/25/424977355/50-years-ago-bob-dylan-electrified-a-decade-with-one-concert\" target=\"_blank\" rel=\"noopener\">historic and controversial appearance\u003c/a> at the Newport Folk Festival over the weekend — Dylan arrived to find “Rolling Stone” producer Tom Wilson dismissed, and the amiable Texan Bob Johnston waiting coolly in his place. Gone too was the cast of seasoned stalwart musicians who typically populated a Columbia Records session, all having been replaced by a rag-tag group of young lions who proved to be every bit as ambitious and freaky as the singer himself. The resulting long-player — the groundbreaking \u003cem>Highway 61 Revisited — \u003c/em>still stands as a mountain upon the landscape, and as enduring a symbol of that turbulent decade as the Zapruder film.\u003c/p>\n\u003cp>Johnston went on to helm the \u003cem>other\u003c/em> Bob’s creative full blossom over the course of six albums — many of them masterworks, including the still-unparalleled \u003cem>Blonde On Blonde \u003c/em>double set of 1966. He did so not by stern direction, but by — there is no other way to say it — surrounding the fuming songwriter with light and a steadfast love that allowed the artist’s full commitment to every ranging possibility. Johnston, in essence, barred the doors and threw his physical body into the path of any company naysayers, while his young charge turned the label’s studios, in New York and \u003ca href=\"https://www.youtube.com/watch?v=eos_70yqX8E\" target=\"_blank\" rel=\"noopener\">later in Nashville\u003c/a>, from hit-factory into brothel wherein the ghost of Belle Starr might have entertained both Garcia Marquez and Howlin’ Wolf, each leaning in and leering from opposite ends of the divan.\u003c/p>\n\u003cp>Those of us who consider ourselves the fruit of such strange couplings will spend many hours in the coming days giving thanks for Bob Johnston’s life and courageous good works upon this earth.\u003c/p>\n\u003cp>May we all put a blanket on his bed.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>Joe Henry is a songwriter, singer, recording artist and three-time Grammy-winning producer. In his work as a musician, he has collaborated with a disparate array of artists ranging from Ornette Coleman and Madonna to Bonnie Raitt, Harry Belafonte, Mose Allison and Ramblin’ Jack Elliott; from Bill Frisell and Salif Keita to Ani DiFranco, Solomon Burke, Bettye LaVette and Hugh Laurie.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>He is also the co-author, with his brother David Henry, of the book \u003c/em>Furious Cool: Richard Pryor and the World That Made Him\u003cem> (Algonquin, 2013).\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Is+It+Rolling%2C+Bob%3F%27%3A+Remembering+Producer+Bob+Johnston&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This past Friday, Aug. 14, the record producer Bob Johnston died in hospice care near his home in Nashville, Tenn. He was 83 years old.\u003cstrong>\u003cem>\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>More than any other single practitioner of that post, Johnston helped give shape, heft and durability to some of the most transformative American music of the past five decades, framing the sounds and intentions of an era — when invention was valued on par with accessibility; lines were confused and maps were being redrawn — and helping to foster a culture of autonomy and liberation for visionary artists that remains vital to this day, and continues to evolve.\u003c/p>\n\u003cp>As a staff producer for Columbia Records (and then as a free agent) Bob Johnston was a guiding force behind the artists on his watch — playing priest and lifeguard, counselor and agitator to such standard-bearers and upstarts as \u003ca href=\"http://www.npr.org/artists/15165794/johnny-cash\" target=\"_blank\" rel=\"noopener\">Johnny Cash\u003c/a>, Marty Robbins, \u003ca href=\"http://www.npr.org/artists/15392685/leonard-cohen\" target=\"_blank\" rel=\"noopener\">Leonard Cohen\u003c/a>, \u003ca href=\"http://www.npr.org/artists/98847896/simon-garfunkel\" target=\"_blank\" rel=\"noopener\">Simon and Garfunkel\u003c/a>, and \u003ca href=\"http://www.npr.org/artists/15786738/the-byrds\" target=\"_blank\" rel=\"noopener\">The Byrds\u003c/a>, to name a scant few.\u003c/p>\n\u003cp>On behalf of Cash, Johnston stood up fearlessly against Columbia’s executives — who had threatened both men’s continued affiliation with the label should they follow through with the singer’s outlandish desire to record live concert albums at the maximum security prisons at Folsom and San Quentin — albums that proved to be not only blockbusters both, but definitive statements in burnishing the heroic and populist image of the rough-and-tumble Cash and helping to transfigure his standing from country star to national icon.\u003c/p>\n\u003cp>Leonard Cohen, already a successful novelist and poet in his native Canada, nonetheless regarded himself a novitiate as a musician, and was skittish in the studio. His debut album for Columbia — begun by legendary producer John Hammond, then handed off to John Simon — had proved arduous and creatively unsatisfying to Cohen, who felt it too dense and over-worked, leaving him unsure he would ever make another. But he knew Johnston’s work and reputation, and loved country music; on a chance encounter between the two in Los Angeles, Johnston promised to find Cohen a log cabin to rent in the woods outside of Nashville. He pledged as well to fight the label for Cohen’s right to make the kind of album he truly wanted to, and to help him see it through.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Once in the studio together, Johnston pushed Cohen’s weary and soulful vocals far into the foreground, allowing each song’s story and its teller to trump the weather of whatever else might musically be happening around it. He insisted that the guarded Cohen fully inhabit his own authority as a poetic songwriter and transcendent performer. Following the studio sessions, Johnston was charged with assembling a touring band that could conjure in concert the mystic quality of the recorded songs, and said simply of his criteria that he wanted only, “people who look up — I didn’t want anybody looking down.”\u003c/p>\n\u003cp>To be sure, that says as much about Johnston’s musical ethos as anything could, favoring as he did musicians who were eager and able to disappear into the service of the sacred unnameable, who could abandon ego and trusted methodology in favor of real-time discovery.\u003c/p>\n\u003cp>For many of us, though, had Johnston only worked with \u003ca href=\"http://www.npr.org/artists/15193203/bob-dylan\" target=\"_blank\" rel=\"noopener\">Bob Dylan\u003c/a>, our collective debt to him would be immeasurable.\u003c/p>\n\u003cp>In the summer of 1965, there was a riot going on following the release of Dylan’s breakthrough single “\u003ca href=\"http://video.bobdylan.com/desktop.html\" target=\"_blank\" rel=\"noopener\">Like A Rolling Stone\u003c/a>” that found the one-time folk darling marrying the personal and cryptic imagery of the beat poets with the gritty, sensual swagger of electric blues. But when the young singer/songwriter reconvened in Columbia’s Studio A on 30th Street in Manhattan a few weeks later — itching to expand his newly minted and confounding revolution into a full-length album, following his \u003ca href=\"http://www.npr.org/2015/07/25/424977355/50-years-ago-bob-dylan-electrified-a-decade-with-one-concert\" target=\"_blank\" rel=\"noopener\">historic and controversial appearance\u003c/a> at the Newport Folk Festival over the weekend — Dylan arrived to find “Rolling Stone” producer Tom Wilson dismissed, and the amiable Texan Bob Johnston waiting coolly in his place. Gone too was the cast of seasoned stalwart musicians who typically populated a Columbia Records session, all having been replaced by a rag-tag group of young lions who proved to be every bit as ambitious and freaky as the singer himself. The resulting long-player — the groundbreaking \u003cem>Highway 61 Revisited — \u003c/em>still stands as a mountain upon the landscape, and as enduring a symbol of that turbulent decade as the Zapruder film.\u003c/p>\n\u003cp>Johnston went on to helm the \u003cem>other\u003c/em> Bob’s creative full blossom over the course of six albums — many of them masterworks, including the still-unparalleled \u003cem>Blonde On Blonde \u003c/em>double set of 1966. He did so not by stern direction, but by — there is no other way to say it — surrounding the fuming songwriter with light and a steadfast love that allowed the artist’s full commitment to every ranging possibility. Johnston, in essence, barred the doors and threw his physical body into the path of any company naysayers, while his young charge turned the label’s studios, in New York and \u003ca href=\"https://www.youtube.com/watch?v=eos_70yqX8E\" target=\"_blank\" rel=\"noopener\">later in Nashville\u003c/a>, from hit-factory into brothel wherein the ghost of Belle Starr might have entertained both Garcia Marquez and Howlin’ Wolf, each leaning in and leering from opposite ends of the divan.\u003c/p>\n\u003cp>Those of us who consider ourselves the fruit of such strange couplings will spend many hours in the coming days giving thanks for Bob Johnston’s life and courageous good works upon this earth.\u003c/p>\n\u003cp>May we all put a blanket on his bed.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>Joe Henry is a songwriter, singer, recording artist and three-time Grammy-winning producer. In his work as a musician, he has collaborated with a disparate array of artists ranging from Ornette Coleman and Madonna to Bonnie Raitt, Harry Belafonte, Mose Allison and Ramblin’ Jack Elliott; from Bill Frisell and Salif Keita to Ani DiFranco, Solomon Burke, Bettye LaVette and Hugh Laurie.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>He is also the co-author, with his brother David Henry, of the book \u003c/em>Furious Cool: Richard Pryor and the World That Made Him\u003cem> (Algonquin, 2013).\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Is+It+Rolling%2C+Bob%3F%27%3A+Remembering+Producer+Bob+Johnston&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Cars swerving back and forth, swinging side to side; the sound of tires screeching against concrete; the smell of burnt rubber. All of this makes up the sensory signature of events known as sideshows.\u003c/p>\n\u003cp>Sideshows have a \u003ca href=\"http://kron4.com/2015/06/26/oakland-police-warn-of-illegal-sideshows-this-summer/\" target=\"_blank\">bad reputation \u003c/a>as illegal, dangerous and occasionally violent street car shows, where gunshots may ring out and people could die. But for those who grew up in the early days, sideshows were not so much dangerous as they were innovative. They created a space for self-expression and originality that bubbled up on the streets of Deep East Oakland.\u003c/p>\n\u003cp>“It’s in the soil,” says \u003ca href=\"http://joehackman.com/2010/08/interview-sean-kennedy-good-news-podcast/\" target=\"_blank\">Sean Kennedy\u003c/a>, a multimedia producer and local hip-hop historian. “For some reason the air here in East Oakland breeds that type of creativity.”\u003c/p>\n\u003cp>https://youtu.be/BpjIy3rvfX4\u003c/p>\n\u003cp>\u003cb>Sideshow Beginnings \u003c/b>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Kennedy says it goes back to the early 1980s, when the music of the Sugar Hill Gang made it out here to the West Coast. “It seems like it started when hip-hop first got out here,” Kennedy said.\u003c/p>\n\u003cp>I meet Kennedy at the entrance to the Foods Co. in Foothill Square, so deep into East Oakland it is almost San Leandro. Kennedy says this is where it all began.\u003c/p>\n\u003cp>“There was a carnival that used to exist right here in Foothill Square, because there was a skating rink right here,” he says, pointing to what is now a Ross Dress for Less. “All the people would come down here to the skating rink and the carnival.” They would would bring their best cars and just cruise, he says.\u003c/p>\n\u003cp>https://youtu.be/ljUnyv5XUA8\u003c/p>\n\u003cp>Kennedy says that what many people think of as a sideshow these days, all doughnuts and destruction, was not the way it began. Back then, he says, “no one did doughnuts or spun their cars.” It was just peacocking, showing off the cars that were the pride and joy of many -- mostly male -- residents. “That,” Kennedy says, “was the original sideshow of East Oakland.”\u003c/p>\n\u003cp>People had cruised around in their souped up Chevys before, but it was as if the introduction of the new music taught the cars to dance.\u003c/p>\n\u003cp>In Kennedy's description, you can almost imagine the whole scene: Men slowly circling the parking lot in lovingly modified cars painted colors like cherry red or apple green. On the sidelines women watched, wearing tight skirts and showing off skin. The sideshow was a social event, a party in a parking lot, and showing off your car had a familiar goal: to woo women.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/219807957&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cb>The Sideshow as Cultural Marketplace\u003c/b>\u003c/p>\n\u003cp>As the sideshows spread, Kennedy says, they became a sort of cultural marketplace where people repped parties, hawked homemade fashion lines and shared the latest in music.\u003c/p>\n\u003cp>Yakpusua Zazaboi \u003ca href=\"http://www.sydewayz.com/index.htm#\" target=\"_blank\">documented sideshows\u003c/a> across East Oakland for his documentary series \"Sidewayz.\" When a proposal to \u003ca href=\"http://www.sfgate.com/bayarea/article/OAKLAND-Sideshow-spectator-law-expected-to-pass-2622930.php\" target=\"_blank\">make it illegal to attend sideshows\u003c/a> went before the Oakland City Council in 2005, Sidewayz videos were singled out in the \u003ca href=\"http://thenewspaper.com/rlc/docs/05-oakland.pdf\" target=\"_blank\">law's language\u003c/a>: “These videos portray the city in a negative light, encourage the proliferation of the activity and allow the promoters to popularize and profit from sideshows.” \u003ca href=\"http://www.sfgate.com/bayarea/article/OAKLAND-Council-votes-for-sideshow-crackdown-2655825.php\" target=\"_blank\">The law\u003c/a>, championed by then-Mayor Jerry Brown, passed in modified form, allowing those who watched the sideshows from the sidelines to be fined and even arrested.\u003c/p>\n\u003cp>But the sideshow, according to Zazaboi, was a thriving place, part craft fair, part improv performance, and always a place to catch the cultural zeitgeist. The sideshows, he said, were not just part of Oakland's unique hyphy culture, they formed the space in which hyphy was born. (Some of you might ask, \"What's hyphy?\" In fact, the Oxford English Dictionary recently added an entry, suggesting the word dates back to 2002 and giving the following definitions: \"1. Extremely rowdy, excited, or energetic. 2. A style of uptempo hip-hop music and frenetic dancing.\")\u003c/p>\n\u003cp>“You would come out and you would really understand what is popular in Oakland,” Zazaboi says. A key part of that was the music. “I think for about three or four years straight, we used to hear this song by a group called 3X Krazy.”\u003c/p>\n\u003cp>“It was just a baseline and it was so popular and would sound so good on really nice audio systems, it was almost like a sideshow theme,\" Zazaboi says.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ptou06aABg4\u003c/p>\n\u003cp>When asked to name his pick for the theme of the sideshows, Sean Kennedy says there is really only one: Richie Rich’s sideshow song.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=l87Z1Z-40ao\u003c/p>\n\u003cp>“Now that's a classic,” Kennedy says. “When it comes to explaining the sideshow, in the early days.”\u003c/p>\n\u003cp>You can hear the whole sideshow in Richie Rich’s deep and sonorous voice. “In Oakland, California,\" he raps, \"every Saturday night brothers be riding, straight-laced zeniths, drop-tops, buckets, high performance.”\u003c/p>\n\u003cp>Music might have been the lifeblood of the sideshow, but according to Kennedy, the heart pumping that blood was the neighborhood's deep-rooted car culture.\u003c/p>\n\u003cp>\u003cstrong>Car Culture and the Sideshow\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10647512\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/Screen-Shot-2015-08-17-at-6.10.41-PM.png\">\u003cimg class=\"size-thumbnail wp-image-10647512\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/Screen-Shot-2015-08-17-at-6.10.41-PM-400x399.png\" alt='\"A-1ing it.\"(@a1springservice/Instagram)' width=\"400\" height=\"399\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/08/Screen-Shot-2015-08-17-at-6.10.41-PM-400x399.png 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/Screen-Shot-2015-08-17-at-6.10.41-PM-32x32.png 32w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/Screen-Shot-2015-08-17-at-6.10.41-PM-64x64.png 64w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/Screen-Shot-2015-08-17-at-6.10.41-PM-96x96.png 96w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/Screen-Shot-2015-08-17-at-6.10.41-PM-128x128.png 128w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/Screen-Shot-2015-08-17-at-6.10.41-PM-75x75.png 75w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/Screen-Shot-2015-08-17-at-6.10.41-PM.png 603w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\"A-1ing it.\"(@a1springservice/Instagram)\u003c/figcaption>\u003c/figure>\n\u003cp>Ruben Flores greets a customer whose car he’s just modified at A1 Spring Service, a mechanic on the corner of MacArthur Boulevard and 98th Avenue.\u003c/p>\n\u003cp>This was -- and still is -- the go-to place to bring your car for modifications.\u003c/p>\n\u003cp>Flores, who went to Castlemont, the neighborhood high school, got the job straight out of school.\u003c/p>\n\u003cp>“The owner of the shop, he was losing a man, a mechanic, so he came down to the high school to ask about the auto shop program.”\u003c/p>\n\u003cp>Flores was hired on the spot, and he has been here ever since. Now he owns the place.\u003c/p>\n\u003cp>\"The first day of work became the longest day of work, 38 years later,” Flores says, laughing as he shakes his head. Those years have given Flores a passenger seat to car culture in Deep East Oakland. He confirms what Sean Kennedy told me-- that in the beginning, it wasn’t about souping up cars to go fast. “It was going lower,” Flores says. “Low and slow.”\u003c/p>\n\u003cp>Low and slow, Flores said, was a way to show off the beauty of your car. Flores said his shop became known for fixing up cars in a signature style.\u003c/p>\n\u003cp>“What A1 means, in the car culture,” Flores said, “is the stance is higher in the front and lower in the back. So they have that pointing --towards-the-moon type of look.”\u003c/p>\n\u003cp>Yakpasua Zazaboi said everyone knew about A1. “That was the place to go,” he said. “People would say, I have my car sitting A1, it was because of the name of the shop.”\u003c/p>\n\u003cp>But the sideshows began to change and evolve with time; they went from low and slow to fast and loose, with drivers performing tricks with increasing levels of difficulty and danger. The Oakland Police Department began to take notice.\u003c/p>\n\u003cp>Zazaboi says sideshows veered from “a nice slow cruising type of an event to a much faster speed, away-from-the-cops type of an event.”\u003c/p>\n\u003cp>\u003cstrong>Sideshows Run Into the Law\u003c/strong>\u003c/p>\n\u003cp>Everyone has a story about when and how things got out of hand. Zazaboi says it was when guys with cheap cars started doing doughnuts to get attention.\u003c/p>\n\u003cp>Sean Kennedy says it was when the new built-for-speed Mustangs came on the market in the 1980s.\u003c/p>\n\u003cp>Maybe it was the death of a young girl, in a police chase during a sideshow in the mid-'90s.\u003c/p>\n\u003cp>Whatever the exact moment, the crackdown by Oakland police and the city came quickly. New laws were introduced that let the city impound any car involved in a sideshow. Then came the 2005 ordinance, which allowed police to \u003ca href=\"http://www.sfgate.com/bayarea/article/OAKLAND-Council-votes-for-sideshow-crackdown-2655825.php\" target=\"_blank\">permanently confiscate\u003c/a> any car directly involved in a sideshow. According to Zazaboi, that made it personal, because the cars were not just painted pieces of metal to the men who drove them.\u003c/p>\n\u003cp>“Their car is an extension of their ego,” Zazaboi says of sideshow participants. “You take away their car, you kill their ego, and that is exactly what they did out here in Oakland.”\u003c/p>\n\u003cp>Sean Kennedy says that response complicated the already tense relationship between police and the community.\u003c/p>\n\u003cp>\"Does that create an animosity to the police?\" Kennedy asks. \"It becomes a war at that point. And then it becomes a situation where the rebellion is, 'We're going to have sideshows anyway.'\"\u003c/p>\n\u003cp>Both Kennedy and Zazaboi say that while local politicians criminalized the sideshow, local media demonized it, with story after story of violent, out-of-control youth taking over the streets.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=FfuzDz9XCxc\u003c/p>\n\u003cp>Kennedy admits that bad stuff did go down, and there was by necessity a kind of nomadic, extra-legal element to the sideshows. People brought guns and sold drugs; sometimes fights broke out. And yes, young men acted stupid. But he says all that was just as likely to happen at a Raiders game.\u003c/p>\n\u003cp>Kennedy said despite all that, the sideshow did not breed criminal behavior. The bad behavior, he says, would have been on display with or without the sideshows. Kennedy believes the sideshows were targeted.\u003c/p>\n\u003cp>\"It's not about a car show,\" he says. \"At that point, it's about arresting black youth in Oakland.\"\u003c/p>\n\u003cp>He says the sideshow made it easy to paint East Oakland youth into an already-made stereotype: \"Young black kids who don’t have anything to do with their lives, out there playing around in these cars, carrying guns and selling drugs.”\u003c/p>\n\u003cp>\u003cstrong>Celebrating the Sideshow\u003c/strong>\u003c/p>\n\u003cp>What was lost in that narrative, Kennedy says, was the ingenuity of the sideshow: the mechanical skills it took to work on the cars, the driving skills it took to get them moving and dancing, the coordination to plan what are in essence the Bay Area's first pop-up events.\u003c/p>\n\u003cp>Kennedy acknowledges his perspective has changed with age. Now that he has a few years on him, he is a little more weary of making cars spin like whirling dervishes.\u003c/p>\n\u003cp>\"As much as I love sideshows,\" he says, \"it’s a dangerous culture when it comes to spinning around a half-a-ton vehicle with no barriers and people standing there.\"\u003c/p>\n\u003cp>That is why Kennedy, among others, supported a push to legalize sideshows that gained some ground in the late 2000s. The suggestion was to bring sideshows out of the shadows and turn them into neighborhood street parties. They could even make money, proponents argued.\u003c/p>\n\u003cp>But opponents, like Councilman Larry Reid, who represents Deep East Oakland, countered that it was folly for the city to sanction an illegal activity.\u003c/p>\n\u003cp>Reid says the sideshows slowed down for a bit, but in the last year they've once again become a regular weekend event. He said they take over the street every weekend from Friday to Sunday, around 106th and MacArthur. That is right by Foothill Square, where more than three decades ago, according to Sean Kennedy, sideshows began.\u003c/p>\n\u003cp>\"It is just crazy what the residents along the MacArthur corridor have to endure,\" Reid said. In the past few weeks, right here, there have been incidents, including \u003ca href=\"http://www.sfgate.com/news/article/Suspect-rams-CHP-officer-after-Oakland-sideshow-6447489.php\" target=\"_blank\">this past weekend\u003c/a> when a sideshow participant rammed into a California Highway Patrol car.\u003c/p>\n\u003cp>If you ask Yakpusau Zazaboi, he will say what is happening now is not even a real sideshow.\u003c/p>\n\u003cp>\"I break it down like this now,\" Zazaboi says. \"This is how you know it's a sideshow. If there are clean cars and women out there, you might have a sideshow. If it's a bunch of buckets and a whole bunch of dudes clowning around looking at each other -- you do not have sideshow.\"\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The definition of just what makes a sideshow is constantly in flux. Every generation has its own version, just like every sideshow has people who say it is either a criminal act or a space for the creation of culture. Maybe, just maybe, there is a little bit of both, hanging out at the sideshow.\u003c/p>\n\n",
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"excerpt": "Sideshows have a bad reputation, but they also have a long tradition and East Oakland roots. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Cars swerving back and forth, swinging side to side; the sound of tires screeching against concrete; the smell of burnt rubber. All of this makes up the sensory signature of events known as sideshows.\u003c/p>\n\u003cp>Sideshows have a \u003ca href=\"http://kron4.com/2015/06/26/oakland-police-warn-of-illegal-sideshows-this-summer/\" target=\"_blank\">bad reputation \u003c/a>as illegal, dangerous and occasionally violent street car shows, where gunshots may ring out and people could die. But for those who grew up in the early days, sideshows were not so much dangerous as they were innovative. They created a space for self-expression and originality that bubbled up on the streets of Deep East Oakland.\u003c/p>\n\u003cp>“It’s in the soil,” says \u003ca href=\"http://joehackman.com/2010/08/interview-sean-kennedy-good-news-podcast/\" target=\"_blank\">Sean Kennedy\u003c/a>, a multimedia producer and local hip-hop historian. “For some reason the air here in East Oakland breeds that type of creativity.”\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/BpjIy3rvfX4'\n title='//www.youtube.com/embed/BpjIy3rvfX4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cb>Sideshow Beginnings \u003c/b>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Kennedy says it goes back to the early 1980s, when the music of the Sugar Hill Gang made it out here to the West Coast. “It seems like it started when hip-hop first got out here,” Kennedy said.\u003c/p>\n\u003cp>I meet Kennedy at the entrance to the Foods Co. in Foothill Square, so deep into East Oakland it is almost San Leandro. Kennedy says this is where it all began.\u003c/p>\n\u003cp>“There was a carnival that used to exist right here in Foothill Square, because there was a skating rink right here,” he says, pointing to what is now a Ross Dress for Less. “All the people would come down here to the skating rink and the carnival.” They would would bring their best cars and just cruise, he says.\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/ljUnyv5XUA8'\n title='//www.youtube.com/embed/ljUnyv5XUA8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Kennedy says that what many people think of as a sideshow these days, all doughnuts and destruction, was not the way it began. Back then, he says, “no one did doughnuts or spun their cars.” It was just peacocking, showing off the cars that were the pride and joy of many -- mostly male -- residents. “That,” Kennedy says, “was the original sideshow of East Oakland.”\u003c/p>\n\u003cp>People had cruised around in their souped up Chevys before, but it was as if the introduction of the new music taught the cars to dance.\u003c/p>\n\u003cp>In Kennedy's description, you can almost imagine the whole scene: Men slowly circling the parking lot in lovingly modified cars painted colors like cherry red or apple green. On the sidelines women watched, wearing tight skirts and showing off skin. The sideshow was a social event, a party in a parking lot, and showing off your car had a familiar goal: to woo women.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/219807957&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cb>The Sideshow as Cultural Marketplace\u003c/b>\u003c/p>\n\u003cp>As the sideshows spread, Kennedy says, they became a sort of cultural marketplace where people repped parties, hawked homemade fashion lines and shared the latest in music.\u003c/p>\n\u003cp>Yakpusua Zazaboi \u003ca href=\"http://www.sydewayz.com/index.htm#\" target=\"_blank\">documented sideshows\u003c/a> across East Oakland for his documentary series \"Sidewayz.\" When a proposal to \u003ca href=\"http://www.sfgate.com/bayarea/article/OAKLAND-Sideshow-spectator-law-expected-to-pass-2622930.php\" target=\"_blank\">make it illegal to attend sideshows\u003c/a> went before the Oakland City Council in 2005, Sidewayz videos were singled out in the \u003ca href=\"http://thenewspaper.com/rlc/docs/05-oakland.pdf\" target=\"_blank\">law's language\u003c/a>: “These videos portray the city in a negative light, encourage the proliferation of the activity and allow the promoters to popularize and profit from sideshows.” \u003ca href=\"http://www.sfgate.com/bayarea/article/OAKLAND-Council-votes-for-sideshow-crackdown-2655825.php\" target=\"_blank\">The law\u003c/a>, championed by then-Mayor Jerry Brown, passed in modified form, allowing those who watched the sideshows from the sidelines to be fined and even arrested.\u003c/p>\n\u003cp>But the sideshow, according to Zazaboi, was a thriving place, part craft fair, part improv performance, and always a place to catch the cultural zeitgeist. The sideshows, he said, were not just part of Oakland's unique hyphy culture, they formed the space in which hyphy was born. (Some of you might ask, \"What's hyphy?\" In fact, the Oxford English Dictionary recently added an entry, suggesting the word dates back to 2002 and giving the following definitions: \"1. Extremely rowdy, excited, or energetic. 2. A style of uptempo hip-hop music and frenetic dancing.\")\u003c/p>\n\u003cp>“You would come out and you would really understand what is popular in Oakland,” Zazaboi says. A key part of that was the music. “I think for about three or four years straight, we used to hear this song by a group called 3X Krazy.”\u003c/p>\n\u003cp>“It was just a baseline and it was so popular and would sound so good on really nice audio systems, it was almost like a sideshow theme,\" Zazaboi says.\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/ptou06aABg4'\n title='//www.youtube.com/embed/ptou06aABg4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>When asked to name his pick for the theme of the sideshows, Sean Kennedy says there is really only one: Richie Rich’s sideshow song.\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/l87Z1Z-40ao'\n title='//www.youtube.com/embed/l87Z1Z-40ao'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“Now that's a classic,” Kennedy says. “When it comes to explaining the sideshow, in the early days.”\u003c/p>\n\u003cp>You can hear the whole sideshow in Richie Rich’s deep and sonorous voice. “In Oakland, California,\" he raps, \"every Saturday night brothers be riding, straight-laced zeniths, drop-tops, buckets, high performance.”\u003c/p>\n\u003cp>Music might have been the lifeblood of the sideshow, but according to Kennedy, the heart pumping that blood was the neighborhood's deep-rooted car culture.\u003c/p>\n\u003cp>\u003cstrong>Car Culture and the Sideshow\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10647512\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/Screen-Shot-2015-08-17-at-6.10.41-PM.png\">\u003cimg class=\"size-thumbnail wp-image-10647512\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/Screen-Shot-2015-08-17-at-6.10.41-PM-400x399.png\" alt='\"A-1ing it.\"(@a1springservice/Instagram)' width=\"400\" height=\"399\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/08/Screen-Shot-2015-08-17-at-6.10.41-PM-400x399.png 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/Screen-Shot-2015-08-17-at-6.10.41-PM-32x32.png 32w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/Screen-Shot-2015-08-17-at-6.10.41-PM-64x64.png 64w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/Screen-Shot-2015-08-17-at-6.10.41-PM-96x96.png 96w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/Screen-Shot-2015-08-17-at-6.10.41-PM-128x128.png 128w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/Screen-Shot-2015-08-17-at-6.10.41-PM-75x75.png 75w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/Screen-Shot-2015-08-17-at-6.10.41-PM.png 603w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\"A-1ing it.\"(@a1springservice/Instagram)\u003c/figcaption>\u003c/figure>\n\u003cp>Ruben Flores greets a customer whose car he’s just modified at A1 Spring Service, a mechanic on the corner of MacArthur Boulevard and 98th Avenue.\u003c/p>\n\u003cp>This was -- and still is -- the go-to place to bring your car for modifications.\u003c/p>\n\u003cp>Flores, who went to Castlemont, the neighborhood high school, got the job straight out of school.\u003c/p>\n\u003cp>“The owner of the shop, he was losing a man, a mechanic, so he came down to the high school to ask about the auto shop program.”\u003c/p>\n\u003cp>Flores was hired on the spot, and he has been here ever since. Now he owns the place.\u003c/p>\n\u003cp>\"The first day of work became the longest day of work, 38 years later,” Flores says, laughing as he shakes his head. Those years have given Flores a passenger seat to car culture in Deep East Oakland. He confirms what Sean Kennedy told me-- that in the beginning, it wasn’t about souping up cars to go fast. “It was going lower,” Flores says. “Low and slow.”\u003c/p>\n\u003cp>Low and slow, Flores said, was a way to show off the beauty of your car. Flores said his shop became known for fixing up cars in a signature style.\u003c/p>\n\u003cp>“What A1 means, in the car culture,” Flores said, “is the stance is higher in the front and lower in the back. So they have that pointing --towards-the-moon type of look.”\u003c/p>\n\u003cp>Yakpasua Zazaboi said everyone knew about A1. “That was the place to go,” he said. “People would say, I have my car sitting A1, it was because of the name of the shop.”\u003c/p>\n\u003cp>But the sideshows began to change and evolve with time; they went from low and slow to fast and loose, with drivers performing tricks with increasing levels of difficulty and danger. The Oakland Police Department began to take notice.\u003c/p>\n\u003cp>Zazaboi says sideshows veered from “a nice slow cruising type of an event to a much faster speed, away-from-the-cops type of an event.”\u003c/p>\n\u003cp>\u003cstrong>Sideshows Run Into the Law\u003c/strong>\u003c/p>\n\u003cp>Everyone has a story about when and how things got out of hand. Zazaboi says it was when guys with cheap cars started doing doughnuts to get attention.\u003c/p>\n\u003cp>Sean Kennedy says it was when the new built-for-speed Mustangs came on the market in the 1980s.\u003c/p>\n\u003cp>Maybe it was the death of a young girl, in a police chase during a sideshow in the mid-'90s.\u003c/p>\n\u003cp>Whatever the exact moment, the crackdown by Oakland police and the city came quickly. New laws were introduced that let the city impound any car involved in a sideshow. Then came the 2005 ordinance, which allowed police to \u003ca href=\"http://www.sfgate.com/bayarea/article/OAKLAND-Council-votes-for-sideshow-crackdown-2655825.php\" target=\"_blank\">permanently confiscate\u003c/a> any car directly involved in a sideshow. According to Zazaboi, that made it personal, because the cars were not just painted pieces of metal to the men who drove them.\u003c/p>\n\u003cp>“Their car is an extension of their ego,” Zazaboi says of sideshow participants. “You take away their car, you kill their ego, and that is exactly what they did out here in Oakland.”\u003c/p>\n\u003cp>Sean Kennedy says that response complicated the already tense relationship between police and the community.\u003c/p>\n\u003cp>\"Does that create an animosity to the police?\" Kennedy asks. \"It becomes a war at that point. And then it becomes a situation where the rebellion is, 'We're going to have sideshows anyway.'\"\u003c/p>\n\u003cp>Both Kennedy and Zazaboi say that while local politicians criminalized the sideshow, local media demonized it, with story after story of violent, out-of-control youth taking over the streets.\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/FfuzDz9XCxc'\n title='//www.youtube.com/embed/FfuzDz9XCxc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Kennedy admits that bad stuff did go down, and there was by necessity a kind of nomadic, extra-legal element to the sideshows. People brought guns and sold drugs; sometimes fights broke out. And yes, young men acted stupid. But he says all that was just as likely to happen at a Raiders game.\u003c/p>\n\u003cp>Kennedy said despite all that, the sideshow did not breed criminal behavior. The bad behavior, he says, would have been on display with or without the sideshows. Kennedy believes the sideshows were targeted.\u003c/p>\n\u003cp>\"It's not about a car show,\" he says. \"At that point, it's about arresting black youth in Oakland.\"\u003c/p>\n\u003cp>He says the sideshow made it easy to paint East Oakland youth into an already-made stereotype: \"Young black kids who don’t have anything to do with their lives, out there playing around in these cars, carrying guns and selling drugs.”\u003c/p>\n\u003cp>\u003cstrong>Celebrating the Sideshow\u003c/strong>\u003c/p>\n\u003cp>What was lost in that narrative, Kennedy says, was the ingenuity of the sideshow: the mechanical skills it took to work on the cars, the driving skills it took to get them moving and dancing, the coordination to plan what are in essence the Bay Area's first pop-up events.\u003c/p>\n\u003cp>Kennedy acknowledges his perspective has changed with age. Now that he has a few years on him, he is a little more weary of making cars spin like whirling dervishes.\u003c/p>\n\u003cp>\"As much as I love sideshows,\" he says, \"it’s a dangerous culture when it comes to spinning around a half-a-ton vehicle with no barriers and people standing there.\"\u003c/p>\n\u003cp>That is why Kennedy, among others, supported a push to legalize sideshows that gained some ground in the late 2000s. The suggestion was to bring sideshows out of the shadows and turn them into neighborhood street parties. They could even make money, proponents argued.\u003c/p>\n\u003cp>But opponents, like Councilman Larry Reid, who represents Deep East Oakland, countered that it was folly for the city to sanction an illegal activity.\u003c/p>\n\u003cp>Reid says the sideshows slowed down for a bit, but in the last year they've once again become a regular weekend event. He said they take over the street every weekend from Friday to Sunday, around 106th and MacArthur. That is right by Foothill Square, where more than three decades ago, according to Sean Kennedy, sideshows began.\u003c/p>\n\u003cp>\"It is just crazy what the residents along the MacArthur corridor have to endure,\" Reid said. In the past few weeks, right here, there have been incidents, including \u003ca href=\"http://www.sfgate.com/news/article/Suspect-rams-CHP-officer-after-Oakland-sideshow-6447489.php\" target=\"_blank\">this past weekend\u003c/a> when a sideshow participant rammed into a California Highway Patrol car.\u003c/p>\n\u003cp>If you ask Yakpusau Zazaboi, he will say what is happening now is not even a real sideshow.\u003c/p>\n\u003cp>\"I break it down like this now,\" Zazaboi says. \"This is how you know it's a sideshow. If there are clean cars and women out there, you might have a sideshow. If it's a bunch of buckets and a whole bunch of dudes clowning around looking at each other -- you do not have sideshow.\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The definition of just what makes a sideshow is constantly in flux. Every generation has its own version, just like every sideshow has people who say it is either a criminal act or a space for the creation of culture. Maybe, just maybe, there is a little bit of both, hanging out at the sideshow.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Archive Preserves People’s Memories of South Asia’s Partition",
"title": "Archive Preserves People’s Memories of South Asia’s Partition",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>This weekend, Indians and Pakistanis around the world celebrate their country’s respective independence days. It’s been 68 years since the subcontinent was hastily divided along religious lines into \u003ca href=\"http://newsvote.bbc.co.uk/2/hi/south_asia/6924732.stm\" target=\"_blank\">two countries\u003c/a>.\u003c/p>\n\u003cp>People on both sides of the border share traumatic memories of partition. Now a new archive, located in Berkeley, is collecting the stories of people who lived through the partition.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/219660768\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>\u003ca href=\"https://www.youtube.com/watch?v=_5dyEjkzs_U\" target=\"_blank\">Ravi Chopra\u003c/a> shared his story as part of the archive. He says those kind of memories never fade away.\u003c/p>\n\u003cp>“You have played with them, you have lived with them, you have eaten together! And the same people [are] coming and burning your houses and killing you and looting everything,” Chopra says about the riots he witnessed in 1947.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Guneeta Singh Bhalla, founder of the \u003ca href=\"http://www.1947partitionarchive.org/\" target=\"_blank\">1947 Partition Archive\u003c/a>, says she grew up listening to her grandparents’ frightening tales of partition.\u003c/p>\n\u003cp>“My grandmother had told me harrowing stories of the train rides that they took to come to India,” Bhalla says. “Also at one point how [she said] she was in a jeep with her brother and they literally were having to drive over dead bodies.”\u003c/p>\n\u003cfigure id=\"attachment_10637014\" class=\"wp-caption aligncenter\" style=\"max-width: 924px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16297_Refugees_en_route_to_Pakistan-qut.jpg\">\u003cimg class=\"size-full wp-image-10637014\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16297_Refugees_en_route_to_Pakistan-qut.jpg\" alt=\"Millions of people were displaced from their ancestral homes as partition divided South Asia along religious lines. Many refugees took the harrowing journey via train.\" width=\"924\" height=\"690\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16297_Refugees_en_route_to_Pakistan-qut.jpg 924w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16297_Refugees_en_route_to_Pakistan-qut-400x299.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16297_Refugees_en_route_to_Pakistan-qut-800x597.jpg 800w\" sizes=\"(max-width: 924px) 100vw, 924px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Millions of people were displaced from their ancestral homes as partition divided South Asia along religious lines. Many refugees took the harrowing journey via train. \u003ccite>(Wikimedia Commons)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>About 15 million people were displaced during the partition, the largest mass migration of the 20th century. But at the time, western media praised it as a triumph of democracy.\u003c/p>\n\u003cp>Bhalla says she never even learned about partition in her high school history class. Years later, she took a trip to Hiroshima that inspired her.\u003c/p>\n\u003cp>“I saw the oral testimony archives there,” she explains. “For me it was sort of that moment, it clicked. It was like OH. Wow. \u003ci>This\u003c/i> is what we need to do. My grandmother needs to tell her own story.”\u003c/p>\n\u003cp>So she created the 1947 Partition Archive, in a small office in downtown Berkeley. In the last 4 years they’ve collected about 2,000 video and audio testimonies.They plan to publish them in a few years. Some people are telling their story for the first time, like \u003ca href=\"https://www.youtube.com/watch?v=Lcx6O2Fltrc\" target=\"_blank\">Ali Shan\u003c/a>.\u003c/p>\n\u003cp>He was 6 years old in 1947. His life changed when a mob attacked his ancestral town, near the newly created India/Pakistan border. In his video testimony as he struggles to tell his story, its evident that the memories still haunt him.\u003c/p>\n\u003cp>“I was standing there not knowing what's happening. He, the gunman, was only about 10 feet away,” Shan says, with a shake in his voice. “You know, he shot at me few times. Every time he missed. So I start running.”\u003c/p>\n\u003cp>During that attack, Shan saw his mother and brother murdered and he was orphaned. It was months before he was reunited with some distant relatives. They already crossed the border into Pakistan.\u003c/p>\n\u003cfigure id=\"attachment_10637015\" class=\"wp-caption alignright\" style=\"max-width: 923px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16298_Lord_Mountbatten_visits_Punjabi_riot_scenes-qut.jpg\">\u003cimg class=\"size-full wp-image-10637015\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16298_Lord_Mountbatten_visits_Punjabi_riot_scenes-qut.jpg\" alt=\"British officials visit a scene from the Punjab riots. The province of Punjab was split in two during partition and in the aftermath had some of the most violent riots.\" width=\"923\" height=\"784\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16298_Lord_Mountbatten_visits_Punjabi_riot_scenes-qut.jpg 923w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16298_Lord_Mountbatten_visits_Punjabi_riot_scenes-qut-400x340.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16298_Lord_Mountbatten_visits_Punjabi_riot_scenes-qut-800x680.jpg 800w\" sizes=\"(max-width: 923px) 100vw, 923px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">British officials visit a scene from the Punjab riots. The province of Punjab was split in two during partition and in the aftermath had some of the most violent riots. \u003ccite>(Wikimedia Commons)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“When you don’t have a mother, father, and your own home and family, all the relatives are there to help you, but its not the same, it never was,” Shan says.\u003c/p>\n\u003cp>The archive has dispatched volunteers, called citizen historians, to record these stories. Most stories come from people in India, Pakistan and Bangladesh. But many come from South Asians living in the U.S.\u003c/p>\n\u003cp>An event at Santa Clara University spread the word about the archive among the South Asian community here. As witnesses told their stories, a packed audience hung on their every word.\u003c/p>\n\u003cp>Bhalla says hearing these first hand accounts inspires others to share their stories.\u003c/p>\n\u003cp>“Because partition has been at the crux of so much politics in South Asia and even war that a lot of that memory has been sort of shoved under the carpet,” she says. “Maybe not on purpose, maybe that's just been the circumstance. But yeah, the people haven't had an opportunity to share their stories and that's the gap that we're trying to fill.”\u003c/p>\n\u003cp>Bhalla says she regrets that she never got the chance to record her grandmother’s story. And time is running out for other survivors.\u003c/p>\n\u003cp>“Those who experienced partition as teenagers are in their 80s today. And those who were young adults are in their 90s and over 100,” Bhalla says. “So there's a really huge urgency in getting these stories recorded as fast as possible.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The archive wants 8,000 more stories recorded by 2017, the 70th anniversary of partition, while witnesses are still alive.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This weekend, Indians and Pakistanis around the world celebrate their country’s respective independence days. It’s been 68 years since the subcontinent was hastily divided along religious lines into \u003ca href=\"http://newsvote.bbc.co.uk/2/hi/south_asia/6924732.stm\" target=\"_blank\">two countries\u003c/a>.\u003c/p>\n\u003cp>People on both sides of the border share traumatic memories of partition. Now a new archive, located in Berkeley, is collecting the stories of people who lived through the partition.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/219660768&visual=true&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false'\n title='https://api.soundcloud.com/tracks/219660768'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.youtube.com/watch?v=_5dyEjkzs_U\" target=\"_blank\">Ravi Chopra\u003c/a> shared his story as part of the archive. He says those kind of memories never fade away.\u003c/p>\n\u003cp>“You have played with them, you have lived with them, you have eaten together! And the same people [are] coming and burning your houses and killing you and looting everything,” Chopra says about the riots he witnessed in 1947.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Guneeta Singh Bhalla, founder of the \u003ca href=\"http://www.1947partitionarchive.org/\" target=\"_blank\">1947 Partition Archive\u003c/a>, says she grew up listening to her grandparents’ frightening tales of partition.\u003c/p>\n\u003cp>“My grandmother had told me harrowing stories of the train rides that they took to come to India,” Bhalla says. “Also at one point how [she said] she was in a jeep with her brother and they literally were having to drive over dead bodies.”\u003c/p>\n\u003cfigure id=\"attachment_10637014\" class=\"wp-caption aligncenter\" style=\"max-width: 924px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16297_Refugees_en_route_to_Pakistan-qut.jpg\">\u003cimg class=\"size-full wp-image-10637014\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16297_Refugees_en_route_to_Pakistan-qut.jpg\" alt=\"Millions of people were displaced from their ancestral homes as partition divided South Asia along religious lines. Many refugees took the harrowing journey via train.\" width=\"924\" height=\"690\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16297_Refugees_en_route_to_Pakistan-qut.jpg 924w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16297_Refugees_en_route_to_Pakistan-qut-400x299.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16297_Refugees_en_route_to_Pakistan-qut-800x597.jpg 800w\" sizes=\"(max-width: 924px) 100vw, 924px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Millions of people were displaced from their ancestral homes as partition divided South Asia along religious lines. Many refugees took the harrowing journey via train. \u003ccite>(Wikimedia Commons)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>About 15 million people were displaced during the partition, the largest mass migration of the 20th century. But at the time, western media praised it as a triumph of democracy.\u003c/p>\n\u003cp>Bhalla says she never even learned about partition in her high school history class. Years later, she took a trip to Hiroshima that inspired her.\u003c/p>\n\u003cp>“I saw the oral testimony archives there,” she explains. “For me it was sort of that moment, it clicked. It was like OH. Wow. \u003ci>This\u003c/i> is what we need to do. My grandmother needs to tell her own story.”\u003c/p>\n\u003cp>So she created the 1947 Partition Archive, in a small office in downtown Berkeley. In the last 4 years they’ve collected about 2,000 video and audio testimonies.They plan to publish them in a few years. Some people are telling their story for the first time, like \u003ca href=\"https://www.youtube.com/watch?v=Lcx6O2Fltrc\" target=\"_blank\">Ali Shan\u003c/a>.\u003c/p>\n\u003cp>He was 6 years old in 1947. His life changed when a mob attacked his ancestral town, near the newly created India/Pakistan border. In his video testimony as he struggles to tell his story, its evident that the memories still haunt him.\u003c/p>\n\u003cp>“I was standing there not knowing what's happening. He, the gunman, was only about 10 feet away,” Shan says, with a shake in his voice. “You know, he shot at me few times. Every time he missed. So I start running.”\u003c/p>\n\u003cp>During that attack, Shan saw his mother and brother murdered and he was orphaned. It was months before he was reunited with some distant relatives. They already crossed the border into Pakistan.\u003c/p>\n\u003cfigure id=\"attachment_10637015\" class=\"wp-caption alignright\" style=\"max-width: 923px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16298_Lord_Mountbatten_visits_Punjabi_riot_scenes-qut.jpg\">\u003cimg class=\"size-full wp-image-10637015\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16298_Lord_Mountbatten_visits_Punjabi_riot_scenes-qut.jpg\" alt=\"British officials visit a scene from the Punjab riots. The province of Punjab was split in two during partition and in the aftermath had some of the most violent riots.\" width=\"923\" height=\"784\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16298_Lord_Mountbatten_visits_Punjabi_riot_scenes-qut.jpg 923w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16298_Lord_Mountbatten_visits_Punjabi_riot_scenes-qut-400x340.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16298_Lord_Mountbatten_visits_Punjabi_riot_scenes-qut-800x680.jpg 800w\" sizes=\"(max-width: 923px) 100vw, 923px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">British officials visit a scene from the Punjab riots. The province of Punjab was split in two during partition and in the aftermath had some of the most violent riots. \u003ccite>(Wikimedia Commons)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“When you don’t have a mother, father, and your own home and family, all the relatives are there to help you, but its not the same, it never was,” Shan says.\u003c/p>\n\u003cp>The archive has dispatched volunteers, called citizen historians, to record these stories. Most stories come from people in India, Pakistan and Bangladesh. But many come from South Asians living in the U.S.\u003c/p>\n\u003cp>An event at Santa Clara University spread the word about the archive among the South Asian community here. As witnesses told their stories, a packed audience hung on their every word.\u003c/p>\n\u003cp>Bhalla says hearing these first hand accounts inspires others to share their stories.\u003c/p>\n\u003cp>“Because partition has been at the crux of so much politics in South Asia and even war that a lot of that memory has been sort of shoved under the carpet,” she says. “Maybe not on purpose, maybe that's just been the circumstance. But yeah, the people haven't had an opportunity to share their stories and that's the gap that we're trying to fill.”\u003c/p>\n\u003cp>Bhalla says she regrets that she never got the chance to record her grandmother’s story. And time is running out for other survivors.\u003c/p>\n\u003cp>“Those who experienced partition as teenagers are in their 80s today. And those who were young adults are in their 90s and over 100,” Bhalla says. “So there's a really huge urgency in getting these stories recorded as fast as possible.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The archive wants 8,000 more stories recorded by 2017, the 70th anniversary of partition, while witnesses are still alive.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Rediscovering L.A. Through Old Restaurant Menus",
"title": "Rediscovering L.A. Through Old Restaurant Menus",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>Los Angeles has a rich culinary history, due to the waves of immigrants who settled in Southern California and brought their food traditions with them. The restaurants they opened can tell us a lot about how people use food to shape their own identities of community, culture and class. A new book and exhibit of old LA restaurant menus reveals how the city has evolved, through food.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/219661319\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>The Library Foundation of Los Angeles is presenting the exhibit, called “\u003ca href=\"http://toliveanddinela.com/\">To Live and Dine in L.A.: Menus and the Making of the Modern City\u003c/a>,” in the Getty Gallery at the Los Angeles Central Library until Nov. 13. There’s also a new coffee table book of the same name. It’s written by \u003ca href=\"http://annenberg.usc.edu/faculty/communication-journalism/josh-kun\">Josh Kun\u003c/a>, an associate professor at the University of Southern California.\u003c/p>\n\u003cp>“So much of what we try to do in the book is use restaurants as a way to think about the kind of layered histories of Los Angeles,\" Kun says, \"what’s been built over constantly, whose stories have been erased to build new stories on top of those, how every single space that we enter bears the traces of all the spaces that came before it.\"\u003c/p>\n\u003cfigure id=\"attachment_10643254\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16358_GoldenPagoda_MenuFront-LDLApg159-qut-1_RESIZED.jpg\">\u003cimg class=\"size-full wp-image-10643254\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16358_GoldenPagoda_MenuFront-LDLApg159-qut-1_RESIZED.jpg\" alt=\"Menu cover from the Golden Pagoda restaurant.\" width=\"1920\" height=\"3015\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16358_GoldenPagoda_MenuFront-LDLApg159-qut-1_RESIZED.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16358_GoldenPagoda_MenuFront-LDLApg159-qut-1_RESIZED-400x628.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16358_GoldenPagoda_MenuFront-LDLApg159-qut-1_RESIZED-800x1256.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16358_GoldenPagoda_MenuFront-LDLApg159-qut-1_RESIZED-1440x2261.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16358_GoldenPagoda_MenuFront-LDLApg159-qut-1_RESIZED-1180x1853.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16358_GoldenPagoda_MenuFront-LDLApg159-qut-1_RESIZED-960x1508.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Menu cover from the Golden Pagoda restaurant. \u003ccite>(The Library Foundation of Los Angeles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_10643259\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16356_GoldenPagoda_MenuInteriorAutographs-LDLA-qut_RESIZED.jpg\">\u003cimg class=\"wp-image-10643259 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16356_GoldenPagoda_MenuInteriorAutographs-LDLA-qut_RESIZED.jpg\" alt=\"RS16356_GoldenPagoda_MenuInteriorAutographs-LDLA-qut_RESIZED\" width=\"1920\" height=\"1512\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16356_GoldenPagoda_MenuInteriorAutographs-LDLA-qut_RESIZED.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16356_GoldenPagoda_MenuInteriorAutographs-LDLA-qut_RESIZED-400x315.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16356_GoldenPagoda_MenuInteriorAutographs-LDLA-qut_RESIZED-800x630.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16356_GoldenPagoda_MenuInteriorAutographs-LDLA-qut_RESIZED-1440x1134.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16356_GoldenPagoda_MenuInteriorAutographs-LDLA-qut_RESIZED-1180x929.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16356_GoldenPagoda_MenuInteriorAutographs-LDLA-qut_RESIZED-960x756.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Autographs fill the Golden Pagoda menu. \u003ccite>(The Library Foundation of Los Angeles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Evan Kleiman, a chef and the host of KCRW’s weekly radio show \u003ca href=\"http://www.kcrw.com/news-culture/shows/good-food\">Good Food\u003c/a>, remembers one such restaurant from her childhood.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It was called \u003ca href=\"http://www.ebay.com/itm/Matchbook-Cover-Casa-De-Ibarra-Los-Angeles-CA-Mexican-Food/400970592084?_trksid=p2047675.c100011.m1850&_trkparms=aid%3D222007%26algo%3DSIC.MBE%26ao%3D1%26asc%3D29981%26meid%3D0c126acd1eb4490aa684a12653694f2a%26pid%3D100011%26rk%3D2%26rkt%3D10%26sd%3D121690843142\">Casa de Ibarra\u003c/a>,\" she recalls. \"And it was the place where I learned how to tuck my leftover food into a flour tortilla and roll it up. One of the waiters there taught me.\"\u003c/p>\n\u003cp>Now it’s a hipster taqueria called \u003ca href=\"http://www.diablotaco.com/\">Diablo Urban Taco Fabricator\u003c/a>.\u003c/p>\n\u003cp>“And before that, when I was a teenager, it was a place called Temple of the Rainbow, where I learned how to make carrot smoothies and bake bread that weighed 20 pounds per loaf,” Kleiman says.\u003c/p>\n\u003cp>Photos from the library’s archives of old LA restaurants line the walls of the exhibit. The photos include fancy French restaurants and taco trucks, and such establishments as Forbidden Palace Chinese Food, Daddy Grants Old Time Pit Barbecue, and Don the Beachcomber’s tiki bar.\u003c/p>\n\u003cp>The menus are a feast for the eyes. There are about 50 of them housed in glass display cases, and about 200 in the book. They have old-timey letterpress fonts, vintage illustrations, and list offerings like avocado filled with fresh seafood and Thousand Island dressing. They were pulled from the LA Public Library’s collection of 12,000 menus.\u003c/p>\n\u003cp>“Menus tell a story of a city,\" says John Szabo, the city librarian of the Los Angeles Public Library. \"And to know LA, you need to know food in LA, and you need to know about dining in LA, and that’s one of the things that our menu collection does.\"\u003c/p>\n\u003cp>At the outset, Kun reached out to chefs to collaborate on the project, including \u003ca href=\"http://kogibbq.com/\">Kogi\u003c/a> founder Roy Choi. The exhibit includes video screens playing interviews with some of those chefs, including Bricia Lopez of Guelaguetza, and Cynthia Hawkins, owner of Hawkins House of Burgers in Watts.\u003c/p>\n\u003cp>“There’s not that many places you can eat really good quality food in Watts. I’m just being honest with you,” Hawkins \u003ca href=\"https://vimeo.com/130594078\">says in the video\u003c/a>. “Maybe a good restaurant would come here, but it’s really sad to say that there’s not that many places in Watts that people can eat really good, quality food, and that’s so sad.”\u003c/p>\n\u003cp>That’s one of the themes of the project: food inequality. Los Angeles County has more people who lack access to healthy food than \u003ca href=\"http://www.publichealth.lacounty.gov/ha/reports/LAHealthBrief2011/FoodInsecurity/Food_Insecurity_2015Fs.pdf\">any other county\u003c/a> in the U.S. And as rising rent prices push immigrant families out of some neighborhoods, Kun says new restaurants mark those changes.\u003c/p>\n\u003cp>“If a restaurant can open up in a working class neighborhood with $25 appetizers and survive, what does that mean?\" Kun asks. \"It sends a message that, like, hey, it’s OK, come on in, water’s warm, and opens the floodgates in a lot of ways.”\u003c/p>\n\u003cp>Take Grand Central Market in downtown LA. It’s a food court where \u003ca href=\"http://www.laweekly.com/restaurants/at-grand-central-market-a-new-wave-of-vendors-is-changing-up-an-la-mainstay-5016013\">a lot of upscale places\u003c/a> are opening up, including a juice bar, an oyster bar and a fancy cheese shop.\u003c/p>\n\u003cp>“You know, I don’t really like to call it gentrified because I don’t think that’s what it is. It’s not coming to a neighborhood that didn’t have this kind of history,” says Micah Wexler, owner of Wexler’s Deli. “Downtown was at one time a very vibrant, celebrated place, and we’re trying to bring it back to that.”\u003c/p>\n\u003cfigure id=\"attachment_10643427\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16359_BrownDerby_LuncheonMenu-LDLApg068-qut_RESIZED1.jpg\">\u003cimg class=\"size-full wp-image-10643427\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16359_BrownDerby_LuncheonMenu-LDLApg068-qut_RESIZED1.jpg\" alt=\"Menu cover from the Brown Derby restaurant.\" width=\"1920\" height=\"2504\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16359_BrownDerby_LuncheonMenu-LDLApg068-qut_RESIZED1.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16359_BrownDerby_LuncheonMenu-LDLApg068-qut_RESIZED1-400x522.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16359_BrownDerby_LuncheonMenu-LDLApg068-qut_RESIZED1-800x1043.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16359_BrownDerby_LuncheonMenu-LDLApg068-qut_RESIZED1-1440x1878.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16359_BrownDerby_LuncheonMenu-LDLApg068-qut_RESIZED1-1180x1539.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16359_BrownDerby_LuncheonMenu-LDLApg068-qut_RESIZED1-960x1252.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Menu cover from the Brown Derby restaurant. \u003ccite>(The Library Foundation of Los Angeles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_10643429\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16360_BrownDerby_17Sep1953-LDLApg021-qut_RESIZED.jpg\">\u003cimg class=\"size-full wp-image-10643429\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16360_BrownDerby_17Sep1953-LDLApg021-qut_RESIZED.jpg\" alt=\"A Brown Derby menu from September 1953.\" width=\"1920\" height=\"1230\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16360_BrownDerby_17Sep1953-LDLApg021-qut_RESIZED.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16360_BrownDerby_17Sep1953-LDLApg021-qut_RESIZED-400x256.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16360_BrownDerby_17Sep1953-LDLApg021-qut_RESIZED-800x513.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16360_BrownDerby_17Sep1953-LDLApg021-qut_RESIZED-1440x923.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16360_BrownDerby_17Sep1953-LDLApg021-qut_RESIZED-1180x756.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16360_BrownDerby_17Sep1953-LDLApg021-qut_RESIZED-960x615.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A Brown Derby menu from September 1953. \u003ccite>(The Library Foundation of Los Angeles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For the book, Kun invited chefs to “remix” old menus and give them a modern spin. Wexler chose the menu for a 1931 banquet to honor Albert Einstein at the Ambassador Hotel, featuring an item called “Chicken Saute Ambassador.” Wexler had to research how such a dish would have been prepared. Turns out, it was served in a white wine cream sauce.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In the exhibit there’s also a pile of blank menus on which visitors can describe their version of Los Angeles in a meal. Kun says he knew that given the scope of this project, it would be impossible to represent every story in the history of food in LA. These crowd-sourced menus are his effort to let people of all backgrounds leave their own mark on this story. And it shows that the food of LA continues to evolve, just like the city itself.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Los Angeles has a rich culinary history, due to the waves of immigrants who settled in Southern California and brought their food traditions with them. The restaurants they opened can tell us a lot about how people use food to shape their own identities of community, culture and class. A new book and exhibit of old LA restaurant menus reveals how the city has evolved, through food.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/219661319&visual=true&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false'\n title='https://api.soundcloud.com/tracks/219661319'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The Library Foundation of Los Angeles is presenting the exhibit, called “\u003ca href=\"http://toliveanddinela.com/\">To Live and Dine in L.A.: Menus and the Making of the Modern City\u003c/a>,” in the Getty Gallery at the Los Angeles Central Library until Nov. 13. There’s also a new coffee table book of the same name. It’s written by \u003ca href=\"http://annenberg.usc.edu/faculty/communication-journalism/josh-kun\">Josh Kun\u003c/a>, an associate professor at the University of Southern California.\u003c/p>\n\u003cp>“So much of what we try to do in the book is use restaurants as a way to think about the kind of layered histories of Los Angeles,\" Kun says, \"what’s been built over constantly, whose stories have been erased to build new stories on top of those, how every single space that we enter bears the traces of all the spaces that came before it.\"\u003c/p>\n\u003cfigure id=\"attachment_10643254\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16358_GoldenPagoda_MenuFront-LDLApg159-qut-1_RESIZED.jpg\">\u003cimg class=\"size-full wp-image-10643254\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16358_GoldenPagoda_MenuFront-LDLApg159-qut-1_RESIZED.jpg\" alt=\"Menu cover from the Golden Pagoda restaurant.\" width=\"1920\" height=\"3015\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16358_GoldenPagoda_MenuFront-LDLApg159-qut-1_RESIZED.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16358_GoldenPagoda_MenuFront-LDLApg159-qut-1_RESIZED-400x628.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16358_GoldenPagoda_MenuFront-LDLApg159-qut-1_RESIZED-800x1256.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16358_GoldenPagoda_MenuFront-LDLApg159-qut-1_RESIZED-1440x2261.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16358_GoldenPagoda_MenuFront-LDLApg159-qut-1_RESIZED-1180x1853.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16358_GoldenPagoda_MenuFront-LDLApg159-qut-1_RESIZED-960x1508.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Menu cover from the Golden Pagoda restaurant. \u003ccite>(The Library Foundation of Los Angeles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_10643259\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16356_GoldenPagoda_MenuInteriorAutographs-LDLA-qut_RESIZED.jpg\">\u003cimg class=\"wp-image-10643259 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16356_GoldenPagoda_MenuInteriorAutographs-LDLA-qut_RESIZED.jpg\" alt=\"RS16356_GoldenPagoda_MenuInteriorAutographs-LDLA-qut_RESIZED\" width=\"1920\" height=\"1512\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16356_GoldenPagoda_MenuInteriorAutographs-LDLA-qut_RESIZED.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16356_GoldenPagoda_MenuInteriorAutographs-LDLA-qut_RESIZED-400x315.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16356_GoldenPagoda_MenuInteriorAutographs-LDLA-qut_RESIZED-800x630.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16356_GoldenPagoda_MenuInteriorAutographs-LDLA-qut_RESIZED-1440x1134.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16356_GoldenPagoda_MenuInteriorAutographs-LDLA-qut_RESIZED-1180x929.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16356_GoldenPagoda_MenuInteriorAutographs-LDLA-qut_RESIZED-960x756.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Autographs fill the Golden Pagoda menu. \u003ccite>(The Library Foundation of Los Angeles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Evan Kleiman, a chef and the host of KCRW’s weekly radio show \u003ca href=\"http://www.kcrw.com/news-culture/shows/good-food\">Good Food\u003c/a>, remembers one such restaurant from her childhood.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It was called \u003ca href=\"http://www.ebay.com/itm/Matchbook-Cover-Casa-De-Ibarra-Los-Angeles-CA-Mexican-Food/400970592084?_trksid=p2047675.c100011.m1850&_trkparms=aid%3D222007%26algo%3DSIC.MBE%26ao%3D1%26asc%3D29981%26meid%3D0c126acd1eb4490aa684a12653694f2a%26pid%3D100011%26rk%3D2%26rkt%3D10%26sd%3D121690843142\">Casa de Ibarra\u003c/a>,\" she recalls. \"And it was the place where I learned how to tuck my leftover food into a flour tortilla and roll it up. One of the waiters there taught me.\"\u003c/p>\n\u003cp>Now it’s a hipster taqueria called \u003ca href=\"http://www.diablotaco.com/\">Diablo Urban Taco Fabricator\u003c/a>.\u003c/p>\n\u003cp>“And before that, when I was a teenager, it was a place called Temple of the Rainbow, where I learned how to make carrot smoothies and bake bread that weighed 20 pounds per loaf,” Kleiman says.\u003c/p>\n\u003cp>Photos from the library’s archives of old LA restaurants line the walls of the exhibit. The photos include fancy French restaurants and taco trucks, and such establishments as Forbidden Palace Chinese Food, Daddy Grants Old Time Pit Barbecue, and Don the Beachcomber’s tiki bar.\u003c/p>\n\u003cp>The menus are a feast for the eyes. There are about 50 of them housed in glass display cases, and about 200 in the book. They have old-timey letterpress fonts, vintage illustrations, and list offerings like avocado filled with fresh seafood and Thousand Island dressing. They were pulled from the LA Public Library’s collection of 12,000 menus.\u003c/p>\n\u003cp>“Menus tell a story of a city,\" says John Szabo, the city librarian of the Los Angeles Public Library. \"And to know LA, you need to know food in LA, and you need to know about dining in LA, and that’s one of the things that our menu collection does.\"\u003c/p>\n\u003cp>At the outset, Kun reached out to chefs to collaborate on the project, including \u003ca href=\"http://kogibbq.com/\">Kogi\u003c/a> founder Roy Choi. The exhibit includes video screens playing interviews with some of those chefs, including Bricia Lopez of Guelaguetza, and Cynthia Hawkins, owner of Hawkins House of Burgers in Watts.\u003c/p>\n\u003cp>“There’s not that many places you can eat really good quality food in Watts. I’m just being honest with you,” Hawkins \u003ca href=\"https://vimeo.com/130594078\">says in the video\u003c/a>. “Maybe a good restaurant would come here, but it’s really sad to say that there’s not that many places in Watts that people can eat really good, quality food, and that’s so sad.”\u003c/p>\n\u003cp>That’s one of the themes of the project: food inequality. Los Angeles County has more people who lack access to healthy food than \u003ca href=\"http://www.publichealth.lacounty.gov/ha/reports/LAHealthBrief2011/FoodInsecurity/Food_Insecurity_2015Fs.pdf\">any other county\u003c/a> in the U.S. And as rising rent prices push immigrant families out of some neighborhoods, Kun says new restaurants mark those changes.\u003c/p>\n\u003cp>“If a restaurant can open up in a working class neighborhood with $25 appetizers and survive, what does that mean?\" Kun asks. \"It sends a message that, like, hey, it’s OK, come on in, water’s warm, and opens the floodgates in a lot of ways.”\u003c/p>\n\u003cp>Take Grand Central Market in downtown LA. It’s a food court where \u003ca href=\"http://www.laweekly.com/restaurants/at-grand-central-market-a-new-wave-of-vendors-is-changing-up-an-la-mainstay-5016013\">a lot of upscale places\u003c/a> are opening up, including a juice bar, an oyster bar and a fancy cheese shop.\u003c/p>\n\u003cp>“You know, I don’t really like to call it gentrified because I don’t think that’s what it is. It’s not coming to a neighborhood that didn’t have this kind of history,” says Micah Wexler, owner of Wexler’s Deli. “Downtown was at one time a very vibrant, celebrated place, and we’re trying to bring it back to that.”\u003c/p>\n\u003cfigure id=\"attachment_10643427\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16359_BrownDerby_LuncheonMenu-LDLApg068-qut_RESIZED1.jpg\">\u003cimg class=\"size-full wp-image-10643427\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16359_BrownDerby_LuncheonMenu-LDLApg068-qut_RESIZED1.jpg\" alt=\"Menu cover from the Brown Derby restaurant.\" width=\"1920\" height=\"2504\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16359_BrownDerby_LuncheonMenu-LDLApg068-qut_RESIZED1.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16359_BrownDerby_LuncheonMenu-LDLApg068-qut_RESIZED1-400x522.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16359_BrownDerby_LuncheonMenu-LDLApg068-qut_RESIZED1-800x1043.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16359_BrownDerby_LuncheonMenu-LDLApg068-qut_RESIZED1-1440x1878.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16359_BrownDerby_LuncheonMenu-LDLApg068-qut_RESIZED1-1180x1539.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16359_BrownDerby_LuncheonMenu-LDLApg068-qut_RESIZED1-960x1252.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Menu cover from the Brown Derby restaurant. \u003ccite>(The Library Foundation of Los Angeles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_10643429\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16360_BrownDerby_17Sep1953-LDLApg021-qut_RESIZED.jpg\">\u003cimg class=\"size-full wp-image-10643429\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16360_BrownDerby_17Sep1953-LDLApg021-qut_RESIZED.jpg\" alt=\"A Brown Derby menu from September 1953.\" width=\"1920\" height=\"1230\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16360_BrownDerby_17Sep1953-LDLApg021-qut_RESIZED.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16360_BrownDerby_17Sep1953-LDLApg021-qut_RESIZED-400x256.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16360_BrownDerby_17Sep1953-LDLApg021-qut_RESIZED-800x513.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16360_BrownDerby_17Sep1953-LDLApg021-qut_RESIZED-1440x923.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16360_BrownDerby_17Sep1953-LDLApg021-qut_RESIZED-1180x756.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16360_BrownDerby_17Sep1953-LDLApg021-qut_RESIZED-960x615.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A Brown Derby menu from September 1953. \u003ccite>(The Library Foundation of Los Angeles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For the book, Kun invited chefs to “remix” old menus and give them a modern spin. Wexler chose the menu for a 1931 banquet to honor Albert Einstein at the Ambassador Hotel, featuring an item called “Chicken Saute Ambassador.” Wexler had to research how such a dish would have been prepared. Turns out, it was served in a white wine cream sauce.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In the exhibit there’s also a pile of blank menus on which visitors can describe their version of Los Angeles in a meal. Kun says he knew that given the scope of this project, it would be impossible to represent every story in the history of food in LA. These crowd-sourced menus are his effort to let people of all backgrounds leave their own mark on this story. And it shows that the food of LA continues to evolve, just like the city itself.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Artist Sues Oakland Auto Dealer Over Mural's Removal",
"headTitle": "Artist Sues Oakland Auto Dealer Over Mural’s Removal | KQED",
"content": "\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/219125229″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>Who controls the fate of a mural decades after its painted? What happens if the building’s renter completely covers it with white paint, but only after the art has been badly tagged by graffiti?\u003c/p>\n\u003cp>The answers to those questions may be provided by a federal court if muralist \u003ca href=\"https://www.facebook.com/dan.fontes.5\" target=\"_blank\" rel=\"noopener\">Dan Fontes \u003c/a>has his way. Fontes is seeking $400,000 in damages from the current and former operators of \u003ca href=\"http://www.autocomnissanofoakland.com/?gclid=CL7OyuempMcCFViRfgodIgIG5w\" target=\"_blank\" rel=\"noopener\">Autocom Nissan \u003c/a>at Broadway and 27th Streets in Oakland.\u003c/p>\n\u003cp>Fontes finished painting the mural in 1987, after receiving a $35,000 commission. It was eye-catching. Almost 90 feet long and more than 20 feet tall, the piece showed an idyllic Oakland landscape—puffy clouds in a blue sky, reflected in a blue Lake Merritt, ruffled by the wind.\u003c/p>\n\u003cp>“This is Dan Fontes’ baby,” said intellectual property attorney \u003ca href=\"http://www.50balmy.com/about/brooke-oliver/\" target=\"_blank\" rel=\"noopener\">Brooke Oliver\u003c/a>, who represents Fontes in the lawsuit. “It’s his best work. And it’s hard to imagine how anyone can look at a piece of art like that and just want to paint it out.”\u003c/p>\n\u003cfigure id=\"attachment_10892445\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/IMG_461007193.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10892445 size-large\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/IMG_461007193-1180x885.jpg\" alt=\"The white wall where the mural used to be at Autocom Nissan in Oakland.\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_461007193-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_461007193-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_461007193-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_461007193-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_461007193-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The white wall where the mural used to be at Autocom Nissan in Oakland. \u003ccite>(Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Oliver argues that when the dealership painted over the mural in 2013, they violated the \u003ca href=\"https://www.law.cornell.edu/uscode/text/17/106A\" target=\"_blank\" rel=\"noopener\">U.S. Visual Artist Rights Act (VARA)\u003c/a>, a law dating back to 1990. Among other things, the law requires a building owner to give an artist a 90-day notice before the mural is removed or painted over, so the artist can take back or at least document the work.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Managers at the dealership had no comment Tuesday. But Jose Perez, an officer of the dealership, wrote a letter to Oliver more than a year ago explaining why he decided to whitewash the wall.\u003c/p>\n\u003cp>Perez wrote that he told the landlord, the former dealership owner, and the city of Oakland of his intention to paint over the mural, and that the three failed to tell him of any legal obligation to inform Fontes of his plans. Perez also wrote that he decided to paint over the mural because it was “in bad shape… desecrated by graffiti,” with “only a fragment of the mural” still visible.\u003c/p>\n\u003cp>Perez also wrote that he is “saddened by the loss of the ‘Lake Merritt Mural,’ and my condolences go out to Mr. Fontes.”\u003c/p>\n\u003cp>But Oliver said Fontes had anticipated that the mural might get tagged, and had used special hundred year paints that would stand up to cleanings and repair.\u003c/p>\n\u003cp>Under VARA, Oliver says Fontes has “a strong claim for negligent conservation of the mural. When a work of fine art is tagged or damaged, the appropriate and legal duty of the building owner is to conserve it properly using a conservator. It doesn’t include just painting it over.”\u003c/p>\n\u003cp>VARA clearly protects artwork done after 1990, when the law was passed. Oliver recently won a \u003ca href=\"http://www.santacruzsentinel.com/arts-and-entertainment/20150807/santa-cruz-owes-30k-apology-in-beach-flats-mural-whitewashing-suit\" target=\"_blank\" rel=\"noopener\">$30,000 settlement and an apology from the city of Santa Cruz for artist Victor Cervantes\u003c/a>, after the city painted over a mural he did in 1993 at a Beach Flats public park.\u003c/p>\n\u003cp>Fontes’ Lake Merritt mural was finished in 1987, before VARA was passed. But Oliver argues VARA protects older murals where title has never been transferred by the artist to anyone else.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“And this mural,” she said, “has never been sold.”\u003c/p>\n\n",
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"excerpt": "Local artist Dan Fontes is suing an Oakland car dealership for painting over his Lake Merritt mural without any warning.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/219125229″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/219125229″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Who controls the fate of a mural decades after its painted? What happens if the building’s renter completely covers it with white paint, but only after the art has been badly tagged by graffiti?\u003c/p>\n\u003cp>The answers to those questions may be provided by a federal court if muralist \u003ca href=\"https://www.facebook.com/dan.fontes.5\" target=\"_blank\" rel=\"noopener\">Dan Fontes \u003c/a>has his way. Fontes is seeking $400,000 in damages from the current and former operators of \u003ca href=\"http://www.autocomnissanofoakland.com/?gclid=CL7OyuempMcCFViRfgodIgIG5w\" target=\"_blank\" rel=\"noopener\">Autocom Nissan \u003c/a>at Broadway and 27th Streets in Oakland.\u003c/p>\n\u003cp>Fontes finished painting the mural in 1987, after receiving a $35,000 commission. It was eye-catching. Almost 90 feet long and more than 20 feet tall, the piece showed an idyllic Oakland landscape—puffy clouds in a blue sky, reflected in a blue Lake Merritt, ruffled by the wind.\u003c/p>\n\u003cp>“This is Dan Fontes’ baby,” said intellectual property attorney \u003ca href=\"http://www.50balmy.com/about/brooke-oliver/\" target=\"_blank\" rel=\"noopener\">Brooke Oliver\u003c/a>, who represents Fontes in the lawsuit. “It’s his best work. And it’s hard to imagine how anyone can look at a piece of art like that and just want to paint it out.”\u003c/p>\n\u003cfigure id=\"attachment_10892445\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/IMG_461007193.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10892445 size-large\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/IMG_461007193-1180x885.jpg\" alt=\"The white wall where the mural used to be at Autocom Nissan in Oakland.\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_461007193-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_461007193-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_461007193-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_461007193-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_461007193-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The white wall where the mural used to be at Autocom Nissan in Oakland. \u003ccite>(Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Oliver argues that when the dealership painted over the mural in 2013, they violated the \u003ca href=\"https://www.law.cornell.edu/uscode/text/17/106A\" target=\"_blank\" rel=\"noopener\">U.S. Visual Artist Rights Act (VARA)\u003c/a>, a law dating back to 1990. Among other things, the law requires a building owner to give an artist a 90-day notice before the mural is removed or painted over, so the artist can take back or at least document the work.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Managers at the dealership had no comment Tuesday. But Jose Perez, an officer of the dealership, wrote a letter to Oliver more than a year ago explaining why he decided to whitewash the wall.\u003c/p>\n\u003cp>Perez wrote that he told the landlord, the former dealership owner, and the city of Oakland of his intention to paint over the mural, and that the three failed to tell him of any legal obligation to inform Fontes of his plans. Perez also wrote that he decided to paint over the mural because it was “in bad shape… desecrated by graffiti,” with “only a fragment of the mural” still visible.\u003c/p>\n\u003cp>Perez also wrote that he is “saddened by the loss of the ‘Lake Merritt Mural,’ and my condolences go out to Mr. Fontes.”\u003c/p>\n\u003cp>But Oliver said Fontes had anticipated that the mural might get tagged, and had used special hundred year paints that would stand up to cleanings and repair.\u003c/p>\n\u003cp>Under VARA, Oliver says Fontes has “a strong claim for negligent conservation of the mural. When a work of fine art is tagged or damaged, the appropriate and legal duty of the building owner is to conserve it properly using a conservator. It doesn’t include just painting it over.”\u003c/p>\n\u003cp>VARA clearly protects artwork done after 1990, when the law was passed. Oliver recently won a \u003ca href=\"http://www.santacruzsentinel.com/arts-and-entertainment/20150807/santa-cruz-owes-30k-apology-in-beach-flats-mural-whitewashing-suit\" target=\"_blank\" rel=\"noopener\">$30,000 settlement and an apology from the city of Santa Cruz for artist Victor Cervantes\u003c/a>, after the city painted over a mural he did in 1993 at a Beach Flats public park.\u003c/p>\n\u003cp>Fontes’ Lake Merritt mural was finished in 1987, before VARA was passed. But Oliver argues VARA protects older murals where title has never been transferred by the artist to anyone else.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“And this mural,” she said, “has never been sold.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Reflection, Celebration Mark 50th Anniversary of Watts Unrest",
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"content": "\u003cp>On August 11, 1965, in South Los Angeles, the neighborhood of Watts exploded into \u003ca href=\"https://www.youtube.com/watch?v=7JqhfZV-cms\" target=\"_blank\">six days of rioting\u003c/a> fueled by years of police misconduct, diminishing economic opportunity and flat-out racism.\u003c/p>\n\u003cp>By the end, 34 people were dead and dozens of blocks of the community burned to the ground.\u003c/p>\n\u003cp>This year's 50th anniversary of the revolt, as many locals prefer to call it, was marked with a solemn remembrance and a joyful celebration at the annual \u003ca href=\"https://www.facebook.com/WattsSummerFestival\" target=\"_blank\">Watts Summer Festival\u003c/a>.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/218765683&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>The event arose from the destruction of 1965 and kicked off the following year with the hope of channeling the community's anger into music, the arts and activism.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Ted Watkins Memorial Park had its own role during those tumultuous days in the summer of ’65.\u003c/p>\n\u003cp>“I was here, I was 5-years-old when it happened,” says Dee Dee Pitcher Henderson. She grew up and still lives across from the park on 103rd Street.\u003c/p>\n\u003cp>“This park you’re standing in right now was the base for the National Guard, and we couldn’t come out after a certain time because we had a curfew,” she says.\u003c/p>\n\u003cp>Before the riots, 103rd Street was a vibrant commercial hub. Henderson’s mother had a shop there.\u003c/p>\n\u003cp>“So her store was the only one that didn’t get burned,\" she recalls. \"My dad got shot in the riots. There used to be a grocery store that sits on the corner. And I remember that store exploding while we were standing in the front yard.”\u003c/p>\n\u003cp>It’s been a struggle to keep the annual festival going, Henderson says.\u003c/p>\n\u003cp>While the park could easily accommodate several thousand people, only a few hundred mill around on a picture postcard sunny Southern California afternoon.\u003c/p>\n\u003cp>It’s also an older crowd, filled with people who share vivid memories of '65.\u003c/p>\n\u003cfigure id=\"attachment_10638058\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/WATTS-FEST-WATERS-DANCE.jpg\">\u003cimg class=\"size-medium wp-image-10638058\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/WATTS-FEST-WATERS-DANCE-800x511.jpg\" alt=\"Congresswoman Maxine Waters was among the celebrants at Saturday's 49th Watts Summer Festival. Waters represents the Watts area. \" width=\"800\" height=\"511\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/08/WATTS-FEST-WATERS-DANCE-800x511.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/WATTS-FEST-WATERS-DANCE-400x256.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/WATTS-FEST-WATERS-DANCE-1440x920.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/WATTS-FEST-WATERS-DANCE.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/WATTS-FEST-WATERS-DANCE-1180x754.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/WATTS-FEST-WATERS-DANCE-960x614.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Congresswoman Maxine Waters was among the celebrants at Saturday's 49th Watts Summer Festival. Waters represents the Watts area. \u003ccite>(Steven Cuevas / KPCC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Hell, I got arrested,” Amen Rahh tells the crowd from the festival stage.\u003c/p>\n\u003cp>“You understand, I was a political prisoner in juvenile hall for 45 days,” says Rahh, a retired black studies professor.\u003c/p>\n\u003cp>Rahh also grew up in Watts and as a young man took part in what he prefers to call the rebellion.\u003c/p>\n\u003cp>I ask Rahh how he would he advise his much younger self if he could go back in time. Would he try to persuade that kid to stay inside, to pull his friends away from the violence?\u003c/p>\n\u003cp>“I’d do the same thing,\" he answers.\u003c/p>\n\u003cp>“It had to be done to develop a better-respecting relationship with law enforcement. It just didn’t go far enough to the total criminal justice system,” says Rahh, referring to both past and very recent high-profile police-involved shootings.\u003c/p>\n\u003cp>Rahh says while the destruction and loss of life 50 years ago was regrettable, it also inspired activism that led to the creation of a community hospital, youth centers, health clinics and more.\u003c/p>\n\u003cp>“And there was a love and respect for each other after the rebellion,” says Rahh.\u003c/p>\n\u003cp>Then he adds, “But you got to understand, the Watts that used to be has changed and it’s mostly an immigrant city now.”\u003c/p>\n\u003cp>Many black residents moved out after the riots. Thousands more left in the following decades as gang violence surged and crack cocaine flooded neighborhoods. Affordable housing was built north of L.A. in the Antelope Valley and east in the blue-collar suburbs of the Inland Empire.\u003c/p>\n\u003cp>Over the decades, there has been some change for the better in Watts.\u003c/p>\n\u003cp>Just 10 years ago, in 2005, there were 20 murders in Watts. There have been none so far this year. Police foot patrols have increased in troubled parts of the community.\u003c/p>\n\u003cp>Funding for public projects continues to be plowed into the community, including a new children’s center designed by famed architect Frank Gehry.\u003c/p>\n\u003cp>But Dee Dee Pitcher Henderson says the economy has never fully rebounded. There are few retail businesses and just one independently owned non fast-food restaurant.\u003c/p>\n\u003cp>“If you want to go shopping you got to go outside the area,” says Henderson. “Everywhere around Watts has been built up, Huntington Park, Lynwood, Compton, everywhere has built up around us and we’re still kind of like stagnated.”\u003c/p>\n\u003cp>And other problems also persist: gang violence, high unemployment and a quiet tension between many black and newer Latino residents.\u003c/p>\n\u003cp>Enter \u003ca href=\"http://www.thedangerman.com/\">Dangerman\u003c/a>.\u003c/p>\n\u003cp>“A real-life urban superhero,” says the man who calls himself Dangerman.\u003c/p>\n\u003cp>Dressed head to toe in a sky blue superhero outfit and matching face mask, actor-comedian Roger Tinsley created Dangerman about 20 years ago to promote literacy, safety and good nutrition among youth in low-income minority neighborhoods.\u003c/p>\n\u003cp>“I’m much busier than ever because now we have kids every day dying,” says Tinsley.\u003c/p>\n\u003cp>“We talk about Black Lives Matter. Well, not only do black lives matter when police are involved but black lives matter in our cities every day,” says Tinsley. “It’s a struggle every day for our young people in this country”\u003c/p>\n\u003cp>Near a playground at the edge of the festival a group of kids gather around a charismatic young poet named \u003ca href=\"http://www.yngrobb.webs.com/\">Robert Williams\u003c/a>. He was born a good 25 years after the Watts riots.\u003c/p>\n\u003cp>While he understands the circumstances that sparked the unrest 50 years ago, he has a tough time making sense of the violence.\u003c/p>\n\u003cfigure id=\"attachment_10638063\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/watts-fest-young-robb-2.jpg\">\u003cimg class=\"size-medium wp-image-10638063\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/watts-fest-young-robb-2-800x560.jpg\" alt=\"Compton poet Robert Williams aka Young Robb unleashes some of his socially conscious rhymes for some kids at the Watts Summer Festival\" width=\"800\" height=\"560\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/08/watts-fest-young-robb-2-800x560.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/watts-fest-young-robb-2-400x280.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/watts-fest-young-robb-2-1440x1007.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/watts-fest-young-robb-2.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/watts-fest-young-robb-2-1180x825.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/watts-fest-young-robb-2-960x672.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Compton poet Robert Williams aka Young Robb unleashes some of his socially conscious rhymes for some kids at the Watts Summer Festival \u003ccite>(Steven Cuevas / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Don’t burn down your own community. If you love your community then clean it up, stand up for it,” says Williams.\u003c/p>\n\u003cp>“Hopefully the generation has changed where a lot of people can understand to take care instead of destroy. Let’s stick together and create something, let’s not just get together and destroy,” says Williams.\u003c/p>\n\u003cp>On the festival stage, \u003ca href=\"http://www.expressyourself.net/\">Charles Wright\u003c/a> and the Watts 103rd Street Rhythm Band tear through songs that made them local legends back in the mid-1960s.\u003c/p>\n\u003cp>Wright jumps into the crowd for a sing-along on one of his biggest hits (later sampled by South L.A. rappers N.W.A) “Express Yourself.”\u003c/p>\n\u003cfigure id=\"attachment_10638067\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/WATTS-FEST-Wright-2.jpg\">\u003cimg class=\"size-medium wp-image-10638067\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/WATTS-FEST-Wright-2-800x533.jpg\" alt=\"Los Angeles R&B legend Charles Wright performing at the annual Watts Summer Festival\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/08/WATTS-FEST-Wright-2-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/WATTS-FEST-Wright-2-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/WATTS-FEST-Wright-2-1440x960.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/WATTS-FEST-Wright-2.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/WATTS-FEST-Wright-2-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/WATTS-FEST-Wright-2-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Los Angeles R&B legend Charles Wright performing at the annual Watts Summer Festival \u003ccite>(Steven Cuevas / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>It’s a celebratory moment on an otherwise grim anniversary. One that 50 years on reminds people how much has been accomplished -- and how much more remains to be done.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On August 11, 1965, in South Los Angeles, the neighborhood of Watts exploded into \u003ca href=\"https://www.youtube.com/watch?v=7JqhfZV-cms\" target=\"_blank\">six days of rioting\u003c/a> fueled by years of police misconduct, diminishing economic opportunity and flat-out racism.\u003c/p>\n\u003cp>By the end, 34 people were dead and dozens of blocks of the community burned to the ground.\u003c/p>\n\u003cp>This year's 50th anniversary of the revolt, as many locals prefer to call it, was marked with a solemn remembrance and a joyful celebration at the annual \u003ca href=\"https://www.facebook.com/WattsSummerFestival\" target=\"_blank\">Watts Summer Festival\u003c/a>.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/218765683&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>The event arose from the destruction of 1965 and kicked off the following year with the hope of channeling the community's anger into music, the arts and activism.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Ted Watkins Memorial Park had its own role during those tumultuous days in the summer of ’65.\u003c/p>\n\u003cp>“I was here, I was 5-years-old when it happened,” says Dee Dee Pitcher Henderson. She grew up and still lives across from the park on 103rd Street.\u003c/p>\n\u003cp>“This park you’re standing in right now was the base for the National Guard, and we couldn’t come out after a certain time because we had a curfew,” she says.\u003c/p>\n\u003cp>Before the riots, 103rd Street was a vibrant commercial hub. Henderson’s mother had a shop there.\u003c/p>\n\u003cp>“So her store was the only one that didn’t get burned,\" she recalls. \"My dad got shot in the riots. There used to be a grocery store that sits on the corner. And I remember that store exploding while we were standing in the front yard.”\u003c/p>\n\u003cp>It’s been a struggle to keep the annual festival going, Henderson says.\u003c/p>\n\u003cp>While the park could easily accommodate several thousand people, only a few hundred mill around on a picture postcard sunny Southern California afternoon.\u003c/p>\n\u003cp>It’s also an older crowd, filled with people who share vivid memories of '65.\u003c/p>\n\u003cfigure id=\"attachment_10638058\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/WATTS-FEST-WATERS-DANCE.jpg\">\u003cimg class=\"size-medium wp-image-10638058\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/WATTS-FEST-WATERS-DANCE-800x511.jpg\" alt=\"Congresswoman Maxine Waters was among the celebrants at Saturday's 49th Watts Summer Festival. Waters represents the Watts area. \" width=\"800\" height=\"511\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/08/WATTS-FEST-WATERS-DANCE-800x511.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/WATTS-FEST-WATERS-DANCE-400x256.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/WATTS-FEST-WATERS-DANCE-1440x920.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/WATTS-FEST-WATERS-DANCE.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/WATTS-FEST-WATERS-DANCE-1180x754.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/WATTS-FEST-WATERS-DANCE-960x614.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Congresswoman Maxine Waters was among the celebrants at Saturday's 49th Watts Summer Festival. Waters represents the Watts area. \u003ccite>(Steven Cuevas / KPCC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Hell, I got arrested,” Amen Rahh tells the crowd from the festival stage.\u003c/p>\n\u003cp>“You understand, I was a political prisoner in juvenile hall for 45 days,” says Rahh, a retired black studies professor.\u003c/p>\n\u003cp>Rahh also grew up in Watts and as a young man took part in what he prefers to call the rebellion.\u003c/p>\n\u003cp>I ask Rahh how he would he advise his much younger self if he could go back in time. Would he try to persuade that kid to stay inside, to pull his friends away from the violence?\u003c/p>\n\u003cp>“I’d do the same thing,\" he answers.\u003c/p>\n\u003cp>“It had to be done to develop a better-respecting relationship with law enforcement. It just didn’t go far enough to the total criminal justice system,” says Rahh, referring to both past and very recent high-profile police-involved shootings.\u003c/p>\n\u003cp>Rahh says while the destruction and loss of life 50 years ago was regrettable, it also inspired activism that led to the creation of a community hospital, youth centers, health clinics and more.\u003c/p>\n\u003cp>“And there was a love and respect for each other after the rebellion,” says Rahh.\u003c/p>\n\u003cp>Then he adds, “But you got to understand, the Watts that used to be has changed and it’s mostly an immigrant city now.”\u003c/p>\n\u003cp>Many black residents moved out after the riots. Thousands more left in the following decades as gang violence surged and crack cocaine flooded neighborhoods. Affordable housing was built north of L.A. in the Antelope Valley and east in the blue-collar suburbs of the Inland Empire.\u003c/p>\n\u003cp>Over the decades, there has been some change for the better in Watts.\u003c/p>\n\u003cp>Just 10 years ago, in 2005, there were 20 murders in Watts. There have been none so far this year. Police foot patrols have increased in troubled parts of the community.\u003c/p>\n\u003cp>Funding for public projects continues to be plowed into the community, including a new children’s center designed by famed architect Frank Gehry.\u003c/p>\n\u003cp>But Dee Dee Pitcher Henderson says the economy has never fully rebounded. There are few retail businesses and just one independently owned non fast-food restaurant.\u003c/p>\n\u003cp>“If you want to go shopping you got to go outside the area,” says Henderson. “Everywhere around Watts has been built up, Huntington Park, Lynwood, Compton, everywhere has built up around us and we’re still kind of like stagnated.”\u003c/p>\n\u003cp>And other problems also persist: gang violence, high unemployment and a quiet tension between many black and newer Latino residents.\u003c/p>\n\u003cp>Enter \u003ca href=\"http://www.thedangerman.com/\">Dangerman\u003c/a>.\u003c/p>\n\u003cp>“A real-life urban superhero,” says the man who calls himself Dangerman.\u003c/p>\n\u003cp>Dressed head to toe in a sky blue superhero outfit and matching face mask, actor-comedian Roger Tinsley created Dangerman about 20 years ago to promote literacy, safety and good nutrition among youth in low-income minority neighborhoods.\u003c/p>\n\u003cp>“I’m much busier than ever because now we have kids every day dying,” says Tinsley.\u003c/p>\n\u003cp>“We talk about Black Lives Matter. Well, not only do black lives matter when police are involved but black lives matter in our cities every day,” says Tinsley. “It’s a struggle every day for our young people in this country”\u003c/p>\n\u003cp>Near a playground at the edge of the festival a group of kids gather around a charismatic young poet named \u003ca href=\"http://www.yngrobb.webs.com/\">Robert Williams\u003c/a>. He was born a good 25 years after the Watts riots.\u003c/p>\n\u003cp>While he understands the circumstances that sparked the unrest 50 years ago, he has a tough time making sense of the violence.\u003c/p>\n\u003cfigure id=\"attachment_10638063\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/watts-fest-young-robb-2.jpg\">\u003cimg class=\"size-medium wp-image-10638063\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/watts-fest-young-robb-2-800x560.jpg\" alt=\"Compton poet Robert Williams aka Young Robb unleashes some of his socially conscious rhymes for some kids at the Watts Summer Festival\" width=\"800\" height=\"560\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/08/watts-fest-young-robb-2-800x560.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/watts-fest-young-robb-2-400x280.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/watts-fest-young-robb-2-1440x1007.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/watts-fest-young-robb-2.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/watts-fest-young-robb-2-1180x825.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/watts-fest-young-robb-2-960x672.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Compton poet Robert Williams aka Young Robb unleashes some of his socially conscious rhymes for some kids at the Watts Summer Festival \u003ccite>(Steven Cuevas / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Don’t burn down your own community. If you love your community then clean it up, stand up for it,” says Williams.\u003c/p>\n\u003cp>“Hopefully the generation has changed where a lot of people can understand to take care instead of destroy. Let’s stick together and create something, let’s not just get together and destroy,” says Williams.\u003c/p>\n\u003cp>On the festival stage, \u003ca href=\"http://www.expressyourself.net/\">Charles Wright\u003c/a> and the Watts 103rd Street Rhythm Band tear through songs that made them local legends back in the mid-1960s.\u003c/p>\n\u003cp>Wright jumps into the crowd for a sing-along on one of his biggest hits (later sampled by South L.A. rappers N.W.A) “Express Yourself.”\u003c/p>\n\u003cfigure id=\"attachment_10638067\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/WATTS-FEST-Wright-2.jpg\">\u003cimg class=\"size-medium wp-image-10638067\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/WATTS-FEST-Wright-2-800x533.jpg\" alt=\"Los Angeles R&B legend Charles Wright performing at the annual Watts Summer Festival\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/08/WATTS-FEST-Wright-2-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/WATTS-FEST-Wright-2-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/WATTS-FEST-Wright-2-1440x960.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/WATTS-FEST-Wright-2.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/WATTS-FEST-Wright-2-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/WATTS-FEST-Wright-2-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Los Angeles R&B legend Charles Wright performing at the annual Watts Summer Festival \u003ccite>(Steven Cuevas / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s a celebratory moment on an otherwise grim anniversary. One that 50 years on reminds people how much has been accomplished -- and how much more remains to be done.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "New Music Venue Social Hall SF to Open in Regency Ballroom Building",
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"content": "\u003cp>Given San Francisco’s current real estate development boom and its undeniably destructive impact on \u003ca href=\"http://ww2.kqed.org/arts/2015/07/01/viracocha-mission-district-music-venue-to-close/\" target=\"_blank\" rel=\"noopener\">music venues\u003c/a>, it’s nice to be able to report a bit of good news for the city’s scene: \u003ca href=\"http://www.socialhallsf.com/\" target=\"_blank\" rel=\"noopener\">Social Hall SF\u003c/a>, a new music venue, will open next month in the Polk Gulch, in the same building as the Regency Ballroom.\u003c/p>\n\u003cp>Run by Goldenvoice — the promotion company behind the Regency, as well as the Warfield and a slew of venues in SoCal — the venue has a capacity for 600 people standing or 425 seated. It’s located inside the 106-year-old Scottish Rites Bodies Regency Center at 1270 Sutter Street (a historic building, though it is not, as has often been misconstrued by music fans of a certain age, the modern-day version of the \u003ca href=\"https://en.wikipedia.org/wiki/The_Avalon\" target=\"_blank\" rel=\"noopener\">Avalon Ballroom\u003c/a>, which was at 1268 Sutter).\u003c/p>\n\u003cp>Social Hall SF will host “electronic club nights, seated comedy events, rock concerts and more,” according to a release from Goldenvoice, and we have to agree that the club’s initial calendar is refreshingly eclectic: It kicks off Sept. 12 with internationally touring drag performer Alaska Thunderf–k; other notable dates include a two-night run for indie-electro band Neon Indian on Sept. 22 and 23, South African loop pedal guitarist Jeremy Loops on Oct. 15, LA indie-pop darlings The Bird and the Bee on Oct. 28, and legendary MC Kool Keith performing as his intergalactic alter-ego Dr. Octagon (in what’s sure to be a high-energy Halloween weekend performance) on Oct. 30.\u003c/p>\n\u003cp>Tickets for all shows currently listed will go on sale this Friday, Aug. 14.\u003c/p>\n\u003cp>Goldenvoice reports that the venue has been undergoing renovations for a year, and is ready to roll out new sound and lighting systems to go with the concert stage and, of course, a new bar. Worth noting, younger readers: “Most” shows at the venue will be all-ages, a designation that’s getting \u003ca href=\"http://www.modernluxury.com/san-francisco/story/sorry-punks-the-missions-all-ages-punk-venue-has-shut-down\" target=\"_blank\" rel=\"noopener\">harder to find in the city as of late\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Check out the Social Hall’s \u003ca href=\"http://www.socialhallsf.com/venue-info/faqs\" target=\"_blank\" rel=\"noopener\">FAQ\u003c/a> for more info, including details about the venue’s bar, parking, and perhaps most importantly, the answer to the question “Can we bring glow sticks?”(Answer: “glow gloves” only. We’ll take it.)\u003c/p>\n\n",
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"excerpt": "Concert promotion company Goldenvoice is opening a new 600-capacity club behind the Regency Ballroom that will feature eclectic indie-rock, electronic and drag shows.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Given San Francisco’s current real estate development boom and its undeniably destructive impact on \u003ca href=\"http://ww2.kqed.org/arts/2015/07/01/viracocha-mission-district-music-venue-to-close/\" target=\"_blank\" rel=\"noopener\">music venues\u003c/a>, it’s nice to be able to report a bit of good news for the city’s scene: \u003ca href=\"http://www.socialhallsf.com/\" target=\"_blank\" rel=\"noopener\">Social Hall SF\u003c/a>, a new music venue, will open next month in the Polk Gulch, in the same building as the Regency Ballroom.\u003c/p>\n\u003cp>Run by Goldenvoice — the promotion company behind the Regency, as well as the Warfield and a slew of venues in SoCal — the venue has a capacity for 600 people standing or 425 seated. It’s located inside the 106-year-old Scottish Rites Bodies Regency Center at 1270 Sutter Street (a historic building, though it is not, as has often been misconstrued by music fans of a certain age, the modern-day version of the \u003ca href=\"https://en.wikipedia.org/wiki/The_Avalon\" target=\"_blank\" rel=\"noopener\">Avalon Ballroom\u003c/a>, which was at 1268 Sutter).\u003c/p>\n\u003cp>Social Hall SF will host “electronic club nights, seated comedy events, rock concerts and more,” according to a release from Goldenvoice, and we have to agree that the club’s initial calendar is refreshingly eclectic: It kicks off Sept. 12 with internationally touring drag performer Alaska Thunderf–k; other notable dates include a two-night run for indie-electro band Neon Indian on Sept. 22 and 23, South African loop pedal guitarist Jeremy Loops on Oct. 15, LA indie-pop darlings The Bird and the Bee on Oct. 28, and legendary MC Kool Keith performing as his intergalactic alter-ego Dr. Octagon (in what’s sure to be a high-energy Halloween weekend performance) on Oct. 30.\u003c/p>\n\u003cp>Tickets for all shows currently listed will go on sale this Friday, Aug. 14.\u003c/p>\n\u003cp>Goldenvoice reports that the venue has been undergoing renovations for a year, and is ready to roll out new sound and lighting systems to go with the concert stage and, of course, a new bar. Worth noting, younger readers: “Most” shows at the venue will be all-ages, a designation that’s getting \u003ca href=\"http://www.modernluxury.com/san-francisco/story/sorry-punks-the-missions-all-ages-punk-venue-has-shut-down\" target=\"_blank\" rel=\"noopener\">harder to find in the city as of late\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Check out the Social Hall’s \u003ca href=\"http://www.socialhallsf.com/venue-info/faqs\" target=\"_blank\" rel=\"noopener\">FAQ\u003c/a> for more info, including details about the venue’s bar, parking, and perhaps most importantly, the answer to the question “Can we bring glow sticks?”(Answer: “glow gloves” only. We’ll take it.)\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "20 Years Ago Today, 'Captain Trips' Died and the Dot-Com Boom Took Off",
"title": "20 Years Ago Today, 'Captain Trips' Died and the Dot-Com Boom Took Off",
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"content": "\u003cp>[dropcap]T[/dropcap]here are some days when, over a few unforgettable hours, the world seems to shift on its axis. They often involve flames, explosions and splintering steel.\u003c/p>\n\u003cp>Other days mark a similar tectonic shift, if only symbolically. One happened 20 years ago on the morning of Aug. 9, 1995, when the Age of Aquarius and the dot-com boom briefly collided, signaling a transition from one era to the next.\u003c/p>\n\u003cp>The first event occurred just before dawn when guitarist Jerry Garcia, founder of the Grateful Dead and one of the iconic symbols of a generation shaped by music, love, and community, \u003ca href=\"http://6thfloor.blogs.nytimes.com/2013/08/09/the-day-jerry-garcia-died/?_r=0\">was found dead\u003c/a> at Serenity Knolls, a rehab facility in Marin County, just north of San Francisco.\u003c/p>\n\u003cp>He had checked into the site a few days earlier to clean up for an upcoming fall tour. A long-term drug problem, involving mostly heroin and cocaine, had turned Garcia’s diabetic and overweight body into a death trap.\u003c/p>\n\u003cp>[jerrygarcia]\u003c/p>\n\u003cp>“He was sometimes so incapacitated he couldn’t function,” writes Grateful Dead drummer Bill Kreutzmann in his book, \"Deal: My Three Decades of Drumming, Dreams, and Drugs with the Grateful Dead.\"\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>While on stage, Garcia forgot lyrics, missed notes and could often seem listless and disoriented. The gray-bearded guru had significant health problems, made worse by cigarette smoking and the stress of the Dead’s tour schedule. In 1986, he nearly died when he slipped into a diabetic coma, but the Grim Reaper wasn’t ready just then. On Aug. 9, 1995, it was.\u003c/p>\n\u003cp>Garcia was found unresponsive in bed just after 4 a.m. A staff nurse and local paramedics frantically administered CPR, but it was too late: Jerry Garcia, who had just turned 53, was dead of a heart attack.\u003c/p>\n\u003cp>As Garcia’s body was driven down a winding wooded road to the local coroner, a wildly different scene was occurring 3,000 miles to the east, at Manhattan’s Nasdaq stock market. It was 9:30 a.m. and Netscape Communications was about to go public.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=8WRo3j5XS-A\u003c/p>\n\u003cp>\u003cstrong>Dawn of a New Era\u003c/strong>\u003c/p>\n\u003cp>Many investors had high hopes for \u003ca href=\"http://www.marketwatch.com/story/netscape-ipo-ignited-the-boom-taught-some-hard-lessons-20058518550\">Netscape\u003c/a>, which, just eight months earlier, had released the first version of its groundbreaking Web browser, helping to simplify and transform the online experience. The stock was to be offered at $14 per share, but with so much interest they made a high-stakes gamble and doubled the initial price to $28 per share.\u003c/p>\n\u003cp>Nothing prepared investors for what happened next. Demand for the Netscape shares was so intense that for almost two hours after the opening bell, trading in Netscape shares couldn't open, as the bids were overwhelming the asks. When it finally opened, the share price shot up. And up.\u003c/p>\n\u003cfigure id=\"attachment_10634431\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/1101960219_400.jpg\">\u003cimg class=\"size-thumbnail wp-image-10634431\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/1101960219_400-400x527.jpg\" alt=\"A Time magazine cover from February 1996 featured Netscape's Marc Andreessen.\" width=\"400\" height=\"527\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A Time magazine cover from February 1996 featured Netscape's Marc Andreessen. \u003ccite>(TIME Magazine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Within a few moments it hit $71, then later peaked at $75. Venture capitalist John Doerr, an early investor, later recalled: “When I checked the price, I was numb.”\u003c/p>\n\u003cp>By day’s end, Netscape’s stock price had settled in at $58.25, giving the company a market value of $2.9 billion. The firm was only 16 months old and had yet to make a profit, but none of that seemed to matter on the day the Netscape bottle rocket lit up the sky.\u003c/p>\n\u003cp>he Netscape IPO was to tech entrepreneurs what the Beatles appearance on the Ed Sullivan show was to pop music fans -- the astonishing moment when a mental door flew open and a new world awaited, in glorious Technicolor.\u003c/p>\n\u003cp>A decade later, \u003ca href=\"http://archive.fortune.com/magazines/fortune/fortune_archive/2005/07/25/8266639/index.htm\">Adam Lashinsky spelled out \u003c/a>what Netscape’s IPO meant in Fortune:\u003cem> \u003c/em>\u003c/p>\n\u003cp>“More than any other company, it set the technological, social, and financial tone of the Internet age. Its founders, Marc Andreessen and Jim Clark -- a baby-faced 24-year-old programmer from the Midwest and a restless middle-aged tech pioneer who badly wanted to strike gold again -- inspired a generation of entrepreneurs to try to become tech millionaires.”\u003c/p>\n\u003cp>A month after Netscape went public, eBay was founded. The following spring, Stanford students Larry Page and Sergey Brin began developing a Web-based “crawling” technology called BackRub, laying the foundation for the creation of Google.\u003c/p>\n\u003cp>The success of the IPO created the term “Netscape Moment” -- a giddy point that marks the starting gun of a new industry and age. Many business historians say the dot-com boom began that day. Soon, everyone was pestering their broker for tips on new companies. Day trading of stocks via online brokers such as Ameritrade or Etrade was now considered a career.\u003c/p>\n\u003cp>Companies like \u003ca href=\"http://www.redhat.com/en/about/company\">Red Hat Software\u003c/a>, \u003ca href=\"https://www.akamai.com/us/en/about/company-history.jsp\">Akamai Technologies\u003c/a> and \u003ca href=\"http://www.theglobe.com/\">theGlobe.com\u003c/a> would surpass even Netscape’s heights, seeing their shares rise more than 400 percent in their first day of trading -- an excitement that former Federal Reserve Chairman Alan Greenspan famously called “irrational exuberance.”\u003c/p>\n\u003cp>Was it? Business was radically and quickly reshaped worldwide by inexpensive communications based on a browser-based Internet. It was the biggest era of U.S. wealth creation in generations. Within five years, the tech-heavy Nasdaq soared from 1,000 companies to more than 5,100.\u003c/p>\n\u003cp>\u003cstrong>Spontaneous Wake\u003c/strong>\u003c/p>\n\u003cp>Back in San Francisco, the early glimmers of the Internet gold rush meant little to mourning Grateful Dead fans, who had lost an irreplaceable musical god. A spontaneous citywide wake developed. Mayor Frank Jordan ordered city flags to fly at half-staff\u003c/p>\n\u003cp>Hundreds gathered in Haight-Ashbury, the low-rent neighborhood that formed a spiritual base for 1960s counterculture. Some sat on the stoop of 710 Ashbury, the ornate house where the Grateful Dead briefly lived, to console, cry, talk it out and get high. Thousands of mourners gathered in Golden Gate Park, listening to tapes of the Dead and creating a makeshift shrine to Jerry.\u003c/p>\n\u003cp>[jerrygarciamourners]\u003c/p>\n\u003cp>That night, Dead guitarist Bob Weir went ahead with a scheduled solo show in Hampton Beach, N.H. “If our dear, departed friend proved anything to us,” Weir told the crowd, “he proved that great music can make sad times better.”\u003c/p>\n\u003cp>But Deadheads high and low knew better -- an age had passed. Sen. Patrick Leahy said the news of Garcia’s death felt “like I had been kicked in the stomach.” A month earlier, at the band’s final gig with Garcia in Chicago, they ended the show with the song “Box of Rain” and its prescient lyrics: “Such a long long time to be gone/and a short time to be there.”\u003c/p>\n\u003caside class=\"alignright\">\n\u003ch2>\"So Many Roads\" From Garcia's Final Concert\u003c/h2>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe width=\"400\" height=\"300\" src=\"https://www.youtube.com/embed/6sFyRQPraJ8\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003c/aside>\n\u003cp>For Garcia and many Deadheads, that short time was now over. The group had survived the death of other active members -- founding member Ron \"Pigpen\" McKernan succumbed to an internal hemorrhage in 1973, and keyboardist Brent Mydland died from a drug overdose in 1990 -- but the loss of their colorful leader, affectionately known as Captain Trips, was insurmountable. Within four months of Garcia’s passing, the band that had meant so much to so many officially called it quits.\u003c/p>\n\u003cp>At the closing bell of the stock market, Netscape shareholders were also in a state of shock, although a delightful one. Many were now staggeringly wealthy. Jim Clark’s 20 percent share was suddenly worth $663 million. Champagne bottles were popped open; toasts were made.\u003c/p>\n\u003cp>Heady days were still ahead, but nothing compared with the surreal euphoria of that first day. Netscape’s stock peaked in late 1995 at $171 share, before its market share began to slip. AOL acquired the company in 1999 for $10 billion, but by 2002 it was sliding rapidly and had less than 10 percent of the browser market. In early 2008, AOL finally pulled the plug on the Netscape browser.\u003c/p>\n\u003cp>But on that warm August day in 1995, Netheads and Deadheads shared a moment of high drama and importance -- one group thrilling to a colorful dawn, the other wistfully watching a darkening sunset. The zeitgeist was changing. The fading notes of the psychedelic age started to be drowned out by the buzz of red-hot startups. LSD was replaced by IPO. Idealism was out; stock options were in.\u003c/p>\n\u003cp>Some people made the connection at the time, and soon after Garcia’s death some black humor began circulating in the Silicon Valley high-tech community:\u003c/p>\n\u003cp>\u003cem>What were Jerry Garcia’s last words?\u003c/em>\u003c/p>\n\u003cp>\u003cem>“Netscape opened at WHAT?!”\u003c/em>\u003c/p>\n\u003cp>Today is the 20th anniversary of that momentous day.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>James Daly is a Bay Area journalist and entrepreneur -- frequently both. He's launched successful publications for TED Curator Chris Anderson (TED Books, Business 2.0) and filmmaker George Lucas (Edutopia), serving as editor in chief of all. Daly has also worked and written for Wired, Forbes, Rolling Stone, Sonoma, Spin, Red Herring, i-D, the San Francisco Chronicle and the Los Angeles Times. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">T\u003c/span>\u003c/p>\u003cp>here are some days when, over a few unforgettable hours, the world seems to shift on its axis. They often involve flames, explosions and splintering steel.\u003c/p>\n\u003cp>Other days mark a similar tectonic shift, if only symbolically. One happened 20 years ago on the morning of Aug. 9, 1995, when the Age of Aquarius and the dot-com boom briefly collided, signaling a transition from one era to the next.\u003c/p>\n\u003cp>The first event occurred just before dawn when guitarist Jerry Garcia, founder of the Grateful Dead and one of the iconic symbols of a generation shaped by music, love, and community, \u003ca href=\"http://6thfloor.blogs.nytimes.com/2013/08/09/the-day-jerry-garcia-died/?_r=0\">was found dead\u003c/a> at Serenity Knolls, a rehab facility in Marin County, just north of San Francisco.\u003c/p>\n\u003cp>He had checked into the site a few days earlier to clean up for an upcoming fall tour. A long-term drug problem, involving mostly heroin and cocaine, had turned Garcia’s diabetic and overweight body into a death trap.\u003c/p>\n\u003cp>[jerrygarcia]\u003c/p>\n\u003cp>“He was sometimes so incapacitated he couldn’t function,” writes Grateful Dead drummer Bill Kreutzmann in his book, \"Deal: My Three Decades of Drumming, Dreams, and Drugs with the Grateful Dead.\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>While on stage, Garcia forgot lyrics, missed notes and could often seem listless and disoriented. The gray-bearded guru had significant health problems, made worse by cigarette smoking and the stress of the Dead’s tour schedule. In 1986, he nearly died when he slipped into a diabetic coma, but the Grim Reaper wasn’t ready just then. On Aug. 9, 1995, it was.\u003c/p>\n\u003cp>Garcia was found unresponsive in bed just after 4 a.m. A staff nurse and local paramedics frantically administered CPR, but it was too late: Jerry Garcia, who had just turned 53, was dead of a heart attack.\u003c/p>\n\u003cp>As Garcia’s body was driven down a winding wooded road to the local coroner, a wildly different scene was occurring 3,000 miles to the east, at Manhattan’s Nasdaq stock market. It was 9:30 a.m. and Netscape Communications was about to go public.\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/8WRo3j5XS-A'\n title='//www.youtube.com/embed/8WRo3j5XS-A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Dawn of a New Era\u003c/strong>\u003c/p>\n\u003cp>Many investors had high hopes for \u003ca href=\"http://www.marketwatch.com/story/netscape-ipo-ignited-the-boom-taught-some-hard-lessons-20058518550\">Netscape\u003c/a>, which, just eight months earlier, had released the first version of its groundbreaking Web browser, helping to simplify and transform the online experience. The stock was to be offered at $14 per share, but with so much interest they made a high-stakes gamble and doubled the initial price to $28 per share.\u003c/p>\n\u003cp>Nothing prepared investors for what happened next. Demand for the Netscape shares was so intense that for almost two hours after the opening bell, trading in Netscape shares couldn't open, as the bids were overwhelming the asks. When it finally opened, the share price shot up. And up.\u003c/p>\n\u003cfigure id=\"attachment_10634431\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/1101960219_400.jpg\">\u003cimg class=\"size-thumbnail wp-image-10634431\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/1101960219_400-400x527.jpg\" alt=\"A Time magazine cover from February 1996 featured Netscape's Marc Andreessen.\" width=\"400\" height=\"527\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A Time magazine cover from February 1996 featured Netscape's Marc Andreessen. \u003ccite>(TIME Magazine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Within a few moments it hit $71, then later peaked at $75. Venture capitalist John Doerr, an early investor, later recalled: “When I checked the price, I was numb.”\u003c/p>\n\u003cp>By day’s end, Netscape’s stock price had settled in at $58.25, giving the company a market value of $2.9 billion. The firm was only 16 months old and had yet to make a profit, but none of that seemed to matter on the day the Netscape bottle rocket lit up the sky.\u003c/p>\n\u003cp>he Netscape IPO was to tech entrepreneurs what the Beatles appearance on the Ed Sullivan show was to pop music fans -- the astonishing moment when a mental door flew open and a new world awaited, in glorious Technicolor.\u003c/p>\n\u003cp>A decade later, \u003ca href=\"http://archive.fortune.com/magazines/fortune/fortune_archive/2005/07/25/8266639/index.htm\">Adam Lashinsky spelled out \u003c/a>what Netscape’s IPO meant in Fortune:\u003cem> \u003c/em>\u003c/p>\n\u003cp>“More than any other company, it set the technological, social, and financial tone of the Internet age. Its founders, Marc Andreessen and Jim Clark -- a baby-faced 24-year-old programmer from the Midwest and a restless middle-aged tech pioneer who badly wanted to strike gold again -- inspired a generation of entrepreneurs to try to become tech millionaires.”\u003c/p>\n\u003cp>A month after Netscape went public, eBay was founded. The following spring, Stanford students Larry Page and Sergey Brin began developing a Web-based “crawling” technology called BackRub, laying the foundation for the creation of Google.\u003c/p>\n\u003cp>The success of the IPO created the term “Netscape Moment” -- a giddy point that marks the starting gun of a new industry and age. Many business historians say the dot-com boom began that day. Soon, everyone was pestering their broker for tips on new companies. Day trading of stocks via online brokers such as Ameritrade or Etrade was now considered a career.\u003c/p>\n\u003cp>Companies like \u003ca href=\"http://www.redhat.com/en/about/company\">Red Hat Software\u003c/a>, \u003ca href=\"https://www.akamai.com/us/en/about/company-history.jsp\">Akamai Technologies\u003c/a> and \u003ca href=\"http://www.theglobe.com/\">theGlobe.com\u003c/a> would surpass even Netscape’s heights, seeing their shares rise more than 400 percent in their first day of trading -- an excitement that former Federal Reserve Chairman Alan Greenspan famously called “irrational exuberance.”\u003c/p>\n\u003cp>Was it? Business was radically and quickly reshaped worldwide by inexpensive communications based on a browser-based Internet. It was the biggest era of U.S. wealth creation in generations. Within five years, the tech-heavy Nasdaq soared from 1,000 companies to more than 5,100.\u003c/p>\n\u003cp>\u003cstrong>Spontaneous Wake\u003c/strong>\u003c/p>\n\u003cp>Back in San Francisco, the early glimmers of the Internet gold rush meant little to mourning Grateful Dead fans, who had lost an irreplaceable musical god. A spontaneous citywide wake developed. Mayor Frank Jordan ordered city flags to fly at half-staff\u003c/p>\n\u003cp>Hundreds gathered in Haight-Ashbury, the low-rent neighborhood that formed a spiritual base for 1960s counterculture. Some sat on the stoop of 710 Ashbury, the ornate house where the Grateful Dead briefly lived, to console, cry, talk it out and get high. Thousands of mourners gathered in Golden Gate Park, listening to tapes of the Dead and creating a makeshift shrine to Jerry.\u003c/p>\n\u003cp>[jerrygarciamourners]\u003c/p>\n\u003cp>That night, Dead guitarist Bob Weir went ahead with a scheduled solo show in Hampton Beach, N.H. “If our dear, departed friend proved anything to us,” Weir told the crowd, “he proved that great music can make sad times better.”\u003c/p>\n\u003cp>But Deadheads high and low knew better -- an age had passed. Sen. Patrick Leahy said the news of Garcia’s death felt “like I had been kicked in the stomach.” A month earlier, at the band’s final gig with Garcia in Chicago, they ended the show with the song “Box of Rain” and its prescient lyrics: “Such a long long time to be gone/and a short time to be there.”\u003c/p>\n\u003caside class=\"alignright\">\n\u003ch2>\"So Many Roads\" From Garcia's Final Concert\u003c/h2>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe width=\"400\" height=\"300\" src=\"https://www.youtube.com/embed/6sFyRQPraJ8\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003c/aside>\n\u003cp>For Garcia and many Deadheads, that short time was now over. The group had survived the death of other active members -- founding member Ron \"Pigpen\" McKernan succumbed to an internal hemorrhage in 1973, and keyboardist Brent Mydland died from a drug overdose in 1990 -- but the loss of their colorful leader, affectionately known as Captain Trips, was insurmountable. Within four months of Garcia’s passing, the band that had meant so much to so many officially called it quits.\u003c/p>\n\u003cp>At the closing bell of the stock market, Netscape shareholders were also in a state of shock, although a delightful one. Many were now staggeringly wealthy. Jim Clark’s 20 percent share was suddenly worth $663 million. Champagne bottles were popped open; toasts were made.\u003c/p>\n\u003cp>Heady days were still ahead, but nothing compared with the surreal euphoria of that first day. Netscape’s stock peaked in late 1995 at $171 share, before its market share began to slip. AOL acquired the company in 1999 for $10 billion, but by 2002 it was sliding rapidly and had less than 10 percent of the browser market. In early 2008, AOL finally pulled the plug on the Netscape browser.\u003c/p>\n\u003cp>But on that warm August day in 1995, Netheads and Deadheads shared a moment of high drama and importance -- one group thrilling to a colorful dawn, the other wistfully watching a darkening sunset. The zeitgeist was changing. The fading notes of the psychedelic age started to be drowned out by the buzz of red-hot startups. LSD was replaced by IPO. Idealism was out; stock options were in.\u003c/p>\n\u003cp>Some people made the connection at the time, and soon after Garcia’s death some black humor began circulating in the Silicon Valley high-tech community:\u003c/p>\n\u003cp>\u003cem>What were Jerry Garcia’s last words?\u003c/em>\u003c/p>\n\u003cp>\u003cem>“Netscape opened at WHAT?!”\u003c/em>\u003c/p>\n\u003cp>Today is the 20th anniversary of that momentous day.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "A Hollywood Costume Designer's Tips for Dressing on a Budget",
"title": "A Hollywood Costume Designer's Tips for Dressing on a Budget",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>Alison Freer once turned a man into a bush. She made another guy into a jalapeno, and yet another into a taco. But she’s not a vengeful practitioner of sorcery. Freer is a Hollywood costume designer. \u003c/p>\n\u003cp>For 15 years she’s worked in the show biz trenches, nipping, ripping and tucking on desperate deadlines in a job based more on big imagination than big budgets. Now she’s written \u003ca href=\"http://www.amazon.com/How-Get-Dressed-Costume-Designers/dp/1607747065/ref=sr_1_1?ie=UTF8&qid=1438904226&sr=8-1&keywords=how+to+get+dressed+alison+freer\" target=\"_blank\">\"How to Get Dressed\u003c/a>,\" a book utilizing her creative insider knowledge on making the most of what you wear.\u003c/p>\n\u003cp>It’s 6 a.m. at a studio in east Hollywood. In the dressing room of the Amazon kid’s show \u003ca href=\"http://www.amazon.com/Gortimer-vs-Frog-Ultimate-Doom/dp/B00I3MPMPA\" target=\"_blank\">Gortimer Gibbons' Life on Normal Street\u003c/a>, Freer and her three-woman team are already hard at work on actor Nate Torrence.\u003c/p>\n\u003cp>“Nate is playing a fictional character who is half pirate, half fireman,” explains Freer between slugs of coffee. “He lives in another state and flew in for his fitting this morning, and he works in about an hour and a half, so we’re frantically figuring out something for him to wear.”\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/218278187\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>When the appropriate fireman/pirate look has been achieved, Freer grabs her java and follows costumes that are racked and rolled to the soundstage. The show’s director, Luke Matheny, huddles briefly with Freer over the last minute script changes.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We have a kids’ show that we move pretty fast on,” says Matheny. “We don’t have much time and not much money, so you need a really resourceful person to make those characters come to life. I think Scorsese says that the character is the costume, and Alison can really roll with the punches and make something out of nothing very quickly.”\u003c/p>\n\u003cp>Improvisation and ingenuity rule the day in Freer’s world.\u003c/p>\n\u003cp>“It’s very much like the A-Team,” she explains. “What do we have? We have a coat hanger and some gum and this weird piece of wood. What can we make out of it? To this day, it’s still the same. Every job.”\u003c/p>\n\u003cp>Costume design is in her blood.\u003c/p>\n\u003cp>“My great-great-grandmother was a seamstress for the Ringling Bros. circus in Sarasota, Florida,” says Freer, “and my great-grandmother, a child at the time, worked in complete violation of child labor laws making bridles for show ponies and clown costumes. So they taught me certain heritage skills that I feel like have fallen by the wayside a little bit -- skills that helped me as a costumer and now are really the backbone of this book.”\u003c/p>\n\u003cp>With sections like “Ironing Is for Suckers,” “How to Frankenstein a Bra that Works for You,” and “Spit Removes Blood Like, Whoa,” Freer’s \"How to Get Dressed\" updates that heritage. And, after reading some 60 previous books on the self-help fashion shelf, she came to a realization:\u003c/p>\n\u003cp>“They were not practical for the everyday girl. They talked about buying investment pieces, which, if you can afford it, is a great thing to do. But if you’re a 19-year-old girl entering the workforce, what you want to hear is how to have the sleeves taken up on a blazer from Forever 21 so you don’t look like you’re wearing your mom’s clothing.\u003c/p>\n\u003cp>“What’s happening at Chanel and Givenchy and all these places doesn’t apply to you. I realized there wasn’t anything intensely practical, and in my day job I traffic in the practical only. It’s results oriented or it goes out the door.”\u003c/p>\n\u003cp>In her 1918 Craftsman house near downtown Los Angeles, Freer has a bedroom-turned-wardrobe vault devoted to her obsessive lust for fashion.\u003c/p>\n\u003cp>“This is my horrifying closet,” she says, chuckling. “This is my life’s work, this is my greatest accomplishment.”\u003c/p>\n\u003cp>It’s wall-to-wall clothing. All manner of stuff. Dresses, hats, kimonos, a pickle costume. And boxes of shoes. Lots of boxes of shoes. Freer has them stacked and labeled meticulously. She hunkers down to examine one.\u003c/p>\n\u003cp>“What do we have right here? Grey Doc Martens, floral. Blue Doc Martens, floral. Black and gold lace-up heels. I like this: silver glitter boots times two. That tells me I have a double of those. I liked those so much I bought them twice.”\u003c/p>\n\u003cp>It was this closet that launched her career. A friend of a friend was a commercial director. He dropped by one day, “And he said, ‘Wow, look at all these clothes. Are you a costume designer?' And I had no idea what that meant, but it sounded very glamorous and I said yes, yes I am. I lied, basically.”\u003c/p>\n\u003cp>The truth is, Freer’s previous career taught her invaluable skills for the jump to laboring in Tinseltown.\u003c/p>\n\u003cp>“I worked retail for 15 years of my life. Anybody who walked into the door of any store that I worked at, I could tell immediately, should I be nice to them? Should I be a little bit mean? Should I be coquettish? What personality should I take on to sell them on my ideas? Because that’s really all it is. Psychology and salesmanship really are the two skills I use daily.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Freer works constantly and her book has climbed quickly up the Amazon rankings, although she says she’s happy working behind the scenes, far from the red carpet. But think of her the next time you’re watching TV -- and you see a man dressed as a taco.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Alison Freer once turned a man into a bush. She made another guy into a jalapeno, and yet another into a taco. But she’s not a vengeful practitioner of sorcery. Freer is a Hollywood costume designer. \u003c/p>\n\u003cp>For 15 years she’s worked in the show biz trenches, nipping, ripping and tucking on desperate deadlines in a job based more on big imagination than big budgets. Now she’s written \u003ca href=\"http://www.amazon.com/How-Get-Dressed-Costume-Designers/dp/1607747065/ref=sr_1_1?ie=UTF8&qid=1438904226&sr=8-1&keywords=how+to+get+dressed+alison+freer\" target=\"_blank\">\"How to Get Dressed\u003c/a>,\" a book utilizing her creative insider knowledge on making the most of what you wear.\u003c/p>\n\u003cp>It’s 6 a.m. at a studio in east Hollywood. In the dressing room of the Amazon kid’s show \u003ca href=\"http://www.amazon.com/Gortimer-vs-Frog-Ultimate-Doom/dp/B00I3MPMPA\" target=\"_blank\">Gortimer Gibbons' Life on Normal Street\u003c/a>, Freer and her three-woman team are already hard at work on actor Nate Torrence.\u003c/p>\n\u003cp>“Nate is playing a fictional character who is half pirate, half fireman,” explains Freer between slugs of coffee. “He lives in another state and flew in for his fitting this morning, and he works in about an hour and a half, so we’re frantically figuring out something for him to wear.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/218278187&visual=true&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false'\n title='https://api.soundcloud.com/tracks/218278187'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>When the appropriate fireman/pirate look has been achieved, Freer grabs her java and follows costumes that are racked and rolled to the soundstage. The show’s director, Luke Matheny, huddles briefly with Freer over the last minute script changes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We have a kids’ show that we move pretty fast on,” says Matheny. “We don’t have much time and not much money, so you need a really resourceful person to make those characters come to life. I think Scorsese says that the character is the costume, and Alison can really roll with the punches and make something out of nothing very quickly.”\u003c/p>\n\u003cp>Improvisation and ingenuity rule the day in Freer’s world.\u003c/p>\n\u003cp>“It’s very much like the A-Team,” she explains. “What do we have? We have a coat hanger and some gum and this weird piece of wood. What can we make out of it? To this day, it’s still the same. Every job.”\u003c/p>\n\u003cp>Costume design is in her blood.\u003c/p>\n\u003cp>“My great-great-grandmother was a seamstress for the Ringling Bros. circus in Sarasota, Florida,” says Freer, “and my great-grandmother, a child at the time, worked in complete violation of child labor laws making bridles for show ponies and clown costumes. So they taught me certain heritage skills that I feel like have fallen by the wayside a little bit -- skills that helped me as a costumer and now are really the backbone of this book.”\u003c/p>\n\u003cp>With sections like “Ironing Is for Suckers,” “How to Frankenstein a Bra that Works for You,” and “Spit Removes Blood Like, Whoa,” Freer’s \"How to Get Dressed\" updates that heritage. And, after reading some 60 previous books on the self-help fashion shelf, she came to a realization:\u003c/p>\n\u003cp>“They were not practical for the everyday girl. They talked about buying investment pieces, which, if you can afford it, is a great thing to do. But if you’re a 19-year-old girl entering the workforce, what you want to hear is how to have the sleeves taken up on a blazer from Forever 21 so you don’t look like you’re wearing your mom’s clothing.\u003c/p>\n\u003cp>“What’s happening at Chanel and Givenchy and all these places doesn’t apply to you. I realized there wasn’t anything intensely practical, and in my day job I traffic in the practical only. It’s results oriented or it goes out the door.”\u003c/p>\n\u003cp>In her 1918 Craftsman house near downtown Los Angeles, Freer has a bedroom-turned-wardrobe vault devoted to her obsessive lust for fashion.\u003c/p>\n\u003cp>“This is my horrifying closet,” she says, chuckling. “This is my life’s work, this is my greatest accomplishment.”\u003c/p>\n\u003cp>It’s wall-to-wall clothing. All manner of stuff. Dresses, hats, kimonos, a pickle costume. And boxes of shoes. Lots of boxes of shoes. Freer has them stacked and labeled meticulously. She hunkers down to examine one.\u003c/p>\n\u003cp>“What do we have right here? Grey Doc Martens, floral. Blue Doc Martens, floral. Black and gold lace-up heels. I like this: silver glitter boots times two. That tells me I have a double of those. I liked those so much I bought them twice.”\u003c/p>\n\u003cp>It was this closet that launched her career. A friend of a friend was a commercial director. He dropped by one day, “And he said, ‘Wow, look at all these clothes. Are you a costume designer?' And I had no idea what that meant, but it sounded very glamorous and I said yes, yes I am. I lied, basically.”\u003c/p>\n\u003cp>The truth is, Freer’s previous career taught her invaluable skills for the jump to laboring in Tinseltown.\u003c/p>\n\u003cp>“I worked retail for 15 years of my life. Anybody who walked into the door of any store that I worked at, I could tell immediately, should I be nice to them? Should I be a little bit mean? Should I be coquettish? What personality should I take on to sell them on my ideas? Because that’s really all it is. Psychology and salesmanship really are the two skills I use daily.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Freer works constantly and her book has climbed quickly up the Amazon rankings, although she says she’s happy working behind the scenes, far from the red carpet. But think of her the next time you’re watching TV -- and you see a man dressed as a taco.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"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": "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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"masters-of-scale": {
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},
"mindshift": {
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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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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"on-the-media": {
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"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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},
"pbs-newshour": {
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},
"perspectives": {
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"order": 14
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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},
"link": "/radio/program/planet-money",
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},
"politicalbreakdown": {
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"order": 5
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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",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"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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},
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},
"radiolab": {
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