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"title": "David King, San Francisco Artist Who Designed Iconic Crass Emblem, Dies at 71",
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"content": "\u003cp>David King, the San Francisco artist best known for designing the English punk band Crass’ iconic and widely reproduced anti-establishment emblem, died at home Thursday following a years-long fight with cancer, his frequent publisher Colpa Press confirmed to KQED. He was 71.\u003c/p>\n\u003cp>The English-born designer, photographer and musician, who moved to San Francisco in 1982, created what would become known as the Crass symbol—a stencil-friendly design incorporating a cross and what he called a “diagonal, negating serpent” with two heads—more than 40 years ago to criticize the mixture of church and state. He also participated in New York’s Downtown scene of the 1980s and the Mission School milieu the next decade in San Francisco.\u003c/p>\n\u003cfigure id=\"attachment_13868625\" class=\"wp-caption alignright\" style=\"max-width: 300px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13868625\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/3-David-King-Crass-Symbol-Early-Design-from-Goteblud-Pamphlet.png\" alt=\"David King's early rendering of the Crass symbol, published in "Secret Origins of the Crass Symbol."\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/3-David-King-Crass-Symbol-Early-Design-from-Goteblud-Pamphlet.png 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/3-David-King-Crass-Symbol-Early-Design-from-Goteblud-Pamphlet-160x160.png 160w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003cfigcaption class=\"wp-caption-text\">David King’s early rendering of the Crass symbol, published in “Secret Origins of the Crass Symbol.”\u003c/figcaption>\u003c/figure>\n\u003cp>The “explosive and memorable image” has “acquired a ubiquitous independence as a sign of protest,” design historian Steven Heller writes in a new book of King’s work. A popular tattoo, the symbol is perhaps rivaled only by Black Flag’s logo in subcultural prominence. It’s also been appropriated for commercial purposes, moving King in recent years to revisit the stark symbol in various publications and exhibitions with color and levity that better reflects his work’s tone.\u003c/p>\n\u003cp>“David’s iconic symbols were a badge of authenticity in the underground scenes across the globe in the pre-internet era, recognizable at 65 mph on the back of a squatter punk meandering down an alleyway at four in the morning,” writes the artist Barry McGee, who King met at the San Francisco Art Institute, in Gingko Press’ new \u003cem>David King Stencils\u003c/em>. “What symbol has even come remotely close to so immediately showing one’s allegiance to an ideology or attitude?”\u003c/p>\n\u003cp>King, remembered for his poise and sharp dress, was born in the United Kingdom on April 10, 1948. In a 2013 interview with this writer, he described being attracted to the “riots” and “beacons” of color in commercial designs on comic books and candy wrapping amid the grey, post-war cityscape. Mod fashion of the 1960s was more to his liking, and King attended art school from 1964 to 1967.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In college King met the artists eventually known as Penny Rimbaud and Gee Vaucher of Crass, afterwards working as a graphic designer. At the inception of punk, he gravitated towards stencils, subverting the militaristic style to promote peace. In 1977 at the communal Dial House near London, King encouraged Rimbaud to write down his criticisms of the state’s propagation of Christian values through public education, leading to the pamphlet \u003cem>Christ’s Reality Asylum\u003c/em>.\u003c/p>\n\u003cp>King designed a logo for the pamphlet that Rimbaud later that year adopted to represent the punk band Crass. “I think the symbol is very simple,” King said in the 2013 interview. “[It’s] against monolithic religious and cultural oppression.” Crass proved hugely influential as a band, agitprop art collective and eponymous record label on the development of anarcho-punk, famously aiming barbed invective at the policies of Margaret Thatcher and Ronald Reagan.\u003c/p>\n\u003cfigure id=\"attachment_13868627\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13868627 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/1-David-King-A-page-from-the-Journey-photo-Luca-Antonucci-courtesy-Colpa-Press-e1571779281924-800x800.jpg\" alt='A page from \"The Journey,\" one of several David King artist books published by Colpa Press.' width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/1-David-King-A-page-from-the-Journey-photo-Luca-Antonucci-courtesy-Colpa-Press-e1571779281924-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/1-David-King-A-page-from-the-Journey-photo-Luca-Antonucci-courtesy-Colpa-Press-e1571779281924-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/1-David-King-A-page-from-the-Journey-photo-Luca-Antonucci-courtesy-Colpa-Press-e1571779281924-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/1-David-King-A-page-from-the-Journey-photo-Luca-Antonucci-courtesy-Colpa-Press-e1571779281924-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/1-David-King-A-page-from-the-Journey-photo-Luca-Antonucci-courtesy-Colpa-Press-e1571779281924-1200x1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/1-David-King-A-page-from-the-Journey-photo-Luca-Antonucci-courtesy-Colpa-Press-e1571779281924-1920x1920.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A page from “The Journey,” one of several David King artist books published by Colpa Press. \u003ccite>(Luca Antonucci/Courtesy Colpa Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 1977, King moved to New York City and fell into the Downtown art and music scene, for instance creating imagery for the storied nightclub Danceteria. He moved with his Arsenal band mates in 1982 to San Francisco, where they reformed as Sleeping Dogs. The groups included his wife Dione. \u003cem>Beware\u003c/em>, which Crass Records released that year, contains anti-capitalist messages and carries King’s distinctive artwork—a Mickey Mouse skull in the middle of a nuclear radiation symbol—on the cover.\u003c/p>\n\u003cp>San Francisco visual artist Matt Borruso, whose 1980s punk group Crucifix often played with Sleeping Dogs, said King’s clean, pointed design style stood out against the city’s underground music scene at the time. “Dave’s work connected my parents’ generation and my generation,” he said. “It was this link between protest art of the 1960s and what we were doing basically as teenagers.” King’s later exchange and camaraderie with artists such as McGee, Borruso added, further shows his unique capacity to reach across scenes and sensibilities.\u003c/p>\n\u003cp>King attended the San Francisco Art Institute in the 1990s to continue studying painting, sculpture and photography, and in recent years published four artist books via Colpa Press. In 2018 Colpa’s now-closed shop exhibited King’s wooden sculptures and released a companion publication, \u003cem>The Journey\u003c/em>. King’s scrapbook-style collage and photography often explore themes of childhood; the self-published book \u003cem>Male Men\u003c/em> collecting stills from televised English puppet shows, for example, surfaces the narrow expressions of masculinity marketed to young people.\u003c/p>\n\u003cfigure id=\"attachment_13868628\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13868628\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/2-David-King-Spray-Day-flyer-Goteblud-2011-800x1045.jpg\" alt=\"Flyer advertising a "spray day" as part of David King's Goteblüd exhibition in 2011.\" width=\"800\" height=\"1045\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/2-David-King-Spray-Day-flyer-Goteblud-2011-800x1045.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/2-David-King-Spray-Day-flyer-Goteblud-2011-160x209.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/2-David-King-Spray-Day-flyer-Goteblud-2011-768x1003.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/2-David-King-Spray-Day-flyer-Goteblud-2011-919x1200.jpg 919w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/2-David-King-Spray-Day-flyer-Goteblud-2011.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Flyer advertising a “spray day” as part of David King’s Goteblüd exhibition in 2011.\u003c/figcaption>\u003c/figure>\n\u003cp>The Crass symbol has often been appropriated. In 2011, the fashion company Hardware added chains to the image and copyrighted it. “It seems ironic that chains have been added to the logo of a band whose abiding hope has been for the breaking of society’s restraints,” he wrote at the time. This particularly tone-deaf reuse of the image inspired King to begin reimagining it in brilliant colors as, say, a bird’s nest or teapot. Goteblüd, the defunct Mission District fanzine store, exhibited the results in 2011, publishing the pamphlet \u003cem>Secret Origins of the Crass Symbol\u003c/em>.\u003c/p>\n\u003cp>During the show Goteblüd hosted “spray days,” when attendees brought objects on which they stenciled the symbol while King watched. (Kind said in the 2013 interview he was amused when, around that time, local punks embellished the symbol with ticket stubs to protest a contentious Crass reunion show involving one original member.) Below one of his Crass symbol renderings in red, blue, yellow and green exhibited at Goteblüd and later Needles & Pens, King wrote, “The 70’s Were Not Colourful.” Colpa cofounder Luca Antonucci said King’s favorite color was yellow. “He likes comic books and once designed the Crass symbol,” reads Colpa’s King biography. “Whatever that is.”\u003c/p>\n\u003cp>Park Life store and gallery in the Inner Richmond is scheduled to host a King exhibition early next year co-curated by his friend and studio assistant Courtney Johnson.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>King is survived by his wife of 40 years Dione. \u003c/p>\n\n",
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"title": "David King, San Francisco Artist Who Designed Iconic Crass Emblem, Dies at 71 | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>David King, the San Francisco artist best known for designing the English punk band Crass’ iconic and widely reproduced anti-establishment emblem, died at home Thursday following a years-long fight with cancer, his frequent publisher Colpa Press confirmed to KQED. He was 71.\u003c/p>\n\u003cp>The English-born designer, photographer and musician, who moved to San Francisco in 1982, created what would become known as the Crass symbol—a stencil-friendly design incorporating a cross and what he called a “diagonal, negating serpent” with two heads—more than 40 years ago to criticize the mixture of church and state. He also participated in New York’s Downtown scene of the 1980s and the Mission School milieu the next decade in San Francisco.\u003c/p>\n\u003cfigure id=\"attachment_13868625\" class=\"wp-caption alignright\" style=\"max-width: 300px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13868625\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/3-David-King-Crass-Symbol-Early-Design-from-Goteblud-Pamphlet.png\" alt=\"David King's early rendering of the Crass symbol, published in "Secret Origins of the Crass Symbol."\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/3-David-King-Crass-Symbol-Early-Design-from-Goteblud-Pamphlet.png 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/3-David-King-Crass-Symbol-Early-Design-from-Goteblud-Pamphlet-160x160.png 160w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003cfigcaption class=\"wp-caption-text\">David King’s early rendering of the Crass symbol, published in “Secret Origins of the Crass Symbol.”\u003c/figcaption>\u003c/figure>\n\u003cp>The “explosive and memorable image” has “acquired a ubiquitous independence as a sign of protest,” design historian Steven Heller writes in a new book of King’s work. A popular tattoo, the symbol is perhaps rivaled only by Black Flag’s logo in subcultural prominence. It’s also been appropriated for commercial purposes, moving King in recent years to revisit the stark symbol in various publications and exhibitions with color and levity that better reflects his work’s tone.\u003c/p>\n\u003cp>“David’s iconic symbols were a badge of authenticity in the underground scenes across the globe in the pre-internet era, recognizable at 65 mph on the back of a squatter punk meandering down an alleyway at four in the morning,” writes the artist Barry McGee, who King met at the San Francisco Art Institute, in Gingko Press’ new \u003cem>David King Stencils\u003c/em>. “What symbol has even come remotely close to so immediately showing one’s allegiance to an ideology or attitude?”\u003c/p>\n\u003cp>King, remembered for his poise and sharp dress, was born in the United Kingdom on April 10, 1948. In a 2013 interview with this writer, he described being attracted to the “riots” and “beacons” of color in commercial designs on comic books and candy wrapping amid the grey, post-war cityscape. Mod fashion of the 1960s was more to his liking, and King attended art school from 1964 to 1967.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In college King met the artists eventually known as Penny Rimbaud and Gee Vaucher of Crass, afterwards working as a graphic designer. At the inception of punk, he gravitated towards stencils, subverting the militaristic style to promote peace. In 1977 at the communal Dial House near London, King encouraged Rimbaud to write down his criticisms of the state’s propagation of Christian values through public education, leading to the pamphlet \u003cem>Christ’s Reality Asylum\u003c/em>.\u003c/p>\n\u003cp>King designed a logo for the pamphlet that Rimbaud later that year adopted to represent the punk band Crass. “I think the symbol is very simple,” King said in the 2013 interview. “[It’s] against monolithic religious and cultural oppression.” Crass proved hugely influential as a band, agitprop art collective and eponymous record label on the development of anarcho-punk, famously aiming barbed invective at the policies of Margaret Thatcher and Ronald Reagan.\u003c/p>\n\u003cfigure id=\"attachment_13868627\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13868627 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/1-David-King-A-page-from-the-Journey-photo-Luca-Antonucci-courtesy-Colpa-Press-e1571779281924-800x800.jpg\" alt='A page from \"The Journey,\" one of several David King artist books published by Colpa Press.' width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/1-David-King-A-page-from-the-Journey-photo-Luca-Antonucci-courtesy-Colpa-Press-e1571779281924-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/1-David-King-A-page-from-the-Journey-photo-Luca-Antonucci-courtesy-Colpa-Press-e1571779281924-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/1-David-King-A-page-from-the-Journey-photo-Luca-Antonucci-courtesy-Colpa-Press-e1571779281924-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/1-David-King-A-page-from-the-Journey-photo-Luca-Antonucci-courtesy-Colpa-Press-e1571779281924-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/1-David-King-A-page-from-the-Journey-photo-Luca-Antonucci-courtesy-Colpa-Press-e1571779281924-1200x1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/1-David-King-A-page-from-the-Journey-photo-Luca-Antonucci-courtesy-Colpa-Press-e1571779281924-1920x1920.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A page from “The Journey,” one of several David King artist books published by Colpa Press. \u003ccite>(Luca Antonucci/Courtesy Colpa Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 1977, King moved to New York City and fell into the Downtown art and music scene, for instance creating imagery for the storied nightclub Danceteria. He moved with his Arsenal band mates in 1982 to San Francisco, where they reformed as Sleeping Dogs. The groups included his wife Dione. \u003cem>Beware\u003c/em>, which Crass Records released that year, contains anti-capitalist messages and carries King’s distinctive artwork—a Mickey Mouse skull in the middle of a nuclear radiation symbol—on the cover.\u003c/p>\n\u003cp>San Francisco visual artist Matt Borruso, whose 1980s punk group Crucifix often played with Sleeping Dogs, said King’s clean, pointed design style stood out against the city’s underground music scene at the time. “Dave’s work connected my parents’ generation and my generation,” he said. “It was this link between protest art of the 1960s and what we were doing basically as teenagers.” King’s later exchange and camaraderie with artists such as McGee, Borruso added, further shows his unique capacity to reach across scenes and sensibilities.\u003c/p>\n\u003cp>King attended the San Francisco Art Institute in the 1990s to continue studying painting, sculpture and photography, and in recent years published four artist books via Colpa Press. In 2018 Colpa’s now-closed shop exhibited King’s wooden sculptures and released a companion publication, \u003cem>The Journey\u003c/em>. King’s scrapbook-style collage and photography often explore themes of childhood; the self-published book \u003cem>Male Men\u003c/em> collecting stills from televised English puppet shows, for example, surfaces the narrow expressions of masculinity marketed to young people.\u003c/p>\n\u003cfigure id=\"attachment_13868628\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13868628\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/2-David-King-Spray-Day-flyer-Goteblud-2011-800x1045.jpg\" alt=\"Flyer advertising a "spray day" as part of David King's Goteblüd exhibition in 2011.\" width=\"800\" height=\"1045\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/2-David-King-Spray-Day-flyer-Goteblud-2011-800x1045.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/2-David-King-Spray-Day-flyer-Goteblud-2011-160x209.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/2-David-King-Spray-Day-flyer-Goteblud-2011-768x1003.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/2-David-King-Spray-Day-flyer-Goteblud-2011-919x1200.jpg 919w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/2-David-King-Spray-Day-flyer-Goteblud-2011.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Flyer advertising a “spray day” as part of David King’s Goteblüd exhibition in 2011.\u003c/figcaption>\u003c/figure>\n\u003cp>The Crass symbol has often been appropriated. In 2011, the fashion company Hardware added chains to the image and copyrighted it. “It seems ironic that chains have been added to the logo of a band whose abiding hope has been for the breaking of society’s restraints,” he wrote at the time. This particularly tone-deaf reuse of the image inspired King to begin reimagining it in brilliant colors as, say, a bird’s nest or teapot. Goteblüd, the defunct Mission District fanzine store, exhibited the results in 2011, publishing the pamphlet \u003cem>Secret Origins of the Crass Symbol\u003c/em>.\u003c/p>\n\u003cp>During the show Goteblüd hosted “spray days,” when attendees brought objects on which they stenciled the symbol while King watched. (Kind said in the 2013 interview he was amused when, around that time, local punks embellished the symbol with ticket stubs to protest a contentious Crass reunion show involving one original member.) Below one of his Crass symbol renderings in red, blue, yellow and green exhibited at Goteblüd and later Needles & Pens, King wrote, “The 70’s Were Not Colourful.” Colpa cofounder Luca Antonucci said King’s favorite color was yellow. “He likes comic books and once designed the Crass symbol,” reads Colpa’s King biography. “Whatever that is.”\u003c/p>\n\u003cp>Park Life store and gallery in the Inner Richmond is scheduled to host a King exhibition early next year co-curated by his friend and studio assistant Courtney Johnson.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Raphael Saadiq, Maya Jane Coles to Headline Noise Pop 2020",
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"content": "\u003cp>Founded in 1993 as an indie rock showcase, \u003ca href=\"http://schedule.noisepopfest.com/\" target=\"_blank\" rel=\"noopener\">Noise Pop\u003c/a> remains one of the Bay Area’s most unique music festivals as it widens its scope to include more genres, venues and corners of the local music scene. In recent years, the San Francisco-based fest grew to include shows in Oakland and Berkeley, and 2020 marks the first year it expands into Sacramento. Today, Noise Pop announced phase one of its 2020 lineup, and there’s plenty to look forward to when it takes over local clubs and concert halls Feb. 24- March 1, 2020.\u003c/p>\n\u003cp>Oakland music legend \u003ca href=\"https://www.kqed.org/arts/13810633/from-tony-toni-tone-to-insecure-rb-star-raphael-saadiq-is-timeless\" target=\"_blank\" rel=\"noopener\">Raphael Saadiq\u003c/a> tops the bill with a \u003ca href=\"http://schedule.noisepopfest.com/events/2020/2/28/raphael-saadiq-jamila-woods-dj-duggz-tickets\" target=\"_blank\" rel=\"noopener\">headlining show\u003c/a> at his hometown’s Fox Theater on Feb. 28. Once a star of the West Coast R&B scene with his group Tony! Toni! Toné!, Saadiq went on to produce for top-tier artists like D’Angelo, Stevie Wonder and Solange—to name a few. His influence continues to shape R&B today with his work on the acclaimed soundtrack for HBO’s \u003cem>Insecure\u003c/em>.\u003c/p>\n\u003cp>British-Japanese techno producer \u003ca href=\"http://schedule.noisepopfest.com/events/2020/2/28/maya-jane-coles-tickets\" target=\"_blank\" rel=\"noopener\">Maya Jane Coles\u003c/a>‘ Feb. 28 show at 1015 Folsom in San Francisco is another lineup highlight, as well as violinist-singer-producer \u003ca href=\"http://schedule.noisepopfest.com/events/2020/2/24/sudan-archives-tickets\" target=\"_blank\" rel=\"noopener\">Sudan Archives\u003c/a>‘ performance at Slim’s, also in San Francisco, on Feb. 24. Indie pop singer-songwriter \u003ca href=\"http://schedule.noisepopfest.com/events/2020/2/26/helado-negr-tickets\" target=\"_blank\" rel=\"noopener\">Helado Negro\u003c/a> performs at San Francisco’s Great American Music Hall on Feb. 26, and Sasami—the intimate, guitar-driven solo project of Cherry Glazerr’s keyboardist and guitarist of the same name—headlines \u003ca href=\"http://schedule.noisepopfest.com/events/2020/2/27/sasami-1571429611\" target=\"_blank\" rel=\"noopener\">Holy Diver\u003c/a> in Sacramento on Feb. 27 and \u003ca href=\"http://schedule.noisepopfest.com/events/2020/2/28/sasami-tickets\" target=\"_blank\" rel=\"noopener\">the Chapel\u003c/a> in San Francisco on Feb. 28.\u003c/p>\n\u003cp>The best part of Noise Pop is that showgoers can curate their experience, hopping around to multiple shows in one night or just attending one or two throughout the week. See phase one of the lineup in full \u003ca href=\"http://schedule.noisepopfest.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>, and we’ll update this post once more acts are announced.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Founded in 1993 as an indie rock showcase, \u003ca href=\"http://schedule.noisepopfest.com/\" target=\"_blank\" rel=\"noopener\">Noise Pop\u003c/a> remains one of the Bay Area’s most unique music festivals as it widens its scope to include more genres, venues and corners of the local music scene. In recent years, the San Francisco-based fest grew to include shows in Oakland and Berkeley, and 2020 marks the first year it expands into Sacramento. Today, Noise Pop announced phase one of its 2020 lineup, and there’s plenty to look forward to when it takes over local clubs and concert halls Feb. 24- March 1, 2020.\u003c/p>\n\u003cp>Oakland music legend \u003ca href=\"https://www.kqed.org/arts/13810633/from-tony-toni-tone-to-insecure-rb-star-raphael-saadiq-is-timeless\" target=\"_blank\" rel=\"noopener\">Raphael Saadiq\u003c/a> tops the bill with a \u003ca href=\"http://schedule.noisepopfest.com/events/2020/2/28/raphael-saadiq-jamila-woods-dj-duggz-tickets\" target=\"_blank\" rel=\"noopener\">headlining show\u003c/a> at his hometown’s Fox Theater on Feb. 28. Once a star of the West Coast R&B scene with his group Tony! Toni! Toné!, Saadiq went on to produce for top-tier artists like D’Angelo, Stevie Wonder and Solange—to name a few. His influence continues to shape R&B today with his work on the acclaimed soundtrack for HBO’s \u003cem>Insecure\u003c/em>.\u003c/p>\n\u003cp>British-Japanese techno producer \u003ca href=\"http://schedule.noisepopfest.com/events/2020/2/28/maya-jane-coles-tickets\" target=\"_blank\" rel=\"noopener\">Maya Jane Coles\u003c/a>‘ Feb. 28 show at 1015 Folsom in San Francisco is another lineup highlight, as well as violinist-singer-producer \u003ca href=\"http://schedule.noisepopfest.com/events/2020/2/24/sudan-archives-tickets\" target=\"_blank\" rel=\"noopener\">Sudan Archives\u003c/a>‘ performance at Slim’s, also in San Francisco, on Feb. 24. Indie pop singer-songwriter \u003ca href=\"http://schedule.noisepopfest.com/events/2020/2/26/helado-negr-tickets\" target=\"_blank\" rel=\"noopener\">Helado Negro\u003c/a> performs at San Francisco’s Great American Music Hall on Feb. 26, and Sasami—the intimate, guitar-driven solo project of Cherry Glazerr’s keyboardist and guitarist of the same name—headlines \u003ca href=\"http://schedule.noisepopfest.com/events/2020/2/27/sasami-1571429611\" target=\"_blank\" rel=\"noopener\">Holy Diver\u003c/a> in Sacramento on Feb. 27 and \u003ca href=\"http://schedule.noisepopfest.com/events/2020/2/28/sasami-tickets\" target=\"_blank\" rel=\"noopener\">the Chapel\u003c/a> in San Francisco on Feb. 28.\u003c/p>\n\u003cp>The best part of Noise Pop is that showgoers can curate their experience, hopping around to multiple shows in one night or just attending one or two throughout the week. See phase one of the lineup in full \u003ca href=\"http://schedule.noisepopfest.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>, and we’ll update this post once more acts are announced.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Actress Alexis Bledel has been bookish and sweet on “Gilmore Girls” and “Sisterhood of the Traveling Pants.” But the actress herself is now officially dangerous.\u003c/p>\n\u003cp>Cybersecurity firm McAfee on Monday crowned Bledel the most dangerous celebrity on the internet in 2019. No other celebrity was more likely to land users on websites that carry viruses or malware.\u003c/p>\n\u003cp>Trailing Bledel at No. 2 is talk show host James Corden, followed by “Game of Thrones” star Sophie Turner, actress Anna Kendrick, movie star Lupita Nyong’o, talk show star Jimmy Fallon, martial arts master Jackie Chan, the rappers Lil Wayne and Nicki Minaj, and finally Marvel actress Tessa Thompson at No. 10.\u003c/p>\n\u003cp>[aside tag='pop-culture, kqed-pop' label='More News For You']\u003c/p>\n\u003cp>The survey is meant to highlight the danger of clicking on suspicious links. Bad actors will attach malware and malicious links to famous names, hoping fans searching for videos on the internet will fall victim. McAfee urges internet users to consider risks associated with searching for pirated content and always apply updated security fixes.\u003c/p>\n\u003cp>“Consumers may not be fully aware that the searches they conduct pose risk, nor may they understand the detrimental effects that can occur when personal information is compromised in exchange for access to their favorite celebrities, movies, TV shows or music,” Gary Davis, chief consumer security evangelist at McAfee, said in a statement.\u003c/p>\n\u003cp>Davis explained that Bledel and Turner likely landed on the list this year due to their respective roles in the popular shows “The Handmaid’s Tale” on Hulu and “Game of Thrones” on HBO, both subscriber-based services.\u003c/p>\n\u003cp>Talk show hosts Corden and Fallon probably landed on the list due to viral videos of their shows, while interest in “Star Wars: The Rise of Skywalker” likely put Nyong’o so high. Lil Wayne’s summer tour with Blink-182 may have prompted fans to search for illegal downloads.\u003c/p>\n\u003cp>Chan’s name on the list may be a surprise since he has kept a relatively low profile of late, but Davis explained that rumors circulated this year that the actor might return to the big screen in “Rush Hour 4” and “The Karate Kid 2.” His team denied the gossip, but cybercriminals jumped in, hoping to “target fans who were overcome by nostalgia and less cautious about their personal security.”\u003c/p>\n\u003cp>Bledel takes over top spot from Ruby Rose, who led last year’s list largely because of interest in her playing Batwoman. This year’s list also indicates interest in reality stars may have waned. Kristen Cavallari and Kourtney Kardashian, who both found themselves in last year’s top 10 list, dropped to No. 214 and No. 222, respectively.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The survey is meant to highlight the danger of clicking on suspicious links. Bad actors will attach malware and malicious links to famous names, hoping fans searching for videos on the internet will fall victim. McAfee urges internet users to consider risks associated with searching for pirated content and always apply updated security fixes.\u003c/p>\n\u003cp>“Consumers may not be fully aware that the searches they conduct pose risk, nor may they understand the detrimental effects that can occur when personal information is compromised in exchange for access to their favorite celebrities, movies, TV shows or music,” Gary Davis, chief consumer security evangelist at McAfee, said in a statement.\u003c/p>\n\u003cp>Davis explained that Bledel and Turner likely landed on the list this year due to their respective roles in the popular shows “The Handmaid’s Tale” on Hulu and “Game of Thrones” on HBO, both subscriber-based services.\u003c/p>\n\u003cp>Talk show hosts Corden and Fallon probably landed on the list due to viral videos of their shows, while interest in “Star Wars: The Rise of Skywalker” likely put Nyong’o so high. Lil Wayne’s summer tour with Blink-182 may have prompted fans to search for illegal downloads.\u003c/p>\n\u003cp>Chan’s name on the list may be a surprise since he has kept a relatively low profile of late, but Davis explained that rumors circulated this year that the actor might return to the big screen in “Rush Hour 4” and “The Karate Kid 2.” His team denied the gossip, but cybercriminals jumped in, hoping to “target fans who were overcome by nostalgia and less cautious about their personal security.”\u003c/p>\n\u003cp>Bledel takes over top spot from Ruby Rose, who led last year’s list largely because of interest in her playing Batwoman. This year’s list also indicates interest in reality stars may have waned. Kristen Cavallari and Kourtney Kardashian, who both found themselves in last year’s top 10 list, dropped to No. 214 and No. 222, respectively.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>For 40 years now, an all-female vocal ensemble from Oakland has led audiences in the Bay Area and beyond down a musical rabbit hole to visit the imagined recesses of our collective past in Europe and Eurasia.\u003c/p>\n\u003cp>The eight women of \u003ca href=\"http://www.kitka.org\" target=\"_blank\" rel=\"noopener\">Kitka Women’s Vocal Ensemble\u003c/a> call on that past in polyphonic unison, performing a staggering variety of traditional music that evokes, not \u003cem>your\u003c/em> past per se, but that of your great-grandmothers, in some village lost to the mists of time, and often, tragedy. It’s powerful stuff, both because the singing is fabulous, but also because the singers of Kitka do their homework and collaborate with people who come from the countries where these ancient lullabies, love songs and laments are sung.\u003c/p>\n\u003cp>This month, Kitka brought over \u003ca href=\"http://www.road-to-armenia.com/hasmik/hasmik.html\" target=\"_blank\" rel=\"noopener\">Hasmik Harutyunyan\u003c/a>, one of the premier voices of Armenian folk music, who runs the \u003ca href=\"https://musicofarmenia.com/shoghaken-folk-ensemble\" target=\"_blank\" rel=\"noopener\">Shoghaken Folk Ensemble\u003c/a> and directs the Hayrik Muradyan Traditional Song and Dance Children’s Ensemble in the Armenian capital, Yerevan. Tonight, she performs the last concert of a series, \u003cem>\u003ca href=\"http://www.kitka.org/events/2019/10/17/kitka-amp-hasmik-harutyunyan-in-concert-gorani-love-songs-and-lullabies-to-lost-homelands-435tp\" target=\"_blank\" rel=\"noopener\">Gorani: Love Songs to Lost Homelands\u003c/a>\u003c/em>.\u003c/p>\n\u003cp>Harutyunyan says the concerts delivers exactly what the title implies: a musical bridge to village life before the slaughter and forced diaspora of the early 20th century.\u003c/p>\n\u003cp>“After the concert, people are coming to me and sometimes they’re so excited. They’re telling, ‘Oh that’s the song my parents or grandparents were singing.’” This music, she says, takes them on a journey to their childhood.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“This is actually our third collaborative project with Hasmik Harutyunyan,” says Kitka’s longtime artistic director Shira Cion. “She’s taught us so much. She’s so generous spirited. She’s like an encyclopedia of Armenian folk music.”\u003c/p>\n\u003cfigure id=\"attachment_13868488\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13868488\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/RS39594_Kitka.-Photo-by-Tomas-Pacha-2-qut.jpg\" alt=\"Bay Area institution Kitka is celebrating its 40th year performing traditional folk music from Europe and Eurasia, as well as introducing folk musicians from those regions to American audiences.\" width=\"1920\" height=\"1261\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/RS39594_Kitka.-Photo-by-Tomas-Pacha-2-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/RS39594_Kitka.-Photo-by-Tomas-Pacha-2-qut-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/RS39594_Kitka.-Photo-by-Tomas-Pacha-2-qut-800x525.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/RS39594_Kitka.-Photo-by-Tomas-Pacha-2-qut-768x504.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/RS39594_Kitka.-Photo-by-Tomas-Pacha-2-qut-1020x670.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/RS39594_Kitka.-Photo-by-Tomas-Pacha-2-qut-1200x788.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Bay Area institution Kitka is celebrating its 40th year performing traditional folk music from Europe and Eurasia, as well as introducing folk musicians from those regions to American audiences. \u003ccite>(Photo: Courtesy of Tomas Pacha)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Harutyunyan is no stranger to the US. She was last in the US with Kitka nearly ten years ago. She performed at Carnegie Hall and participated in Yo-Yo Ma’s \u003ca href=\"https://www.silkroad.org\" target=\"_blank\" rel=\"noopener\">Silk Road\u003c/a> Project. Her music can also be heard on the soundtrack of the film \u003cem>Ararat\u003c/em>.\u003c/p>\n\u003cp>Kitka’s fascination with Armenian folk singing might seem obvious, but the music is a departure from the rich harmonies and intricate ornamentation of traditional Eastern European vocal music Kitka is known for. (Kitka means “bouquet” in Bulgarian and Macedonian.)\u003c/p>\n\u003cp>“Armenian music is really a different colored crayon than what we’re accustomed to,” says Cion. “Most of Kitka’s repertoire is polyphonic, meaning scored for many voices singing in harmony. Whereas Armenian music is modal music and monodic music. So it’s different. It’s really based on melody lines that interact with a bass drone pitch. This sort of music is much more common in the Near East, in Indian music and Persian music. Because there isn’t so much fussing with the harmonies, the melody lines are particularly beautiful, intricate, rich and compelling.”\u003c/p>\n\u003cp>This program also features the music of by the Armenian composer and folk song collector Komitas Vardapet (1869-1935), an iconic figure in Armenian history.\u003c/p>\n\u003cp>“He was very much like Bartok was for Hungary or Alan Lomax was for American folk music. As a Western trained classical composer, he took inspiration from these folk melodies and created harmonized choral pieces in a more Western classical tradition, both for choirs and for the piano,” Cion says.\u003c/p>\n\u003cp>Thanks to the work of Vardapet and his students, thousands of traditional songs survived the Armenian Genocide of 1914-1923. Harutyunyan aims to do the same in modern times. \u003cem>Ororotsayin\u003c/em>, Harutyunyan’s new book and CD anthology of 57 historical Armenian lullabies, includes mostly songs that have never been recorded before.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=fSDVgS7CTr4\u003c/p>\n\u003cp>Harutyunyan first learned to love her tradition at the knee of her grandmother who sang to her as a child in historic (Western) Armenia. As an adult, Harutyunyan picked up more from other grandmothers, as well as from their descendants and old song collections.\u003c/p>\n\u003cp>For Harutyunyan, this practice of ethnomusicology is not academic. “Folk songs are the road to take to go back to our homeland. If we lose that road, we are going to be lost forever.”\u003c/p>\n\u003cp>Along those lines, Harutyunyan notes, “We still have thousands of music, songs and melodies in \u003cem>khaz\u003c/em>. That’s the old Armenian notation system. We lost the key to read these melodies. So we are still waiting for some day when some smart generation will be able to read these melodies and songs.\u003c/p>\n\u003cp>There’s a sizable Armenian-American population \u003ca href=\"https://www.kqed.org/bayareabites/70323/food-spirituality-fall-feast-with-armenians-in-san-francisco\" target=\"_blank\" rel=\"noopener\">in the San Francisco Bay Area\u003c/a>, concentrated in and around San Francisco, Oakland and San Jose. Harutyunyan’s concerts typically draw a large turnout. Might there be some Silicon Valley techies in the audience game to take up that challenge? “Maybe,” she muses, laughing. “Computer now is doing so many amazing things. Why not? This is the time!”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>You can catch the last concert of this series tonight at the Hammer Theatre Center in San Jose. \u003ca href=\"https://hammertheatre.com/calendar/\" target=\"_blank\" rel=\"noopener\">\u003cem>Details here\u003c/em>\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For 40 years now, an all-female vocal ensemble from Oakland has led audiences in the Bay Area and beyond down a musical rabbit hole to visit the imagined recesses of our collective past in Europe and Eurasia.\u003c/p>\n\u003cp>The eight women of \u003ca href=\"http://www.kitka.org\" target=\"_blank\" rel=\"noopener\">Kitka Women’s Vocal Ensemble\u003c/a> call on that past in polyphonic unison, performing a staggering variety of traditional music that evokes, not \u003cem>your\u003c/em> past per se, but that of your great-grandmothers, in some village lost to the mists of time, and often, tragedy. It’s powerful stuff, both because the singing is fabulous, but also because the singers of Kitka do their homework and collaborate with people who come from the countries where these ancient lullabies, love songs and laments are sung.\u003c/p>\n\u003cp>This month, Kitka brought over \u003ca href=\"http://www.road-to-armenia.com/hasmik/hasmik.html\" target=\"_blank\" rel=\"noopener\">Hasmik Harutyunyan\u003c/a>, one of the premier voices of Armenian folk music, who runs the \u003ca href=\"https://musicofarmenia.com/shoghaken-folk-ensemble\" target=\"_blank\" rel=\"noopener\">Shoghaken Folk Ensemble\u003c/a> and directs the Hayrik Muradyan Traditional Song and Dance Children’s Ensemble in the Armenian capital, Yerevan. Tonight, she performs the last concert of a series, \u003cem>\u003ca href=\"http://www.kitka.org/events/2019/10/17/kitka-amp-hasmik-harutyunyan-in-concert-gorani-love-songs-and-lullabies-to-lost-homelands-435tp\" target=\"_blank\" rel=\"noopener\">Gorani: Love Songs to Lost Homelands\u003c/a>\u003c/em>.\u003c/p>\n\u003cp>Harutyunyan says the concerts delivers exactly what the title implies: a musical bridge to village life before the slaughter and forced diaspora of the early 20th century.\u003c/p>\n\u003cp>“After the concert, people are coming to me and sometimes they’re so excited. They’re telling, ‘Oh that’s the song my parents or grandparents were singing.’” This music, she says, takes them on a journey to their childhood.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“This is actually our third collaborative project with Hasmik Harutyunyan,” says Kitka’s longtime artistic director Shira Cion. “She’s taught us so much. She’s so generous spirited. She’s like an encyclopedia of Armenian folk music.”\u003c/p>\n\u003cfigure id=\"attachment_13868488\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13868488\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/RS39594_Kitka.-Photo-by-Tomas-Pacha-2-qut.jpg\" alt=\"Bay Area institution Kitka is celebrating its 40th year performing traditional folk music from Europe and Eurasia, as well as introducing folk musicians from those regions to American audiences.\" width=\"1920\" height=\"1261\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/RS39594_Kitka.-Photo-by-Tomas-Pacha-2-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/RS39594_Kitka.-Photo-by-Tomas-Pacha-2-qut-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/RS39594_Kitka.-Photo-by-Tomas-Pacha-2-qut-800x525.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/RS39594_Kitka.-Photo-by-Tomas-Pacha-2-qut-768x504.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/RS39594_Kitka.-Photo-by-Tomas-Pacha-2-qut-1020x670.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/RS39594_Kitka.-Photo-by-Tomas-Pacha-2-qut-1200x788.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Bay Area institution Kitka is celebrating its 40th year performing traditional folk music from Europe and Eurasia, as well as introducing folk musicians from those regions to American audiences. \u003ccite>(Photo: Courtesy of Tomas Pacha)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Harutyunyan is no stranger to the US. She was last in the US with Kitka nearly ten years ago. She performed at Carnegie Hall and participated in Yo-Yo Ma’s \u003ca href=\"https://www.silkroad.org\" target=\"_blank\" rel=\"noopener\">Silk Road\u003c/a> Project. Her music can also be heard on the soundtrack of the film \u003cem>Ararat\u003c/em>.\u003c/p>\n\u003cp>Kitka’s fascination with Armenian folk singing might seem obvious, but the music is a departure from the rich harmonies and intricate ornamentation of traditional Eastern European vocal music Kitka is known for. (Kitka means “bouquet” in Bulgarian and Macedonian.)\u003c/p>\n\u003cp>“Armenian music is really a different colored crayon than what we’re accustomed to,” says Cion. “Most of Kitka’s repertoire is polyphonic, meaning scored for many voices singing in harmony. Whereas Armenian music is modal music and monodic music. So it’s different. It’s really based on melody lines that interact with a bass drone pitch. This sort of music is much more common in the Near East, in Indian music and Persian music. Because there isn’t so much fussing with the harmonies, the melody lines are particularly beautiful, intricate, rich and compelling.”\u003c/p>\n\u003cp>This program also features the music of by the Armenian composer and folk song collector Komitas Vardapet (1869-1935), an iconic figure in Armenian history.\u003c/p>\n\u003cp>“He was very much like Bartok was for Hungary or Alan Lomax was for American folk music. As a Western trained classical composer, he took inspiration from these folk melodies and created harmonized choral pieces in a more Western classical tradition, both for choirs and for the piano,” Cion says.\u003c/p>\n\u003cp>Thanks to the work of Vardapet and his students, thousands of traditional songs survived the Armenian Genocide of 1914-1923. Harutyunyan aims to do the same in modern times. \u003cem>Ororotsayin\u003c/em>, Harutyunyan’s new book and CD anthology of 57 historical Armenian lullabies, includes mostly songs that have never been recorded before.\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/fSDVgS7CTr4'\n title='//www.youtube.com/embed/fSDVgS7CTr4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Harutyunyan first learned to love her tradition at the knee of her grandmother who sang to her as a child in historic (Western) Armenia. As an adult, Harutyunyan picked up more from other grandmothers, as well as from their descendants and old song collections.\u003c/p>\n\u003cp>For Harutyunyan, this practice of ethnomusicology is not academic. “Folk songs are the road to take to go back to our homeland. If we lose that road, we are going to be lost forever.”\u003c/p>\n\u003cp>Along those lines, Harutyunyan notes, “We still have thousands of music, songs and melodies in \u003cem>khaz\u003c/em>. That’s the old Armenian notation system. We lost the key to read these melodies. So we are still waiting for some day when some smart generation will be able to read these melodies and songs.\u003c/p>\n\u003cp>There’s a sizable Armenian-American population \u003ca href=\"https://www.kqed.org/bayareabites/70323/food-spirituality-fall-feast-with-armenians-in-san-francisco\" target=\"_blank\" rel=\"noopener\">in the San Francisco Bay Area\u003c/a>, concentrated in and around San Francisco, Oakland and San Jose. Harutyunyan’s concerts typically draw a large turnout. Might there be some Silicon Valley techies in the audience game to take up that challenge? “Maybe,” she muses, laughing. “Computer now is doing so many amazing things. Why not? This is the time!”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>You can catch the last concert of this series tonight at the Hammer Theatre Center in San Jose. \u003ca href=\"https://hammertheatre.com/calendar/\" target=\"_blank\" rel=\"noopener\">\u003cem>Details here\u003c/em>\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "California Fall Foliage: It's Real, and There's a Map for That",
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"content": "\u003cul>\n\u003cli>\u003cstrong>\u003ca href=\"https://www.kqed.org/news/11842295/where-to-see-fall-foliage-in-the-bay-area\">Updated for 2020: Where to see fall colors in the Bay Area\u003c/a>\u003c/strong>\u003c/li>\n\u003c/ul>\n\u003cp>When it comes to fall foliage, California’s landscapes are often overlooked in favor of more famous autumnal destinations on the East Coast, like New England.\u003c/p>\n\u003cp>Luckily for Golden State leaf-lovers, there’s an online guide to the best places to see fall foliage in California.\u003c/p>\n\u003cfigure id=\"attachment_13868476\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13868476\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/RS39587_30789941332_51226c0b97_k-qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/RS39587_30789941332_51226c0b97_k-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/RS39587_30789941332_51226c0b97_k-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/RS39587_30789941332_51226c0b97_k-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/RS39587_30789941332_51226c0b97_k-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/RS39587_30789941332_51226c0b97_k-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/RS39587_30789941332_51226c0b97_k-qut-1200x800.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Autumn foliage in Yosemite National Park \u003ccite>(Always Shooting / Flickr)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.californiafallcolor.com/\">California Fall Color \u003c/a>(which bears the tagline “Dude, autumn happens here too”) offers not only peak foliage dates and photos, but a crowdsourced \u003ca href=\"https://www.californiafallcolor.com/map/\">California Fall Color Map\u003c/a> that shows the spots where fall foliage can be glimpsed right \u003cem>now\u003c/em>—and where it’s about to peak.\u003c/p>\n\u003cp>[googlemaps https://www.google.com/maps/d/embed?mid=12FSQxbVe9CedswOvJaWaeI5vvYU&w=800&h=600]\u003c/p>\n\u003cp>The site, and that crowdsourced map, are the work of \u003ca href=\"https://www.poimiroo.com/\">John Poimiroo\u003c/a>, a travel writer and tourism professional who gets his tips (and accompanying photographs) from volunteer leaf enthusiasts, public lands agencies and “destination marketing organizations.”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">[aside postID=\"news_11842295\"]\u003c/span>According to California Fall Color, the best places to see fall foliage include not just the Sierras but also the North Coast (Redwood National and State Parks), California’s vineyards, Gold Country, the Central Valley and the state’s urban forests, including those in the Bay Area.\u003c/p>\n\u003cfigure id=\"attachment_13868477\" class=\"wp-caption alignnone\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13868477\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/RS39588_15493398978_393416ae9b_o-qut.jpg\" alt=\"\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/RS39588_15493398978_393416ae9b_o-qut.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/RS39588_15493398978_393416ae9b_o-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/RS39588_15493398978_393416ae9b_o-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/RS39588_15493398978_393416ae9b_o-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/RS39588_15493398978_393416ae9b_o-qut-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Fall color in the Eastern Sierra \u003ccite>(Greg Balzer / Flickr)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Why does California get such a bad rap for fall foliage? \u003ca href=\"https://www.californiafallcolor.com/about-2/\">According to Poimiroo\u003c/a>, it’s because much of our state’s population lives on the Pacific coast, where true fall color is admittedly rare. And yet, across the state, California’s range of elevations and temperate climate conspire to allow an “extraordinary variety of deciduous trees and plants.” So basically, you should stop dreaming of Vermont and appreciate the possibilities in your own backyard.\u003c/p>\n\u003cp>Remember: Poimiroo’s site advises that regardless of location, \u003ca href=\"https://www.californiafallcolor.com/about-2/\">peak color takes about two weeks to evolve\u003c/a> from Near Peak to Past Peak, unless weather cuts it even shorter. So if you’re tempted to go check out a certain spot for our state’s autumnal hues that’s already a riot of color, you might want to move fast.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cul>\n\u003cli>\u003cstrong>\u003ca href=\"https://www.kqed.org/news/11842295/where-to-see-fall-foliage-in-the-bay-area\">Updated for 2020: Where to see fall colors in the Bay Area\u003c/a>\u003c/strong>\u003c/li>\n\u003c/ul>\n\u003cp>When it comes to fall foliage, California’s landscapes are often overlooked in favor of more famous autumnal destinations on the East Coast, like New England.\u003c/p>\n\u003cp>Luckily for Golden State leaf-lovers, there’s an online guide to the best places to see fall foliage in California.\u003c/p>\n\u003cfigure id=\"attachment_13868476\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13868476\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/RS39587_30789941332_51226c0b97_k-qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/RS39587_30789941332_51226c0b97_k-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/RS39587_30789941332_51226c0b97_k-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/RS39587_30789941332_51226c0b97_k-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/RS39587_30789941332_51226c0b97_k-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/RS39587_30789941332_51226c0b97_k-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/RS39587_30789941332_51226c0b97_k-qut-1200x800.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Autumn foliage in Yosemite National Park \u003ccite>(Always Shooting / Flickr)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.californiafallcolor.com/\">California Fall Color \u003c/a>(which bears the tagline “Dude, autumn happens here too”) offers not only peak foliage dates and photos, but a crowdsourced \u003ca href=\"https://www.californiafallcolor.com/map/\">California Fall Color Map\u003c/a> that shows the spots where fall foliage can be glimpsed right \u003cem>now\u003c/em>—and where it’s about to peak.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003ciframe\n src='https://www.google.com/maps/d/embed?mid=12FSQxbVe9CedswOvJaWaeI5vvYU&w=800&h=600'\n title='https://www.google.com/maps/d/embed?mid=12FSQxbVe9CedswOvJaWaeI5vvYU&w=800&h=600'\n width='800'\n height='600'\n scrolling='no'\n frameborder='no'>\u003c/iframe>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The site, and that crowdsourced map, are the work of \u003ca href=\"https://www.poimiroo.com/\">John Poimiroo\u003c/a>, a travel writer and tourism professional who gets his tips (and accompanying photographs) from volunteer leaf enthusiasts, public lands agencies and “destination marketing organizations.”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>According to California Fall Color, the best places to see fall foliage include not just the Sierras but also the North Coast (Redwood National and State Parks), California’s vineyards, Gold Country, the Central Valley and the state’s urban forests, including those in the Bay Area.\u003c/p>\n\u003cfigure id=\"attachment_13868477\" class=\"wp-caption alignnone\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13868477\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/RS39588_15493398978_393416ae9b_o-qut.jpg\" alt=\"\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/RS39588_15493398978_393416ae9b_o-qut.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/RS39588_15493398978_393416ae9b_o-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/RS39588_15493398978_393416ae9b_o-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/RS39588_15493398978_393416ae9b_o-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/RS39588_15493398978_393416ae9b_o-qut-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Fall color in the Eastern Sierra \u003ccite>(Greg Balzer / Flickr)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Why does California get such a bad rap for fall foliage? \u003ca href=\"https://www.californiafallcolor.com/about-2/\">According to Poimiroo\u003c/a>, it’s because much of our state’s population lives on the Pacific coast, where true fall color is admittedly rare. And yet, across the state, California’s range of elevations and temperate climate conspire to allow an “extraordinary variety of deciduous trees and plants.” So basically, you should stop dreaming of Vermont and appreciate the possibilities in your own backyard.\u003c/p>\n\u003cp>Remember: Poimiroo’s site advises that regardless of location, \u003ca href=\"https://www.californiafallcolor.com/about-2/\">peak color takes about two weeks to evolve\u003c/a> from Near Peak to Past Peak, unless weather cuts it even shorter. So if you’re tempted to go check out a certain spot for our state’s autumnal hues that’s already a riot of color, you might want to move fast.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Antifascist Activists Protest Metal Music Festival This Weekend in Oakland",
"headTitle": "Antifascist Activists Protest Metal Music Festival This Weekend in Oakland | KQED",
"content": "\u003cp>Local activists are objecting to a metal music festival this weekend in Oakland due to some performers’ use of Nazi-related imagery and what the critics consider connections to hate groups.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/NeverSurrenderFestival/\">Never Surrender Fest\u003c/a>, organized by metal labels Nuclear War Now and Iron Bonehead, features more than 20 artists Oct. 18-20 at Elbo Room Jack London and the Oakland Metro Operahouse.\u003c/p>\n\u003cp>An anonymous \u003ca href=\"https://nsbmboneheads.wordpress.com/\">blog post\u003c/a> published Thursday has spurred calls to protest the festival. “Let’s strategize how we shut this down,” reads the \u003ca href=\"https://www.facebook.com/events/531507064299287/?active_tab=about\">Facebook page\u003c/a> “NO NAZI FESTs in Oakland.” The blog post focuses on what it calls the “neo-Nazi ties” of four scheduled performers.\u003c/p>\n\u003cp>As the event’s detractors point out, the Florida band Black Witchery released a DVD in 2009 on Satanic Skinhead Propaganda, an underground label \u003ca href=\"https://www.tabletmag.com/jewish-arts-and-culture/music/156896/black-metal-antichrist-kramer\">well-known\u003c/a> for its racist and anti-Semitic acts. California act Bone Awl has used swastikas and a \u003cem>totenkopf\u003c/em>, the German symbol adopted by the Third Reich and popular among white supremacists, on its album art.\u003c/p>\n\u003cp>Eduardo Ramirez, booked at the fest as Volahn, leads Black Twilight Circle, a collective of largely Aztec- and Mayan-themed metal groups in Southern California. The blog post includes what it says is a photograph of Ramirez posing with Wolves of Vinland cofounder Paul Waggener, whose outfit the Southern Poverty Law Center \u003ca href=\"https://www.splcenter.org/fighting-hate/extremist-files/ideology/neo-volkisch\">calls\u003c/a> a “Neo-Volkisch hate group.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The post also criticizes Nuclear War Now and Iron Bonehead for distributing records by prominent black metal artists such as Varg Vikernes (Burzum), whose views are “closely aligned with neo-Nazism,” \u003ca href=\"https://www.splcenter.org/hatewatch/2019/04/12/suspect-church-burnings-influenced-black-metal-music-police-say-not-all-black-metal-same\">according\u003c/a> to the Southern Poverty Law Center.\u003c/p>\n\u003cp>The festival organizers reject descriptions of the scheduled acts as racist or fascist, saying the bulk of the blog post describes groups only tangentially connected to Never Surrender Fest.\u003c/p>\n\u003cp>“I have worked with the bands in question in the past and can tell you firsthand, I have never seen anything remotely fascist related by them or their fans,” Elbo Room co-owner Matt Shapiro said in a statement. “Both Elbo Room and Oakland Metro pride themselves on being safe spaces and supporting the community and of course, completely against fascism.”\u003c/p>\n\u003cp>“I have no interest in contributing to this useless drama full of lies,” wrote Nuclear War Now proprietor Yosuke Konishi, who also runs the Eastern Front record store in Oakland, in an email. “A big portion of the Bay Area metal scene consists of Latinos and other people of color, including myself. It seems that the people attacking the fest are completely misinformed about what I do.”\u003c/p>\n\u003cp>Most of the Never Surrender acts perform black metal, a style known for misanthropic themes. The genre is ideologically vast, but includes the racist subgenre National Socialist black metal (NSBM). Metal groups trafficking in Nazi-related imagery, whether cryptic or overt, often draw criticism for normalizing or promoting fascism, even when the artists themselves dispute the accusation.\u003c/p>\n\u003cp>Whether or not artists who use Nazi-related imagery should be allowed to perform, even if they say they reject racist or fascist views, is a subject of tense debate in the punk and metal subcultures. At a time when white supremacy is regaining visibility, antifascist activists routinely pressure venues to cancel controversial bookings.\u003c/p>\n\u003cp>Racist black metal groups are believed to comprise a small but closely-watched part of the scene. Earlier this year saw the first explicitly \u003ca href=\"https://www.newyorker.com/culture/culture-desk/heavy-metal-confronts-its-nazi-problem\">antifascist extreme metal festival\u003c/a> occur in New York City.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In 2017, the Metro \u003ca href=\"https://www.metalsucks.net/2017/02/17/oakland-metro-operahouse-cancels-marduk-show-in-the-interest-of-public-safety/\">reluctantly cancelled\u003c/a> a concert by Swedish metal group Marduk, citing concerns from Oakland police that antifascist activists would disrupt the event. Earlier this year the Metro also cancelled a show by Finnish black metal act Horna after the website Metal Sucks \u003ca href=\"https://www.metalsucks.net/2019/03/22/horna-band-with-nsbm-ties-scheduled-to-begin-u-s-tour-next-week/\">pointed out\u003c/a> band members’ “strong ties to the world of NSBM.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Local activists are objecting to a metal music festival this weekend in Oakland due to some performers’ use of Nazi-related imagery and what the critics consider connections to hate groups.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/NeverSurrenderFestival/\">Never Surrender Fest\u003c/a>, organized by metal labels Nuclear War Now and Iron Bonehead, features more than 20 artists Oct. 18-20 at Elbo Room Jack London and the Oakland Metro Operahouse.\u003c/p>\n\u003cp>An anonymous \u003ca href=\"https://nsbmboneheads.wordpress.com/\">blog post\u003c/a> published Thursday has spurred calls to protest the festival. “Let’s strategize how we shut this down,” reads the \u003ca href=\"https://www.facebook.com/events/531507064299287/?active_tab=about\">Facebook page\u003c/a> “NO NAZI FESTs in Oakland.” The blog post focuses on what it calls the “neo-Nazi ties” of four scheduled performers.\u003c/p>\n\u003cp>As the event’s detractors point out, the Florida band Black Witchery released a DVD in 2009 on Satanic Skinhead Propaganda, an underground label \u003ca href=\"https://www.tabletmag.com/jewish-arts-and-culture/music/156896/black-metal-antichrist-kramer\">well-known\u003c/a> for its racist and anti-Semitic acts. California act Bone Awl has used swastikas and a \u003cem>totenkopf\u003c/em>, the German symbol adopted by the Third Reich and popular among white supremacists, on its album art.\u003c/p>\n\u003cp>Eduardo Ramirez, booked at the fest as Volahn, leads Black Twilight Circle, a collective of largely Aztec- and Mayan-themed metal groups in Southern California. The blog post includes what it says is a photograph of Ramirez posing with Wolves of Vinland cofounder Paul Waggener, whose outfit the Southern Poverty Law Center \u003ca href=\"https://www.splcenter.org/fighting-hate/extremist-files/ideology/neo-volkisch\">calls\u003c/a> a “Neo-Volkisch hate group.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The post also criticizes Nuclear War Now and Iron Bonehead for distributing records by prominent black metal artists such as Varg Vikernes (Burzum), whose views are “closely aligned with neo-Nazism,” \u003ca href=\"https://www.splcenter.org/hatewatch/2019/04/12/suspect-church-burnings-influenced-black-metal-music-police-say-not-all-black-metal-same\">according\u003c/a> to the Southern Poverty Law Center.\u003c/p>\n\u003cp>The festival organizers reject descriptions of the scheduled acts as racist or fascist, saying the bulk of the blog post describes groups only tangentially connected to Never Surrender Fest.\u003c/p>\n\u003cp>“I have worked with the bands in question in the past and can tell you firsthand, I have never seen anything remotely fascist related by them or their fans,” Elbo Room co-owner Matt Shapiro said in a statement. “Both Elbo Room and Oakland Metro pride themselves on being safe spaces and supporting the community and of course, completely against fascism.”\u003c/p>\n\u003cp>“I have no interest in contributing to this useless drama full of lies,” wrote Nuclear War Now proprietor Yosuke Konishi, who also runs the Eastern Front record store in Oakland, in an email. “A big portion of the Bay Area metal scene consists of Latinos and other people of color, including myself. It seems that the people attacking the fest are completely misinformed about what I do.”\u003c/p>\n\u003cp>Most of the Never Surrender acts perform black metal, a style known for misanthropic themes. The genre is ideologically vast, but includes the racist subgenre National Socialist black metal (NSBM). Metal groups trafficking in Nazi-related imagery, whether cryptic or overt, often draw criticism for normalizing or promoting fascism, even when the artists themselves dispute the accusation.\u003c/p>\n\u003cp>Whether or not artists who use Nazi-related imagery should be allowed to perform, even if they say they reject racist or fascist views, is a subject of tense debate in the punk and metal subcultures. At a time when white supremacy is regaining visibility, antifascist activists routinely pressure venues to cancel controversial bookings.\u003c/p>\n\u003cp>Racist black metal groups are believed to comprise a small but closely-watched part of the scene. Earlier this year saw the first explicitly \u003ca href=\"https://www.newyorker.com/culture/culture-desk/heavy-metal-confronts-its-nazi-problem\">antifascist extreme metal festival\u003c/a> occur in New York City.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In 2017, the Metro \u003ca href=\"https://www.metalsucks.net/2017/02/17/oakland-metro-operahouse-cancels-marduk-show-in-the-interest-of-public-safety/\">reluctantly cancelled\u003c/a> a concert by Swedish metal group Marduk, citing concerns from Oakland police that antifascist activists would disrupt the event. Earlier this year the Metro also cancelled a show by Finnish black metal act Horna after the website Metal Sucks \u003ca href=\"https://www.metalsucks.net/2019/03/22/horna-band-with-nsbm-ties-scheduled-to-begin-u-s-tour-next-week/\">pointed out\u003c/a> band members’ “strong ties to the world of NSBM.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ci>This article originally appeared in \u003c/i>\u003ca href=\"http://peninsulapress.com/2019/10/16/community-celebrates-first-ever-protections-for-chicano-murals/\" rel=\"noopener\" target=\"_blank\">Peninsula Press\u003c/a>\u003ci>.\u003c/i>\u003c/p>\n\u003cp>Community members who want to preserve Chicano art in San Jose are celebrating a unanimous decision by the city’s Historic Landmarks Commission to grant protections to six murals previously at risk of being painted over.\u003c/p>\n\u003cp>The commission’s Oct. 2 decision to add the murals to a database of historic sites—the \u003ca href=\"https://www.sanjoseca.gov/index.aspx?NID=2172\" rel=\"noopener\" target=\"_blank\">Historic Resources Inventory\u003c/a>—comes after nearly a year of advocacy by a group of artists, activists and residents who were alarmed by the sudden removal of \u003cem>Mural de la Raza\u003c/em>, which was on the side of a now-shuttered Payless ShoeSource. The organizing group, El Comité for the Preservation of Chicano Arts, worried that incidents like this would continue without government action.\u003c/p>\n\u003cp>[aside postID='arts_13845793' hero='https://ww2.kqed.org/wp-content/uploads/sites/2/2018/11/RS34242_dEBsesIhcbhuqUG-800x450-noPad-qut.jpg']\u003c/p>\n\u003cp>“Every time we passed by, my parents were able to point out the parts of Mexican history that they… recognized in that mural,” San Jose resident Cristal Olivas told the commission about \u003cem>Mural de la Raza\u003c/em>.\u003c/p>\n\u003cp>“In this critical time of increasing displacement, preserving these cultural pieces is a small step in showing us that our communities belong… and that we are wanted,” Olivas added.\u003c/p>\n\u003cp>Olivas joined 20 other El Comité representatives who testified before the commission about the importance of preserving Chicano culture in a city where a third of the population is Latino, many of them of Mexican descent.\u003c/p>\n\u003cp>This is the first time a Chicano mural will be added to the inventory, which is composed mostly of homes deemed historic for their architectural design.\u003c/p>\n\u003cfigure id=\"attachment_13868391\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/03_Murals_COVER.jpg\" alt=\"One of the six murals that the San Jose Historic Landmarks Commission recently added to the Historic Resources Inventory is painted on the shuttered Guadelajara Market #2 on Empire Street in San Jose.\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13868391\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/03_Murals_COVER.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/03_Murals_COVER-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/03_Murals_COVER-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/03_Murals_COVER-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/03_Murals_COVER-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/03_Murals_COVER-1200x675.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">One of the six murals that the San Jose Historic Landmarks Commission recently added to the Historic Resources Inventory is painted on the shuttered Guadelajara Market #2 on Empire Street in San Jose. \u003ccite>(Vanessa Ochavillo/Peninsula Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The murals prominently feature Mexican symbols, including the Aztec calendar and the Virgin Mary. One mural spans the building where labor leaders Cesar Chavez and Dolores Huerta organized farmworkers in the 1960s and 1970s. Painted by Jose Mesa Velasquez in 1985, \u003cem>Mural de la Raza\u003c/em> featured the faces of well-known local activists and residents.\u003c/p>\n\u003cp>But the murals are not fully in the clear.\u003c/p>\n\u003cp>“This is kind of just a first step,” said Juliet Arroyo, the city’s Historic Preservation Officer who reviews any proposed additions to the inventory.\u003c/p>\n\u003cp>Arroyo explained that inclusion in the inventory acts as a “red flag” that alerts officials at the Department of Planning, Building and Code Enforcement that proposed changes to a property with a mural must undergo additional scrutiny. There is no guarantee that a mural will be spared after review.\u003c/p>\n\u003cp>El Comité aims to get the city to recognize each mural as a City Landmark, a designation that ensures they will be preserved and routinely maintained. Landmark designation requires approval from city council.\u003c/p>\n\u003cp>The move brings San Jose in step with Los Angeles, Oakland and others where city governments have granted protections to Chicano murals. In San Diego, the Barrio Logan Chicano Park, with more than 80 murals, is a national landmark.\u003c/p>\n\u003cp>“San Jose is not unique in protecting this culture but it’s a long time coming,” said Samantha Emmanuel, a professional art conservator who has volunteered her expertise with El Comité.\u003c/p>\n\u003cfigure id=\"attachment_13868393\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/00_-Murals_1200.jpg\" alt=\"Residents Juan Carlos Araujo and Maricela Lechuga hold up signs urging the Historic Landmarks Commission to help protect Chicano murals at City Hall in San Jose, on Oct. 2, 2019.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13868393\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/00_-Murals_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/00_-Murals_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/00_-Murals_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/00_-Murals_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/00_-Murals_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Residents Juan Carlos Araujo and Maricela Lechuga hold up signs urging the Historic Landmarks Commission to help protect Chicano murals at City Hall in San Jose, on Oct. 2, 2019. \u003ccite>(Vanessa Ochavillo/Peninsula Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To be considered for the inventory, the murals needed detailed documentation, which hadn’t been done before. El Comité members spent the last eight months photographing the murals, taking dimensions, identifying the artists, and researching the years they were painted.\u003c/p>\n\u003cp>El Comité plans on trying to add eight more murals to the inventory.\u003c/p>\n\u003cp>Because a mural is often painted in an informal arrangement between an artist and a property owner, there is typically no official record of the agreement.\u003c/p>\n\u003cp>Also, a change in ownership can lead to a mural’s removal. That’s what happened to \u003cem>Mural de la Raza\u003c/em> in August 2018 and at least four others since 2002.\u003c/p>\n\u003cp>One such mural, \u003cem>El Tarasco\u003c/em> was painted after the artist, Alfonso Salazar, received permission and $500 in commission from the owner of the taqueria across the street from where he worked. After twenty-five years, the restaurant went out of business, and with it his mural.\u003c/p>\n\u003cp>Five of the six murals are on properties whose owners El Comité expected would be amenable to preserving public art: a church, three schools and a community health center. Arroyo, however, said that because none of the properties are fully owned by the city (the health center is partly owned by the city), the fate of the murals is still uncertain.\u003c/p>\n\u003cp>The sixth mural is the most vulnerable. It is painted on a building that used to be Guadelajara Market, and neither Arroyo nor members of El Comité can identify the owner and whether the building is for sale or for lease.\u003c/p>\n\u003cp>“This is a good reason to add it to the inventory,” said Emmanuel. “A new owner or new buyer may not know anything about the significance of the mural.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>This article originally appeared in \u003c/i>\u003ca href=\"http://peninsulapress.com/2019/10/16/community-celebrates-first-ever-protections-for-chicano-murals/\" rel=\"noopener\" target=\"_blank\">Peninsula Press\u003c/a>\u003ci>.\u003c/i>\u003c/p>\n\u003cp>Community members who want to preserve Chicano art in San Jose are celebrating a unanimous decision by the city’s Historic Landmarks Commission to grant protections to six murals previously at risk of being painted over.\u003c/p>\n\u003cp>The commission’s Oct. 2 decision to add the murals to a database of historic sites—the \u003ca href=\"https://www.sanjoseca.gov/index.aspx?NID=2172\" rel=\"noopener\" target=\"_blank\">Historic Resources Inventory\u003c/a>—comes after nearly a year of advocacy by a group of artists, activists and residents who were alarmed by the sudden removal of \u003cem>Mural de la Raza\u003c/em>, which was on the side of a now-shuttered Payless ShoeSource. The organizing group, El Comité for the Preservation of Chicano Arts, worried that incidents like this would continue without government action.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Every time we passed by, my parents were able to point out the parts of Mexican history that they… recognized in that mural,” San Jose resident Cristal Olivas told the commission about \u003cem>Mural de la Raza\u003c/em>.\u003c/p>\n\u003cp>“In this critical time of increasing displacement, preserving these cultural pieces is a small step in showing us that our communities belong… and that we are wanted,” Olivas added.\u003c/p>\n\u003cp>Olivas joined 20 other El Comité representatives who testified before the commission about the importance of preserving Chicano culture in a city where a third of the population is Latino, many of them of Mexican descent.\u003c/p>\n\u003cp>This is the first time a Chicano mural will be added to the inventory, which is composed mostly of homes deemed historic for their architectural design.\u003c/p>\n\u003cfigure id=\"attachment_13868391\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/03_Murals_COVER.jpg\" alt=\"One of the six murals that the San Jose Historic Landmarks Commission recently added to the Historic Resources Inventory is painted on the shuttered Guadelajara Market #2 on Empire Street in San Jose.\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13868391\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/03_Murals_COVER.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/03_Murals_COVER-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/03_Murals_COVER-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/03_Murals_COVER-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/03_Murals_COVER-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/03_Murals_COVER-1200x675.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">One of the six murals that the San Jose Historic Landmarks Commission recently added to the Historic Resources Inventory is painted on the shuttered Guadelajara Market #2 on Empire Street in San Jose. \u003ccite>(Vanessa Ochavillo/Peninsula Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The murals prominently feature Mexican symbols, including the Aztec calendar and the Virgin Mary. One mural spans the building where labor leaders Cesar Chavez and Dolores Huerta organized farmworkers in the 1960s and 1970s. Painted by Jose Mesa Velasquez in 1985, \u003cem>Mural de la Raza\u003c/em> featured the faces of well-known local activists and residents.\u003c/p>\n\u003cp>But the murals are not fully in the clear.\u003c/p>\n\u003cp>“This is kind of just a first step,” said Juliet Arroyo, the city’s Historic Preservation Officer who reviews any proposed additions to the inventory.\u003c/p>\n\u003cp>Arroyo explained that inclusion in the inventory acts as a “red flag” that alerts officials at the Department of Planning, Building and Code Enforcement that proposed changes to a property with a mural must undergo additional scrutiny. There is no guarantee that a mural will be spared after review.\u003c/p>\n\u003cp>El Comité aims to get the city to recognize each mural as a City Landmark, a designation that ensures they will be preserved and routinely maintained. Landmark designation requires approval from city council.\u003c/p>\n\u003cp>The move brings San Jose in step with Los Angeles, Oakland and others where city governments have granted protections to Chicano murals. In San Diego, the Barrio Logan Chicano Park, with more than 80 murals, is a national landmark.\u003c/p>\n\u003cp>“San Jose is not unique in protecting this culture but it’s a long time coming,” said Samantha Emmanuel, a professional art conservator who has volunteered her expertise with El Comité.\u003c/p>\n\u003cfigure id=\"attachment_13868393\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/00_-Murals_1200.jpg\" alt=\"Residents Juan Carlos Araujo and Maricela Lechuga hold up signs urging the Historic Landmarks Commission to help protect Chicano murals at City Hall in San Jose, on Oct. 2, 2019.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13868393\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/00_-Murals_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/00_-Murals_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/00_-Murals_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/00_-Murals_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/00_-Murals_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Residents Juan Carlos Araujo and Maricela Lechuga hold up signs urging the Historic Landmarks Commission to help protect Chicano murals at City Hall in San Jose, on Oct. 2, 2019. \u003ccite>(Vanessa Ochavillo/Peninsula Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To be considered for the inventory, the murals needed detailed documentation, which hadn’t been done before. El Comité members spent the last eight months photographing the murals, taking dimensions, identifying the artists, and researching the years they were painted.\u003c/p>\n\u003cp>El Comité plans on trying to add eight more murals to the inventory.\u003c/p>\n\u003cp>Because a mural is often painted in an informal arrangement between an artist and a property owner, there is typically no official record of the agreement.\u003c/p>\n\u003cp>Also, a change in ownership can lead to a mural’s removal. That’s what happened to \u003cem>Mural de la Raza\u003c/em> in August 2018 and at least four others since 2002.\u003c/p>\n\u003cp>One such mural, \u003cem>El Tarasco\u003c/em> was painted after the artist, Alfonso Salazar, received permission and $500 in commission from the owner of the taqueria across the street from where he worked. After twenty-five years, the restaurant went out of business, and with it his mural.\u003c/p>\n\u003cp>Five of the six murals are on properties whose owners El Comité expected would be amenable to preserving public art: a church, three schools and a community health center. Arroyo, however, said that because none of the properties are fully owned by the city (the health center is partly owned by the city), the fate of the murals is still uncertain.\u003c/p>\n\u003cp>The sixth mural is the most vulnerable. It is painted on a building that used to be Guadelajara Market, and neither Arroyo nor members of El Comité can identify the owner and whether the building is for sale or for lease.\u003c/p>\n\u003cp>“This is a good reason to add it to the inventory,” said Emmanuel. “A new owner or new buyer may not know anything about the significance of the mural.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The Berkeley Art Museum and Pacific Film Archive (BAMPFA) announced Wednesday its acquisition of nearly 3,000 works by African American quilt makers, including more than 500 pieces by the acclaimed artist Rosie Lee Tompkins, from the late Oakland collector Eli Leon.\u003c/p>\n\u003cp>The Eli Leon Collection, believed to be the largest of its kind, comprises quilts as well as assemblage and embroidery by more than 400 black artists. Leon, who collected the works for decades and died in 2018, willed the collection to BAMPFA in what the museum called one of the largest bequests of African American art ever donated to a United States museum.\u003c/p>\n\u003cp>The collections forms the basis of a \u003ca href=\"https://bampfa.org/program/rosie-lee-tompkins-retrospective\" target=\"_blank\" rel=\"noopener\">major retrospective\u003c/a> opening Feb. 19, 2020 of some 80 quilts by Tompkins, an internationally renowned Richmond artist championed by Leon, including previously unseen pieces. Outgoing BAMPFA director Lawrence Rinder, who’s co-curating the retrospective with Elaine Yau, previously worked with Leon to show Tompkins’ work in 1997.\u003c/p>\n\u003cfigure id=\"attachment_13868349\" class=\"wp-caption aligncenter\" style=\"max-width: 2184px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13868349 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/1_ANON_VARIATIONS_1940.jpg\" alt=\"Anonymous: 'Variations on a Theme,' c. 1940. Photo: Geoffry Johnson.\" width=\"2184\" height=\"2648\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/1_ANON_VARIATIONS_1940.jpg 2184w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/1_ANON_VARIATIONS_1940-160x194.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/1_ANON_VARIATIONS_1940-800x970.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/1_ANON_VARIATIONS_1940-768x931.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/1_ANON_VARIATIONS_1940-1020x1237.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/1_ANON_VARIATIONS_1940-990x1200.jpg 990w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/1_ANON_VARIATIONS_1940-1920x2328.jpg 1920w\" sizes=\"(max-width: 2184px) 100vw, 2184px\">\u003cfigcaption class=\"wp-caption-text\">Anonymous: ‘Variations on a Theme,’ c. 1940. Photo: Geoffry Johnson. \u003ccite>(Geoffry Johnson/Courtesy BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s not often that a museum receives a gift that, in a single stroke, creates a new, defining institutional strength—which is precisely what Eli Leon has done by entrusting us with his unparalleled collection of African American quilts,” Rinder said in a statement, adding that the museum intends to “deepen public appreciation for … African American quiltmaking traditions.”\u003c/p>\n\u003cp>[aside postID='arts_10982977']\u003c/p>\n\u003cp>In 2022, BAMPFA will also mount an exhibition showcasing the broader collection, which includes pieces by some 400 artists such as Arbie Williams, Lawrence Brackens, Gladys Henry, Sherry Byrd and Angie Tobias. The museum is seeking grants to continue sorting the voluminous collection, which will be the subject of a scholarly catalog published by UC Press.\u003c/p>\n\u003cp>The acquisition continues a trend of museums racially diversifying their collections—San Francisco Museum of Modern Art recently used proceeds from the sale of a Mark Rothko painting to address gaps in its holdings—as well as taking seriously artforms previously dismissed as craft. Tompkins, in particular, is credited with raising the art world profile of quilting.\u003c/p>\n\u003cfigure id=\"attachment_13868350\" class=\"wp-caption aligncenter\" style=\"max-width: 2123px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13868350 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/13_MLMETCALF_GRANDMOTHERS_1989.jpg\" alt=\"Minnie Lee Metcalf: 'Grandmother’s Rose Garden,' 1989.\" width=\"2123\" height=\"2280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/13_MLMETCALF_GRANDMOTHERS_1989.jpg 2123w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/13_MLMETCALF_GRANDMOTHERS_1989-160x172.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/13_MLMETCALF_GRANDMOTHERS_1989-800x859.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/13_MLMETCALF_GRANDMOTHERS_1989-768x825.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/13_MLMETCALF_GRANDMOTHERS_1989-1020x1095.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/13_MLMETCALF_GRANDMOTHERS_1989-1117x1200.jpg 1117w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/13_MLMETCALF_GRANDMOTHERS_1989-1920x2062.jpg 1920w\" sizes=\"(max-width: 2123px) 100vw, 2123px\">\u003cfigcaption class=\"wp-caption-text\">Minnie Lee Metcalf: ‘Grandmother’s Rose Garden,’ 1989. \u003ccite>(Sharon Risedorph/Courtesy BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“By selecting BAMPFA as the permanent home for his remarkable collection, Eli Leon has given UC Berkeley a magnificent gift that will advance our commitment to celebrating diverse voices and cultural traditions,” Carol Christ, University of California Berkeley chancellor, said in a statement.\u003c/p>\n\u003cp>Leon, an Oakland psychologist, first encountered Tompkins’ work at a flea market in 1985, spurring his decades-long interest as a scholar, collector and curator in the African American textile and quilts tradition. BAMPFA only learned of the bequest upon Leon’s death last year.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Berkeley Art Museum and Pacific Film Archive (BAMPFA) announced Wednesday its acquisition of nearly 3,000 works by African American quilt makers, including more than 500 pieces by the acclaimed artist Rosie Lee Tompkins, from the late Oakland collector Eli Leon.\u003c/p>\n\u003cp>The Eli Leon Collection, believed to be the largest of its kind, comprises quilts as well as assemblage and embroidery by more than 400 black artists. Leon, who collected the works for decades and died in 2018, willed the collection to BAMPFA in what the museum called one of the largest bequests of African American art ever donated to a United States museum.\u003c/p>\n\u003cp>The collections forms the basis of a \u003ca href=\"https://bampfa.org/program/rosie-lee-tompkins-retrospective\" target=\"_blank\" rel=\"noopener\">major retrospective\u003c/a> opening Feb. 19, 2020 of some 80 quilts by Tompkins, an internationally renowned Richmond artist championed by Leon, including previously unseen pieces. Outgoing BAMPFA director Lawrence Rinder, who’s co-curating the retrospective with Elaine Yau, previously worked with Leon to show Tompkins’ work in 1997.\u003c/p>\n\u003cfigure id=\"attachment_13868349\" class=\"wp-caption aligncenter\" style=\"max-width: 2184px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13868349 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/1_ANON_VARIATIONS_1940.jpg\" alt=\"Anonymous: 'Variations on a Theme,' c. 1940. Photo: Geoffry Johnson.\" width=\"2184\" height=\"2648\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/1_ANON_VARIATIONS_1940.jpg 2184w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/1_ANON_VARIATIONS_1940-160x194.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/1_ANON_VARIATIONS_1940-800x970.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/1_ANON_VARIATIONS_1940-768x931.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/1_ANON_VARIATIONS_1940-1020x1237.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/1_ANON_VARIATIONS_1940-990x1200.jpg 990w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/1_ANON_VARIATIONS_1940-1920x2328.jpg 1920w\" sizes=\"(max-width: 2184px) 100vw, 2184px\">\u003cfigcaption class=\"wp-caption-text\">Anonymous: ‘Variations on a Theme,’ c. 1940. Photo: Geoffry Johnson. \u003ccite>(Geoffry Johnson/Courtesy BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s not often that a museum receives a gift that, in a single stroke, creates a new, defining institutional strength—which is precisely what Eli Leon has done by entrusting us with his unparalleled collection of African American quilts,” Rinder said in a statement, adding that the museum intends to “deepen public appreciation for … African American quiltmaking traditions.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In 2022, BAMPFA will also mount an exhibition showcasing the broader collection, which includes pieces by some 400 artists such as Arbie Williams, Lawrence Brackens, Gladys Henry, Sherry Byrd and Angie Tobias. The museum is seeking grants to continue sorting the voluminous collection, which will be the subject of a scholarly catalog published by UC Press.\u003c/p>\n\u003cp>The acquisition continues a trend of museums racially diversifying their collections—San Francisco Museum of Modern Art recently used proceeds from the sale of a Mark Rothko painting to address gaps in its holdings—as well as taking seriously artforms previously dismissed as craft. Tompkins, in particular, is credited with raising the art world profile of quilting.\u003c/p>\n\u003cfigure id=\"attachment_13868350\" class=\"wp-caption aligncenter\" style=\"max-width: 2123px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13868350 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/13_MLMETCALF_GRANDMOTHERS_1989.jpg\" alt=\"Minnie Lee Metcalf: 'Grandmother’s Rose Garden,' 1989.\" width=\"2123\" height=\"2280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/13_MLMETCALF_GRANDMOTHERS_1989.jpg 2123w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/13_MLMETCALF_GRANDMOTHERS_1989-160x172.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/13_MLMETCALF_GRANDMOTHERS_1989-800x859.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/13_MLMETCALF_GRANDMOTHERS_1989-768x825.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/13_MLMETCALF_GRANDMOTHERS_1989-1020x1095.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/13_MLMETCALF_GRANDMOTHERS_1989-1117x1200.jpg 1117w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/13_MLMETCALF_GRANDMOTHERS_1989-1920x2062.jpg 1920w\" sizes=\"(max-width: 2123px) 100vw, 2123px\">\u003cfigcaption class=\"wp-caption-text\">Minnie Lee Metcalf: ‘Grandmother’s Rose Garden,’ 1989. \u003ccite>(Sharon Risedorph/Courtesy BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“By selecting BAMPFA as the permanent home for his remarkable collection, Eli Leon has given UC Berkeley a magnificent gift that will advance our commitment to celebrating diverse voices and cultural traditions,” Carol Christ, University of California Berkeley chancellor, said in a statement.\u003c/p>\n\u003cp>Leon, an Oakland psychologist, first encountered Tompkins’ work at a flea market in 1985, spurring his decades-long interest as a scholar, collector and curator in the African American textile and quilts tradition. BAMPFA only learned of the bequest upon Leon’s death last year.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Plans for Maya Angelou Monument in San Francisco Face Long Delay",
"headTitle": "Plans for Maya Angelou Monument in San Francisco Face Long Delay | KQED",
"content": "\u003cp>Plans to erect a major new monument in San Francisco honoring poet \u003ca href=\"https://www.mayaangelou.com/\" target=\"_blank\" rel=\"noopener\">Maya Angelou\u003c/a> now face a long delay, following a decision by city officials to scrap the city arts commission’s recommended proposal.\u003c/p>\n\u003cp>Around two months ago, the \u003ca href=\"https://www.sfartscommission.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Arts Commission\u003c/a>‘s Visual Arts Committee selected Bay Area artist \u003ca href=\"http://www.lavathomas.com/\" target=\"_blank\" rel=\"noopener\">Lava Thomas\u003c/a>‘ proposal from a pool of three finalists.\u003c/p>\n\u003cp>The artwork, titled \u003ci>Portrait of a Phenomenal Woman\u003c/i>, was to stand outside the main branch of the \u003ca href=\"https://sfpl.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Public Library\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13864655\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13864655\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Back_1200.jpg\" alt=\"The verso of Lava Thomas' 'Portrait of a Phenomenal Woman.'\" width=\"1200\" height=\"970\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Back_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Back_1200-160x129.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Back_1200-800x647.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Back_1200-768x621.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Back_1200-1020x825.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The verso of Lava Thomas’ ‘Portrait of a Phenomenal Woman.’ \u003ccite>(Courtesy of Eren Hebert)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But city officials said Thomas’ proposal for a nine-foot-tall book made out of bronze with Angelou’s face cast on the cover wasn’t “figurative” enough—in other words, that it was too abstract and conceptual.\u003c/p>\n\u003cp>They have ordered the arts commission to start the process over from scratch.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At a \u003ca href=\"https://sfgov.org/arts/meeting/visual-arts-committee-october-16-2019-agenda\" target=\"_blank\" rel=\"noopener\">visual arts committee meeting Wednesday\u003c/a>, San Francisco supervisor \u003ca href=\"https://sfbos.org/supervisor-stefani-district-2\" target=\"_blank\" rel=\"noopener\">Catherine Stefani\u003c/a>, who authored the legislation to commission the Angelou monument, explained the intent behind her legislation and the reason for the city’s decision.\u003c/p>\n\u003cp>“The legislation I wrote was clear: that the Maya Angelou statue be a significant figurative representation of Maya Angelou,” Stefani said. “As I carry the legislation across the finish line to elevate women in monuments, I wanted to do it in the same way that men have been historically elevated this city.”\u003c/p>\n\u003cp>Stefani said that the city’s call for proposals may not have been worded clearly enough, adding that it was unfair to the competing artists.\u003c/p>\n\u003cp>“I feel like the only fair way to be fair here is to give all the artists to meet the legislative intent by issuing a new RFP [Request for Proposals] with clear criteria that adheres to the legislative intent,” Stefani said.\u003c/p>\n\u003cp class=\"x_yiv6951893434MsoNormal\">Acting director of cultural affairs, Joanne Lee, issued the following statement shortly after the meeting:\u003c/p>\n\u003cblockquote>\n\u003cp class=\"x_yiv6951893434MsoNormal\">Given the lack of clear consensus on the selection, the Arts Commission’s Visual Arts Committee felt the best move would be to start this process over, and seek a more unifying outcome. All artists who responded to the Request for Qualifications will be invited to compete in the next public RFQ. This will be an important, permanent work of public art. It’s more important to get it done right than to get it done fast.\u003c/p>\n\u003c/blockquote>\n\u003cp>Members of the Bay Area arts community present at the meeting responded with dismay and anger, including Thomas herself. “The fact that an artist—a black woman—is disrespected in this way, in the name of honoring another black woman?” Thomas said. “Give me a break.”\u003c/p>\n\u003cfigure id=\"attachment_13868308\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13868308\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/RS39520_lava-thomas-qut-800x600.jpg\" alt=\"Artist Lava Thomas speaks her mind at the arts commission visual arts committee meeting.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/RS39520_lava-thomas-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/RS39520_lava-thomas-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/RS39520_lava-thomas-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/RS39520_lava-thomas-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/RS39520_lava-thomas-qut-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/RS39520_lava-thomas-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist Lava Thomas speaks her mind at the arts commission visual arts committee meeting. Oct. 16, 2019. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bay Area resident and former vice president of the city’s planning commission, Edward Sewell, read aloud a letter from Angelou’s son, Guy Johnson. Johnson was a member of the selection panel for the project, though not present at the Wednesday meeting.\u003c/p>\n\u003cp>“I freely admit Ms. Thomas was not my first choice,” Johnson wrote in his letter, as dictated by Sewell. “But she was selected by a democratic process and I was fine with that.”\u003c/p>\n\u003cfigure id=\"attachment_13868307\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13868307\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/RS39521_edward-sewell-qut-800x600.jpg\" alt=\"Edward Sewell reads aloud from a letter by Guy Johnson, the son of Maya Angelou, at the Oct. 16 arts commission visual arts committee meeting.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/RS39521_edward-sewell-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/RS39521_edward-sewell-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/RS39521_edward-sewell-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/RS39521_edward-sewell-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/RS39521_edward-sewell-qut-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/RS39521_edward-sewell-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Edward Sewell reads aloud from a letter by Guy Johnson, the son of Maya Angelou, at the Oct. 16 arts commission visual arts committee meeting. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Angelou work is the first in a larger initiative to close the gender gap among San Francisco’s public monuments. So far, of the city’s roughly 90 statues, less than a handful honor nonfictional women—among them, Dianne Feinstein and Florence Nightingale.\u003c/p>\n\u003cp>More than 100 artists responded to the art commission’s call for proposals in November 2018. An \u003ca href=\"https://sfgov.org/arts/meeting/visual-arts-committee-august-21-2019-agenda\" target=\"_blank\" rel=\"noopener\">Arts Commission document\u003c/a> states the maximum budget for the Maya Angelou statue, including design, engineering, fabrication, consultation and transportation, is $180,000. The two other shortlisted proposals were by \u003ca href=\"http://www.julesarthur.com/\" target=\"_blank\" rel=\"noopener\">Jules Arthur\u003c/a> and \u003ca href=\"https://www.kachstudio.com/\" target=\"_blank\" rel=\"noopener\">Kenyatta A.C. Hinkle\u003c/a>.\u003c/p>\n\u003cp>“I was excited when I found out I was one of the three finalists,” Thomas said in a phone interview at the time she was informed that she had been recommended for the commission, back in August. “When I found out I’d been selected, I was elated and surprised.”\u003c/p>\n\u003cp>Angelou was a longtime resident of San Francisco. She moved to the city as a young girl in the early 1940s. She attended George Washington High School and studied dance and drama on a scholarship at the California Labor School. She was a regular attendee at Glide Memorial Church.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A spokeswoman for the arts commission said the city is confident about selecting a new proposal for the project by the end of next year, before the enabling legislation expires.\u003c/p>\n\n",
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"excerpt": "Plans to erect a major new monument in San Francisco honoring Angelou have been delayed, following a decision by city officials to scrap the city arts commission's recommended proposal.",
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"description": "Plans to erect a major new monument in San Francisco honoring Angelou have been delayed, following a decision by city officials to scrap the city arts commission's recommended proposal.",
"title": "Plans for Maya Angelou Monument in San Francisco Face Long Delay | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Plans to erect a major new monument in San Francisco honoring poet \u003ca href=\"https://www.mayaangelou.com/\" target=\"_blank\" rel=\"noopener\">Maya Angelou\u003c/a> now face a long delay, following a decision by city officials to scrap the city arts commission’s recommended proposal.\u003c/p>\n\u003cp>Around two months ago, the \u003ca href=\"https://www.sfartscommission.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Arts Commission\u003c/a>‘s Visual Arts Committee selected Bay Area artist \u003ca href=\"http://www.lavathomas.com/\" target=\"_blank\" rel=\"noopener\">Lava Thomas\u003c/a>‘ proposal from a pool of three finalists.\u003c/p>\n\u003cp>The artwork, titled \u003ci>Portrait of a Phenomenal Woman\u003c/i>, was to stand outside the main branch of the \u003ca href=\"https://sfpl.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Public Library\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13864655\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13864655\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Back_1200.jpg\" alt=\"The verso of Lava Thomas' 'Portrait of a Phenomenal Woman.'\" width=\"1200\" height=\"970\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Back_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Back_1200-160x129.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Back_1200-800x647.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Back_1200-768x621.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Back_1200-1020x825.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The verso of Lava Thomas’ ‘Portrait of a Phenomenal Woman.’ \u003ccite>(Courtesy of Eren Hebert)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But city officials said Thomas’ proposal for a nine-foot-tall book made out of bronze with Angelou’s face cast on the cover wasn’t “figurative” enough—in other words, that it was too abstract and conceptual.\u003c/p>\n\u003cp>They have ordered the arts commission to start the process over from scratch.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At a \u003ca href=\"https://sfgov.org/arts/meeting/visual-arts-committee-october-16-2019-agenda\" target=\"_blank\" rel=\"noopener\">visual arts committee meeting Wednesday\u003c/a>, San Francisco supervisor \u003ca href=\"https://sfbos.org/supervisor-stefani-district-2\" target=\"_blank\" rel=\"noopener\">Catherine Stefani\u003c/a>, who authored the legislation to commission the Angelou monument, explained the intent behind her legislation and the reason for the city’s decision.\u003c/p>\n\u003cp>“The legislation I wrote was clear: that the Maya Angelou statue be a significant figurative representation of Maya Angelou,” Stefani said. “As I carry the legislation across the finish line to elevate women in monuments, I wanted to do it in the same way that men have been historically elevated this city.”\u003c/p>\n\u003cp>Stefani said that the city’s call for proposals may not have been worded clearly enough, adding that it was unfair to the competing artists.\u003c/p>\n\u003cp>“I feel like the only fair way to be fair here is to give all the artists to meet the legislative intent by issuing a new RFP [Request for Proposals] with clear criteria that adheres to the legislative intent,” Stefani said.\u003c/p>\n\u003cp class=\"x_yiv6951893434MsoNormal\">Acting director of cultural affairs, Joanne Lee, issued the following statement shortly after the meeting:\u003c/p>\n\u003cblockquote>\n\u003cp class=\"x_yiv6951893434MsoNormal\">Given the lack of clear consensus on the selection, the Arts Commission’s Visual Arts Committee felt the best move would be to start this process over, and seek a more unifying outcome. All artists who responded to the Request for Qualifications will be invited to compete in the next public RFQ. This will be an important, permanent work of public art. It’s more important to get it done right than to get it done fast.\u003c/p>\n\u003c/blockquote>\n\u003cp>Members of the Bay Area arts community present at the meeting responded with dismay and anger, including Thomas herself. “The fact that an artist—a black woman—is disrespected in this way, in the name of honoring another black woman?” Thomas said. “Give me a break.”\u003c/p>\n\u003cfigure id=\"attachment_13868308\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13868308\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/RS39520_lava-thomas-qut-800x600.jpg\" alt=\"Artist Lava Thomas speaks her mind at the arts commission visual arts committee meeting.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/RS39520_lava-thomas-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/RS39520_lava-thomas-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/RS39520_lava-thomas-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/RS39520_lava-thomas-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/RS39520_lava-thomas-qut-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/RS39520_lava-thomas-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist Lava Thomas speaks her mind at the arts commission visual arts committee meeting. Oct. 16, 2019. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bay Area resident and former vice president of the city’s planning commission, Edward Sewell, read aloud a letter from Angelou’s son, Guy Johnson. Johnson was a member of the selection panel for the project, though not present at the Wednesday meeting.\u003c/p>\n\u003cp>“I freely admit Ms. Thomas was not my first choice,” Johnson wrote in his letter, as dictated by Sewell. “But she was selected by a democratic process and I was fine with that.”\u003c/p>\n\u003cfigure id=\"attachment_13868307\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13868307\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/RS39521_edward-sewell-qut-800x600.jpg\" alt=\"Edward Sewell reads aloud from a letter by Guy Johnson, the son of Maya Angelou, at the Oct. 16 arts commission visual arts committee meeting.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/RS39521_edward-sewell-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/RS39521_edward-sewell-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/RS39521_edward-sewell-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/RS39521_edward-sewell-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/RS39521_edward-sewell-qut-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/RS39521_edward-sewell-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Edward Sewell reads aloud from a letter by Guy Johnson, the son of Maya Angelou, at the Oct. 16 arts commission visual arts committee meeting. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Angelou work is the first in a larger initiative to close the gender gap among San Francisco’s public monuments. So far, of the city’s roughly 90 statues, less than a handful honor nonfictional women—among them, Dianne Feinstein and Florence Nightingale.\u003c/p>\n\u003cp>More than 100 artists responded to the art commission’s call for proposals in November 2018. An \u003ca href=\"https://sfgov.org/arts/meeting/visual-arts-committee-august-21-2019-agenda\" target=\"_blank\" rel=\"noopener\">Arts Commission document\u003c/a> states the maximum budget for the Maya Angelou statue, including design, engineering, fabrication, consultation and transportation, is $180,000. The two other shortlisted proposals were by \u003ca href=\"http://www.julesarthur.com/\" target=\"_blank\" rel=\"noopener\">Jules Arthur\u003c/a> and \u003ca href=\"https://www.kachstudio.com/\" target=\"_blank\" rel=\"noopener\">Kenyatta A.C. Hinkle\u003c/a>.\u003c/p>\n\u003cp>“I was excited when I found out I was one of the three finalists,” Thomas said in a phone interview at the time she was informed that she had been recommended for the commission, back in August. “When I found out I’d been selected, I was elated and surprised.”\u003c/p>\n\u003cp>Angelou was a longtime resident of San Francisco. She moved to the city as a young girl in the early 1940s. She attended George Washington High School and studied dance and drama on a scholarship at the California Labor School. She was a regular attendee at Glide Memorial Church.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A spokeswoman for the arts commission said the city is confident about selecting a new proposal for the project by the end of next year, before the enabling legislation expires.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "How Rocky Road Ice Cream Got Its Start in Oakland",
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"content": "\u003cp>\u003cem>\u003ca href=\"https://www.kqed.org/news/series/baycurious\">Bay Curious\u003c/a> is a podcast that answers your questions about the Bay Area. This story is part of a series on locally-invented foods inspired by a question from listener Brent Silver. It first aired on \u003ca href=\"https://www.kqed.org/news/tag/tcrmag\">The California Report Magazine\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>It’s hard to imagine in this era of salted caramel and matcha tea, but there was a time when the American ice cream palate was limited to chocolate, vanilla and strawberry. The invention of Rocky Road in the 1920s changed the ice cream game with “mix-ins” — adding the bumpy texture of nuts, and the soft, pillowy chew of marshmallows.\u003c/p>\n\u003cp>Nearly a century has passed since Rocky Road was invented, but there’s still a dispute over just who thought up the recipe for Rocky Road ice cream: \u003ca href=\"https://www.fentonscreamery.com/\" target=\"_blank\" rel=\"noopener\">Fenton’s Creamery \u003c/a>or \u003ca href=\"https://www.dreyers.com/\" target=\"_blank\" rel=\"noopener\">Dreyer’s Grand Ice Cream\u003c/a>. The one certain thing is that the flavor was invented in Oakland, California.\u003c/p>\n\u003ch3>\u003cstrong>An Antidote to the Great Depression\u003c/strong>\u003c/h3>\n\u003cfigure id=\"attachment_11775012\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11775012\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/09/RS39102_LocalFoodAdventures_TL2018-30-qut-e1569096415336-800x1067.jpg\" alt=\"Tour guide Lauren Herpich, of Local Food Adventures, holds up historical photos as she gives an ice cream tour of Oakland's Rockridge neighborhood. \" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/09/RS39102_LocalFoodAdventures_TL2018-30-qut-e1569096415336-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/09/RS39102_LocalFoodAdventures_TL2018-30-qut-e1569096415336-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/09/RS39102_LocalFoodAdventures_TL2018-30-qut-e1569096415336-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/09/RS39102_LocalFoodAdventures_TL2018-30-qut-e1569096415336-900x1200.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/09/RS39102_LocalFoodAdventures_TL2018-30-qut-e1569096415336-1122x1496.jpg 1122w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/09/RS39102_LocalFoodAdventures_TL2018-30-qut-e1569096415336-840x1120.jpg 840w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/09/RS39102_LocalFoodAdventures_TL2018-30-qut-e1569096415336-687x916.jpg 687w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/09/RS39102_LocalFoodAdventures_TL2018-30-qut-e1569096415336-414x552.jpg 414w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/09/RS39102_LocalFoodAdventures_TL2018-30-qut-e1569096415336-354x472.jpg 354w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/09/RS39102_LocalFoodAdventures_TL2018-30-qut-e1569096415336.jpg 1260w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tour guide Lauren Herpich, of Local Food Adventures, holds up historical photos as she gives an ice cream tour of Oakland’s Rockridge neighborhood. \u003ccite>(Courtesy Local Food Adventures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There was a man named William Dreyer. He was a German immigrant. He loved making ice cream and so he made it out of a candy shop,” said \u003ca href=\"https://www.localfoodadventures.com/\" target=\"_blank\" rel=\"noopener\">Local Tour Adventures\u003c/a> guide Lauren Herpich, whom I joined for an \u003ca href=\"https://www.localfoodadventures.com/\" target=\"_blank\" rel=\"noopener\">ice cream tour\u003c/a> of College Avenue — a tiny shopping district running through North Oakland.\u003c/p>\n\u003cp>The street is home to the original headquarters of Dreyer’s Grand Ice Cream, which was founded in 1928.\u003c/p>\n\u003cp>A year after its opening, the American stock market crashed. Shantytowns consequently developed along Oakland’s waterfront.\u003c/p>\n\u003cp>“So William Dreyer decides ‘what I want to do is make a new ice cream flavor that puts a smile on people’s faces during this rocky road of life,” Herpich said. “Rocky Road becomes America’s first blockbuster ice cream flavor after chocolate, vanilla and strawberry. So really, we can say thanks to Mr. Dreyer for starting the whole idea of new ice cream flavors.”\u003c/p>\n\u003cp>That is the official \u003ca href=\"https://www.nestle.com/aboutus/history/nestle-company-history/dreyers\" target=\"_blank\" rel=\"noopener\">story\u003c/a> from Dreyer’s, too.\u003c/p>\n\u003cp>“[It was] the first time marshmallow was ever used in ice cream,” said John Harrison, the guy who invented Cookies ‘N Cream ice cream and some 75 other new flavors for Dreyer’s starting in the 1980s. He was also part of an\u003ca href=\"http://bancroft.berkeley.edu/ROHO/projects/dreyers/index.html\"> oral history project\u003c/a> with UC Berkeley’s Bancroft Library, documenting the long history of Dreyer’s Grand Ice Cream in Oakland.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_RWcqJ4LHM8\u003c/p>\n\u003cp>“The only marshmallow that was available in 1929 was the large fireside marshmallow that their wives used to cut up, bite-size. You can’t put a whole. Wouldn’t work,” Harrison explained, making gummy chewing sounds.\u003c/p>\n\u003cp>Harrison said William Dreyer adapted a popular candy of the period, made with marshmallows and walnuts — but he used almonds instead.\u003c/p>\n\u003cfigure id=\"attachment_11775368\" class=\"wp-caption aligncenter\" style=\"max-width: 572px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11775368 size-full\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/09/RS39242_dreyers-truck-vintage-qut.jpg\" alt=\"\" width=\"572\" height=\"276\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/09/RS39242_dreyers-truck-vintage-qut.jpg 572w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/09/RS39242_dreyers-truck-vintage-qut-160x77.jpg 160w\" sizes=\"(max-width: 572px) 100vw, 572px\">\u003cfigcaption class=\"wp-caption-text\">Early Dreyer’s ice cream trucks operated with huge blocks of ice to keep the Rocky Road cool. \u003ccite>(Courtesy of Nestle. (NESTLÉ® and Dreyer's are registered trademarks of Société des Produits Nestlé S.A., Vevey, Switzerland.))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The candy and ice cream industry has been interwoven since day one,” Harrison said. “Originally, it was walnuts, but it didn’t have that bite, that crispness, that freshness, lasting. It’s too porous. It absorbs and gets soggy.”\u003c/p>\n\u003cp>Dreyer’s has expanded well beyond Oakland since. It was bought by Nestle in 2002 and its ice cream is stocked in nearly every supermarket freezer (It’s branded as Edy’s on the East Coast.) Nestlé continues to market the brand and the \u003ca href=\"https://www.nestle.com/aboutus/history/nestle-company-history/dreyers\" target=\"_blank\" rel=\"noopener\">claim\u003c/a> that Dreyer invented Rocky Road.\u003c/p>\n\u003ch3>\u003cstrong>Walnuts vs. Almonds\u003c/strong>\u003c/h3>\n\u003cfigure id=\"attachment_11775091\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11775091 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/09/rocky-road-w-menu-2-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/09/rocky-road-w-menu-2-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/09/rocky-road-w-menu-2-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/09/rocky-road-w-menu-2-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/09/rocky-road-w-menu-2-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/09/rocky-road-w-menu-2-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/09/rocky-road-w-menu-2-1832x1374.jpg 1832w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/09/rocky-road-w-menu-2-1376x1032.jpg 1376w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/09/rocky-road-w-menu-2-1044x783.jpg 1044w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/09/rocky-road-w-menu-2-632x474.jpg 632w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/09/rocky-road-w-menu-2-536x402.jpg 536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/09/rocky-road-w-menu-2.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A Fenton’s Rocky Road sundae. Fenton’s Creamery has not done much to advertise its claim to Rocky Road, although it does mention it on the menu. \u003ccite>(Suzie Racho/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Just down the road from where Dreyer’s got its start in Oakland, there’s another much smaller ice cream company that also claims to have invented Rocky Road.\u003c/p>\n\u003cfigure id=\"attachment_11775053\" class=\"wp-caption alignright\" style=\"max-width: 300px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-11775053\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/09/RS39118_best-of-whidden-and-RR-qut-1-e1569096311914-800x1060.jpg\" alt=\"\" width=\"300\" height=\"397\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/09/RS39118_best-of-whidden-and-RR-qut-1-e1569096311914-800x1060.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/09/RS39118_best-of-whidden-and-RR-qut-1-e1569096311914-160x212.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/09/RS39118_best-of-whidden-and-RR-qut-1-e1569096311914-1020x1351.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/09/RS39118_best-of-whidden-and-RR-qut-1-e1569096311914-906x1200.jpg 906w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/09/RS39118_best-of-whidden-and-RR-qut-1-e1569096311914.jpg 1214w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003cfigcaption class=\"wp-caption-text\">Fenton’s owner and Master Blender Scott Whidden showing off a new batch of Rocky Road with longtime Fenton’s ice cream maker Alfredo Macias. \u003ccite>(Sasha Khokha/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At Fenton’s Creamery, owner and master blender Scott Whidden holds a tub under a spigot churning out fresh chocolate ice cream. He puts in fistfuls of nuts and marshmallows that he scoops from plastic tubs. He adds walnuts, instead of almonds — just like the original candy bar.\u003c/p>\n\u003cp>“I’m looking for equal parts [in each bite],” explained Whidden over the whirring ice cream machine. “If you have a marshmallow, I want you to have maybe one or two of the walnuts,” he said.\u003c/p>\n\u003cp>Whidden said small-batch and handmade is the way Fenton’s has made its ice cream since the 1920s.\u003c/p>\n\u003cp>That, he said, is when Melvin Fenton — grandson of the original owner — came up with the idea for Rocky Road. There’s a picture of him in the parlor, where dozens of families are sitting in red vinyl booths enjoying giant sundaes in old-fashioned glass dishes. In the photo, Melvin Fenton is loading fresh cream off of a tiny airplane that he flew as an amateur pilot.\u003c/p>\n\u003cp>“Melvin was like the black sheep of the family,” said Whidden. More like a wildcat and an inventor who could see beyond the trifecta of vanilla, chocolate and strawberry.\u003c/p>\n\u003cp>“He’s a visionary,” said Whidden. “Forward-thinking guy. And he goes, ‘Whoa. Mix-ins!’ So the thought process on it was, we’re into the depression, it’s bad times. Smooth ice cream, and then there’s these bumps, it gets rocky.”\u003c/p>\n\u003cp>That sounds familiar: Rocky Road, the bumpy road of life during the Depression. Chocolate, marshmallows, nuts.\u003c/p>\n\u003cfigure id=\"attachment_11775078\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11775078\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/09/RS39105_MELVIN_AIRPLANE_DIVCO-qut-800x529.jpg\" alt=\"\" width=\"800\" height=\"529\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/09/RS39105_MELVIN_AIRPLANE_DIVCO-qut-800x529.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/09/RS39105_MELVIN_AIRPLANE_DIVCO-qut-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/09/RS39105_MELVIN_AIRPLANE_DIVCO-qut-1020x674.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/09/RS39105_MELVIN_AIRPLANE_DIVCO-qut-1200x793.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/09/RS39105_MELVIN_AIRPLANE_DIVCO-qut.jpg 1298w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Melvin Fenton loading fresh cream off an airplane into a delivery truck. Fenton’s claims that Melvin invented Rocky Road. Photo Courtesy Fenton’s Creamery. \u003ccite>(Courtesy Fenton's Ice Cream)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cstrong>An Ice Cream Expert Weighs In \u003c/strong>\u003c/h3>\n\u003cp>These days, Rocky Road is still one of Fenton’s top-selling flavors. They serve it up in giant scoops and decadent sundaes. When I visited Fenton’s, \u003ca href=\"http://amyettinger.com\" target=\"_blank\" rel=\"noopener\">Amy Ettinger \u003c/a>and I ordered sundaes with whipped cream and cherries, gleefully fishing for the walnuts and marshmallows. Ettinger is an ice cream historian, the author of “\u003ca href=\"https://www.kqed.org/news/11593783/vanilla-chocolate-strawberry-and-oyster-a-year-of-ice-cream\" target=\"_blank\" rel=\"noopener\">Sweet Spot, An Ice Cream Binge Across America\u003c/a>.”\u003c/p>\n\u003cfigure id=\"attachment_11775079\" class=\"wp-caption alignright\" style=\"max-width: 303px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11775079 \" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/09/RS39095_Amy-Ettinger-qut-e1568841953603-800x1067.jpg\" alt=\"\" width=\"303\" height=\"404\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/09/RS39095_Amy-Ettinger-qut-e1568841953603-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/09/RS39095_Amy-Ettinger-qut-e1568841953603-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/09/RS39095_Amy-Ettinger-qut-e1568841953603-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/09/RS39095_Amy-Ettinger-qut-e1568841953603-900x1200.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/09/RS39095_Amy-Ettinger-qut-e1568841953603-1122x1496.jpg 1122w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/09/RS39095_Amy-Ettinger-qut-e1568841953603-840x1120.jpg 840w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/09/RS39095_Amy-Ettinger-qut-e1568841953603-687x916.jpg 687w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/09/RS39095_Amy-Ettinger-qut-e1568841953603-414x552.jpg 414w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/09/RS39095_Amy-Ettinger-qut-e1568841953603-354x472.jpg 354w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/09/RS39095_Amy-Ettinger-qut-e1568841953603.jpg 1440w\" sizes=\"(max-width: 303px) 100vw, 303px\">\u003cfigcaption class=\"wp-caption-text\">Amy Ettinger says Rocky Road was the flavor of her childhood. Here she is at Fenton’s Creamery enjoying a sundae. \u003ccite>(Suzie Racho/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s very common in ice cream history to have these kinds of disputes,” said Ettinger. “The 1904 World’s Fair was when the ice cream cone was invented and six different vendors claimed that they were the ones who invented it. Unless you have a time machine, or you know you were actually the inventor, there’s no way really to tell.”\u003c/p>\n\u003cp>Ettinger said Rocky Road is the flavor of her childhood. Not the Fenton’s Rocky Road she’s eating, but the Dreyer’s with the almonds you can buy at the grocery store. She said she feels a little sheepish saying that, because it’s kind of a David and Goliath story: the mom and pop parlor versus what is today a multinational giant.\u003c/p>\n\u003cp>“What’s very interesting is Fenton’s is a very beloved Bay Area institution,” said Ettinger. “But it is not well known outside of the Bay Area. So regardless of who actually invented it, Dreyer’s is hands down the \u003cem>marketer\u003c/em> of Rocky Road. They built their brand on the invention and the marketing of Rocky Road. Just because the other company is the one that got the word out about it, doesn’t mean that Fenton’s didn’t invent it. There’s no way for us to know.”\u003c/p>\n\u003cfigure id=\"attachment_11775082\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11775082\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/09/RS39090_sundae-beauty-pageant-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/09/RS39090_sundae-beauty-pageant-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/09/RS39090_sundae-beauty-pageant-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/09/RS39090_sundae-beauty-pageant-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/09/RS39090_sundae-beauty-pageant-qut-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/09/RS39090_sundae-beauty-pageant-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/09/RS39090_sundae-beauty-pageant-qut-1832x1374.jpg 1832w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/09/RS39090_sundae-beauty-pageant-qut-1376x1032.jpg 1376w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/09/RS39090_sundae-beauty-pageant-qut-1044x783.jpg 1044w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/09/RS39090_sundae-beauty-pageant-qut-632x474.jpg 632w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/09/RS39090_sundae-beauty-pageant-qut-536x402.jpg 536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Fenton’s is known for its decadent sundaes, including those made with Rocky Road. \u003ccite>(Suzie Racho/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There are other theories too:\u003c/p>\n\u003cul>\n\u003cli>Fenton’s original candy maker, George Farren, was friends with Dreyer and so perhaps he shared his idea for a Rocky Road ice cream based on the candy with both ice cream companies. It’s unclear whether the original candy bar, popular in the 1920s, was called Rocky Road. There’s still a Rocky Road candy bar today, invented in San Francisco in the 1950s, that uses cashews. It’s all a bit nutty!\u003c/li>\n\u003cli>Fenton’s owner Scott Whidden claimed Dreyer’s just stole the credit, even though they knew Fenton’s had invented it. Whidden said Dreyer’s former president Ken Cook, who ran Dreyer’s from 1963-1977, was his mentor. The one who encouraged him to buy Fenton’s and admitted to him that Fenton’s actually invented Rocky Road. Cook passed away in 1991, so there’s no way to verify that claim, although the online publication Quartzy tried to \u003ca href=\"https://qz.com/quartzy/1376713/who-invented-rocky-road-ice-cream-its-complicated/\" target=\"_blank\" rel=\"noopener\">track it down\u003c/a>.\u003c/li>\n\u003cli>Then there’s the even more radical theory that, in fact, Rocky Road was born in Topeka, Kansas. There is a recipe in a candy cookbook printed there that predates either Fenton’s or Dreyer’s. It calls for honey whip instead of marshmallows.\u003c/li>\n\u003c/ul>\n\u003cfigure id=\"attachment_11775080\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11775080\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/09/Screen-Shot-2019-09-17-at-1.21.14-PM-800x624.png\" alt=\"\" width=\"800\" height=\"624\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/09/Screen-Shot-2019-09-17-at-1.21.14-PM-800x624.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/09/Screen-Shot-2019-09-17-at-1.21.14-PM-160x125.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/09/Screen-Shot-2019-09-17-at-1.21.14-PM.png 982w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rigby’s Reliable Candy Teacher (this edition published 1920 in Topeka, Kansas) includes a recipe for Rocky Road that predates either Fenton’s or Dreyer’s.\u003c/figcaption>\u003c/figure>\n\u003cp>Ice cream expert Amy Ettinger said the Kansas theory doesn’t count because honey whip isn’t marshmallows. Rocky Road definitely came from Oakland. And who cares who invented it?\u003c/p>\n\u003cp>“At the end of the day I don’t know that it matters,” said Ettinger. I mean, if both places are creating really good scoops of Rocky Road ice cream now, and they both have their little twist on it. How important is it who the original inventor was?”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003ca href=\"https://www.kqed.org/news/series/baycurious\">Bay Curious\u003c/a> is a podcast that answers your questions about the Bay Area. This story is part of a series on locally-invented foods inspired by a question from listener Brent Silver. It first aired on \u003ca href=\"https://www.kqed.org/news/tag/tcrmag\">The California Report Magazine\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>It’s hard to imagine in this era of salted caramel and matcha tea, but there was a time when the American ice cream palate was limited to chocolate, vanilla and strawberry. The invention of Rocky Road in the 1920s changed the ice cream game with “mix-ins” — adding the bumpy texture of nuts, and the soft, pillowy chew of marshmallows.\u003c/p>\n\u003cp>Nearly a century has passed since Rocky Road was invented, but there’s still a dispute over just who thought up the recipe for Rocky Road ice cream: \u003ca href=\"https://www.fentonscreamery.com/\" target=\"_blank\" rel=\"noopener\">Fenton’s Creamery \u003c/a>or \u003ca href=\"https://www.dreyers.com/\" target=\"_blank\" rel=\"noopener\">Dreyer’s Grand Ice Cream\u003c/a>. The one certain thing is that the flavor was invented in Oakland, California.\u003c/p>\n\u003ch3>\u003cstrong>An Antidote to the Great Depression\u003c/strong>\u003c/h3>\n\u003cfigure id=\"attachment_11775012\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11775012\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/09/RS39102_LocalFoodAdventures_TL2018-30-qut-e1569096415336-800x1067.jpg\" alt=\"Tour guide Lauren Herpich, of Local Food Adventures, holds up historical photos as she gives an ice cream tour of Oakland's Rockridge neighborhood. \" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/09/RS39102_LocalFoodAdventures_TL2018-30-qut-e1569096415336-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/09/RS39102_LocalFoodAdventures_TL2018-30-qut-e1569096415336-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/09/RS39102_LocalFoodAdventures_TL2018-30-qut-e1569096415336-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/09/RS39102_LocalFoodAdventures_TL2018-30-qut-e1569096415336-900x1200.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/09/RS39102_LocalFoodAdventures_TL2018-30-qut-e1569096415336-1122x1496.jpg 1122w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/09/RS39102_LocalFoodAdventures_TL2018-30-qut-e1569096415336-840x1120.jpg 840w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/09/RS39102_LocalFoodAdventures_TL2018-30-qut-e1569096415336-687x916.jpg 687w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/09/RS39102_LocalFoodAdventures_TL2018-30-qut-e1569096415336-414x552.jpg 414w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/09/RS39102_LocalFoodAdventures_TL2018-30-qut-e1569096415336-354x472.jpg 354w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/09/RS39102_LocalFoodAdventures_TL2018-30-qut-e1569096415336.jpg 1260w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tour guide Lauren Herpich, of Local Food Adventures, holds up historical photos as she gives an ice cream tour of Oakland’s Rockridge neighborhood. \u003ccite>(Courtesy Local Food Adventures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There was a man named William Dreyer. He was a German immigrant. He loved making ice cream and so he made it out of a candy shop,” said \u003ca href=\"https://www.localfoodadventures.com/\" target=\"_blank\" rel=\"noopener\">Local Tour Adventures\u003c/a> guide Lauren Herpich, whom I joined for an \u003ca href=\"https://www.localfoodadventures.com/\" target=\"_blank\" rel=\"noopener\">ice cream tour\u003c/a> of College Avenue — a tiny shopping district running through North Oakland.\u003c/p>\n\u003cp>The street is home to the original headquarters of Dreyer’s Grand Ice Cream, which was founded in 1928.\u003c/p>\n\u003cp>A year after its opening, the American stock market crashed. Shantytowns consequently developed along Oakland’s waterfront.\u003c/p>\n\u003cp>“So William Dreyer decides ‘what I want to do is make a new ice cream flavor that puts a smile on people’s faces during this rocky road of life,” Herpich said. “Rocky Road becomes America’s first blockbuster ice cream flavor after chocolate, vanilla and strawberry. So really, we can say thanks to Mr. Dreyer for starting the whole idea of new ice cream flavors.”\u003c/p>\n\u003cp>That is the official \u003ca href=\"https://www.nestle.com/aboutus/history/nestle-company-history/dreyers\" target=\"_blank\" rel=\"noopener\">story\u003c/a> from Dreyer’s, too.\u003c/p>\n\u003cp>“[It was] the first time marshmallow was ever used in ice cream,” said John Harrison, the guy who invented Cookies ‘N Cream ice cream and some 75 other new flavors for Dreyer’s starting in the 1980s. He was also part of an\u003ca href=\"http://bancroft.berkeley.edu/ROHO/projects/dreyers/index.html\"> oral history project\u003c/a> with UC Berkeley’s Bancroft Library, documenting the long history of Dreyer’s Grand Ice Cream in Oakland.\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/_RWcqJ4LHM8'\n title='//www.youtube.com/embed/_RWcqJ4LHM8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“The only marshmallow that was available in 1929 was the large fireside marshmallow that their wives used to cut up, bite-size. You can’t put a whole. Wouldn’t work,” Harrison explained, making gummy chewing sounds.\u003c/p>\n\u003cp>Harrison said William Dreyer adapted a popular candy of the period, made with marshmallows and walnuts — but he used almonds instead.\u003c/p>\n\u003cfigure id=\"attachment_11775368\" class=\"wp-caption aligncenter\" style=\"max-width: 572px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11775368 size-full\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/09/RS39242_dreyers-truck-vintage-qut.jpg\" alt=\"\" width=\"572\" height=\"276\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/09/RS39242_dreyers-truck-vintage-qut.jpg 572w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/09/RS39242_dreyers-truck-vintage-qut-160x77.jpg 160w\" sizes=\"(max-width: 572px) 100vw, 572px\">\u003cfigcaption class=\"wp-caption-text\">Early Dreyer’s ice cream trucks operated with huge blocks of ice to keep the Rocky Road cool. \u003ccite>(Courtesy of Nestle. (NESTLÉ® and Dreyer's are registered trademarks of Société des Produits Nestlé S.A., Vevey, Switzerland.))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The candy and ice cream industry has been interwoven since day one,” Harrison said. “Originally, it was walnuts, but it didn’t have that bite, that crispness, that freshness, lasting. It’s too porous. It absorbs and gets soggy.”\u003c/p>\n\u003cp>Dreyer’s has expanded well beyond Oakland since. It was bought by Nestle in 2002 and its ice cream is stocked in nearly every supermarket freezer (It’s branded as Edy’s on the East Coast.) Nestlé continues to market the brand and the \u003ca href=\"https://www.nestle.com/aboutus/history/nestle-company-history/dreyers\" target=\"_blank\" rel=\"noopener\">claim\u003c/a> that Dreyer invented Rocky Road.\u003c/p>\n\u003ch3>\u003cstrong>Walnuts vs. Almonds\u003c/strong>\u003c/h3>\n\u003cfigure id=\"attachment_11775091\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11775091 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/09/rocky-road-w-menu-2-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/09/rocky-road-w-menu-2-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/09/rocky-road-w-menu-2-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/09/rocky-road-w-menu-2-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/09/rocky-road-w-menu-2-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/09/rocky-road-w-menu-2-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/09/rocky-road-w-menu-2-1832x1374.jpg 1832w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/09/rocky-road-w-menu-2-1376x1032.jpg 1376w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/09/rocky-road-w-menu-2-1044x783.jpg 1044w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/09/rocky-road-w-menu-2-632x474.jpg 632w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/09/rocky-road-w-menu-2-536x402.jpg 536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/09/rocky-road-w-menu-2.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A Fenton’s Rocky Road sundae. Fenton’s Creamery has not done much to advertise its claim to Rocky Road, although it does mention it on the menu. \u003ccite>(Suzie Racho/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Just down the road from where Dreyer’s got its start in Oakland, there’s another much smaller ice cream company that also claims to have invented Rocky Road.\u003c/p>\n\u003cfigure id=\"attachment_11775053\" class=\"wp-caption alignright\" style=\"max-width: 300px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-11775053\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/09/RS39118_best-of-whidden-and-RR-qut-1-e1569096311914-800x1060.jpg\" alt=\"\" width=\"300\" height=\"397\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/09/RS39118_best-of-whidden-and-RR-qut-1-e1569096311914-800x1060.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/09/RS39118_best-of-whidden-and-RR-qut-1-e1569096311914-160x212.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/09/RS39118_best-of-whidden-and-RR-qut-1-e1569096311914-1020x1351.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/09/RS39118_best-of-whidden-and-RR-qut-1-e1569096311914-906x1200.jpg 906w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/09/RS39118_best-of-whidden-and-RR-qut-1-e1569096311914.jpg 1214w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003cfigcaption class=\"wp-caption-text\">Fenton’s owner and Master Blender Scott Whidden showing off a new batch of Rocky Road with longtime Fenton’s ice cream maker Alfredo Macias. \u003ccite>(Sasha Khokha/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At Fenton’s Creamery, owner and master blender Scott Whidden holds a tub under a spigot churning out fresh chocolate ice cream. He puts in fistfuls of nuts and marshmallows that he scoops from plastic tubs. He adds walnuts, instead of almonds — just like the original candy bar.\u003c/p>\n\u003cp>“I’m looking for equal parts [in each bite],” explained Whidden over the whirring ice cream machine. “If you have a marshmallow, I want you to have maybe one or two of the walnuts,” he said.\u003c/p>\n\u003cp>Whidden said small-batch and handmade is the way Fenton’s has made its ice cream since the 1920s.\u003c/p>\n\u003cp>That, he said, is when Melvin Fenton — grandson of the original owner — came up with the idea for Rocky Road. There’s a picture of him in the parlor, where dozens of families are sitting in red vinyl booths enjoying giant sundaes in old-fashioned glass dishes. In the photo, Melvin Fenton is loading fresh cream off of a tiny airplane that he flew as an amateur pilot.\u003c/p>\n\u003cp>“Melvin was like the black sheep of the family,” said Whidden. More like a wildcat and an inventor who could see beyond the trifecta of vanilla, chocolate and strawberry.\u003c/p>\n\u003cp>“He’s a visionary,” said Whidden. “Forward-thinking guy. And he goes, ‘Whoa. Mix-ins!’ So the thought process on it was, we’re into the depression, it’s bad times. Smooth ice cream, and then there’s these bumps, it gets rocky.”\u003c/p>\n\u003cp>That sounds familiar: Rocky Road, the bumpy road of life during the Depression. Chocolate, marshmallows, nuts.\u003c/p>\n\u003cfigure id=\"attachment_11775078\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11775078\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/09/RS39105_MELVIN_AIRPLANE_DIVCO-qut-800x529.jpg\" alt=\"\" width=\"800\" height=\"529\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/09/RS39105_MELVIN_AIRPLANE_DIVCO-qut-800x529.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/09/RS39105_MELVIN_AIRPLANE_DIVCO-qut-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/09/RS39105_MELVIN_AIRPLANE_DIVCO-qut-1020x674.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/09/RS39105_MELVIN_AIRPLANE_DIVCO-qut-1200x793.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/09/RS39105_MELVIN_AIRPLANE_DIVCO-qut.jpg 1298w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Melvin Fenton loading fresh cream off an airplane into a delivery truck. Fenton’s claims that Melvin invented Rocky Road. Photo Courtesy Fenton’s Creamery. \u003ccite>(Courtesy Fenton's Ice Cream)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cstrong>An Ice Cream Expert Weighs In \u003c/strong>\u003c/h3>\n\u003cp>These days, Rocky Road is still one of Fenton’s top-selling flavors. They serve it up in giant scoops and decadent sundaes. When I visited Fenton’s, \u003ca href=\"http://amyettinger.com\" target=\"_blank\" rel=\"noopener\">Amy Ettinger \u003c/a>and I ordered sundaes with whipped cream and cherries, gleefully fishing for the walnuts and marshmallows. Ettinger is an ice cream historian, the author of “\u003ca href=\"https://www.kqed.org/news/11593783/vanilla-chocolate-strawberry-and-oyster-a-year-of-ice-cream\" target=\"_blank\" rel=\"noopener\">Sweet Spot, An Ice Cream Binge Across America\u003c/a>.”\u003c/p>\n\u003cfigure id=\"attachment_11775079\" class=\"wp-caption alignright\" style=\"max-width: 303px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11775079 \" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/09/RS39095_Amy-Ettinger-qut-e1568841953603-800x1067.jpg\" alt=\"\" width=\"303\" height=\"404\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/09/RS39095_Amy-Ettinger-qut-e1568841953603-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/09/RS39095_Amy-Ettinger-qut-e1568841953603-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/09/RS39095_Amy-Ettinger-qut-e1568841953603-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/09/RS39095_Amy-Ettinger-qut-e1568841953603-900x1200.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/09/RS39095_Amy-Ettinger-qut-e1568841953603-1122x1496.jpg 1122w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/09/RS39095_Amy-Ettinger-qut-e1568841953603-840x1120.jpg 840w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/09/RS39095_Amy-Ettinger-qut-e1568841953603-687x916.jpg 687w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/09/RS39095_Amy-Ettinger-qut-e1568841953603-414x552.jpg 414w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/09/RS39095_Amy-Ettinger-qut-e1568841953603-354x472.jpg 354w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/09/RS39095_Amy-Ettinger-qut-e1568841953603.jpg 1440w\" sizes=\"(max-width: 303px) 100vw, 303px\">\u003cfigcaption class=\"wp-caption-text\">Amy Ettinger says Rocky Road was the flavor of her childhood. Here she is at Fenton’s Creamery enjoying a sundae. \u003ccite>(Suzie Racho/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s very common in ice cream history to have these kinds of disputes,” said Ettinger. “The 1904 World’s Fair was when the ice cream cone was invented and six different vendors claimed that they were the ones who invented it. Unless you have a time machine, or you know you were actually the inventor, there’s no way really to tell.”\u003c/p>\n\u003cp>Ettinger said Rocky Road is the flavor of her childhood. Not the Fenton’s Rocky Road she’s eating, but the Dreyer’s with the almonds you can buy at the grocery store. She said she feels a little sheepish saying that, because it’s kind of a David and Goliath story: the mom and pop parlor versus what is today a multinational giant.\u003c/p>\n\u003cp>“What’s very interesting is Fenton’s is a very beloved Bay Area institution,” said Ettinger. “But it is not well known outside of the Bay Area. So regardless of who actually invented it, Dreyer’s is hands down the \u003cem>marketer\u003c/em> of Rocky Road. They built their brand on the invention and the marketing of Rocky Road. Just because the other company is the one that got the word out about it, doesn’t mean that Fenton’s didn’t invent it. There’s no way for us to know.”\u003c/p>\n\u003cfigure id=\"attachment_11775082\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11775082\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/09/RS39090_sundae-beauty-pageant-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/09/RS39090_sundae-beauty-pageant-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/09/RS39090_sundae-beauty-pageant-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/09/RS39090_sundae-beauty-pageant-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/09/RS39090_sundae-beauty-pageant-qut-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/09/RS39090_sundae-beauty-pageant-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/09/RS39090_sundae-beauty-pageant-qut-1832x1374.jpg 1832w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/09/RS39090_sundae-beauty-pageant-qut-1376x1032.jpg 1376w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/09/RS39090_sundae-beauty-pageant-qut-1044x783.jpg 1044w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/09/RS39090_sundae-beauty-pageant-qut-632x474.jpg 632w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/09/RS39090_sundae-beauty-pageant-qut-536x402.jpg 536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Fenton’s is known for its decadent sundaes, including those made with Rocky Road. \u003ccite>(Suzie Racho/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There are other theories too:\u003c/p>\n\u003cul>\n\u003cli>Fenton’s original candy maker, George Farren, was friends with Dreyer and so perhaps he shared his idea for a Rocky Road ice cream based on the candy with both ice cream companies. It’s unclear whether the original candy bar, popular in the 1920s, was called Rocky Road. There’s still a Rocky Road candy bar today, invented in San Francisco in the 1950s, that uses cashews. It’s all a bit nutty!\u003c/li>\n\u003cli>Fenton’s owner Scott Whidden claimed Dreyer’s just stole the credit, even though they knew Fenton’s had invented it. Whidden said Dreyer’s former president Ken Cook, who ran Dreyer’s from 1963-1977, was his mentor. The one who encouraged him to buy Fenton’s and admitted to him that Fenton’s actually invented Rocky Road. Cook passed away in 1991, so there’s no way to verify that claim, although the online publication Quartzy tried to \u003ca href=\"https://qz.com/quartzy/1376713/who-invented-rocky-road-ice-cream-its-complicated/\" target=\"_blank\" rel=\"noopener\">track it down\u003c/a>.\u003c/li>\n\u003cli>Then there’s the even more radical theory that, in fact, Rocky Road was born in Topeka, Kansas. There is a recipe in a candy cookbook printed there that predates either Fenton’s or Dreyer’s. It calls for honey whip instead of marshmallows.\u003c/li>\n\u003c/ul>\n\u003cfigure id=\"attachment_11775080\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11775080\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/09/Screen-Shot-2019-09-17-at-1.21.14-PM-800x624.png\" alt=\"\" width=\"800\" height=\"624\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/09/Screen-Shot-2019-09-17-at-1.21.14-PM-800x624.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/09/Screen-Shot-2019-09-17-at-1.21.14-PM-160x125.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/09/Screen-Shot-2019-09-17-at-1.21.14-PM.png 982w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rigby’s Reliable Candy Teacher (this edition published 1920 in Topeka, Kansas) includes a recipe for Rocky Road that predates either Fenton’s or Dreyer’s.\u003c/figcaption>\u003c/figure>\n\u003cp>Ice cream expert Amy Ettinger said the Kansas theory doesn’t count because honey whip isn’t marshmallows. Rocky Road definitely came from Oakland. And who cares who invented it?\u003c/p>\n\u003cp>“At the end of the day I don’t know that it matters,” said Ettinger. I mean, if both places are creating really good scoops of Rocky Road ice cream now, and they both have their little twist on it. How important is it who the original inventor was?”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Sway Calloway's Free Block Party Celebrates Oakland's 'Cultural Well'",
"headTitle": "Sway Calloway’s Free Block Party Celebrates Oakland’s ‘Cultural Well’ | KQED",
"content": "\u003cp>As one of the rap world’s most respected interviewers, Sway Calloway has held court with Barack Obama, become a meme with Kanye West (“\u003ca href=\"https://www.youtube.com/watch?v=Xwc-_DJEvgE\" target=\"_blank\" rel=\"noopener\">How Sway?!\u003c/a>“), and hosted popular programs on 106.1 KMEL, MTV and Sirius XM.\u003c/p>\n\u003cp>On Friday, Oct. 18, he returns to his hometown of Oakland for the first edition of Sway Fest, a live talk show and block party outside of Pandora headquarters, with performances from ’80s R&B icon (and Prince’s former drummer) Sheila E.; Oakland rap stars G-Eazy and Kamaiyah; the Town’s busiest MC, activist and entrepreneur, Mistah F.A.B.; up-and-coming Berkeley lyricist Rexx Life Raj and 17-year-old rapper and poet Jwalt. Admission is open to the public and free.\u003c/p>\n\u003cp>Highlighting the Bay Area’s homegrown hip-hop scene has been an ongoing theme in Sway’s storied career in music media. Now based in New York, he regularly makes room for Northern California talent on his SiriusXM show \u003cem>Sway in the Morning \u003c/em>among a roster of superstars.\u003c/p>\n\u003cp>“The mission was to always help the underdog, the artists who didn’t have the affiliation or resources to be on a mainstream platform,” Sway tells KQED.\u003c/p>\n\u003ch2>A Crucial Voice on ’90s Rap Radio\u003c/h2>\n\u003cp>Sway’s first gig in radio was \u003cem>The Wake Up Show\u003c/em> on KMEL, in 1990s San Francisco. After he won a local rap contest, and his music partner King Tech won a DJ contest, they were invited to guest-host a mix show on the station. When listeners called in praising Sway and King Tech’s music selection, the duo was offered a regular show. Known as keen tastemakers, Sway and King Tech used \u003cem>The Wake Up Show\u003c/em> to introduce their Northern California audience to seminal rap artists like The Fugees and Outkast, Sway recalls, and featured an ongoing segment of freestyle rap performances from then-rising stars like Jay-Z, Nas and Eminem.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/SIRIUSXM/status/1183876950152101888?s=20\u003c/p>\n\u003cp>Sway spent the better part of the 2000s at MTV, where he was best-known as the host of \u003cem>Total Request Live\u003c/em>. In 2011, as satellite radio began to take off, he migrated to Sirius XM, where he now hosts \u003cem>\u003ca href=\"https://swaysuniverse.com\" target=\"_blank\" rel=\"noopener\">Sway in the Morning\u003c/a> \u003c/em>on Eminem’s Shade45 channel. (Sirius \u003ca href=\"https://www.kqed.org/arts/13849625/pandoras-new-corporate-parents-gave-millions-to-trump-gop\" target=\"_blank\" rel=\"noopener\">recently acquired the streaming service Pandora\u003c/a>, where Sway Fest will take place.)\u003c/p>\n\u003cp>No matter where he broadcasts from, it’s clear Sway’s heart is in Oakland.\u003c/p>\n\u003cp>“W\u003cspan style=\"font-weight: 400\">ith Sirius XM, and now Pandora included, these are tech companies and they do pretty well. And now, they’re building their roots in Oakland. So \u003c/span>I think it’s important that we bring things to Oakland, and feed that cultural well of Oakland, that community,” says Sway. “And make sure that the folks who are actually from Oakland are able to benefit from these resources, that they’re recognized and that they’re able to enjoy the profits that will be coming in the near future.”\u003c/p>\n\u003cp>Along with a live talk show and musical performances at Sway Fest, Sway will interview activists from \u003ca href=\"https://kongosqwest.com/\" target=\"_blank\" rel=\"noopener\">Kongo SQ West Kinship Society\u003c/a>, which will collect donations of sweaters and socks for those in need, and the \u003ca href=\"http://choosecollege4life.com/\" target=\"_blank\" rel=\"noopener\">Choose College Educational Foundation\u003c/a>, a group that offers scholarships to local youth.\u003c/p>\n\u003ch2>Championing Bay Area Artists\u003c/h2>\n\u003cp>G-Eazy, who freestyled on \u003cem>Sway in the Morning\u003c/em> before scoring 10 entries on the Billboard Hot 100, is one of those artists Sway has championed from the early days of his career, when he was still selling CDs out of his backpack.\u003c/p>\n\u003cp>“I don’t think it was luck,” Sway says of G-Eazy’s rise. “I think it was a lot of hard work, mixed with talent, mixed with more hard work.”\u003c/p>\n\u003cfigure id=\"attachment_13868288\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13868288\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/886607416-sway-and-g-eazy-800x533.jpg\" alt=\"G-Eazy talks with SiriusXM host Sway Calloway during G-Eazy's album premiere special for "The Beautiful & Damned" on SiriusXM's Shade 45 channel on December 5, 2017 in New York City. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/886607416-sway-and-g-eazy-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/886607416-sway-and-g-eazy-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/886607416-sway-and-g-eazy-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/886607416-sway-and-g-eazy-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/886607416-sway-and-g-eazy-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/886607416-sway-and-g-eazy-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">G-Eazy talks with SiriusXM host Sway Calloway during G-Eazy’s album premiere special for “The Beautiful & Damned” on SiriusXM’s Shade 45 channel on December 5, 2017 in New York City. \u003ccite>(Astrid Stawiarz/Getty Images for SiriusXM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And Mistah F.A.B. is someone Sway has known since his \u003cem>Wake Up Show\u003c/em> days, when he was introduced to Sway as an out-of-this-world freestyle rapper. In the years that followed, F.A.B. became one of the defining voices of the Bay Area’s hyphy movement, co-wrote a hit single for Chris Brown, pioneered many philanthropic projects and opened a streetwear boutique-meets-community hub, Dope Era.\u003c/p>\n\u003cp>“He’s always in the heart of the community,” Sway says with admiration. “Whether he’s giving away backpacks, or creating safe spaces for kids to come to and be creative at Dope Era, he consistently makes music.”\u003c/p>\n\u003ch2>Deeper Than Rap\u003c/h2>\n\u003cp>These days, \u003cem>Sway in the Morning\u003c/em> and the online platform \u003ca href=\"https://swaysuniverse.com/\" target=\"_blank\" rel=\"noopener\">Sway’s Universe\u003c/a> are more than just hip-hop. Recently, Sway interviewed UC Berkeley \u003ca href=\"https://swaysuniverse.com/mary-e-power-talks-global-warming-hurt-ecosystems-and-the-serengeti-rules/\" target=\"_blank\" rel=\"noopener\">ecologist Mary E. Power\u003c/a> on climate change, and Sway’s Universe correspondent Mike Muse often reports on political issues like the rise of white nationalism.\u003c/p>\n\u003cp>That sums up Sway’s view of his show—and hip-hop as a medium—as a place where people can hold dialogue, even if they disagree. (Of Kanye West’s transformation into an avowed Trump supporter, he diplomatically says, “I think he’s well within his rights to have the political views that he has.”)\u003c/p>\n\u003cp>“We wheel out a lot of folks to speak from different perspectives and different sides of the fence, and sometimes folks get upset,” he says. “And I say, nah, it’s good that we all hear each other’s voices.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Sway Fest takes place on Oct. 18, 9am-1pm, on the block outside of Pandora Headquarters (on Franklin Street, between 21st and 22nd Streets in Oakland), and streams on Sirius XM channel 45. \u003ca href=\"https://www.prnewswire.com/news-releases/siriusxm-and-pandora-to-launch-inaugural-sway-fest-2019-on-october-18-300931265.html\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As one of the rap world’s most respected interviewers, Sway Calloway has held court with Barack Obama, become a meme with Kanye West (“\u003ca href=\"https://www.youtube.com/watch?v=Xwc-_DJEvgE\" target=\"_blank\" rel=\"noopener\">How Sway?!\u003c/a>“), and hosted popular programs on 106.1 KMEL, MTV and Sirius XM.\u003c/p>\n\u003cp>On Friday, Oct. 18, he returns to his hometown of Oakland for the first edition of Sway Fest, a live talk show and block party outside of Pandora headquarters, with performances from ’80s R&B icon (and Prince’s former drummer) Sheila E.; Oakland rap stars G-Eazy and Kamaiyah; the Town’s busiest MC, activist and entrepreneur, Mistah F.A.B.; up-and-coming Berkeley lyricist Rexx Life Raj and 17-year-old rapper and poet Jwalt. Admission is open to the public and free.\u003c/p>\n\u003cp>Highlighting the Bay Area’s homegrown hip-hop scene has been an ongoing theme in Sway’s storied career in music media. Now based in New York, he regularly makes room for Northern California talent on his SiriusXM show \u003cem>Sway in the Morning \u003c/em>among a roster of superstars.\u003c/p>\n\u003cp>“The mission was to always help the underdog, the artists who didn’t have the affiliation or resources to be on a mainstream platform,” Sway tells KQED.\u003c/p>\n\u003ch2>A Crucial Voice on ’90s Rap Radio\u003c/h2>\n\u003cp>Sway’s first gig in radio was \u003cem>The Wake Up Show\u003c/em> on KMEL, in 1990s San Francisco. After he won a local rap contest, and his music partner King Tech won a DJ contest, they were invited to guest-host a mix show on the station. When listeners called in praising Sway and King Tech’s music selection, the duo was offered a regular show. Known as keen tastemakers, Sway and King Tech used \u003cem>The Wake Up Show\u003c/em> to introduce their Northern California audience to seminal rap artists like The Fugees and Outkast, Sway recalls, and featured an ongoing segment of freestyle rap performances from then-rising stars like Jay-Z, Nas and Eminem.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Sway spent the better part of the 2000s at MTV, where he was best-known as the host of \u003cem>Total Request Live\u003c/em>. In 2011, as satellite radio began to take off, he migrated to Sirius XM, where he now hosts \u003cem>\u003ca href=\"https://swaysuniverse.com\" target=\"_blank\" rel=\"noopener\">Sway in the Morning\u003c/a> \u003c/em>on Eminem’s Shade45 channel. (Sirius \u003ca href=\"https://www.kqed.org/arts/13849625/pandoras-new-corporate-parents-gave-millions-to-trump-gop\" target=\"_blank\" rel=\"noopener\">recently acquired the streaming service Pandora\u003c/a>, where Sway Fest will take place.)\u003c/p>\n\u003cp>No matter where he broadcasts from, it’s clear Sway’s heart is in Oakland.\u003c/p>\n\u003cp>“W\u003cspan style=\"font-weight: 400\">ith Sirius XM, and now Pandora included, these are tech companies and they do pretty well. And now, they’re building their roots in Oakland. So \u003c/span>I think it’s important that we bring things to Oakland, and feed that cultural well of Oakland, that community,” says Sway. “And make sure that the folks who are actually from Oakland are able to benefit from these resources, that they’re recognized and that they’re able to enjoy the profits that will be coming in the near future.”\u003c/p>\n\u003cp>Along with a live talk show and musical performances at Sway Fest, Sway will interview activists from \u003ca href=\"https://kongosqwest.com/\" target=\"_blank\" rel=\"noopener\">Kongo SQ West Kinship Society\u003c/a>, which will collect donations of sweaters and socks for those in need, and the \u003ca href=\"http://choosecollege4life.com/\" target=\"_blank\" rel=\"noopener\">Choose College Educational Foundation\u003c/a>, a group that offers scholarships to local youth.\u003c/p>\n\u003ch2>Championing Bay Area Artists\u003c/h2>\n\u003cp>G-Eazy, who freestyled on \u003cem>Sway in the Morning\u003c/em> before scoring 10 entries on the Billboard Hot 100, is one of those artists Sway has championed from the early days of his career, when he was still selling CDs out of his backpack.\u003c/p>\n\u003cp>“I don’t think it was luck,” Sway says of G-Eazy’s rise. “I think it was a lot of hard work, mixed with talent, mixed with more hard work.”\u003c/p>\n\u003cfigure id=\"attachment_13868288\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13868288\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/886607416-sway-and-g-eazy-800x533.jpg\" alt=\"G-Eazy talks with SiriusXM host Sway Calloway during G-Eazy's album premiere special for "The Beautiful & Damned" on SiriusXM's Shade 45 channel on December 5, 2017 in New York City. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/886607416-sway-and-g-eazy-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/886607416-sway-and-g-eazy-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/886607416-sway-and-g-eazy-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/886607416-sway-and-g-eazy-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/886607416-sway-and-g-eazy-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/886607416-sway-and-g-eazy-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">G-Eazy talks with SiriusXM host Sway Calloway during G-Eazy’s album premiere special for “The Beautiful & Damned” on SiriusXM’s Shade 45 channel on December 5, 2017 in New York City. \u003ccite>(Astrid Stawiarz/Getty Images for SiriusXM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And Mistah F.A.B. is someone Sway has known since his \u003cem>Wake Up Show\u003c/em> days, when he was introduced to Sway as an out-of-this-world freestyle rapper. In the years that followed, F.A.B. became one of the defining voices of the Bay Area’s hyphy movement, co-wrote a hit single for Chris Brown, pioneered many philanthropic projects and opened a streetwear boutique-meets-community hub, Dope Era.\u003c/p>\n\u003cp>“He’s always in the heart of the community,” Sway says with admiration. “Whether he’s giving away backpacks, or creating safe spaces for kids to come to and be creative at Dope Era, he consistently makes music.”\u003c/p>\n\u003ch2>Deeper Than Rap\u003c/h2>\n\u003cp>These days, \u003cem>Sway in the Morning\u003c/em> and the online platform \u003ca href=\"https://swaysuniverse.com/\" target=\"_blank\" rel=\"noopener\">Sway’s Universe\u003c/a> are more than just hip-hop. Recently, Sway interviewed UC Berkeley \u003ca href=\"https://swaysuniverse.com/mary-e-power-talks-global-warming-hurt-ecosystems-and-the-serengeti-rules/\" target=\"_blank\" rel=\"noopener\">ecologist Mary E. Power\u003c/a> on climate change, and Sway’s Universe correspondent Mike Muse often reports on political issues like the rise of white nationalism.\u003c/p>\n\u003cp>That sums up Sway’s view of his show—and hip-hop as a medium—as a place where people can hold dialogue, even if they disagree. (Of Kanye West’s transformation into an avowed Trump supporter, he diplomatically says, “I think he’s well within his rights to have the political views that he has.”)\u003c/p>\n\u003cp>“We wheel out a lot of folks to speak from different perspectives and different sides of the fence, and sometimes folks get upset,” he says. “And I say, nah, it’s good that we all hear each other’s voices.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Sway Fest takes place on Oct. 18, 9am-1pm, on the block outside of Pandora Headquarters (on Franklin Street, between 21st and 22nd Streets in Oakland), and streams on Sirius XM channel 45. \u003ca href=\"https://www.prnewswire.com/news-releases/siriusxm-and-pandora-to-launch-inaugural-sway-fest-2019-on-october-18-300931265.html\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
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},
"californiareport": {
"id": "californiareport",
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"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"officialWebsiteLink": "/californiareport",
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"order": 8
},
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},
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"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"order": 1
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"source": "Commonwealth Club of California"
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"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
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"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"id": "fresh-air",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"meta": {
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"source": "NPR"
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"how-i-built-this": {
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"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
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