Kenzie Smith, Oakland Activist Involved In ‘BBQ Becky’ Incident, Dies at 43
‘When the Sea Came Alive’ Expands Understanding of D-Day Invasion
Founding Member of Train Dies Unexpectedly at 58
Barbara Stauffacher Solomon, Visionary Artist Who Invented Supergraphics, Dies at 95
Steve Albini, Iconoclastic Rock Musician and Engineer, Dies at 61
Gary Floyd, San Francisco Queer Punk Iconoclast, Has Died
Calvin Keys, Widely Loved Jazz Guitarist With Endless Soul, Dies at 82
Eleanor Coppola, Matriarch of a Filmmaking Family, Dies at 87
Trina Robbins, Feminist Cartoonist and ‘Wimmen’s Comix’ Founder, Dies at 85
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As of Monday, the circumstances of his death were unclear.\u003c/p>\n\u003cp>News of Smith’s passing began to circulate among friends and family members on Saturday morning. The news became public on Sunday, July 21, when Oakland rapper Stanley “Mistah F.A.B.” Cox posted a heartfelt message on Instagram.\u003c/p>\n\u003cp>“Saddened to wake up and share the news that my lil brother\u003ca href=\"https://www.instagram.com/kenzie4oakland/\"> @kenzie4oakland\u003c/a> ‘Carlos’\u003ca href=\"https://www.instagram.com/dopeeramagazine/\"> @dopeeramagazine\u003c/a> passed yesterday… I promise I will not let your work go down the drain… To Kenzie’s immediate family and friends, I send my love and deepest condolences, and to us, his extended family, let’s us remember his love and grace!”\u003c/p>\n\u003cp>Raised in Oakland, Smith had been involved in grassroots politics as the CEO of \u003ca href=\"https://communityrebirthone.org/\">Community Rebirth\u003c/a>, a nonprofit program designed to support those wrestling with mental health and homelessness. He stayed involved with organizations like the Oakland Roots and Oakland Ballers as a cultural ambassador, and helped organize backpack drives for Oakland students as well as food drives for the homeless.\u003c/p>\n\u003cp>Perhaps most notably, \u003ca href=\"https://www.kqed.org/arts/13832886/were-still-here-bbqn-while-black-draws-out-oaklanders-in-force\">Smith was involved with “BBQ’n While Black”\u003c/a> — a yearly celebration of Black joy centered on food and positivity, hosted by \u003ca href=\"https://www.instagram.com/hmtwnhero/?hl=en\">Jhamel Robinson\u003c/a> and Logan McWilliams at Lake Merritt.\u003c/p>\n\u003cfigure id=\"attachment_13961434\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13961434\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/kenziesmith_720.jpg\" alt=\"a man's portrait as he looks away from the camera on an Oakland street\" width=\"720\" height=\"412\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/kenziesmith_720.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/kenziesmith_720-160x92.jpg 160w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">Kenzie Smith, pictured during his campaign for Oakland City Council in 2018, left an impact on Oakland’s community. \u003ccite>(Kenzie Smith for City Council)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He was always on the frontline for the people,” said Robinson, who met Smith in 2017, one year before their friend group co-organized the first “BBQn While Black.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“He was truly about the community and helping people. A genuine soul. A protector. He always took care of his mom after his father passed away [10 years ago],” Robinson added.\u003c/p>\n\u003cp>In 2018, Smith inadvertently became a public figure when he and his friend Onsayo Abram were accosted by an angry white woman, \u003ca href=\"https://www.youtube.com/watch?v=LgaU1h0QiLo\">Jennifer Schulte, who called the police while Smith and Abram barbecued at Lake Merritt in Oakland\u003c/a>. The incident was recorded by Smith’s then-wife, Michelle Dione, and became virally known as “BBQ Becky.” The encounter transformed into a \u003ca href=\"https://www.bbc.com/news/newsbeat-44167760\">popular meme\u003c/a>, a \u003ca href=\"https://www.youtube.com/watch?v=CghM163-OwE\">reference in rap songs\u003c/a>, and even \u003ca href=\"https://www.inverse.com/article/45080-snl-takes-on-bbq-becky-meme-with-aidy-bryant-as-the-woman-on-the-phone\">a parody sketch in \u003ci>Saturday Night Live\u003c/i>\u003c/a>. (Smith and Abram were not charged with any wrongdoing).\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4QUdgKECnmA\u003c/p>\n\u003cp>“[Smith] helped change things around the lake, pushing for things that happened to him not to happen [to others],” Robinson said. To Robinson, Smith personified hope for Oakland, even among the city’s most turbulent times. When Robinson first \u003ca href=\"https://www.instagram.com/hmtwnhero.jpg/?hl=en\">got into amateur photography, it was Smith who hooked him up with his first camera\u003c/a>.\u003c/p>\n\u003cp>Robinson’s praise of Smith was echoed by others.\u003c/p>\n\u003cp>“BBQ WHILE BLACK WILL BE BIGGER THEN EVER. You stood for OAKLAND, you stood for justice for Oakland, not just us but for all. I’m gone miss you like a mf,” the Oakland artist known as \u003ca href=\"https://www.instagram.com/business_splashgang/?hl=en\">Splashgang\u003c/a> shared on Instagram. “THE SUPPORT YOU GAVE TO THE BAY AREA CULTURE AND THE DEDICATION YOU GAVE TO @dopeeramagazine is epic.”\u003c/p>\n\u003cp>For years, Smith oversaw \u003ca href=\"https://www.instagram.com/dopeeramagazine/\">Dope Era Magazine\u003c/a>, an online media platform he co-founded with Mistah F.A.B to provide coverage about local issues and rising artists. In 2018, Smith ran for Oakland’s District 2 City Council, after being nominated for a position on Oakland’s Park and Recreation Advisory Committee. According to Robinson, Smith had plans to run again in 2026, and was already preparing campaign literature.\u003c/p>\n\u003cp>On \u003ca href=\"https://www.reddit.com/r/oakland/comments/1e8t09d/kenzie_smith_passed_away/\">a thread about Smith on Reddit\u003c/a>, various Oakland residents left messages of remembrance.\u003c/p>\n\u003cp>“He leaves a little hole in Oakland’s heart,” one user wrote. Another commented “No! We need more grassroots problem solving folks like him.” Other public figures like San Francisco rapper \u003ca href=\"https://www.instagram.com/p/C9smJ5kyXyF/?img_index=1\">Cellski\u003c/a> have also praised his work.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>On Sunday, an impromptu remembrance from Smith was held in Oakland, where those who knew him shared memories, and condolences for his family. A formal candlelight memorial has not yet been announced.\u003c/p>\n\n","blocks":[],"excerpt":"The community advocate and onetime city council candidate was ‘always on the frontline for the people.’","status":"publish","parent":0,"modified":1721690303,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":17,"wordCount":714},"headData":{"title":"Kenzie Smith, Oakland Activist Involved In ‘BBQ Becky’ Incident, Dies at 43 | KQED","description":"The community advocate and onetime city council candidate was ‘always on the frontline for the people.’","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Kenzie Smith, Oakland Activist Involved In ‘BBQ Becky’ Incident, Dies at 43","datePublished":"2024-07-22T15:39:22-07:00","dateModified":"2024-07-22T16:18:23-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"kqed-13961419","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13961419/kenzie-smith-bbq-becky-oakland-activist-dies-at-43","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Kenzie Smith, an Oakland activist, community advocate and onetime city council candidate, unexpectedly died over the weekend at age 43. As of Monday, the circumstances of his death were unclear.\u003c/p>\n\u003cp>News of Smith’s passing began to circulate among friends and family members on Saturday morning. The news became public on Sunday, July 21, when Oakland rapper Stanley “Mistah F.A.B.” Cox posted a heartfelt message on Instagram.\u003c/p>\n\u003cp>“Saddened to wake up and share the news that my lil brother\u003ca href=\"https://www.instagram.com/kenzie4oakland/\"> @kenzie4oakland\u003c/a> ‘Carlos’\u003ca href=\"https://www.instagram.com/dopeeramagazine/\"> @dopeeramagazine\u003c/a> passed yesterday… I promise I will not let your work go down the drain… To Kenzie’s immediate family and friends, I send my love and deepest condolences, and to us, his extended family, let’s us remember his love and grace!”\u003c/p>\n\u003cp>Raised in Oakland, Smith had been involved in grassroots politics as the CEO of \u003ca href=\"https://communityrebirthone.org/\">Community Rebirth\u003c/a>, a nonprofit program designed to support those wrestling with mental health and homelessness. He stayed involved with organizations like the Oakland Roots and Oakland Ballers as a cultural ambassador, and helped organize backpack drives for Oakland students as well as food drives for the homeless.\u003c/p>\n\u003cp>Perhaps most notably, \u003ca href=\"https://www.kqed.org/arts/13832886/were-still-here-bbqn-while-black-draws-out-oaklanders-in-force\">Smith was involved with “BBQ’n While Black”\u003c/a> — a yearly celebration of Black joy centered on food and positivity, hosted by \u003ca href=\"https://www.instagram.com/hmtwnhero/?hl=en\">Jhamel Robinson\u003c/a> and Logan McWilliams at Lake Merritt.\u003c/p>\n\u003cfigure id=\"attachment_13961434\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13961434\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/kenziesmith_720.jpg\" alt=\"a man's portrait as he looks away from the camera on an Oakland street\" width=\"720\" height=\"412\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/kenziesmith_720.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/kenziesmith_720-160x92.jpg 160w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">Kenzie Smith, pictured during his campaign for Oakland City Council in 2018, left an impact on Oakland’s community. \u003ccite>(Kenzie Smith for City Council)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He was always on the frontline for the people,” said Robinson, who met Smith in 2017, one year before their friend group co-organized the first “BBQn While Black.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“He was truly about the community and helping people. A genuine soul. A protector. He always took care of his mom after his father passed away [10 years ago],” Robinson added.\u003c/p>\n\u003cp>In 2018, Smith inadvertently became a public figure when he and his friend Onsayo Abram were accosted by an angry white woman, \u003ca href=\"https://www.youtube.com/watch?v=LgaU1h0QiLo\">Jennifer Schulte, who called the police while Smith and Abram barbecued at Lake Merritt in Oakland\u003c/a>. The incident was recorded by Smith’s then-wife, Michelle Dione, and became virally known as “BBQ Becky.” The encounter transformed into a \u003ca href=\"https://www.bbc.com/news/newsbeat-44167760\">popular meme\u003c/a>, a \u003ca href=\"https://www.youtube.com/watch?v=CghM163-OwE\">reference in rap songs\u003c/a>, and even \u003ca href=\"https://www.inverse.com/article/45080-snl-takes-on-bbq-becky-meme-with-aidy-bryant-as-the-woman-on-the-phone\">a parody sketch in \u003ci>Saturday Night Live\u003c/i>\u003c/a>. (Smith and Abram were not charged with any wrongdoing).\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/4QUdgKECnmA'\n title='//www.youtube.com/embed/4QUdgKECnmA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“[Smith] helped change things around the lake, pushing for things that happened to him not to happen [to others],” Robinson said. To Robinson, Smith personified hope for Oakland, even among the city’s most turbulent times. When Robinson first \u003ca href=\"https://www.instagram.com/hmtwnhero.jpg/?hl=en\">got into amateur photography, it was Smith who hooked him up with his first camera\u003c/a>.\u003c/p>\n\u003cp>Robinson’s praise of Smith was echoed by others.\u003c/p>\n\u003cp>“BBQ WHILE BLACK WILL BE BIGGER THEN EVER. You stood for OAKLAND, you stood for justice for Oakland, not just us but for all. I’m gone miss you like a mf,” the Oakland artist known as \u003ca href=\"https://www.instagram.com/business_splashgang/?hl=en\">Splashgang\u003c/a> shared on Instagram. “THE SUPPORT YOU GAVE TO THE BAY AREA CULTURE AND THE DEDICATION YOU GAVE TO @dopeeramagazine is epic.”\u003c/p>\n\u003cp>For years, Smith oversaw \u003ca href=\"https://www.instagram.com/dopeeramagazine/\">Dope Era Magazine\u003c/a>, an online media platform he co-founded with Mistah F.A.B to provide coverage about local issues and rising artists. In 2018, Smith ran for Oakland’s District 2 City Council, after being nominated for a position on Oakland’s Park and Recreation Advisory Committee. According to Robinson, Smith had plans to run again in 2026, and was already preparing campaign literature.\u003c/p>\n\u003cp>On \u003ca href=\"https://www.reddit.com/r/oakland/comments/1e8t09d/kenzie_smith_passed_away/\">a thread about Smith on Reddit\u003c/a>, various Oakland residents left messages of remembrance.\u003c/p>\n\u003cp>“He leaves a little hole in Oakland’s heart,” one user wrote. Another commented “No! We need more grassroots problem solving folks like him.” Other public figures like San Francisco rapper \u003ca href=\"https://www.instagram.com/p/C9smJ5kyXyF/?img_index=1\">Cellski\u003c/a> have also praised his work.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>On Sunday, an impromptu remembrance from Smith was held in Oakland, where those who knew him shared memories, and condolences for his family. A formal candlelight memorial has not yet been announced.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13961419/kenzie-smith-bbq-becky-oakland-activist-dies-at-43","authors":["11748"],"categories":["arts_1","arts_835","arts_1564"],"tags":["arts_10278","arts_1785","arts_1768","arts_1143","arts_21789"],"featImg":"arts_13843026","label":"arts"},"arts_13959414":{"type":"posts","id":"arts_13959414","meta":{"index":"posts_1716263798","site":"arts","id":"13959414","score":null,"sort":[1717711048000]},"guestAuthors":[],"slug":"d-day-new-book-when-the-sea-came-alive-review-wwii","title":"‘When the Sea Came Alive’ Expands Understanding of D-Day Invasion","publishDate":1717711048,"format":"aside","headTitle":"‘When the Sea Came Alive’ Expands Understanding of D-Day Invasion | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cfigure id=\"attachment_13959417\" class=\"wp-caption aligncenter\" style=\"max-width: 884px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959417\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-06-at-2.50.00-PM.png\" alt=\"A book cover showing soldiers crowded into the back of a boat during World War II.\" width=\"884\" height=\"1212\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-06-at-2.50.00-PM.png 884w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-06-at-2.50.00-PM-800x1097.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-06-at-2.50.00-PM-160x219.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-06-at-2.50.00-PM-768x1053.png 768w\" sizes=\"(max-width: 884px) 100vw, 884px\">\u003cfigcaption class=\"wp-caption-text\">‘When The Sea Came Alive: An Oral History of D-Day’ by Garrett M. Graff. \u003ccite>(Blackstone)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Writing about the Allied invasion of Normandy, Garrett M. Graff is treading onto familiar history with his latest book.\u003c/p>\n\u003cp>From books by historian Stephen Ambrose to films like Steven Spielberg’s \u003cem>Saving Private Ryan\u003c/em>, there’s ample works chronicling the June 6, 1944, landing during World War II that ultimately led to the downfall of Nazi Germany.\u003c/p>\n\u003cp>[aside postid='arts_13959163']But in \u003cem>When The Sea Came Alive: An Oral History of D-Day\u003c/em>, Graff weaves together hundreds of eyewitness accounts to create a history that stands alongside those works, expanding readers’ understanding of D-Day and offering a new, complete portrait in time for the 80th anniversary commemorations.\u003c/p>\n\u003cp>The oral history begins with a look at the planning of the operation, going back to 1943, and the buildup of personnel and equipment in the months leading up to the operation.\u003c/p>\n\u003cp>Graff uses a wide array and diversity of voices that give a fuller picture of the lead-up to the invasion, as well as the fighting itself. The book excels in highlighting the experiences of Black soldiers who landed on D-Day beaches and women who were part of the story, such as correspondent Martha Gellhorn.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But it should come as no surprise that the most harrowing portions of the book remain the landing and the battles that occurred on D-Day itself, with vivid first-hand accounts. Graff skills at sifting through the accounts and documents propel the action throughout the book.\u003c/p>\n\u003cp>Graff’s book is a testimony to the value in preserving memories from grand historical events, demonstrating how much can be unearthed from even the most familiar stories.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘When The Sea Came Alive: An Oral History of D-Day’ by Garrett M. Graff is out now, via Blackstone.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Garrett M. Graff's new book offers a new, complete portrait just in time for the 80th anniversary commemorations.","status":"publish","parent":0,"modified":1717711048,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":10,"wordCount":317},"headData":{"title":"Book Review: ‘When The Sea Came Alive’ by Garrett M. Graff | KQED","description":"Garrett M. Graff's new book offers a new, complete portrait just in time for the 80th anniversary commemorations.","ogTitle":"‘When the Sea Came Alive’ Expands Understanding of D-Day Invasion","ogDescription":"","ogImgId":"","twTitle":"‘When the Sea Came Alive’ Expands Understanding of D-Day Invasion","twDescription":"","twImgId":"","socialTitle":"Book Review: ‘When The Sea Came Alive’ by Garrett M. Graff%%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"‘When the Sea Came Alive’ Expands Understanding of D-Day Invasion","datePublished":"2024-06-06T14:57:28-07:00","dateModified":"2024-06-06T14:57:28-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Andrew DeMillo, Associated Press","nprStoryId":"kqed-13959414","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13959414/d-day-new-book-when-the-sea-came-alive-review-wwii","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13959417\" class=\"wp-caption aligncenter\" style=\"max-width: 884px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959417\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-06-at-2.50.00-PM.png\" alt=\"A book cover showing soldiers crowded into the back of a boat during World War II.\" width=\"884\" height=\"1212\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-06-at-2.50.00-PM.png 884w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-06-at-2.50.00-PM-800x1097.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-06-at-2.50.00-PM-160x219.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-06-at-2.50.00-PM-768x1053.png 768w\" sizes=\"(max-width: 884px) 100vw, 884px\">\u003cfigcaption class=\"wp-caption-text\">‘When The Sea Came Alive: An Oral History of D-Day’ by Garrett M. Graff. \u003ccite>(Blackstone)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Writing about the Allied invasion of Normandy, Garrett M. Graff is treading onto familiar history with his latest book.\u003c/p>\n\u003cp>From books by historian Stephen Ambrose to films like Steven Spielberg’s \u003cem>Saving Private Ryan\u003c/em>, there’s ample works chronicling the June 6, 1944, landing during World War II that ultimately led to the downfall of Nazi Germany.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13959163","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>But in \u003cem>When The Sea Came Alive: An Oral History of D-Day\u003c/em>, Graff weaves together hundreds of eyewitness accounts to create a history that stands alongside those works, expanding readers’ understanding of D-Day and offering a new, complete portrait in time for the 80th anniversary commemorations.\u003c/p>\n\u003cp>The oral history begins with a look at the planning of the operation, going back to 1943, and the buildup of personnel and equipment in the months leading up to the operation.\u003c/p>\n\u003cp>Graff uses a wide array and diversity of voices that give a fuller picture of the lead-up to the invasion, as well as the fighting itself. The book excels in highlighting the experiences of Black soldiers who landed on D-Day beaches and women who were part of the story, such as correspondent Martha Gellhorn.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But it should come as no surprise that the most harrowing portions of the book remain the landing and the battles that occurred on D-Day itself, with vivid first-hand accounts. Graff skills at sifting through the accounts and documents propel the action throughout the book.\u003c/p>\n\u003cp>Graff’s book is a testimony to the value in preserving memories from grand historical events, demonstrating how much can be unearthed from even the most familiar stories.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘When The Sea Came Alive: An Oral History of D-Day’ by Garrett M. Graff is out now, via Blackstone.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13959414/d-day-new-book-when-the-sea-came-alive-review-wwii","authors":["byline_arts_13959414"],"programs":["arts_140"],"categories":["arts_1","arts_73","arts_7862","arts_1564"],"tags":["arts_21679","arts_769","arts_585","arts_3038"],"featImg":"arts_13959417","label":"arts_140"},"arts_13958367":{"type":"posts","id":"arts_13958367","meta":{"index":"posts_1716263798","site":"arts","id":"13958367","score":null,"sort":[1716415207000]},"guestAuthors":[],"slug":"charlie-colin-san-francisco-band-train-dies-at-58","title":"Founding Member of Train Dies Unexpectedly at 58","publishDate":1716415207,"format":"standard","headTitle":"Founding Member of Train Dies Unexpectedly at 58 | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Charlie Colin, a founding member of the San Francisco rock band Train, has died at age 58. \u003c/p>\n\u003cp>Colin had been living in Brussels and was housesitting for a friend when he apparently slipped and fell in the shower, according to a \u003ca href=\"https://www.tmz.com/2024/05/22/charlie-colin-dead-dies-train-founding-member-fall-shower/\">TMZ\u003c/a> report.\u003c/p>\n\u003cp>Train was formed in San Francisco in the mid-1990s, and went on to enjoy massive commercial success with hits like “Hey Soul Sister,” “Drops of Jupiter” and “Save Me, San Francisco.”\u003c/p>\n\u003cfigure id=\"attachment_13958370\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-75562915.jpg\" alt=\"A man in sunglasses plays the bass guitar while a man sings next to him\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13958370\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-75562915.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-75562915-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-75562915-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-75562915-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-75562915-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-75562915-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Charlie Colin and Pat Monahan of Train perform at the Borgata in Atlantic City in 2006. \u003ccite>(Nick Valinote/FilmMagic)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Colin’s mother told TMZ that, in Brussels, Colin had been teaching a music masterclass and working at a studio. It was unclear exactly when he died; his body was discovered when friends returned to the home he had been housesitting. \u003c/p>\n\u003cp>Train, led by frontman Pat Monahan, posted a remembrance on Wednesday. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“When I met Charlie Colin, front left, I fell in love with him,” it read. “He was THE sweetest guy and what a handsome chap. Let’s make a band that’s the only reasonable thing to do. His unique bass playing and beautiful guitar work helped get folks to notice us in SF and beyond. I’ll always have a warm place for him in my heart. I always tried to pull him closer but he had a vision of his own. You’re a legend, Charlie. Go charm the pants off those angels.”\u003c/p>\n\n","blocks":[],"excerpt":"Charlie Colin, the band's founding bassist, died in Brussels, his mother said. ","status":"publish","parent":0,"modified":1716415207,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":8,"wordCount":261},"headData":{"title":"Founding Member of Train Dies Unexpectedly at 58 | KQED","description":"Charlie Colin, the band's founding bassist, died in Brussels, his mother said. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Founding Member of Train Dies Unexpectedly at 58","datePublished":"2024-05-22T15:00:07-07:00","dateModified":"2024-05-22T15:00:07-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"kqed-13958367","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13958367/charlie-colin-san-francisco-band-train-dies-at-58","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Charlie Colin, a founding member of the San Francisco rock band Train, has died at age 58. \u003c/p>\n\u003cp>Colin had been living in Brussels and was housesitting for a friend when he apparently slipped and fell in the shower, according to a \u003ca href=\"https://www.tmz.com/2024/05/22/charlie-colin-dead-dies-train-founding-member-fall-shower/\">TMZ\u003c/a> report.\u003c/p>\n\u003cp>Train was formed in San Francisco in the mid-1990s, and went on to enjoy massive commercial success with hits like “Hey Soul Sister,” “Drops of Jupiter” and “Save Me, San Francisco.”\u003c/p>\n\u003cfigure id=\"attachment_13958370\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-75562915.jpg\" alt=\"A man in sunglasses plays the bass guitar while a man sings next to him\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13958370\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-75562915.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-75562915-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-75562915-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-75562915-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-75562915-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-75562915-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Charlie Colin and Pat Monahan of Train perform at the Borgata in Atlantic City in 2006. \u003ccite>(Nick Valinote/FilmMagic)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Colin’s mother told TMZ that, in Brussels, Colin had been teaching a music masterclass and working at a studio. It was unclear exactly when he died; his body was discovered when friends returned to the home he had been housesitting. \u003c/p>\n\u003cp>Train, led by frontman Pat Monahan, posted a remembrance on Wednesday. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“When I met Charlie Colin, front left, I fell in love with him,” it read. “He was THE sweetest guy and what a handsome chap. Let’s make a band that’s the only reasonable thing to do. His unique bass playing and beautiful guitar work helped get folks to notice us in SF and beyond. I’ll always have a warm place for him in my heart. I always tried to pull him closer but he had a vision of his own. You’re a legend, Charlie. Go charm the pants off those angels.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13958367/charlie-colin-san-francisco-band-train-dies-at-58","authors":["185"],"categories":["arts_1","arts_69","arts_1564"],"tags":["arts_21789","arts_22122"],"featImg":"arts_13958371","label":"arts"},"arts_13957530":{"type":"posts","id":"arts_13957530","meta":{"index":"posts_1716263798","site":"arts","id":"13957530","score":null,"sort":[1715220738000]},"parent":0,"labelTerm":{"site":"arts"},"blocks":[],"publishDate":1715220738,"format":"aside","title":"Barbara Stauffacher Solomon, Visionary Artist Who Invented Supergraphics, Dies at 95","headTitle":"Barbara Stauffacher Solomon, Visionary Artist Who Invented Supergraphics, Dies at 95 | KQED","content":"\u003cfigure id=\"attachment_13957526\" class=\"wp-caption aligncenter\" style=\"max-width: 1436px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Barbara.top_.jpg\" alt=\"\" width=\"1436\" height=\"1920\" class=\"size-full wp-image-13957526\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Barbara.top_.jpg 1436w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Barbara.top_-800x1070.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Barbara.top_-1020x1364.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Barbara.top_-160x214.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Barbara.top_-768x1027.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Barbara.top_-1149x1536.jpg 1149w\" sizes=\"(max-width: 1436px) 100vw, 1436px\">\u003cfigcaption class=\"wp-caption-text\">Barbara Stauffacher Solomon, seen here surrounded by her designs. The artist and pioneer of supergraphics died at her home Tuesday night at age 95. \u003ccite>(Courtesy Chris Grunder)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Barbara Stauffacher Solomon, a giant in the worlds of landscape architecture and graphic design who spearheaded the colorful supergraphics movement of the 1960s and ’70s, died last night at her home in San Francisco. She was 95.\u003c/p>\n\u003cp>According to her daughter, the Los Angeles-based artist Nellie King Solomon, Stauffacher Solomon had been in hospice care for some time, and had reached the point where she was no longer able to eat, drink or talk. “Her body expired,” Solomon said. “She had a huge life! There’s no tragedy.”\u003c/p>\n\u003cp>In spite of her declining health, Stauffacher Solomon was a prolific artist up until the very end. Recent projects include a series of drawings displayed on the walls above a \u003ca href=\"https://staircase.place/\">red-painted staircase\u003c/a> in the Inner Richmond, a \u003ca href=\"https://www.vonbartha.com/events/welcome-sign-st-moritz/\">95-foot-long “WELCOME” sign\u003c/a> installed on the retaining wall outside the train station in Moritz, Switzerland, and a large-scale, stripe-themed installation that currently occupies the entire \u003ca href=\"https://www.sfmoma.org/exhibition/barbara-stauffacher-solomon-strips-of-stripes/\">second-floor lobby of SFMOMA\u003c/a>. \u003c/p>\n\u003cp>“She died with Liquid Paper on her hands,” Solomon said. “She wrestled it with the nurses.”\u003c/p>\n\u003cfigure id=\"attachment_13938883\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Barbara-Stauffacher-Solomon-Stripes-of-Stripes-SFMOMA-installation-view-4-2023-photo-by-Don-Ross_2000.jpg\" alt=\"Red and black stripes painted on white walls and ceilings of lobby space\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13938883\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Barbara-Stauffacher-Solomon-Stripes-of-Stripes-SFMOMA-installation-view-4-2023-photo-by-Don-Ross_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Barbara-Stauffacher-Solomon-Stripes-of-Stripes-SFMOMA-installation-view-4-2023-photo-by-Don-Ross_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Barbara-Stauffacher-Solomon-Stripes-of-Stripes-SFMOMA-installation-view-4-2023-photo-by-Don-Ross_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Barbara-Stauffacher-Solomon-Stripes-of-Stripes-SFMOMA-installation-view-4-2023-photo-by-Don-Ross_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Barbara-Stauffacher-Solomon-Stripes-of-Stripes-SFMOMA-installation-view-4-2023-photo-by-Don-Ross_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Barbara-Stauffacher-Solomon-Stripes-of-Stripes-SFMOMA-installation-view-4-2023-photo-by-Don-Ross_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Barbara-Stauffacher-Solomon-Stripes-of-Stripes-SFMOMA-installation-view-4-2023-photo-by-Don-Ross_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Barbara Stauffacher Solomon, ‘Strips of Stripes’ at SFMOMA. \u003ccite>(Don Ross)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Chris Grunder, a San Francisco artist who worked as Stauffacher Solomon’s studio assistant and informal caregiver for much of the past few years, said that he was inspired by her ability to overcome adversity — “reinventing herself five times over in 70-plus years,” he said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After her first husband, the filmmaker Frank Stauffacher, died, Stauffacher Solomon moved to Basel, Switzerland, to study graphic design and learn skills that she could use to support herself and her young child. She returned to San Francisco in the early ’60s to open her own graphic design firm. \u003c/p>\n\u003cfigure id=\"attachment_13839100\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Event_Artist-Talk_2018-08-16_Barbara-Stauffacher-Solomon_001_640.jpg\" alt=\"Barbara Stauffacher Solomon in 1955.\" width=\"640\" height=\"865\" class=\"size-full wp-image-13839100\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Event_Artist-Talk_2018-08-16_Barbara-Stauffacher-Solomon_001_640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Event_Artist-Talk_2018-08-16_Barbara-Stauffacher-Solomon_001_640-160x216.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Event_Artist-Talk_2018-08-16_Barbara-Stauffacher-Solomon_001_640-240x324.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Event_Artist-Talk_2018-08-16_Barbara-Stauffacher-Solomon_001_640-375x507.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Event_Artist-Talk_2018-08-16_Barbara-Stauffacher-Solomon_001_640-520x703.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Barbara Stauffacher Solomon in 1955. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Soon after, Stauffacher Solomon took on the design project that she will likely be remembered most for, at an experimental housing development known as \u003ca href=\"https://www.tsra.org/\">Sea Ranch\u003c/a> on the Sonoma coast. She designed the ram’s horn–inspired logo, as well as the bold, large-scale graphic elements that are painted inside several buildings at Sea Ranch, including, most famously, its \u003ca href=\"https://searanch.ced.berkeley.edu/s/sea-ranch/page/moonraker\">athletic center\u003c/a>. The new style of graphics and environmental architecture that she created came to be known as supergraphics — a design movement that blended “the rigor of Swiss modernism with the color and style of [Stauffacher Solomon’s] West Coast sensibility,” as KQED’s Sarah Hotchkiss described it in a \u003ca href=\"https://www.kqed.org/arts/13839094/barbara-stauffacher-solomon-bampfa-art-wall\">2018 profile of the artist\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13957527\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1240494355.jpg\" alt=\"\" width=\"1920\" height=\"1281\" class=\"size-full wp-image-13957527\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1240494355.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1240494355-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1240494355-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1240494355-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1240494355-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1240494355-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The rams horns at the Sea Ranch Lodge as designed by artist Barbara Stauffacher Solomon. \u003ccite>(Myung J. Chun / Los Angeles Times via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But Solomon asserted that the “hard-edged” supergraphics are only one part of her mother’s artistic legacy. “There was this whole schmaltzy side to her,” she said. She loved 1930s French music; she loved gardens and meadows; she spent years working primarily as a landscape architect. Some of Solomon’s favorite memories with her mother were of “breaking and entering” into historical gardens — experiences that she documented in her 1989 book, \u003cem>Green Architecture & the Agrarian Garden\u003c/em>.\u003c/p>\n\u003cp>In more recent years, Stauffacher Solomon revisited the supergraphics style that she helped popularize, perhaps most notably for her recent SFMOMA atrium project. Joseph Becker, SFMOMA’s Associate Curator of Architecture and Design, said he had been collaborating with Stauffacher Solomon for years, describing her as “an incredible sparring partner and visionary who suffered no fools.” \u003c/p>\n\u003cfigure id=\"attachment_13957524\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/DSC00061.jpg\" alt=\"\" width=\"1920\" height=\"1079\" class=\"size-full wp-image-13957524\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/DSC00061.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/DSC00061-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/DSC00061-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/DSC00061-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/DSC00061-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/DSC00061-1536x863.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Barbara Stauffacher Solomon with her daughter Nellie and granddaughter Fia. \u003ccite>(Courtesy Nellie King Solomon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“She overcame tremendous adversity in the early part of her career, developing her own graphic design practice in a world not hospitable to women setting out on their own and making a name for themselves,” Becker said. “One of the reasons was because she had an exacting vision and attitude. To work with someone like that, even though she was 95, her clarity was undeniable. She knew exactly what she wanted, saw all sides of the project.”\u003c/p>\n\u003cp>The museum currently has new Stauffacher Solomon work that it’s partnering with the City of San Francisco to present: a massive, 300-foot-long \u003ca href=\"https://www.sfartscommission.org/content/minna-natoma-art-corridor-project-street-paving\">street paving project on Minna Street\u003c/a> featuring a graphic pattern made of red boots as an homage to Minna Rae Simpson, the street’s supposed namesake.\u003c/p>\n\u003cp>“What an absolute San Francisco treasure,” Becker said of Stauffacher Solomon. “Hands down, one of the best.”\u003c/p>\n\u003cfigure id=\"attachment_13957523\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_9498.jpg\" alt=\"\" width=\"1920\" height=\"1443\" class=\"size-full wp-image-13957523\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_9498.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_9498-800x601.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_9498-1020x767.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_9498-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_9498-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_9498-1536x1154.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Barbara Stauffacher Solomon, going through some of her many files. \u003ccite>(Courtesy Chris Grunder)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Grunder, who met Stauffacher Solomon in 2019, said he “clicked [with her] in a way I never clicked with any friend ever.” Working closely with her as her “accomplice” these past few years, he says what he learned most from her is that you “can have an absolutely wonderful life without trying to please everybody.”\u003c/p>\n\u003cp>“Truthfully, she was incredibly prickly to a lot of people, and incredibly sweet and devoted to others,” Grunder said.\u003c/p>\n\u003cp>In recent years, he said, what Stauffacher Solomon seemed proudest of were her books — many of them an eccentric mix of drawings, abstractions and some rhyming text. The one she’d just completed, \u003cem>See the Invisible\u003c/em>, due to be released by \u003ca href=\"https://www.colpapress.com/collections/frontpage\">Colpa Press\u003c/a> later this year, focuses on a theme Grunder says Stauffacher Solomon was obsessed with: making things that are visible invisible — with how design can be almost entirely invisible.\u003c/p>\n\u003cfigure id=\"attachment_13839103\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BAMPFA-Mural_8-18_007_COVER.jpg\" alt=\"Installation view of Barbara Stauffacher Solomon's 'Land(e)scape 2018' at BAMPFA.\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13839103\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BAMPFA-Mural_8-18_007_COVER.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BAMPFA-Mural_8-18_007_COVER-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BAMPFA-Mural_8-18_007_COVER-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BAMPFA-Mural_8-18_007_COVER-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BAMPFA-Mural_8-18_007_COVER-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BAMPFA-Mural_8-18_007_COVER-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BAMPFA-Mural_8-18_007_COVER-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BAMPFA-Mural_8-18_007_COVER-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BAMPFA-Mural_8-18_007_COVER-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BAMPFA-Mural_8-18_007_COVER-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BAMPFA-Mural_8-18_007_COVER-520x293.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Barbara Stauffacher Solomon’s ‘Land(e)scape 2018’ at BAMPFA. \u003ccite>(Johnna Arnold)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Grunder recalls a time when Stauffacher Solomon referred, offhandedly, to her signs on Market Street in San Francisco. “Maybe you’re confused,” Grunder remembers saying to her. When did she ever get commissioned to do an installation on Market Street? So, she sent him down to Market and 3rd and had him look: “There, there,” she told him.\u003c/p>\n\u003cp>As it turns out, Stauffacher Solomon had designed the \u003cem>\u003ca href=\"https://www.google.com/maps/@37.7879043,-122.4033387,3a,75y,204.09h,101.03t/data=!3m7!1e1!3m5!1shUg8nuEWC6jtk-GaO4ZOgA!2e0!6shttps:%2F%2Fstreetviewpixels-pa.googleapis.com%2Fv1%2Fthumbnail%3Fpanoid%3DhUg8nuEWC6jtk-GaO4ZOgA%26cb_client%3Dmaps_sv.share%26w%3D900%26h%3D600%26yaw%3D204.08666956826983%26pitch%3D-11.025780054833689%26thumbfov%3D90!7i16384!8i8192?coh=205410&entry=ttu\">actual street signs\u003c/a>\u003c/em>. “Ta-da,” she said, when he finally made the connection.\u003c/p>\n\u003cp>As SFMOMA’s Becker put it, “We’re surrounded by works by Bobbie even if we’re not aware of it,” using the name used by Stauffacher Solomon’s friends.\u003c/p>\n\u003cfigure id=\"attachment_13957525\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_1041.jpg\" alt=\"\" width=\"1920\" height=\"1920\" class=\"size-full wp-image-13957525\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_1041.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_1041-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_1041-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_1041-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_1041-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_1041-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Barbara Stauffacher Solomon with her daughter Nellie, granddaughter Fia, and a display of her work. \u003ccite>(Courtesy Nellie King Solomon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Having spent much of the past decade fielding questions about legacy, Stauffacher Solomon was delighted to surprise one such inquisitor by saying she’d like to be remembered “for being a good mommy.” According to Solomon, her mother really did view herself as a mother and a grandmother first, even before her career, as someone who made the conscious choice to “build the next generation and have the best work of your life.” \u003c/p>\n\u003cp>“Because the art world and the design world are primarily a man’s world, they want you to choose between the two. I think that’s antiquated and ridiculous,” Solomon said. In that way, she believes that she and her own 16-year-old daughter, Fia — a budding singer-songwriter in her own right — are tasked with carrying on Stauffacher Solomon’s true legacy.\u003c/p>\n\u003cp>On Sunday, May 12, at 3 p.m., the family will hold a public memorial for Stauffacher Solomon at \u003ca href=\"https://presidio.gov/explore/attractions/crissy-field-east-beach\">Crissy Field East Beach\u003c/a>, in front of the changing rooms. “That was where she used to walk her dog Jake,” Solomon said. “The beach is where she hung out.” \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>She hopes friends, colleagues and other well-wishers who knew her mother will come ready with stories to share to give her a proper send-off.\u003c/p>\n\n","stats":{"hasVideo":false,"hasChartOrMap":false,"hasAudio":false,"hasPolis":false,"wordCount":1357,"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"iframeSrcs":[],"paragraphCount":24},"modified":1715977757,"excerpt":"The San Francisco-born designer and landscape architect was known for her colorful, oversized work.","headData":{"twImgId":"","twTitle":"Barbara Stauffacher Solomon, Visionary Artist Who Invented Supergraphics, Dies at 95","socialTitle":"Artist Barbara Stauffacher Solomon Dies at 95 %%page%% %%sep%% KQED","ogTitle":"Barbara Stauffacher Solomon, Visionary Artist Who Invented Supergraphics, Dies at 95","ogImgId":"","twDescription":"","description":"The San Francisco-born designer and landscape architect was known for her colorful, oversized work.","title":"Artist Barbara Stauffacher Solomon Dies at 95 | KQED","ogDescription":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Barbara Stauffacher Solomon, Visionary Artist Who Invented Supergraphics, Dies at 95","datePublished":"2024-05-08T19:12:18-07:00","dateModified":"2024-05-17T13:29:17-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"guestAuthors":[],"slug":"barbara-stauffacher-solomon-supergraphics-obituary","status":"publish","templateType":"standard","excludeFromSiteSearch":"Include","featuredImageType":"standard","sticky":false,"articleAge":"0","nprStoryId":"kqed-13957530","path":"/arts/13957530/barbara-stauffacher-solomon-supergraphics-obituary","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13957526\" class=\"wp-caption aligncenter\" style=\"max-width: 1436px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Barbara.top_.jpg\" alt=\"\" width=\"1436\" height=\"1920\" class=\"size-full wp-image-13957526\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Barbara.top_.jpg 1436w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Barbara.top_-800x1070.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Barbara.top_-1020x1364.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Barbara.top_-160x214.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Barbara.top_-768x1027.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Barbara.top_-1149x1536.jpg 1149w\" sizes=\"(max-width: 1436px) 100vw, 1436px\">\u003cfigcaption class=\"wp-caption-text\">Barbara Stauffacher Solomon, seen here surrounded by her designs. The artist and pioneer of supergraphics died at her home Tuesday night at age 95. \u003ccite>(Courtesy Chris Grunder)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Barbara Stauffacher Solomon, a giant in the worlds of landscape architecture and graphic design who spearheaded the colorful supergraphics movement of the 1960s and ’70s, died last night at her home in San Francisco. She was 95.\u003c/p>\n\u003cp>According to her daughter, the Los Angeles-based artist Nellie King Solomon, Stauffacher Solomon had been in hospice care for some time, and had reached the point where she was no longer able to eat, drink or talk. “Her body expired,” Solomon said. “She had a huge life! There’s no tragedy.”\u003c/p>\n\u003cp>In spite of her declining health, Stauffacher Solomon was a prolific artist up until the very end. Recent projects include a series of drawings displayed on the walls above a \u003ca href=\"https://staircase.place/\">red-painted staircase\u003c/a> in the Inner Richmond, a \u003ca href=\"https://www.vonbartha.com/events/welcome-sign-st-moritz/\">95-foot-long “WELCOME” sign\u003c/a> installed on the retaining wall outside the train station in Moritz, Switzerland, and a large-scale, stripe-themed installation that currently occupies the entire \u003ca href=\"https://www.sfmoma.org/exhibition/barbara-stauffacher-solomon-strips-of-stripes/\">second-floor lobby of SFMOMA\u003c/a>. \u003c/p>\n\u003cp>“She died with Liquid Paper on her hands,” Solomon said. “She wrestled it with the nurses.”\u003c/p>\n\u003cfigure id=\"attachment_13938883\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Barbara-Stauffacher-Solomon-Stripes-of-Stripes-SFMOMA-installation-view-4-2023-photo-by-Don-Ross_2000.jpg\" alt=\"Red and black stripes painted on white walls and ceilings of lobby space\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13938883\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Barbara-Stauffacher-Solomon-Stripes-of-Stripes-SFMOMA-installation-view-4-2023-photo-by-Don-Ross_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Barbara-Stauffacher-Solomon-Stripes-of-Stripes-SFMOMA-installation-view-4-2023-photo-by-Don-Ross_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Barbara-Stauffacher-Solomon-Stripes-of-Stripes-SFMOMA-installation-view-4-2023-photo-by-Don-Ross_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Barbara-Stauffacher-Solomon-Stripes-of-Stripes-SFMOMA-installation-view-4-2023-photo-by-Don-Ross_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Barbara-Stauffacher-Solomon-Stripes-of-Stripes-SFMOMA-installation-view-4-2023-photo-by-Don-Ross_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Barbara-Stauffacher-Solomon-Stripes-of-Stripes-SFMOMA-installation-view-4-2023-photo-by-Don-Ross_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Barbara-Stauffacher-Solomon-Stripes-of-Stripes-SFMOMA-installation-view-4-2023-photo-by-Don-Ross_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Barbara Stauffacher Solomon, ‘Strips of Stripes’ at SFMOMA. \u003ccite>(Don Ross)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Chris Grunder, a San Francisco artist who worked as Stauffacher Solomon’s studio assistant and informal caregiver for much of the past few years, said that he was inspired by her ability to overcome adversity — “reinventing herself five times over in 70-plus years,” he said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After her first husband, the filmmaker Frank Stauffacher, died, Stauffacher Solomon moved to Basel, Switzerland, to study graphic design and learn skills that she could use to support herself and her young child. She returned to San Francisco in the early ’60s to open her own graphic design firm. \u003c/p>\n\u003cfigure id=\"attachment_13839100\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Event_Artist-Talk_2018-08-16_Barbara-Stauffacher-Solomon_001_640.jpg\" alt=\"Barbara Stauffacher Solomon in 1955.\" width=\"640\" height=\"865\" class=\"size-full wp-image-13839100\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Event_Artist-Talk_2018-08-16_Barbara-Stauffacher-Solomon_001_640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Event_Artist-Talk_2018-08-16_Barbara-Stauffacher-Solomon_001_640-160x216.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Event_Artist-Talk_2018-08-16_Barbara-Stauffacher-Solomon_001_640-240x324.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Event_Artist-Talk_2018-08-16_Barbara-Stauffacher-Solomon_001_640-375x507.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Event_Artist-Talk_2018-08-16_Barbara-Stauffacher-Solomon_001_640-520x703.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Barbara Stauffacher Solomon in 1955. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Soon after, Stauffacher Solomon took on the design project that she will likely be remembered most for, at an experimental housing development known as \u003ca href=\"https://www.tsra.org/\">Sea Ranch\u003c/a> on the Sonoma coast. She designed the ram’s horn–inspired logo, as well as the bold, large-scale graphic elements that are painted inside several buildings at Sea Ranch, including, most famously, its \u003ca href=\"https://searanch.ced.berkeley.edu/s/sea-ranch/page/moonraker\">athletic center\u003c/a>. The new style of graphics and environmental architecture that she created came to be known as supergraphics — a design movement that blended “the rigor of Swiss modernism with the color and style of [Stauffacher Solomon’s] West Coast sensibility,” as KQED’s Sarah Hotchkiss described it in a \u003ca href=\"https://www.kqed.org/arts/13839094/barbara-stauffacher-solomon-bampfa-art-wall\">2018 profile of the artist\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13957527\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1240494355.jpg\" alt=\"\" width=\"1920\" height=\"1281\" class=\"size-full wp-image-13957527\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1240494355.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1240494355-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1240494355-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1240494355-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1240494355-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1240494355-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The rams horns at the Sea Ranch Lodge as designed by artist Barbara Stauffacher Solomon. \u003ccite>(Myung J. Chun / Los Angeles Times via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But Solomon asserted that the “hard-edged” supergraphics are only one part of her mother’s artistic legacy. “There was this whole schmaltzy side to her,” she said. She loved 1930s French music; she loved gardens and meadows; she spent years working primarily as a landscape architect. Some of Solomon’s favorite memories with her mother were of “breaking and entering” into historical gardens — experiences that she documented in her 1989 book, \u003cem>Green Architecture & the Agrarian Garden\u003c/em>.\u003c/p>\n\u003cp>In more recent years, Stauffacher Solomon revisited the supergraphics style that she helped popularize, perhaps most notably for her recent SFMOMA atrium project. Joseph Becker, SFMOMA’s Associate Curator of Architecture and Design, said he had been collaborating with Stauffacher Solomon for years, describing her as “an incredible sparring partner and visionary who suffered no fools.” \u003c/p>\n\u003cfigure id=\"attachment_13957524\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/DSC00061.jpg\" alt=\"\" width=\"1920\" height=\"1079\" class=\"size-full wp-image-13957524\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/DSC00061.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/DSC00061-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/DSC00061-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/DSC00061-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/DSC00061-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/DSC00061-1536x863.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Barbara Stauffacher Solomon with her daughter Nellie and granddaughter Fia. \u003ccite>(Courtesy Nellie King Solomon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“She overcame tremendous adversity in the early part of her career, developing her own graphic design practice in a world not hospitable to women setting out on their own and making a name for themselves,” Becker said. “One of the reasons was because she had an exacting vision and attitude. To work with someone like that, even though she was 95, her clarity was undeniable. She knew exactly what she wanted, saw all sides of the project.”\u003c/p>\n\u003cp>The museum currently has new Stauffacher Solomon work that it’s partnering with the City of San Francisco to present: a massive, 300-foot-long \u003ca href=\"https://www.sfartscommission.org/content/minna-natoma-art-corridor-project-street-paving\">street paving project on Minna Street\u003c/a> featuring a graphic pattern made of red boots as an homage to Minna Rae Simpson, the street’s supposed namesake.\u003c/p>\n\u003cp>“What an absolute San Francisco treasure,” Becker said of Stauffacher Solomon. “Hands down, one of the best.”\u003c/p>\n\u003cfigure id=\"attachment_13957523\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_9498.jpg\" alt=\"\" width=\"1920\" height=\"1443\" class=\"size-full wp-image-13957523\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_9498.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_9498-800x601.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_9498-1020x767.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_9498-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_9498-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_9498-1536x1154.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Barbara Stauffacher Solomon, going through some of her many files. \u003ccite>(Courtesy Chris Grunder)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Grunder, who met Stauffacher Solomon in 2019, said he “clicked [with her] in a way I never clicked with any friend ever.” Working closely with her as her “accomplice” these past few years, he says what he learned most from her is that you “can have an absolutely wonderful life without trying to please everybody.”\u003c/p>\n\u003cp>“Truthfully, she was incredibly prickly to a lot of people, and incredibly sweet and devoted to others,” Grunder said.\u003c/p>\n\u003cp>In recent years, he said, what Stauffacher Solomon seemed proudest of were her books — many of them an eccentric mix of drawings, abstractions and some rhyming text. The one she’d just completed, \u003cem>See the Invisible\u003c/em>, due to be released by \u003ca href=\"https://www.colpapress.com/collections/frontpage\">Colpa Press\u003c/a> later this year, focuses on a theme Grunder says Stauffacher Solomon was obsessed with: making things that are visible invisible — with how design can be almost entirely invisible.\u003c/p>\n\u003cfigure id=\"attachment_13839103\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BAMPFA-Mural_8-18_007_COVER.jpg\" alt=\"Installation view of Barbara Stauffacher Solomon's 'Land(e)scape 2018' at BAMPFA.\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13839103\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BAMPFA-Mural_8-18_007_COVER.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BAMPFA-Mural_8-18_007_COVER-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BAMPFA-Mural_8-18_007_COVER-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BAMPFA-Mural_8-18_007_COVER-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BAMPFA-Mural_8-18_007_COVER-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BAMPFA-Mural_8-18_007_COVER-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BAMPFA-Mural_8-18_007_COVER-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BAMPFA-Mural_8-18_007_COVER-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BAMPFA-Mural_8-18_007_COVER-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BAMPFA-Mural_8-18_007_COVER-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BAMPFA-Mural_8-18_007_COVER-520x293.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Barbara Stauffacher Solomon’s ‘Land(e)scape 2018’ at BAMPFA. \u003ccite>(Johnna Arnold)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Grunder recalls a time when Stauffacher Solomon referred, offhandedly, to her signs on Market Street in San Francisco. “Maybe you’re confused,” Grunder remembers saying to her. When did she ever get commissioned to do an installation on Market Street? So, she sent him down to Market and 3rd and had him look: “There, there,” she told him.\u003c/p>\n\u003cp>As it turns out, Stauffacher Solomon had designed the \u003cem>\u003ca href=\"https://www.google.com/maps/@37.7879043,-122.4033387,3a,75y,204.09h,101.03t/data=!3m7!1e1!3m5!1shUg8nuEWC6jtk-GaO4ZOgA!2e0!6shttps:%2F%2Fstreetviewpixels-pa.googleapis.com%2Fv1%2Fthumbnail%3Fpanoid%3DhUg8nuEWC6jtk-GaO4ZOgA%26cb_client%3Dmaps_sv.share%26w%3D900%26h%3D600%26yaw%3D204.08666956826983%26pitch%3D-11.025780054833689%26thumbfov%3D90!7i16384!8i8192?coh=205410&entry=ttu\">actual street signs\u003c/a>\u003c/em>. “Ta-da,” she said, when he finally made the connection.\u003c/p>\n\u003cp>As SFMOMA’s Becker put it, “We’re surrounded by works by Bobbie even if we’re not aware of it,” using the name used by Stauffacher Solomon’s friends.\u003c/p>\n\u003cfigure id=\"attachment_13957525\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_1041.jpg\" alt=\"\" width=\"1920\" height=\"1920\" class=\"size-full wp-image-13957525\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_1041.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_1041-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_1041-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_1041-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_1041-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_1041-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Barbara Stauffacher Solomon with her daughter Nellie, granddaughter Fia, and a display of her work. \u003ccite>(Courtesy Nellie King Solomon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Having spent much of the past decade fielding questions about legacy, Stauffacher Solomon was delighted to surprise one such inquisitor by saying she’d like to be remembered “for being a good mommy.” According to Solomon, her mother really did view herself as a mother and a grandmother first, even before her career, as someone who made the conscious choice to “build the next generation and have the best work of your life.” \u003c/p>\n\u003cp>“Because the art world and the design world are primarily a man’s world, they want you to choose between the two. I think that’s antiquated and ridiculous,” Solomon said. In that way, she believes that she and her own 16-year-old daughter, Fia — a budding singer-songwriter in her own right — are tasked with carrying on Stauffacher Solomon’s true legacy.\u003c/p>\n\u003cp>On Sunday, May 12, at 3 p.m., the family will hold a public memorial for Stauffacher Solomon at \u003ca href=\"https://presidio.gov/explore/attractions/crissy-field-east-beach\">Crissy Field East Beach\u003c/a>, in front of the changing rooms. “That was where she used to walk her dog Jake,” Solomon said. “The beach is where she hung out.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>She hopes friends, colleagues and other well-wishers who knew her mother will come ready with stories to share to give her a proper send-off.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13957530/barbara-stauffacher-solomon-supergraphics-obituary","authors":["11743"],"categories":["arts_1","arts_235","arts_1564","arts_70"],"tags":["arts_10342","arts_10278","arts_1091","arts_21789","arts_1146","arts_1381"],"featImg":"arts_13957522","label":"arts"},"arts_13957475":{"type":"posts","id":"arts_13957475","meta":{"index":"posts_1716263798","site":"arts","id":"13957475","score":null,"sort":[1715196173000]},"parent":0,"labelTerm":{"site":"arts","term":137},"blocks":[],"publishDate":1715196173,"format":"standard","title":"Steve Albini, Iconoclastic Rock Musician and Engineer, Dies at 61","headTitle":"Steve Albini, Iconoclastic Rock Musician and Engineer, Dies at 61 | KQED","content":"\u003cp>Steve Albini, renowned for decades as a distinctive underground musician and recording engineer, died Tuesday night of a heart attack. Staff at his Chicago recording studio, Electrical Audio, confirmed news of his death with NPR. Albini was 61 years old.\u003c/p>\n\u003cp>As a performer, he fronted Shellac and Big Black, two indie-rock bands that pushed punk and noise past absurd and abrasive limits. Albini famously did not like to be called a “producer,” but he worked on — by \u003ca href=\"https://web.archive.org/web/20180625075305/https://www.freepresshouston.com/the-steve-albini-interview/\">his own estimate\u003c/a> — “a couple thousand” albums as a recording engineer, including classics like the Pixies’ \u003cem>Surfer Rosa\u003c/em>, Nirvana’s \u003cem>In Utero\u003c/em> and PJ Harvey’s \u003cem>Rid of Me\u003c/em>.\u003c/p>\n\u003cp>Shellac’s sixth studio album,\u003cem> To All Trains\u003c/em>, is set to be released May 17.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","stats":{"hasVideo":false,"hasChartOrMap":false,"hasAudio":false,"hasPolis":false,"wordCount":134,"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"iframeSrcs":[],"paragraphCount":5},"modified":1715196173,"excerpt":"Albini led abrasive alternative bands and recorded albums for Nirvana, Pixies and Jawbreaker, among a multitude of others.","headData":{"twImgId":"","twTitle":"Steve Albini, Iconoclastic Rock Musician and Engineer, Dies at 61","socialTitle":"Steve Albini, Underground Musician and Engineer, Dies at 61 %%page%% %%sep%% KQED","ogTitle":"Steve Albini, Iconoclastic Rock Musician and Engineer, Dies at 61","ogImgId":"","twDescription":"","description":"Albini led abrasive alternative bands and recorded albums for Nirvana, Pixies and Jawbreaker, among a multitude of others.","title":"Steve Albini, Underground Musician and Engineer, Dies at 61 | KQED","ogDescription":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Steve Albini, Iconoclastic Rock Musician and Engineer, Dies at 61","datePublished":"2024-05-08T12:22:53-07:00","dateModified":"2024-05-08T12:22:53-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"guestAuthors":[],"slug":"steve-albini-iconoclastic-rock-musician-and-engineer-dies-at-61","status":"publish","templateType":"standard","nprStoryDate":"2024-05-08T13:47:22-04:00","excludeFromSiteSearch":"Include","nprLastModifiedDate":"2024-05-08T13:47:22-04:00","featuredImageType":"standard","nprHtmlLink":"https://www.npr.org/2024/05/08/1249976709/steve-albini-iconoclastic-rock-musician-and-engineer-dies-at-61","nprStoryId":"1249976709","nprByline":"Lars Gotrich, NPR","sticky":false,"showOnAuthorArchivePages":"No","articleAge":"0","nprRetrievedStory":"1","nprPubDate":"2024-05-08T13:47:22-04:00","path":"/arts/13957475/steve-albini-iconoclastic-rock-musician-and-engineer-dies-at-61","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Steve Albini, renowned for decades as a distinctive underground musician and recording engineer, died Tuesday night of a heart attack. Staff at his Chicago recording studio, Electrical Audio, confirmed news of his death with NPR. Albini was 61 years old.\u003c/p>\n\u003cp>As a performer, he fronted Shellac and Big Black, two indie-rock bands that pushed punk and noise past absurd and abrasive limits. Albini famously did not like to be called a “producer,” but he worked on — by \u003ca href=\"https://web.archive.org/web/20180625075305/https://www.freepresshouston.com/the-steve-albini-interview/\">his own estimate\u003c/a> — “a couple thousand” albums as a recording engineer, including classics like the Pixies’ \u003cem>Surfer Rosa\u003c/em>, Nirvana’s \u003cem>In Utero\u003c/em> and PJ Harvey’s \u003cem>Rid of Me\u003c/em>.\u003c/p>\n\u003cp>Shellac’s sixth studio album,\u003cem> To All Trains\u003c/em>, is set to be released May 17.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13957475/steve-albini-iconoclastic-rock-musician-and-engineer-dies-at-61","authors":["byline_arts_13957475"],"categories":["arts_1","arts_69","arts_1564"],"affiliates":["arts_137"],"featImg":"arts_13957476","label":"arts_137"},"arts_13957227":{"type":"posts","id":"arts_13957227","meta":{"index":"posts_1716263798","site":"arts","id":"13957227","score":null,"sort":[1714774495000]},"parent":0,"labelTerm":{"site":"arts"},"blocks":[],"publishDate":1714774495,"format":"standard","title":"Gary Floyd, San Francisco Queer Punk Iconoclast, Has Died","headTitle":"Gary Floyd, San Francisco Queer Punk Iconoclast, Has Died | KQED","content":"\u003cp>Punk rock legend Gary Floyd, an unapologetic singer who helped start the queercore movement in the 1980s, has died from congenital heart failure at 71 years old, \u003ca href=\"https://www.austinchronicle.com/daily/music/2024-05-03/gary-floyd-scene-defining-singer-of-austin-punks-the-dicks-has-died/\">\u003cem>The Austin Chronicle\u003c/em> reports\u003c/a>.\u003c/p>\n\u003cp>In music as in life, Floyd championed anti-fascist, anti-oppression causes. Before his music career, he was a conscientious objector of the Vietnam War.\u003c/p>\n\u003cp>Floyd first rose to fame in Texas with his band The Dicks, whose 1980 single “Hate the Police” remains a hardcore anthem. Floyd’s bold stage presence with the band, sometimes in full drag, captivated audiences in Austin during the Raegan era, and their songs like “No Nazi’s Friend” became a rallying cry.\u003c/p>\n\u003cp>Through his Alternative Tentacles label, Jello Biafra released the Dicks’ 1985 album \u003cem>These People\u003c/em> and reissued the band’s 1983 debut album \u003cem>Kill From the Heart\u003c/em>.\u003c/p>\n\u003cp>“My God, a 300-pound communist drag queen who can sing like Janis Joplin,” Biafra said of seeing Floyd for the first time,\u003ca href=\"https://www.austinchronicle.com/music/2000-05-12/77163/\"> in a 2000 \u003cem>Austin Chronicle\u003c/em> interview\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://youtu.be/z8O2ToQ_Dok?si=V9Teqg2qW9BhGo_Q\u003c/p>\n\u003cp>Floyd relocated to San Francisco in 1982, where he remained for the rest of his life. There, he relaunched The Dicks, and played in newer bands, including Sister Double Happiness, Black Kali Ma and the Buddha Brothers.\u003c/p>\n\u003cp>“SF is changing so much,” Floyd \u003ca href=\"https://www.maximumrocknroll.com/gary-floyd-interview/\">told \u003cem>Maximum Rocknroll\u003c/em>\u003c/a> in 2014. “A city of money, rents are stupid but people somehow pay them. Many things that brought me here and kept me here are gone.”\u003c/p>\n\u003cp>Later in life, Floyd became a Buddhist, gave up drinking and pursued other artforms while struggling with diabetes and other health issues. His memoir \u003cem>Please Bee Nice: My Life Up ’Til Now\u003c/em> was published in 2014, and his Dicks lyric book \u003cem>I Said That\u003c/em> followed in 2017. In 2022, he exhibited his colorful, chaotic visual artworks at a solo show in Austin titled \u003ci>Maybe We’ll See Butterflies\u003c/i>.\u003c/p>\n\u003cp>https://youtu.be/FStWWeWOXJA?si=Gpp4086tEAN-VIat\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As Floyd’s friend Biafra \u003ca href=\"https://alternativetentacles.com/blogs/news/remembering-gary-floyd\">remembered him today\u003c/a>: “Out Queerpunk from the very beginning. Flamboyant, fierce; and a deeply spiritual being who did so much to lift so many hearts and spirits. A singer’s singer, truly. Punk, Southern Rock grunge, and especially the Blues. It all came from the blues, and he could touch and penetrate like no other.”\u003c/p>\n\n","stats":{"hasVideo":false,"hasChartOrMap":false,"hasAudio":false,"hasPolis":false,"wordCount":400,"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"iframeSrcs":[],"paragraphCount":11},"modified":1714775102,"excerpt":"The Dicks frontman impacted a generation with his anti-fascist anthems and performances in drag. ","headData":{"twImgId":"","twTitle":"","ogTitle":"","ogImgId":"","twDescription":"","description":"The Dicks frontman impacted a generation with his anti-fascist anthems and performances in drag. ","title":"Gary Floyd, San Francisco Queer Punk Iconoclast, Has Died | KQED","ogDescription":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Gary Floyd, San Francisco Queer Punk Iconoclast, Has Died","datePublished":"2024-05-03T15:14:55-07:00","dateModified":"2024-05-03T15:25:02-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"guestAuthors":[],"slug":"gary-floyd-san-francisco-queer-punk-iconoclast-has-died","status":"publish","templateType":"standard","excludeFromSiteSearch":"Include","featuredImageType":"standard","sticky":false,"articleAge":"0","nprStoryId":"kqed-13957227","path":"/arts/13957227/gary-floyd-san-francisco-queer-punk-iconoclast-has-died","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Punk rock legend Gary Floyd, an unapologetic singer who helped start the queercore movement in the 1980s, has died from congenital heart failure at 71 years old, \u003ca href=\"https://www.austinchronicle.com/daily/music/2024-05-03/gary-floyd-scene-defining-singer-of-austin-punks-the-dicks-has-died/\">\u003cem>The Austin Chronicle\u003c/em> reports\u003c/a>.\u003c/p>\n\u003cp>In music as in life, Floyd championed anti-fascist, anti-oppression causes. Before his music career, he was a conscientious objector of the Vietnam War.\u003c/p>\n\u003cp>Floyd first rose to fame in Texas with his band The Dicks, whose 1980 single “Hate the Police” remains a hardcore anthem. Floyd’s bold stage presence with the band, sometimes in full drag, captivated audiences in Austin during the Raegan era, and their songs like “No Nazi’s Friend” became a rallying cry.\u003c/p>\n\u003cp>Through his Alternative Tentacles label, Jello Biafra released the Dicks’ 1985 album \u003cem>These People\u003c/em> and reissued the band’s 1983 debut album \u003cem>Kill From the Heart\u003c/em>.\u003c/p>\n\u003cp>“My God, a 300-pound communist drag queen who can sing like Janis Joplin,” Biafra said of seeing Floyd for the first time,\u003ca href=\"https://www.austinchronicle.com/music/2000-05-12/77163/\"> in a 2000 \u003cem>Austin Chronicle\u003c/em> interview\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/z8O2ToQ_Dok'\n title='//www.youtube.com/embed/z8O2ToQ_Dok'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Floyd relocated to San Francisco in 1982, where he remained for the rest of his life. There, he relaunched The Dicks, and played in newer bands, including Sister Double Happiness, Black Kali Ma and the Buddha Brothers.\u003c/p>\n\u003cp>“SF is changing so much,” Floyd \u003ca href=\"https://www.maximumrocknroll.com/gary-floyd-interview/\">told \u003cem>Maximum Rocknroll\u003c/em>\u003c/a> in 2014. “A city of money, rents are stupid but people somehow pay them. Many things that brought me here and kept me here are gone.”\u003c/p>\n\u003cp>Later in life, Floyd became a Buddhist, gave up drinking and pursued other artforms while struggling with diabetes and other health issues. His memoir \u003cem>Please Bee Nice: My Life Up ’Til Now\u003c/em> was published in 2014, and his Dicks lyric book \u003cem>I Said That\u003c/em> followed in 2017. In 2022, he exhibited his colorful, chaotic visual artworks at a solo show in Austin titled \u003ci>Maybe We’ll See Butterflies\u003c/i>.\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/FStWWeWOXJA'\n title='//www.youtube.com/embed/FStWWeWOXJA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>As Floyd’s friend Biafra \u003ca href=\"https://alternativetentacles.com/blogs/news/remembering-gary-floyd\">remembered him today\u003c/a>: “Out Queerpunk from the very beginning. Flamboyant, fierce; and a deeply spiritual being who did so much to lift so many hearts and spirits. A singer’s singer, truly. Punk, Southern Rock grunge, and especially the Blues. It all came from the blues, and he could touch and penetrate like no other.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13957227/gary-floyd-san-francisco-queer-punk-iconoclast-has-died","authors":["11387"],"categories":["arts_1","arts_69","arts_235","arts_1564"],"tags":["arts_10278","arts_913","arts_1079"],"featImg":"arts_13957230","label":"arts"},"arts_13955977":{"type":"posts","id":"arts_13955977","meta":{"index":"posts_1716263798","site":"arts","id":"13955977","score":null,"sort":[1713215781000]},"parent":0,"labelTerm":{"site":"arts"},"blocks":[],"publishDate":1713215781,"format":"standard","title":"Calvin Keys, Widely Loved Jazz Guitarist With Endless Soul, Dies at 82","headTitle":"Calvin Keys, Widely Loved Jazz Guitarist With Endless Soul, Dies at 82 | KQED","content":"\u003cp>Calvin Keys, the Oakland-based jazz guitarist who worked with giants like Ray Charles and Ahmad Jamal, and who possessed a unique style both on stage and records, died Sunday afternoon. He was 82. \u003c/p>\n\u003cp>Keys was surrounded at Berkeley’s Alta Bates Medical Center on Sunday by family and loved ones from the Bay Area music scene, said his close friend and musical collaborator, Art Maxwell. The cause of death was complications due to a stroke.\u003c/p>\n\u003cp>“The world has just lost a wonderful person and musician,” said the bassist Henry Franklin, who played and recorded with Keys. “He was very prolific on his instrument, very inventive, and I’m sure he’s got one of the first seats in the big orchestra in the sky.”\u003c/p>\n\u003cfigure id=\"attachment_13956010\" class=\"wp-caption aligncenter\" style=\"max-width: 1264px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-507929027.jpg\" alt=\"\" width=\"1264\" height=\"1920\" class=\"size-full wp-image-13956010\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-507929027.jpg 1264w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-507929027-800x1215.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-507929027-1020x1549.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-507929027-160x243.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-507929027-768x1167.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-507929027-1011x1536.jpg 1011w\" sizes=\"(max-width: 1264px) 100vw, 1264px\">\u003cfigcaption class=\"wp-caption-text\">Calvin Keys performing in San Francisco, circa 1977. \u003ccite>(Tom Copi/Michael Ochs Archives/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to Ray Charles and Ahmad Jamal, Keys played with the likes of Donald Byrd, Lou Donaldson, Bobby Hutcherson, Tony Bennett, Earl “Fatha” Hines, Joe Henderson, Carmen McRea, Pharoah Sanders, Freddie Hubbard, Woody Shaw, Eddie Henderson, Stanley Turrentine and many, many others.\u003c/p>\n\u003cp>Maxwell remembered first seeing Keys at Laney College in Oakland in 1978, and later joining his band for shows at 57th Street Gallery and Geoffrey’s Inner Circle. Eventually he would become Keys’ musical director, and played with him for the past decade.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Calvin was the real deal,” Maxwell said. “He was a very handsome man, very warm, and extremely nice to almost everybody.” \u003c/p>\n\u003cp>Maxwell recalled when Keys, a few years ago, successfully petitioned Spotify to pay him for royalties due. “He took me out to a restaurant,” Maxwell said, “and said ‘Go ahead, get the best steak! Get everything, dessert, whatever you want!’ That was Calvin.”\u003c/p>\n\u003cfigure id=\"attachment_13956008\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/5.jpg\" alt=\"\" width=\"1920\" height=\"1431\" class=\"size-full wp-image-13956008\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/5.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/5-800x596.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/5-1020x760.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/5-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/5-768x572.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/5-1536x1145.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Calvin Keys. \u003ccite>(Artist photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Calvin Keys was born Feb. 6, 1942 in Omaha, Nebraska. As a young boy, his father, a drummer, used to sneak him into local ballrooms to hear performers like Little Richard and James Brown. He would soon learn guitar, and join jam sessions in town with touring artists like George Benson and Brother Jack McDuff. At the age of 15, Keys moved to Kansas City and soon began touring as a young teenager.\u003c/p>\n\u003cp>Keys played in top trios with popular organists like Jimmy McGriff and Jimmy Smith, and worked with Ray Charles on and off for 15 years. A move to Los Angeles in the late 1960s connected him with the Black Jazz record label, for which he recorded two era-defining albums: 1971’s \u003cem>Shawn-Neeq\u003c/em> and 1974’s \u003cem>Proceed With Caution\u003c/em>. He moved to the Bay Area in 1975.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Watch\u003c/strong>: \u003ca href=\"https://www.youtube.com/live/pC0Qa1zJmrM?si=DF1HedoMKLdhiH5J&t=3907\">Calvin Keys on stage at KQED, interviewed by Bianca Taylor\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>After joining pianist Ahmad Jamal’s group, Keys spent six years touring and recording with the jazz giant. He sometimes told the story of Miles Davis, an avowed Jamal fan, once asking Jamal after a show if he could audition Keys for his own group — an offer Keys declined. \u003c/p>\n\u003cfigure id=\"attachment_13956007\" class=\"wp-caption aligncenter\" style=\"max-width: 1535px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/16.jpg\" alt=\"\" width=\"1535\" height=\"1920\" class=\"size-full wp-image-13956007\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/16.jpg 1535w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/16-800x1001.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/16-1020x1276.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/16-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/16-768x961.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/16-1228x1536.jpg 1228w\" sizes=\"(max-width: 1535px) 100vw, 1535px\">\u003cfigcaption class=\"wp-caption-text\">Calvin Keys on stage with his hollow-body guitar on stage. Keys performed at small clubs and community events into his 80s. \u003ccite>(Artist photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gregory Howe, the Bay Area producer and musician who under his Wide Hive Records label released four albums by Keys starting in 2000, said that Keys “was just an authoritative voice on his instrument.” He recalled his first experience with Keys in the recording studio, when he nailed a guitar solo in one take. \u003c/p>\n\u003cp>“He arrived in this \u003cem>huge\u003c/em> ’70s Cadillac,” Howe said. “We had this little recording studio in North Beach, and we couldn’t find anywhere to park the car!”\u003c/p>\n\u003cp>[aside postID='arts_13935159']Howe also remembered Keys’ sharp personal style, and how he would show up to record in “really clean” outfits that matched his high-class talent. \u003c/p>\n\u003cp>“When he would play, you \u003cem>had\u003c/em> to listen,” Howe said. “The way he could weave a solo, I don’t know any other guitarist that had that caliber of soulfulness and musical strength.”\u003c/p>\n\u003cp>Keys enjoyed a small renaissance in the 2010s as his early albums garnered more attention, including in places as distant as Europe and Japan. In 2012, the Bay Area label Tompkins Square reissued \u003cem>Shawn-Neeq\u003c/em>; \u003cem>Proceed With Caution\u003c/em> and 1985’s \u003cem>Full Court Press\u003c/em> have also been reissued in recent years. \u003c/p>\n\u003cfigure id=\"attachment_13956009\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/61i8yhpYBqL._UF10001000_QL80_.jpg\" alt=\"\" width=\"1920\" height=\"1920\" class=\"size-full wp-image-13956009\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/61i8yhpYBqL._UF10001000_QL80_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/61i8yhpYBqL._UF10001000_QL80_-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/61i8yhpYBqL._UF10001000_QL80_-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/61i8yhpYBqL._UF10001000_QL80_-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/61i8yhpYBqL._UF10001000_QL80_-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/61i8yhpYBqL._UF10001000_QL80_-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Calvin Keys’ first album as a leader, ‘Shawn-Neeq,’ has been reissued multiple times since its release in 1971. \u003ccite>(Black Jazz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Keys was a teacher at the Oakland Public Conservatory and frequently taught his skills to the younger generation at camps and in private lessons.\u003c/p>\n\u003cp>On stage, Keys continued to perform locally, including at clubs like Yoshi’s, up to the end. He refused suggestions to retire, even as he underwent quadruple bypass surgery in 1997 and back surgery in recent years, Maxwell said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Terrace Martin, the famed keyboardist and hip-hop producer, and Keys’ godson, \u003ca href=\"https://www.instagram.com/p/C5yGq43r6gh/?hl=en&img_index=1\">said on Instagram\u003c/a>: “A true master teacher has transitioned. Rest in power, love and peace to Calvin Keys. I love you.”\u003c/p>\n\n","stats":{"hasVideo":false,"hasChartOrMap":false,"hasAudio":false,"hasPolis":false,"wordCount":881,"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"iframeSrcs":[],"paragraphCount":21},"modified":1713399419,"excerpt":"The stylish Oakland guitarist, remembered as innovative and generous, played with dozens of jazz greats.","headData":{"twImgId":"","twTitle":"Calvin Keys, Widely Loved Jazz Guitarist With Endless Soul, Dies at 82","socialTitle":"Calvin Keys, Jazz Guitarist With Endless Soul, Dies at 82 %%page%% %%sep%% KQED","ogTitle":"Calvin Keys, Widely Loved Jazz Guitarist With Endless Soul, Dies at 82","ogImgId":"","twDescription":"","description":"The stylish Oakland guitarist, remembered as innovative and generous, played with dozens of jazz greats.","title":"Calvin Keys, Jazz Guitarist With Endless Soul, Dies at 82 | KQED","ogDescription":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Calvin Keys, Widely Loved Jazz Guitarist With Endless Soul, Dies at 82","datePublished":"2024-04-15T14:16:21-07:00","dateModified":"2024-04-17T17:16:59-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"guestAuthors":[],"slug":"calvin-keys-jazz-guitarist-dies-obit-oakland","status":"publish","templateType":"standard","audioUrl":"https://traffic.omny.fm/d/clips/0af137ef-751e-4b19-a055-aaef00d2d578/ffca7e9f-6831-41c5-bcaf-aaef00f5a073/f582ee74-90eb-466c-aa23-b15500fe9994/audio.mp3","excludeFromSiteSearch":"Include","featuredImageType":"standard","sticky":false,"articleAge":"0","path":"/arts/13955977/calvin-keys-jazz-guitarist-dies-obit-oakland","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Calvin Keys, the Oakland-based jazz guitarist who worked with giants like Ray Charles and Ahmad Jamal, and who possessed a unique style both on stage and records, died Sunday afternoon. He was 82. \u003c/p>\n\u003cp>Keys was surrounded at Berkeley’s Alta Bates Medical Center on Sunday by family and loved ones from the Bay Area music scene, said his close friend and musical collaborator, Art Maxwell. The cause of death was complications due to a stroke.\u003c/p>\n\u003cp>“The world has just lost a wonderful person and musician,” said the bassist Henry Franklin, who played and recorded with Keys. “He was very prolific on his instrument, very inventive, and I’m sure he’s got one of the first seats in the big orchestra in the sky.”\u003c/p>\n\u003cfigure id=\"attachment_13956010\" class=\"wp-caption aligncenter\" style=\"max-width: 1264px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-507929027.jpg\" alt=\"\" width=\"1264\" height=\"1920\" class=\"size-full wp-image-13956010\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-507929027.jpg 1264w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-507929027-800x1215.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-507929027-1020x1549.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-507929027-160x243.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-507929027-768x1167.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-507929027-1011x1536.jpg 1011w\" sizes=\"(max-width: 1264px) 100vw, 1264px\">\u003cfigcaption class=\"wp-caption-text\">Calvin Keys performing in San Francisco, circa 1977. \u003ccite>(Tom Copi/Michael Ochs Archives/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to Ray Charles and Ahmad Jamal, Keys played with the likes of Donald Byrd, Lou Donaldson, Bobby Hutcherson, Tony Bennett, Earl “Fatha” Hines, Joe Henderson, Carmen McRea, Pharoah Sanders, Freddie Hubbard, Woody Shaw, Eddie Henderson, Stanley Turrentine and many, many others.\u003c/p>\n\u003cp>Maxwell remembered first seeing Keys at Laney College in Oakland in 1978, and later joining his band for shows at 57th Street Gallery and Geoffrey’s Inner Circle. Eventually he would become Keys’ musical director, and played with him for the past decade.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Calvin was the real deal,” Maxwell said. “He was a very handsome man, very warm, and extremely nice to almost everybody.” \u003c/p>\n\u003cp>Maxwell recalled when Keys, a few years ago, successfully petitioned Spotify to pay him for royalties due. “He took me out to a restaurant,” Maxwell said, “and said ‘Go ahead, get the best steak! Get everything, dessert, whatever you want!’ That was Calvin.”\u003c/p>\n\u003cfigure id=\"attachment_13956008\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/5.jpg\" alt=\"\" width=\"1920\" height=\"1431\" class=\"size-full wp-image-13956008\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/5.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/5-800x596.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/5-1020x760.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/5-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/5-768x572.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/5-1536x1145.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Calvin Keys. \u003ccite>(Artist photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Calvin Keys was born Feb. 6, 1942 in Omaha, Nebraska. As a young boy, his father, a drummer, used to sneak him into local ballrooms to hear performers like Little Richard and James Brown. He would soon learn guitar, and join jam sessions in town with touring artists like George Benson and Brother Jack McDuff. At the age of 15, Keys moved to Kansas City and soon began touring as a young teenager.\u003c/p>\n\u003cp>Keys played in top trios with popular organists like Jimmy McGriff and Jimmy Smith, and worked with Ray Charles on and off for 15 years. A move to Los Angeles in the late 1960s connected him with the Black Jazz record label, for which he recorded two era-defining albums: 1971’s \u003cem>Shawn-Neeq\u003c/em> and 1974’s \u003cem>Proceed With Caution\u003c/em>. He moved to the Bay Area in 1975.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Watch\u003c/strong>: \u003ca href=\"https://www.youtube.com/live/pC0Qa1zJmrM?si=DF1HedoMKLdhiH5J&t=3907\">Calvin Keys on stage at KQED, interviewed by Bianca Taylor\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>After joining pianist Ahmad Jamal’s group, Keys spent six years touring and recording with the jazz giant. He sometimes told the story of Miles Davis, an avowed Jamal fan, once asking Jamal after a show if he could audition Keys for his own group — an offer Keys declined. \u003c/p>\n\u003cfigure id=\"attachment_13956007\" class=\"wp-caption aligncenter\" style=\"max-width: 1535px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/16.jpg\" alt=\"\" width=\"1535\" height=\"1920\" class=\"size-full wp-image-13956007\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/16.jpg 1535w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/16-800x1001.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/16-1020x1276.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/16-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/16-768x961.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/16-1228x1536.jpg 1228w\" sizes=\"(max-width: 1535px) 100vw, 1535px\">\u003cfigcaption class=\"wp-caption-text\">Calvin Keys on stage with his hollow-body guitar on stage. Keys performed at small clubs and community events into his 80s. \u003ccite>(Artist photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gregory Howe, the Bay Area producer and musician who under his Wide Hive Records label released four albums by Keys starting in 2000, said that Keys “was just an authoritative voice on his instrument.” He recalled his first experience with Keys in the recording studio, when he nailed a guitar solo in one take. \u003c/p>\n\u003cp>“He arrived in this \u003cem>huge\u003c/em> ’70s Cadillac,” Howe said. “We had this little recording studio in North Beach, and we couldn’t find anywhere to park the car!”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13935159","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Howe also remembered Keys’ sharp personal style, and how he would show up to record in “really clean” outfits that matched his high-class talent. \u003c/p>\n\u003cp>“When he would play, you \u003cem>had\u003c/em> to listen,” Howe said. “The way he could weave a solo, I don’t know any other guitarist that had that caliber of soulfulness and musical strength.”\u003c/p>\n\u003cp>Keys enjoyed a small renaissance in the 2010s as his early albums garnered more attention, including in places as distant as Europe and Japan. In 2012, the Bay Area label Tompkins Square reissued \u003cem>Shawn-Neeq\u003c/em>; \u003cem>Proceed With Caution\u003c/em> and 1985’s \u003cem>Full Court Press\u003c/em> have also been reissued in recent years. \u003c/p>\n\u003cfigure id=\"attachment_13956009\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/61i8yhpYBqL._UF10001000_QL80_.jpg\" alt=\"\" width=\"1920\" height=\"1920\" class=\"size-full wp-image-13956009\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/61i8yhpYBqL._UF10001000_QL80_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/61i8yhpYBqL._UF10001000_QL80_-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/61i8yhpYBqL._UF10001000_QL80_-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/61i8yhpYBqL._UF10001000_QL80_-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/61i8yhpYBqL._UF10001000_QL80_-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/61i8yhpYBqL._UF10001000_QL80_-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Calvin Keys’ first album as a leader, ‘Shawn-Neeq,’ has been reissued multiple times since its release in 1971. \u003ccite>(Black Jazz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Keys was a teacher at the Oakland Public Conservatory and frequently taught his skills to the younger generation at camps and in private lessons.\u003c/p>\n\u003cp>On stage, Keys continued to perform locally, including at clubs like Yoshi’s, up to the end. He refused suggestions to retire, even as he underwent quadruple bypass surgery in 1997 and back surgery in recent years, Maxwell said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Terrace Martin, the famed keyboardist and hip-hop producer, and Keys’ godson, \u003ca href=\"https://www.instagram.com/p/C5yGq43r6gh/?hl=en&img_index=1\">said on Instagram\u003c/a>: “A true master teacher has transitioned. Rest in power, love and peace to Calvin Keys. I love you.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13955977/calvin-keys-jazz-guitarist-dies-obit-oakland","authors":["185"],"categories":["arts_1","arts_69","arts_235","arts_1564"],"tags":["arts_10278","arts_22080","arts_1420","arts_21789"],"featImg":"arts_13956006","label":"arts"},"arts_13955930":{"type":"posts","id":"arts_13955930","meta":{"index":"posts_1716263798","site":"arts","id":"13955930","score":null,"sort":[1712966959000]},"parent":0,"labelTerm":{"site":"arts"},"blocks":[],"publishDate":1712966959,"format":"standard","title":"Eleanor Coppola, Matriarch of a Filmmaking Family, Dies at 87","headTitle":"Eleanor Coppola, Matriarch of a Filmmaking Family, Dies at 87 | KQED","content":"\u003cp>Eleanor Coppola, who documented the making of some of her husband Francis Ford Coppola’s iconic films, including the infamously tortured production of \u003cem>Apocalypse Now\u003c/em>, and who raised a family of filmmakers, has died. She was 87.\u003c/p>\n\u003cp>Coppola died Friday surrounded by family at home in Rutherford, California, her family announced in a statement. No cause of death was given.\u003c/p>\n\u003cp>Eleanor, who grew up in Orange County, California, met Francis while working as an assistant art director on his directorial debut, the Roger Corman-produced 1963 horror film \u003cem>Dementia 13\u003c/em>. (She had studied design at UCLA.) Within months of dating, Eleanor became pregnant and the couple were wed in Las Vegas in February 1963.\u003c/p>\n\u003cfigure id=\"attachment_13955933\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823039786.jpg\" alt=\"\" width=\"1920\" height=\"1267\" class=\"size-full wp-image-13955933\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823039786.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823039786-800x528.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823039786-1020x673.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823039786-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823039786-768x507.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823039786-1536x1014.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Francis Coppola and wife, Eleanor, pose July 16, 1991, in Los Angeles. Eleanor Coppola, who documented the making of some of her husband Francis Ford Coppola’s iconic films, including the infamously tortured production of ‘Apocalypse Now,’ and who raised a family of filmmakers, died Friday, April 12, 2024. She was 87. \u003ccite>(AP Photo/Chris Martinez, File)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Their first-born, Gian-Carlo, quickly became a regular presence in his father’s films, as did their subsequent children, Roman (born in 1965) and Sofia (born in 1971). After acting in their father’s films and growing up on sets, all would go into the movies.\u003c/p>\n\u003cp>“I don’t know what the family has given except I hope they’ve set an example of a family encouraging each other in their creative process whatever it may be,” Eleanor told The Associated Press in 2017. “It happens in our family that everyone chose to sort of follow in the family business. We weren’t asking them to or expecting them to, but they did. At one point Sofia said, ‘The nut does not fall far from the tree.'”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Gian-Carlo, who’s seen in the background of many of his father’s films and had begun doing second-unit photography, died at the age of 22 in a 1986 boating accident. He was killed while riding in a boat piloted by Griffin O’Neal, son of Ryan O’Neal, who was found guilty of negligence.\u003c/p>\n\u003cp>[aside postID='forum_201208101000']Roman directed several movies of his own and regularly collaborates with Wes Anderson. He’s president of his father’s San Francisco-based film company, American Zoetrope.\u003c/p>\n\u003cp>Sofia became one of the most acclaimed filmmakers of her generation as the writer-director of films including \u003cem>The Virgin Suicides\u003c/em>, \u003cem>Lost in Translation\u003c/em> and the 2023 release \u003cem>Priscilla\u003c/em>. Sofia dedicated that film to her mother.\u003c/p>\n\u003cfigure id=\"attachment_13955934\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823159000.jpg\" alt=\"\" width=\"1920\" height=\"1256\" class=\"size-full wp-image-13955934\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823159000.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823159000-800x523.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823159000-1020x667.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823159000-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823159000-768x502.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823159000-1536x1005.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Eleanor Coppola, seen in her Los Angeles home in January 1992, turned the turbulent making of ‘Apocalypse Now’ in the Philippines by her husband, Francis Coppola, into ‘Hearts of Darkness: A Filmmaker’s Apocalypse.’ \u003ccite>(AP Photo/Craig Fujii)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In joining the family business, the Coppola children weren’t just following in their father’s footsteps but their mother’s, too. Beginning on 1979’s \u003cem>Apocalypse Now\u003c/em>, Eleanor frequently documented the behind-the-scenes life of Francis’ films. The Philippines-set shoot of \u003cem>Apocalypse Now\u003c/em> lasted 238 days. A typhoon destroyed sets. Martin Sheen had a heart attack. A member of the construction crew died.\u003c/p>\n\u003cp>Eleanor documented much of the chaos in what would become one of the most famous making-of films about moviemaking, 1991’s \u003cem>Hearts of Darkness: A Filmmaker’s Apocalypse\u003c/em>.\u003c/p>\n\u003cp>“I was just trying to keep myself occupied with something to do because we were out there for so long,” Eleanor told CNN in 1991. “They wanted five minutes for a TV promotional or something and I thought sooner of later I could get five minutes of film and then it went on to 15 minutes.”\u003c/p>\n\u003cp>“I just kept shooting but I had no idea … the evolution of myself that I saw with my camera,” continued Eleanor, who ended up shooting 60 hours of footage. “So, it was a surprise for both of us and a life changing experience.”\u003c/p>\n\u003cp>Eleanor also published \u003cem>Notes: On the Making of ‘Apocalypse Now’\u003c/em> in 1979. While the film focused on the film set tumult, the book charted some of Eleanor’s inner turmoil, including the challenges of being married to a larger-than-life figure. She wrote of being a “woman isolated from my friends, my affairs and my projects” during their year in Manilla. She also frankly discusses Francis having an extramarital affair.\u003c/p>\n\u003cp>“There is part of me that has been waiting for Francis to leave me, or die, so that I can get my life the way I want it,” wrote Eleanor. “I wonder if I have the guts to get it the way I want it with him in it.”\u003c/p>\n\u003cfigure id=\"attachment_13955935\" class=\"wp-caption aligncenter\" style=\"max-width: 1474px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Eleanor.CourtesyPhoto.Family.AP_.jpg\" alt=\"\" width=\"1474\" height=\"1920\" class=\"size-full wp-image-13955935\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Eleanor.CourtesyPhoto.Family.AP_.jpg 1474w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Eleanor.CourtesyPhoto.Family.AP_-800x1042.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Eleanor.CourtesyPhoto.Family.AP_-1020x1329.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Eleanor.CourtesyPhoto.Family.AP_-160x208.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Eleanor.CourtesyPhoto.Family.AP_-768x1000.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Eleanor.CourtesyPhoto.Family.AP_-1179x1536.jpg 1179w\" sizes=\"(max-width: 1474px) 100vw, 1474px\">\u003cfigcaption class=\"wp-caption-text\">An undated portrait of Eleanor Coppola, released by the Coppola family. Eleanor Coppola died on Friday at 87. \u003ccite>(Chad Keig/AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>They remained together, though, throughout her life. And Eleanor continued to seek out creative outlets for herself. She documented several more of her husband’s films, as well as Roman’s \u003cem>CQ\u003c/em> and Sofia’s \u003cem>Marie Antoinette\u003c/em>. She wrote a memoir in 2008, \u003cem>Notes on a Life\u003c/em>.\u003c/p>\n\u003cp>In 2016, at the age of 80, Eleanor made her narrative debut in \u003cem>Paris Can Wait\u003c/em>, a romantic comedy starring Diane Lane. She followed that up with \u003cem>Love Is Love Is Love\u003c/em> in 2020. Eleanor had initially set out only to write the screenplay to \u003cem>Paris Can Wait\u003c/em>.\u003c/p>\n\u003cp>“One morning at the breakfast table my husband said, ‘Well you should direct it.’ I was totally startled,” Eleanor told The AP. “But I said ‘Well, I never wrote a script before and I’ve never directed, why not?’ I was kind of saying ‘why not’ to everything.”\u003c/p>\n\u003cp>Eleanor died just as Francis is preparing a long-planned, self-financed epic, \u003cem>Metropolis\u003c/em>, which is to premiere next month at the Cannes Film Festival.\u003c/p>\n\u003cp>She is survived by her husband; her son Roman and his wife, Jen, their children, Pascale, Marcello and Alessandro; her daughter Sofia and her husband, Thomas, their children Romy and Cosima; her granddaughter Gia and her husband, Honor, and their child Beaumont; and by her brother William Neil and his wife, Lisa.\u003c/p>\n\u003cp>Eleanor recently completed her third memoir, the family said. In the manuscript she wrote:\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“I appreciate how my unexpected life has stretched and pulled me in so many extraordinary ways and taken me in a multitude of directions beyond my wildest imaginings.”\u003c/p>\n\n","stats":{"hasVideo":false,"hasChartOrMap":false,"hasAudio":false,"hasPolis":false,"wordCount":1127,"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"iframeSrcs":[],"paragraphCount":23},"modified":1712966959,"excerpt":"The mother to Sofia and Roman Coppola and wife to Francis Ford Coppola died at home in Napa County.","headData":{"twImgId":"","twTitle":"","ogTitle":"","ogImgId":"","twDescription":"","description":"The mother to Sofia and Roman Coppola and wife to Francis Ford Coppola died at home in Napa County.","title":"Eleanor Coppola, Matriarch of a Filmmaking Family, Dies at 87 | KQED","ogDescription":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Eleanor Coppola, Matriarch of a Filmmaking Family, Dies at 87","datePublished":"2024-04-12T17:09:19-07:00","dateModified":"2024-04-12T17:09:19-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"guestAuthors":[],"slug":"eleanor-coppola-matriarch-of-a-filmmaking-family-dies-at-87","status":"publish","templateType":"standard","nprByline":"Jake Coyle and Lindsey Bahr, Associated Press","excludeFromSiteSearch":"Include","featuredImageType":"standard","sticky":false,"showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13955930/eleanor-coppola-matriarch-of-a-filmmaking-family-dies-at-87","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Eleanor Coppola, who documented the making of some of her husband Francis Ford Coppola’s iconic films, including the infamously tortured production of \u003cem>Apocalypse Now\u003c/em>, and who raised a family of filmmakers, has died. She was 87.\u003c/p>\n\u003cp>Coppola died Friday surrounded by family at home in Rutherford, California, her family announced in a statement. No cause of death was given.\u003c/p>\n\u003cp>Eleanor, who grew up in Orange County, California, met Francis while working as an assistant art director on his directorial debut, the Roger Corman-produced 1963 horror film \u003cem>Dementia 13\u003c/em>. (She had studied design at UCLA.) Within months of dating, Eleanor became pregnant and the couple were wed in Las Vegas in February 1963.\u003c/p>\n\u003cfigure id=\"attachment_13955933\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823039786.jpg\" alt=\"\" width=\"1920\" height=\"1267\" class=\"size-full wp-image-13955933\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823039786.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823039786-800x528.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823039786-1020x673.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823039786-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823039786-768x507.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823039786-1536x1014.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Francis Coppola and wife, Eleanor, pose July 16, 1991, in Los Angeles. Eleanor Coppola, who documented the making of some of her husband Francis Ford Coppola’s iconic films, including the infamously tortured production of ‘Apocalypse Now,’ and who raised a family of filmmakers, died Friday, April 12, 2024. She was 87. \u003ccite>(AP Photo/Chris Martinez, File)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Their first-born, Gian-Carlo, quickly became a regular presence in his father’s films, as did their subsequent children, Roman (born in 1965) and Sofia (born in 1971). After acting in their father’s films and growing up on sets, all would go into the movies.\u003c/p>\n\u003cp>“I don’t know what the family has given except I hope they’ve set an example of a family encouraging each other in their creative process whatever it may be,” Eleanor told The Associated Press in 2017. “It happens in our family that everyone chose to sort of follow in the family business. We weren’t asking them to or expecting them to, but they did. At one point Sofia said, ‘The nut does not fall far from the tree.'”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Gian-Carlo, who’s seen in the background of many of his father’s films and had begun doing second-unit photography, died at the age of 22 in a 1986 boating accident. He was killed while riding in a boat piloted by Griffin O’Neal, son of Ryan O’Neal, who was found guilty of negligence.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"forum_201208101000","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Roman directed several movies of his own and regularly collaborates with Wes Anderson. He’s president of his father’s San Francisco-based film company, American Zoetrope.\u003c/p>\n\u003cp>Sofia became one of the most acclaimed filmmakers of her generation as the writer-director of films including \u003cem>The Virgin Suicides\u003c/em>, \u003cem>Lost in Translation\u003c/em> and the 2023 release \u003cem>Priscilla\u003c/em>. Sofia dedicated that film to her mother.\u003c/p>\n\u003cfigure id=\"attachment_13955934\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823159000.jpg\" alt=\"\" width=\"1920\" height=\"1256\" class=\"size-full wp-image-13955934\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823159000.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823159000-800x523.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823159000-1020x667.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823159000-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823159000-768x502.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823159000-1536x1005.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Eleanor Coppola, seen in her Los Angeles home in January 1992, turned the turbulent making of ‘Apocalypse Now’ in the Philippines by her husband, Francis Coppola, into ‘Hearts of Darkness: A Filmmaker’s Apocalypse.’ \u003ccite>(AP Photo/Craig Fujii)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In joining the family business, the Coppola children weren’t just following in their father’s footsteps but their mother’s, too. Beginning on 1979’s \u003cem>Apocalypse Now\u003c/em>, Eleanor frequently documented the behind-the-scenes life of Francis’ films. The Philippines-set shoot of \u003cem>Apocalypse Now\u003c/em> lasted 238 days. A typhoon destroyed sets. Martin Sheen had a heart attack. A member of the construction crew died.\u003c/p>\n\u003cp>Eleanor documented much of the chaos in what would become one of the most famous making-of films about moviemaking, 1991’s \u003cem>Hearts of Darkness: A Filmmaker’s Apocalypse\u003c/em>.\u003c/p>\n\u003cp>“I was just trying to keep myself occupied with something to do because we were out there for so long,” Eleanor told CNN in 1991. “They wanted five minutes for a TV promotional or something and I thought sooner of later I could get five minutes of film and then it went on to 15 minutes.”\u003c/p>\n\u003cp>“I just kept shooting but I had no idea … the evolution of myself that I saw with my camera,” continued Eleanor, who ended up shooting 60 hours of footage. “So, it was a surprise for both of us and a life changing experience.”\u003c/p>\n\u003cp>Eleanor also published \u003cem>Notes: On the Making of ‘Apocalypse Now’\u003c/em> in 1979. While the film focused on the film set tumult, the book charted some of Eleanor’s inner turmoil, including the challenges of being married to a larger-than-life figure. She wrote of being a “woman isolated from my friends, my affairs and my projects” during their year in Manilla. She also frankly discusses Francis having an extramarital affair.\u003c/p>\n\u003cp>“There is part of me that has been waiting for Francis to leave me, or die, so that I can get my life the way I want it,” wrote Eleanor. “I wonder if I have the guts to get it the way I want it with him in it.”\u003c/p>\n\u003cfigure id=\"attachment_13955935\" class=\"wp-caption aligncenter\" style=\"max-width: 1474px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Eleanor.CourtesyPhoto.Family.AP_.jpg\" alt=\"\" width=\"1474\" height=\"1920\" class=\"size-full wp-image-13955935\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Eleanor.CourtesyPhoto.Family.AP_.jpg 1474w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Eleanor.CourtesyPhoto.Family.AP_-800x1042.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Eleanor.CourtesyPhoto.Family.AP_-1020x1329.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Eleanor.CourtesyPhoto.Family.AP_-160x208.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Eleanor.CourtesyPhoto.Family.AP_-768x1000.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Eleanor.CourtesyPhoto.Family.AP_-1179x1536.jpg 1179w\" sizes=\"(max-width: 1474px) 100vw, 1474px\">\u003cfigcaption class=\"wp-caption-text\">An undated portrait of Eleanor Coppola, released by the Coppola family. Eleanor Coppola died on Friday at 87. \u003ccite>(Chad Keig/AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>They remained together, though, throughout her life. And Eleanor continued to seek out creative outlets for herself. She documented several more of her husband’s films, as well as Roman’s \u003cem>CQ\u003c/em> and Sofia’s \u003cem>Marie Antoinette\u003c/em>. She wrote a memoir in 2008, \u003cem>Notes on a Life\u003c/em>.\u003c/p>\n\u003cp>In 2016, at the age of 80, Eleanor made her narrative debut in \u003cem>Paris Can Wait\u003c/em>, a romantic comedy starring Diane Lane. She followed that up with \u003cem>Love Is Love Is Love\u003c/em> in 2020. Eleanor had initially set out only to write the screenplay to \u003cem>Paris Can Wait\u003c/em>.\u003c/p>\n\u003cp>“One morning at the breakfast table my husband said, ‘Well you should direct it.’ I was totally startled,” Eleanor told The AP. “But I said ‘Well, I never wrote a script before and I’ve never directed, why not?’ I was kind of saying ‘why not’ to everything.”\u003c/p>\n\u003cp>Eleanor died just as Francis is preparing a long-planned, self-financed epic, \u003cem>Metropolis\u003c/em>, which is to premiere next month at the Cannes Film Festival.\u003c/p>\n\u003cp>She is survived by her husband; her son Roman and his wife, Jen, their children, Pascale, Marcello and Alessandro; her daughter Sofia and her husband, Thomas, their children Romy and Cosima; her granddaughter Gia and her husband, Honor, and their child Beaumont; and by her brother William Neil and his wife, Lisa.\u003c/p>\n\u003cp>Eleanor recently completed her third memoir, the family said. In the manuscript she wrote:\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I appreciate how my unexpected life has stretched and pulled me in so many extraordinary ways and taken me in a multitude of directions beyond my wildest imaginings.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13955930/eleanor-coppola-matriarch-of-a-filmmaking-family-dies-at-87","authors":["byline_arts_13955930"],"categories":["arts_1","arts_74","arts_235","arts_1564"],"tags":["arts_3852","arts_1855","arts_22076","arts_21789"],"featImg":"arts_13955932","label":"arts"},"arts_13955821":{"type":"posts","id":"arts_13955821","meta":{"index":"posts_1716263798","site":"arts","id":"13955821","score":null,"sort":[1712873447000]},"parent":0,"labelTerm":{"site":"arts"},"blocks":[],"publishDate":1712873447,"format":"aside","title":"Trina Robbins, Feminist Cartoonist and ‘Wimmen’s Comix’ Founder, Dies at 85","headTitle":"Trina Robbins, Feminist Cartoonist and ‘Wimmen’s Comix’ Founder, Dies at 85 | KQED","content":"\u003cfigure id=\"attachment_13955828\" class=\"wp-caption aligncenter\" style=\"max-width: 1708px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955828\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-1321644250-scaled.jpg\" alt=\"A senior white woman smiling as she holds up a comic book titled 'It Aint Me Babe.’\" width=\"1708\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-1321644250-scaled.jpg 1708w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-1321644250-800x1199.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-1321644250-1020x1529.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-1321644250-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-1321644250-768x1151.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-1321644250-1025x1536.jpg 1025w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-1321644250-1366x2048.jpg 1366w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-1321644250-1920x2878.jpg 1920w\" sizes=\"(max-width: 1708px) 100vw, 1708px\">\u003cfigcaption class=\"wp-caption-text\">Trina Robbins, the first woman to draw Wonder Woman and an underground force for women in comics, died in San Francisco on Wednesday. \u003ccite>(Liz Hafalia/ The San Francisco Chronicle via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Trina Robbins, the groundbreaking San Francisco comic book artist, writer, editor and feminist, died on Wednesday at the age of 85. Robbins is primarily remembered for establishing — and popularizing — feminist comic books, raising women’s voices and for being the first woman to ever draw Wonder Woman comics.\u003c/p>\n\u003cp>The comic book world was quick to share its grief and reverence for Robbins and her work.\u003c/p>\n\u003cp>“You showed me what it looks like to lift up others,” Bay Area cartoonist \u003ca href=\"https://www.instagram.com/marinaomiart/\">MariNaomi\u003c/a> wrote \u003ca href=\"https://www.facebook.com/marinaomi/posts/pfbid0jaoBGfzSATry1CH3MUn9v3KS3xyG6QEJKAuYXaiQAggXpZmvipcAjfEEi7aQstU2l\">on Facebook\u003c/a>, “how easy it is to do, and how much that small gesture can mean to a young artist. It can change their life.”\u003c/p>\n\u003cp>“She proved over and over that you didn’t have to be ‘one of the boys’ to make comics,” wrote the Canadian graphic novelist \u003ca href=\"https://www.facebook.com/miriam.libicki/posts/pfbid0XuhDt8dkGtGG5LHdT9R8gisXwFCTyLWP8ZRJhJQ7uVfpR4znQurJ8qcYAmKThuP7l\">Miriam Libicki\u003c/a>. “She made highly influential superhero and underground comics, she wasn’t afraid to be a reviled feminist ball-buster, and she did it all unapologetically as a fashion-loving femme.”\u003c/p>\n\u003cfigure id=\"attachment_13955835\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955835\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Trina-Robbins-2016-Emma-Silvers-1.jpg\" alt=\"A senior white woman sits on a blanket-covered couch smiling.\" width=\"600\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Trina-Robbins-2016-Emma-Silvers-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Trina-Robbins-2016-Emma-Silvers-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Trina-Robbins-2016-Emma-Silvers-1-768x576.jpg 768w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Trina Robbins at her San Francisco home near Duboce Triangle in 2016. \u003ccite>(Emma Silvers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When Robbins first arrived in San Francisco from New York in 1970, she faced an underground comics scene that was thriving but still very much a boys’ club. Feeling shut out and lacking in collaborators, Robbins gathered together every female cartoonist she could find. Together, they made \u003cem>It Ain’t Me, Babe\u003c/em>, the first collection of comics created entirely by women. Printed by San Francisco underground comics publisher \u003ca href=\"https://lastgasp.com/\">Last Gasp\u003c/a>, it was a swift hit, selling 40,000 copies in three printings. It was also a game-changer for comic book artistry in the Bay and beyond.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Within two years, \u003cem>It Ain’t Me, Babe\u003c/em> had grown into a serialized collection called \u003cem>Wimmen’s Comix\u003c/em>. (Robbins’ contributions to the first issue included “\u003ca href=\"https://worldqueerstory.wordpress.com/tag/sandy-comes-out/\">Sandy Comes Out\u003c/a>,” featuring the first openly lesbian character in comics.) The uncompromising publication was edited by 10 different women over 17 issues, and would go on to run for 20 years. In 2016, every issue of \u003cem>Wimmen’s Comix\u003c/em> was immortalized in a two-volume book published by Fantagraphics. At the time, \u003ca href=\"https://www.kqed.org/pop/22085/sex-drugs-and-equal-pay-wimmens-comix-get-their-due\">Robbins discussed her early motivations\u003c/a> with KQED Arts.\u003c/p>\n\u003cp>“In the early ’70s, many of the guys’ comics were very misogynistic,” Robbins said. “When I would criticize [their comics] depicting rape as funny, they’d say ‘Oh, you just don’t have a sense of humor.’ So much of our [inspiration] was just saying, ‘Women have to have a voice.’ We have to be able to speak out if we want things to improve.”\u003c/p>\n\u003cfigure id=\"attachment_13955832\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955832\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/teenage-abortion-1440x1299-1.jpg\" alt=\"A full page illustration of a worried girl and a man standing nearby. It's titled "A Teenage Abortion."\" width=\"1440\" height=\"1299\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/teenage-abortion-1440x1299-1.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/teenage-abortion-1440x1299-1-800x722.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/teenage-abortion-1440x1299-1-1020x920.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/teenage-abortion-1440x1299-1-160x144.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/teenage-abortion-1440x1299-1-768x693.jpg 768w\" sizes=\"(max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">‘Wimmen’s Comix’ depicted women’s issues in unapologetic terms. \u003ccite>(Emma Silvers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In her work, Robbins also illuminated forgotten female comic book artists who had inspired her growing up, including \u003ca href=\"//www.amazon.com/Gladys-Parker-Comics-Passion-Fashion/dp/1613451814/ref=sr_1_4\">Gladys Parker\u003c/a>, \u003ca href=\"https://www.amazon.com/Lily-Ren%C3%A9e-Escape-Artist-Holocaust/dp/0761381147/ref=sr_1_5m\">Lily Renée\u003c/a> and \u003ca href=\"https://www.amazon.com/Nell-Brinkley-Woman-Early-Century/dp/0786411511/ref=sr_1_25\">Nell Brinkley\u003c/a>, bringing them to life in a series of graphic novels. Robbins also penned \u003ca href=\"https://www.parigibooks.com/pages/books/23594/trina-robbins/a-century-of-women-cartoonists\">\u003cem>A Century of Women Cartoonists\u003c/em>\u003c/a>, \u003ca href=\"https://www.goodreads.com/en/book/show/136566\">\u003cem>The Great Women Cartoonists\u003c/em>\u003c/a> and \u003cem>\u003ca href=\"https://archive.org/details/fromgirlstogrrrl0000robb\">From Girls to Grrrlz: A History of [Female] Comics From Teens to Zines\u003c/a>. \u003c/em>Her 2017 memoir, \u003ca href=\"https://www.fantagraphics.com/products/last-girl-standing\">\u003cem>Last Girl Standing\u003c/em>\u003c/a>, featured a 1966 photograph of Robbins on the cover, surrounded by friends backstage at a Donovan concert in Los Angeles. At the time, before the ascent of her comics, she worked as a fashion designer and boutique owner.\u003c/p>\n\u003cp>In the ’80s, Robbins created unabashedly feminine series like \u003ca href=\"https://www.indyplanet.com/california-girls\">\u003cem>California Girls \u003c/em>\u003c/a>and \u003cem>\u003ca href=\"https://www.cbr.com/misty-young-girl-comic-marvel/\">Meet Misty\u003c/a>, \u003c/em>which was published by Marvel’s Star Comics imprint. In 1985, her work on \u003cem>Wonder Woman\u003c/em> began, immortalized with \u003cem>The Legend of Wonder Woman\u003c/em> series.\u003c/p>\n\u003cp>In the ’90s, Robbins published \u003cem>Choices\u003c/em>, a \u003ca href=\"https://www.amazon.com/Choices-pro-choice-anthology-National-Organization/dp/B0028GAGHQ\">comics anthology for the National Organization of Women\u003c/a> that raised money for pro-choice causes. She also cofounded Friends of Lulu — an organization that, for almost two decades, elevated women’s voices in the comic book industry.\u003c/p>\n\u003cp>In 2013, Robbins was inducted into the Will Eisner Hall of Fame at San Diego Comic-Con.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Decades of love for this art and this community. There is no replacement for her,” \u003ca href=\"https://www.facebook.com/gail.simone.90/posts/pfbid032RF5TWBDHVHtKsXjQnTnRviy7ERTeGWNicFXfwFfZXiTdtj7ansNqCUQ6LANRxC4l\">Gail Simone wrote\u003c/a> in Robbins’ honor. “We are blessed with her books, her art, and her guidance, and those all will live on.”\u003c/p>\n\n","stats":{"hasVideo":false,"hasChartOrMap":false,"hasAudio":false,"hasPolis":false,"wordCount":765,"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"iframeSrcs":[],"paragraphCount":14},"modified":1712878423,"excerpt":"Robbins popularized feminist comic books and became the first woman to draw Wonder Woman comics.","headData":{"twImgId":"","twTitle":"Trina Robbins, Feminist Cartoonist and ‘Wimmen’s Comix’ Founder, Dies at 85","socialTitle":"Obituary: Trina Robbins, Groundbreaking Feminist Cartoonist %%page%% %%sep%% KQED","ogTitle":"Trina Robbins, Feminist Cartoonist and ‘Wimmen’s Comix’ Founder, Dies at 85","ogImgId":"","twDescription":"","description":"Robbins popularized feminist comic books and became the first woman to draw Wonder Woman comics.","title":"Obituary: Trina Robbins, Groundbreaking Feminist Cartoonist | KQED","ogDescription":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Trina Robbins, Feminist Cartoonist and ‘Wimmen’s Comix’ Founder, Dies at 85","datePublished":"2024-04-11T15:10:47-07:00","dateModified":"2024-04-11T16:33:43-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"guestAuthors":[],"slug":"trina-robbins-feminist-cartoonist-dies-at-85","status":"publish","templateType":"standard","excludeFromSiteSearch":"Include","featuredImageType":"standard","sticky":false,"articleAge":"0","path":"/arts/13955821/trina-robbins-feminist-cartoonist-dies-at-85","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13955828\" class=\"wp-caption aligncenter\" style=\"max-width: 1708px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955828\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-1321644250-scaled.jpg\" alt=\"A senior white woman smiling as she holds up a comic book titled 'It Aint Me Babe.’\" width=\"1708\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-1321644250-scaled.jpg 1708w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-1321644250-800x1199.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-1321644250-1020x1529.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-1321644250-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-1321644250-768x1151.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-1321644250-1025x1536.jpg 1025w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-1321644250-1366x2048.jpg 1366w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-1321644250-1920x2878.jpg 1920w\" sizes=\"(max-width: 1708px) 100vw, 1708px\">\u003cfigcaption class=\"wp-caption-text\">Trina Robbins, the first woman to draw Wonder Woman and an underground force for women in comics, died in San Francisco on Wednesday. \u003ccite>(Liz Hafalia/ The San Francisco Chronicle via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Trina Robbins, the groundbreaking San Francisco comic book artist, writer, editor and feminist, died on Wednesday at the age of 85. Robbins is primarily remembered for establishing — and popularizing — feminist comic books, raising women’s voices and for being the first woman to ever draw Wonder Woman comics.\u003c/p>\n\u003cp>The comic book world was quick to share its grief and reverence for Robbins and her work.\u003c/p>\n\u003cp>“You showed me what it looks like to lift up others,” Bay Area cartoonist \u003ca href=\"https://www.instagram.com/marinaomiart/\">MariNaomi\u003c/a> wrote \u003ca href=\"https://www.facebook.com/marinaomi/posts/pfbid0jaoBGfzSATry1CH3MUn9v3KS3xyG6QEJKAuYXaiQAggXpZmvipcAjfEEi7aQstU2l\">on Facebook\u003c/a>, “how easy it is to do, and how much that small gesture can mean to a young artist. It can change their life.”\u003c/p>\n\u003cp>“She proved over and over that you didn’t have to be ‘one of the boys’ to make comics,” wrote the Canadian graphic novelist \u003ca href=\"https://www.facebook.com/miriam.libicki/posts/pfbid0XuhDt8dkGtGG5LHdT9R8gisXwFCTyLWP8ZRJhJQ7uVfpR4znQurJ8qcYAmKThuP7l\">Miriam Libicki\u003c/a>. “She made highly influential superhero and underground comics, she wasn’t afraid to be a reviled feminist ball-buster, and she did it all unapologetically as a fashion-loving femme.”\u003c/p>\n\u003cfigure id=\"attachment_13955835\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955835\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Trina-Robbins-2016-Emma-Silvers-1.jpg\" alt=\"A senior white woman sits on a blanket-covered couch smiling.\" width=\"600\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Trina-Robbins-2016-Emma-Silvers-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Trina-Robbins-2016-Emma-Silvers-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Trina-Robbins-2016-Emma-Silvers-1-768x576.jpg 768w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Trina Robbins at her San Francisco home near Duboce Triangle in 2016. \u003ccite>(Emma Silvers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When Robbins first arrived in San Francisco from New York in 1970, she faced an underground comics scene that was thriving but still very much a boys’ club. Feeling shut out and lacking in collaborators, Robbins gathered together every female cartoonist she could find. Together, they made \u003cem>It Ain’t Me, Babe\u003c/em>, the first collection of comics created entirely by women. Printed by San Francisco underground comics publisher \u003ca href=\"https://lastgasp.com/\">Last Gasp\u003c/a>, it was a swift hit, selling 40,000 copies in three printings. It was also a game-changer for comic book artistry in the Bay and beyond.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Within two years, \u003cem>It Ain’t Me, Babe\u003c/em> had grown into a serialized collection called \u003cem>Wimmen’s Comix\u003c/em>. (Robbins’ contributions to the first issue included “\u003ca href=\"https://worldqueerstory.wordpress.com/tag/sandy-comes-out/\">Sandy Comes Out\u003c/a>,” featuring the first openly lesbian character in comics.) The uncompromising publication was edited by 10 different women over 17 issues, and would go on to run for 20 years. In 2016, every issue of \u003cem>Wimmen’s Comix\u003c/em> was immortalized in a two-volume book published by Fantagraphics. At the time, \u003ca href=\"https://www.kqed.org/pop/22085/sex-drugs-and-equal-pay-wimmens-comix-get-their-due\">Robbins discussed her early motivations\u003c/a> with KQED Arts.\u003c/p>\n\u003cp>“In the early ’70s, many of the guys’ comics were very misogynistic,” Robbins said. “When I would criticize [their comics] depicting rape as funny, they’d say ‘Oh, you just don’t have a sense of humor.’ So much of our [inspiration] was just saying, ‘Women have to have a voice.’ We have to be able to speak out if we want things to improve.”\u003c/p>\n\u003cfigure id=\"attachment_13955832\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955832\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/teenage-abortion-1440x1299-1.jpg\" alt=\"A full page illustration of a worried girl and a man standing nearby. It's titled "A Teenage Abortion."\" width=\"1440\" height=\"1299\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/teenage-abortion-1440x1299-1.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/teenage-abortion-1440x1299-1-800x722.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/teenage-abortion-1440x1299-1-1020x920.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/teenage-abortion-1440x1299-1-160x144.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/teenage-abortion-1440x1299-1-768x693.jpg 768w\" sizes=\"(max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">‘Wimmen’s Comix’ depicted women’s issues in unapologetic terms. \u003ccite>(Emma Silvers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In her work, Robbins also illuminated forgotten female comic book artists who had inspired her growing up, including \u003ca href=\"//www.amazon.com/Gladys-Parker-Comics-Passion-Fashion/dp/1613451814/ref=sr_1_4\">Gladys Parker\u003c/a>, \u003ca href=\"https://www.amazon.com/Lily-Ren%C3%A9e-Escape-Artist-Holocaust/dp/0761381147/ref=sr_1_5m\">Lily Renée\u003c/a> and \u003ca href=\"https://www.amazon.com/Nell-Brinkley-Woman-Early-Century/dp/0786411511/ref=sr_1_25\">Nell Brinkley\u003c/a>, bringing them to life in a series of graphic novels. Robbins also penned \u003ca href=\"https://www.parigibooks.com/pages/books/23594/trina-robbins/a-century-of-women-cartoonists\">\u003cem>A Century of Women Cartoonists\u003c/em>\u003c/a>, \u003ca href=\"https://www.goodreads.com/en/book/show/136566\">\u003cem>The Great Women Cartoonists\u003c/em>\u003c/a> and \u003cem>\u003ca href=\"https://archive.org/details/fromgirlstogrrrl0000robb\">From Girls to Grrrlz: A History of [Female] Comics From Teens to Zines\u003c/a>. \u003c/em>Her 2017 memoir, \u003ca href=\"https://www.fantagraphics.com/products/last-girl-standing\">\u003cem>Last Girl Standing\u003c/em>\u003c/a>, featured a 1966 photograph of Robbins on the cover, surrounded by friends backstage at a Donovan concert in Los Angeles. At the time, before the ascent of her comics, she worked as a fashion designer and boutique owner.\u003c/p>\n\u003cp>In the ’80s, Robbins created unabashedly feminine series like \u003ca href=\"https://www.indyplanet.com/california-girls\">\u003cem>California Girls \u003c/em>\u003c/a>and \u003cem>\u003ca href=\"https://www.cbr.com/misty-young-girl-comic-marvel/\">Meet Misty\u003c/a>, \u003c/em>which was published by Marvel’s Star Comics imprint. In 1985, her work on \u003cem>Wonder Woman\u003c/em> began, immortalized with \u003cem>The Legend of Wonder Woman\u003c/em> series.\u003c/p>\n\u003cp>In the ’90s, Robbins published \u003cem>Choices\u003c/em>, a \u003ca href=\"https://www.amazon.com/Choices-pro-choice-anthology-National-Organization/dp/B0028GAGHQ\">comics anthology for the National Organization of Women\u003c/a> that raised money for pro-choice causes. She also cofounded Friends of Lulu — an organization that, for almost two decades, elevated women’s voices in the comic book industry.\u003c/p>\n\u003cp>In 2013, Robbins was inducted into the Will Eisner Hall of Fame at San Diego Comic-Con.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Decades of love for this art and this community. There is no replacement for her,” \u003ca href=\"https://www.facebook.com/gail.simone.90/posts/pfbid032RF5TWBDHVHtKsXjQnTnRviy7ERTeGWNicFXfwFfZXiTdtj7ansNqCUQ6LANRxC4l\">Gail Simone wrote\u003c/a> in Robbins’ honor. “We are blessed with her books, her art, and her guidance, and those all will live on.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13955821/trina-robbins-feminist-cartoonist-dies-at-85","authors":["11242"],"categories":["arts_1","arts_11615","arts_75","arts_1564"],"tags":["arts_7584","arts_1942","arts_10278","arts_1962","arts_21789"],"featImg":"arts_13955849","label":"arts"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? 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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. 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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":{"site":"news","source":"kqed","order":"2"},"link":"/podcasts/mindshift","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5","npr":"https://www.npr.org/podcasts/464615685/mind-shift-podcast","stitcher":"https://www.stitcher.com/podcast/kqed/stories-teachers-share","spotify":"https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"}},"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. 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