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He was given his first trumpet by anti-apartheid crusader Father Trevor Huddleston at age 14.\u003c/p>\n\u003cp>“I was always in trouble with the authorities in school,” he told NPR in 2004.\u003c/p>\n\u003cp>He had been inspired by the Kirk Douglas film \u003cem>Young Man with a Horn\u003c/em>. Huddleston, hoping to steer him away from delinquency, asked what it was that would make Masekela happy. “I said, ‘Father, if you can get me a trumpet I won’t bother anybody anymore.'”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Masekela soon became part of the Huddleston Jazz Band.\u003c/p>\n\u003cp>By the mid-1950s, he joined the Alfred Herbet’s African Jazz Revue and began creating his signature “Afro-Jazz” sound.\u003c/p>\n\u003cp>In 1960, at the age of 21, as he was coming under pressure from authorities for his anti-apartheid activities, he decided to leave his home country for England.\u003c/p>\n\u003cp>Once in London, his then-girlfriend and future wife, singer Miriam Makeba, encouraged him to come to the U.S., where she had arrived the previous year.\u003c/p>\n\u003cp>“We’d always dreamt of coming to the States, but she came a year earlier and blew the States away,” he told NPR.\u003c/p>\n\u003cp>“So she said, ‘Hey, you got to come, forget about London, this is the place to be.’ And, she was on a first name basis with everybody. Then she and Harry Belafonte gave me a scholarship to Manhattan School of Music. I also had to work part-time in Harry Belafonte’s music publishing, because they ain’t going to give you no money,” Masekela said.\u003c/p>\n\u003cp>In addition to Belafonte, he also worked with legends Louis Armstrong and Miles Davis. Along with Miriam, they all encouraged him to develop his own style.\u003c/p>\n\u003cp>“[They] said, `Listen, if you’re going to play jazz, you’re just going to be a statistic like all of us. Why don’t you infuse some of the stuff from your home into your music, and then maybe you’ll come up with something that will interest everybody and that we can learn from.’ And I guess I came up with some kind of a hybrid,” Masekela told NPR.\u003c/p>\n\u003cp>In 1962, he released his first album, \u003cem>Trumpet Africaine.\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=a60v-flk1OE\u003c/p>\n\u003cp>Makeba and Masekela wed in 1964, but their marriage lasted a scant two years. Even so, the two remained friends.\u003c/p>\n\u003cp>In 1967, the year of his hit \u003cem>Up, Up and Away\u003c/em>, he also performed alongside Janis Joplin, Otis Redding, Ravi Shankar, The Who and Jimi Hendrix at the Monterey Pop Festival. A year later, he performed on \u003cem>Grazing in the Grass\u003c/em>, which hit U.S. charts and went on to become a global hit.\u003c/p>\n\u003cp>In 1977, Masekela’s \u003cem>Soweto Blues\u003c/em>, about the anti-apartheid Soweto uprising, was recorded by Makeba, and it reached an international audience.\u003c/p>\n\u003cp>He penned the anti-apartheid anthem \u003cem>Bring Home Nelson Mandela\u003c/em> in 1986 and returned to his native South Africa following Mandela’s release.\u003c/p>\n\u003cp>In 1987, he appeared with Paul Simon on his \u003cem>Graceland\u003c/em> album tour alongside South African musicians Ladysmith Black Mambazo and again in 2012 on the 25th anniversary of the Grammy-award winning album’s release.\u003c/p>\n\u003cp>https://youtu.be/D4I_9OXtKUo\u003c/p>\n\u003cp>In 1997, he acknowledged that he had become addicted to alcohol and drugs, and checked himself into a recovery center in England.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Masekela performed at the opening ceremony of the FIFA World Cup and tournament in Soweto’s Soccer City in 2010.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Hugh+Masekela%2C+Father+Of+South+African+Jazz%2C+Dies+At+78&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cdiv>\u003c/div>\n\u003cdiv>\n\u003ch5 class=\"hdr\">Correction\u003cspan class=\"date\">Jan. 23, 2018\u003c/span>\u003c/h5>\n\u003cp>A previous version of this post incorrectly referred to a band as Ladyship Black Mambozo; the band’s name is Ladysmith Black Mambazo.\u003c/p>\n\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Hugh Masekela, the legendary South African jazz musician who recorded more than 40 solo albums and collaborated with artists ranging from Harry Belafonte to Paul Simon, has died at 78 after a protracted battle with prostate cancer, his family announced Tuesday.\u003c/p>\n\u003cp>“[Our] hearts beat with profound loss,” the Masekela family said in a statement. “Hugh’s global and activist contribution to and participation in the areas of music, theatre, and the arts in general is contained in the minds and memory of millions across 6 continents …”\u003c/p>\n\u003cp>The trumpeter, composer, flugelhorn player, bandleader, singer and political activist, was born in Witbank, South Africa, on April 4, 1939. He was given his first trumpet by anti-apartheid crusader Father Trevor Huddleston at age 14.\u003c/p>\n\u003cp>“I was always in trouble with the authorities in school,” he told NPR in 2004.\u003c/p>\n\u003cp>He had been inspired by the Kirk Douglas film \u003cem>Young Man with a Horn\u003c/em>. Huddleston, hoping to steer him away from delinquency, asked what it was that would make Masekela happy. “I said, ‘Father, if you can get me a trumpet I won’t bother anybody anymore.'”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Masekela soon became part of the Huddleston Jazz Band.\u003c/p>\n\u003cp>By the mid-1950s, he joined the Alfred Herbet’s African Jazz Revue and began creating his signature “Afro-Jazz” sound.\u003c/p>\n\u003cp>In 1960, at the age of 21, as he was coming under pressure from authorities for his anti-apartheid activities, he decided to leave his home country for England.\u003c/p>\n\u003cp>Once in London, his then-girlfriend and future wife, singer Miriam Makeba, encouraged him to come to the U.S., where she had arrived the previous year.\u003c/p>\n\u003cp>“We’d always dreamt of coming to the States, but she came a year earlier and blew the States away,” he told NPR.\u003c/p>\n\u003cp>“So she said, ‘Hey, you got to come, forget about London, this is the place to be.’ And, she was on a first name basis with everybody. Then she and Harry Belafonte gave me a scholarship to Manhattan School of Music. I also had to work part-time in Harry Belafonte’s music publishing, because they ain’t going to give you no money,” Masekela said.\u003c/p>\n\u003cp>In addition to Belafonte, he also worked with legends Louis Armstrong and Miles Davis. Along with Miriam, they all encouraged him to develop his own style.\u003c/p>\n\u003cp>“[They] said, `Listen, if you’re going to play jazz, you’re just going to be a statistic like all of us. Why don’t you infuse some of the stuff from your home into your music, and then maybe you’ll come up with something that will interest everybody and that we can learn from.’ And I guess I came up with some kind of a hybrid,” Masekela told NPR.\u003c/p>\n\u003cp>In 1962, he released his first album, \u003cem>Trumpet Africaine.\u003c/em>\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/a60v-flk1OE'\n title='//www.youtube.com/embed/a60v-flk1OE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Makeba and Masekela wed in 1964, but their marriage lasted a scant two years. Even so, the two remained friends.\u003c/p>\n\u003cp>In 1967, the year of his hit \u003cem>Up, Up and Away\u003c/em>, he also performed alongside Janis Joplin, Otis Redding, Ravi Shankar, The Who and Jimi Hendrix at the Monterey Pop Festival. A year later, he performed on \u003cem>Grazing in the Grass\u003c/em>, which hit U.S. charts and went on to become a global hit.\u003c/p>\n\u003cp>In 1977, Masekela’s \u003cem>Soweto Blues\u003c/em>, about the anti-apartheid Soweto uprising, was recorded by Makeba, and it reached an international audience.\u003c/p>\n\u003cp>He penned the anti-apartheid anthem \u003cem>Bring Home Nelson Mandela\u003c/em> in 1986 and returned to his native South Africa following Mandela’s release.\u003c/p>\n\u003cp>In 1987, he appeared with Paul Simon on his \u003cem>Graceland\u003c/em> album tour alongside South African musicians Ladysmith Black Mambazo and again in 2012 on the 25th anniversary of the Grammy-award winning album’s release.\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/D4I_9OXtKUo'\n title='//www.youtube.com/embed/D4I_9OXtKUo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In 1997, he acknowledged that he had become addicted to alcohol and drugs, and checked himself into a recovery center in England.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Masekela performed at the opening ceremony of the FIFA World Cup and tournament in Soweto’s Soccer City in 2010.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Hugh+Masekela%2C+Father+Of+South+African+Jazz%2C+Dies+At+78&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cdiv>\u003c/div>\n\u003cdiv>\n\u003ch5 class=\"hdr\">Correction\u003cspan class=\"date\">Jan. 23, 2018\u003c/span>\u003c/h5>\n\u003cp>A previous version of this post incorrectly referred to a band as Ladyship Black Mambozo; the band’s name is Ladysmith Black Mambazo.\u003c/p>\n\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Pam Warren, aka \u003ca href=\"https://www.pamthefunkstress.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Pam the Funkstress\u003c/a>, a trailblazing DJ from the Peninsula, passed away on December 22 from organ failure according to friends familiar with her condition.\u003c/p>\n\u003cp>“It’s a massive loss for Bay Area hip-hop; it’s a huge loss for women in hip-hop; it’s a huge, huge loss for the DJ community,” says DJ Sake, a longtime friend of Pam’s who threw a weekly party with her in the late 2000s.\u003c/p>\n\u003cfigure id=\"attachment_13818093\" class=\"wp-caption alignright\" style=\"max-width: 456px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/pam-with-the-coup.jpg\" alt=\"Pam the Funkstress with the Coup in the early '90s.\" width=\"456\" height=\"546\" class=\"size-full wp-image-13818093\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/pam-with-the-coup.jpg 456w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/pam-with-the-coup-160x192.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/pam-with-the-coup-240x287.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/pam-with-the-coup-375x449.jpg 375w\" sizes=\"(max-width: 456px) 100vw, 456px\">\u003cfigcaption class=\"wp-caption-text\">Pam the Funkstress with the Coup in the early ’90s. \u003ccite>(Courtesy of pamthefunkstress.com)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Pam first rose to prominence as a battle DJ in the late ’80s and early ’90s, eventually going to become the DJ for the Coup, the Boots Riley-fronted political hip-hop group. The Coup was one of the first Oakland rap acts to gain national recognition with controversial releases like \u003cem>Kill My Landlord\u003c/em>. \u003c/p>\n\u003cp>In the years that followed, Pam became an important fixture in Oakland’s hip-hop scene. But music wasn’t her only passion: She was also a talented chef — sometimes even bringing her famous mac ‘n’ cheese to friends’ DJ gigs — and went on to become the chef and co-owner of Piccadilly Catering in Foster City around 2009.\u003c/p>\n\u003cp>In recent years, Pam had been active in the Bay Area nightlife scene as a club DJ. After she played an afterparty for a Prince concert in 2016, \u003ca href=\"https://pitchfork.com/thepitch/1096-meet-pam-the-funkstress-princes-new-dj/\" rel=\"noopener noreferrer\" target=\"_blank\">Prince personally invited her to accompany him on tour\u003c/a>; she was his tour DJ on his final concert series, A Piano and a Microphone, up until his untimely passing in 2016, earning her the nickname Purple Pam. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://youtu.be/x3JpxrHDUyM\u003c/p>\n\u003cp>In November, Pam posted on social media that she was cancelling all upcoming shows due to undisclosed health issues. She went into critical condition shortly after, but underwent a seemingly successful organ transplant surgery that month.\u003c/p>\n\u003cp>News of Pam’s death spread like wildfire today on social media, with tributes pouring in from fans, artists, and hip-hop elders alike. \u003c/p>\n\u003cdiv class=\"aligncenter\">\nhttps://www.instagram.com/p/BdBu58rH7kd/?taken-by=djshellheart\n\u003c/div>\n\u003cp>https://twitter.com/RawwG/status/944378788913168385\u003c/p>\n\u003cp>https://twitter.com/dreamhampton/status/944402085763862530\u003c/p>\n\u003cp>https://twitter.com/KevChoice/status/944396422950129664\u003c/p>\n\u003cp>https://twitter.com/williemaze/status/944383587230429184\u003c/p>\n\u003cp>Pam’s family and the Coup have yet to release an official statement. We’ll update this post as more information becomes available. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cp>People often say that \u003ca href=\"https://www.facebook.com/TheAlleyPianoBar/\" target=\"_blank\" rel=\"noopener\">the Alley\u003c/a>, an Oakland piano bar that’s been around since 1933, is like a time capsule from a bygone era. And one of the people who made the classic neighborhood establishment feel timeless was pianist Rod Dibble, who passed away peacefully on Dec. 18, according to \u003ca href=\"https://www.facebook.com/TheAlleyPianoBar/posts/1711768165535154\" target=\"_blank\" rel=\"noopener\">an announcement\u003c/a> on the Alley’s Facebook page today.\u003c/p>\n\u003cblockquote>\u003cp>Rod Dibble was and will always be an integral part of the Alley. He kept The Alley, as well as the Great American Songbook alive by playing night-after-night, song-after-song, with singer-after-singer for the better part of 50 plus years. By all accounts, he literally wore out 10 pianos in the process. He kept The Alley going and virtually unchanged throughout the decades keeping its unique character and grit intact. While the neighborhood around it changed, The Alley and Rod remained a constant with the walls layered and caked with its history and a repertoire of songs frozen in time.\u003c/p>\u003c/blockquote>\n\u003cp>Dibble, who was born in 1932 and manned the Alley’s piano bench since 1960, was a talented musician with over 4,000 songs committed to memory. Patrons of all walks of life, ages, and musical abilities frequented the bar to sing karaoke with Dibble’s accompanying them on piano. All the songs in his catalog dated from before 1970, and, even as music evolved, he stuck to classic standards, gaining a reputation as a local music historian.\u003c/p>\n\u003cp>“I always lay out the ground rules: If you want to play in my backyard, you sing my songs,” Dibble told the \u003cem>San Francisco Chronicle\u003c/em> in 2011.\u003c/p>\n\u003cp>Dibble’s supporters remember him as an eccentric character that gave the Alley its unique personality. “When people come to town, it’s part of the list, like, ‘You have to come to the Alley,'” says Jason Stinnett, the talent buyer at Starline Social Club, who first started frequenting the Alley in 1994. “It’s one of Oakland’s oldest establishments and it’s such a gem, with Rod being the center of that.”\u003c/p>\n\u003cp>https://www.instagram.com/p/Bc8ANtMj7qj/?taken-by=jay_sonik\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Author and artist Mimi Pond remembers visiting the Alley in 1977, when she was a college student at California College of the Arts. “I was fascinated with Rod Dibble because he was the actual, real version of the kind of thing Tom Waits was playing at in his act,” she says. “Rod Dibble seemed to play into this idea of the sleazy piano lounge and the gravelly-voiced singer. He was the real deal. … We came away completely charmed by his performance.”\u003c/p>\n\u003cp>Pond says Dibble is one of the unique Oaklanders who informed her best-selling, semi-autobiographical graphic novels, \u003cem>Over Easy\u003c/em> and \u003cem>The Customer is Always Wrong\u003c/em>, which take place in Oakland in the late ’70s.\u003c/p>\n\u003cp>“He’s definitely another one of those weirdo characters — Oakland has its own unique eccentricity that I just find fascinating,” she says. “There’s a lot of pockets of deep weirdness that are really genuine and homegrown. It’s nice that there are still things and people like that in Oakland.”\u003c/p>\n\u003cp>Jessi Phillips, a semi-regular Alley patron who profiled Dibble in \u003cem>SF Weekly\u003c/em> in 2016, says Dibble’s piano playing, refreshingly, offered people a chance to make person-to-person connections through music.\u003c/p>\n\u003cp>“He created this really special atmosphere. He made people who never sung before feel comfortable,” she says. “He fostered an atmosphere where people were listening to each other.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>People often say that \u003ca href=\"https://www.facebook.com/TheAlleyPianoBar/\" target=\"_blank\" rel=\"noopener\">the Alley\u003c/a>, an Oakland piano bar that’s been around since 1933, is like a time capsule from a bygone era. And one of the people who made the classic neighborhood establishment feel timeless was pianist Rod Dibble, who passed away peacefully on Dec. 18, according to \u003ca href=\"https://www.facebook.com/TheAlleyPianoBar/posts/1711768165535154\" target=\"_blank\" rel=\"noopener\">an announcement\u003c/a> on the Alley’s Facebook page today.\u003c/p>\n\u003cblockquote>\u003cp>Rod Dibble was and will always be an integral part of the Alley. He kept The Alley, as well as the Great American Songbook alive by playing night-after-night, song-after-song, with singer-after-singer for the better part of 50 plus years. By all accounts, he literally wore out 10 pianos in the process. He kept The Alley going and virtually unchanged throughout the decades keeping its unique character and grit intact. While the neighborhood around it changed, The Alley and Rod remained a constant with the walls layered and caked with its history and a repertoire of songs frozen in time.\u003c/p>\u003c/blockquote>\n\u003cp>Dibble, who was born in 1932 and manned the Alley’s piano bench since 1960, was a talented musician with over 4,000 songs committed to memory. Patrons of all walks of life, ages, and musical abilities frequented the bar to sing karaoke with Dibble’s accompanying them on piano. All the songs in his catalog dated from before 1970, and, even as music evolved, he stuck to classic standards, gaining a reputation as a local music historian.\u003c/p>\n\u003cp>“I always lay out the ground rules: If you want to play in my backyard, you sing my songs,” Dibble told the \u003cem>San Francisco Chronicle\u003c/em> in 2011.\u003c/p>\n\u003cp>Dibble’s supporters remember him as an eccentric character that gave the Alley its unique personality. “When people come to town, it’s part of the list, like, ‘You have to come to the Alley,'” says Jason Stinnett, the talent buyer at Starline Social Club, who first started frequenting the Alley in 1994. “It’s one of Oakland’s oldest establishments and it’s such a gem, with Rod being the center of that.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Author and artist Mimi Pond remembers visiting the Alley in 1977, when she was a college student at California College of the Arts. “I was fascinated with Rod Dibble because he was the actual, real version of the kind of thing Tom Waits was playing at in his act,” she says. “Rod Dibble seemed to play into this idea of the sleazy piano lounge and the gravelly-voiced singer. He was the real deal. … We came away completely charmed by his performance.”\u003c/p>\n\u003cp>Pond says Dibble is one of the unique Oaklanders who informed her best-selling, semi-autobiographical graphic novels, \u003cem>Over Easy\u003c/em> and \u003cem>The Customer is Always Wrong\u003c/em>, which take place in Oakland in the late ’70s.\u003c/p>\n\u003cp>“He’s definitely another one of those weirdo characters — Oakland has its own unique eccentricity that I just find fascinating,” she says. “There’s a lot of pockets of deep weirdness that are really genuine and homegrown. It’s nice that there are still things and people like that in Oakland.”\u003c/p>\n\u003cp>Jessi Phillips, a semi-regular Alley patron who profiled Dibble in \u003cem>SF Weekly\u003c/em> in 2016, says Dibble’s piano playing, refreshingly, offered people a chance to make person-to-person connections through music.\u003c/p>\n\u003cp>“He created this really special atmosphere. He made people who never sung before feel comfortable,” she says. “He fostered an atmosphere where people were listening to each other.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Ralph Carney Dies at 61: Saxophonist, Composer, Tom Waits Collaborator",
"headTitle": "Ralph Carney Dies at 61: Saxophonist, Composer, Tom Waits Collaborator | KQED",
"content": "\u003cp>Ralph Carney, the innovative saxophonist whose tone was as large as his sideburns, has died at 61, Consequence of Sound \u003ca href=\"https://consequenceofsound.net/2017/12/r-i-p-ralph-carney-acclaimed-saxophonist-and-tom-waits-collaborator-has-died-at-61/\" rel=\"noopener\" target=\"_blank\">reports\u003c/a>.\u003c/p>\n\u003cp>An imaginative musician and session player who collaborated most famously with Tom Waits in the mid-1980s, as well as groups like Galaxie 500 and the Waitresses, Carney first came to prominence in the new wave group Tin Huey, based in Akron, Ohio. \u003c/p>\n\u003cfigure id=\"attachment_11268314\" class=\"wp-caption alignright\" style=\"max-width: 413px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Ralph-Carney2CROP-413x600.jpg\" alt=\"Ralph Carney, 2015\" width=\"413\" height=\"600\" class=\"size-medium wp-image-11268314\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Ralph-Carney2CROP-413x600.jpg 413w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Ralph-Carney2CROP-400x582.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Ralph-Carney2CROP.jpg 599w\" sizes=\"(max-width: 413px) 100vw, 413px\">\u003cfigcaption class=\"wp-caption-text\">Ralph Carney, 2015. \u003ccite>(Photo: Dennis Hearne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Carney, the uncle of the Black Keys’ Patrick Carney, would go on to a career spanning new wave, jazz, indie rock, experimental music and, in a \u003ca href=\"https://ww2.kqed.org/arts/2016/01/23/in-the-wake-of-tragedy-ralph-carney-finds-a-new-voice/\" rel=\"noopener\" target=\"_blank\">recent composition based on the Charleston shooting\u003c/a>, classical music. In 2014, he and nephew Patrick collaborated on the theme song to the Netflix series \u003cem>BoJack Horseman\u003c/em>.\u003c/p>\n\u003cp>“Our family and friends are all devastated. He was an immensely talented musician, deeply thoughtful and funny,” said Patrick Carney \u003ca href=\"https://pitchfork.com/news/saxophonist-ralph-carney-dead-at-61/?mbid=homepage-more-latest-and-video\" rel=\"noopener\" target=\"_blank\">in a statement\u003c/a>. “Without him I never would have listened to the music I do or even considered playing it.” On Twitter, he \u003ca href=\"https://twitter.com/patrickcarney/status/942479048177053696\" rel=\"noopener\" target=\"_blank\">added\u003c/a> that Ralph Carney “taught me so much…. he sat me down at 15 and made me \u003ca href=\"https://www.youtube.com/watch?v=XR9d4ESlpHY\" rel=\"noopener\" target=\"_blank\">listen to the Shaggs\u003c/a>. We all need an uncle like that.”\u003c/p>\n\u003cp>On saxophone, violin and other instruments, Carney reached perhaps his most appreciative audience playing with Tom Waits. As a key contributor to Waits’ reinvention in 1980s New York, Carney helped solidify a strange new direction in music alongside guitarist Marc Ribot on albums like \u003cem>Frank’s Wild Years\u003c/em> and \u003cem>Rain Dogs\u003c/em>. Though replaced in Waits’ band on recent tours, Carney appeared onstage with Waits at Bay Area concerts as recently as 1999. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In San Francisco, where he lived for 28 years before moving to Portland in 2015, Carney was a member of the Oranj Symphonette with Matt Brubeck, son of jazz legend Dave Brubeck. He also headed up the outfit Carneyball Johnson, using his multi-instrumentalist skills to great effect. Throughout his career, Carney collaborated with the B-52’s, Yo La Tengo, Jonathan Richman, They Might Be Giants, Medeski Martin & Wood, Bill Laswell, Elvis Costello, Frank Black, Les Claypool, the Black Keys and many others.\u003c/p>\n\u003cp>[contextly_sidebar id=”TYo3a2vDUhFC9rc0yuJ9ADKPB2MJkwG7″]\u003c/p>\n\u003cp>In 2015, after the church shooting in Charleston, South Carolina, Carney was watching TV when the shooter was arraigned. “The victims’ families were there, and they were all like, ‘I forgive you,’” Carney \u003ca href=\"https://ww2.kqed.org/arts/2016/01/23/in-the-wake-of-tragedy-ralph-carney-finds-a-new-voice/\" rel=\"noopener\" target=\"_blank\">told KQED\u003c/a>. “I just lost it. I was crying, and I was thinking about John Coltrane’s ‘Alabama.’” The result, “Lament for Charleston,” was performed at the Cabrillo Festival of Contemporary Music in Santa Cruz with the Kronos Quartet.\u003c/p>\n\u003cp>The cause of death, according to early reports, is related to injuries sustained in an accident. Services have not yet been announced.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ralph Carney, the innovative saxophonist whose tone was as large as his sideburns, has died at 61, Consequence of Sound \u003ca href=\"https://consequenceofsound.net/2017/12/r-i-p-ralph-carney-acclaimed-saxophonist-and-tom-waits-collaborator-has-died-at-61/\" rel=\"noopener\" target=\"_blank\">reports\u003c/a>.\u003c/p>\n\u003cp>An imaginative musician and session player who collaborated most famously with Tom Waits in the mid-1980s, as well as groups like Galaxie 500 and the Waitresses, Carney first came to prominence in the new wave group Tin Huey, based in Akron, Ohio. \u003c/p>\n\u003cfigure id=\"attachment_11268314\" class=\"wp-caption alignright\" style=\"max-width: 413px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Ralph-Carney2CROP-413x600.jpg\" alt=\"Ralph Carney, 2015\" width=\"413\" height=\"600\" class=\"size-medium wp-image-11268314\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Ralph-Carney2CROP-413x600.jpg 413w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Ralph-Carney2CROP-400x582.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Ralph-Carney2CROP.jpg 599w\" sizes=\"(max-width: 413px) 100vw, 413px\">\u003cfigcaption class=\"wp-caption-text\">Ralph Carney, 2015. \u003ccite>(Photo: Dennis Hearne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Carney, the uncle of the Black Keys’ Patrick Carney, would go on to a career spanning new wave, jazz, indie rock, experimental music and, in a \u003ca href=\"https://ww2.kqed.org/arts/2016/01/23/in-the-wake-of-tragedy-ralph-carney-finds-a-new-voice/\" rel=\"noopener\" target=\"_blank\">recent composition based on the Charleston shooting\u003c/a>, classical music. In 2014, he and nephew Patrick collaborated on the theme song to the Netflix series \u003cem>BoJack Horseman\u003c/em>.\u003c/p>\n\u003cp>“Our family and friends are all devastated. He was an immensely talented musician, deeply thoughtful and funny,” said Patrick Carney \u003ca href=\"https://pitchfork.com/news/saxophonist-ralph-carney-dead-at-61/?mbid=homepage-more-latest-and-video\" rel=\"noopener\" target=\"_blank\">in a statement\u003c/a>. “Without him I never would have listened to the music I do or even considered playing it.” On Twitter, he \u003ca href=\"https://twitter.com/patrickcarney/status/942479048177053696\" rel=\"noopener\" target=\"_blank\">added\u003c/a> that Ralph Carney “taught me so much…. he sat me down at 15 and made me \u003ca href=\"https://www.youtube.com/watch?v=XR9d4ESlpHY\" rel=\"noopener\" target=\"_blank\">listen to the Shaggs\u003c/a>. We all need an uncle like that.”\u003c/p>\n\u003cp>On saxophone, violin and other instruments, Carney reached perhaps his most appreciative audience playing with Tom Waits. As a key contributor to Waits’ reinvention in 1980s New York, Carney helped solidify a strange new direction in music alongside guitarist Marc Ribot on albums like \u003cem>Frank’s Wild Years\u003c/em> and \u003cem>Rain Dogs\u003c/em>. Though replaced in Waits’ band on recent tours, Carney appeared onstage with Waits at Bay Area concerts as recently as 1999. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In San Francisco, where he lived for 28 years before moving to Portland in 2015, Carney was a member of the Oranj Symphonette with Matt Brubeck, son of jazz legend Dave Brubeck. He also headed up the outfit Carneyball Johnson, using his multi-instrumentalist skills to great effect. Throughout his career, Carney collaborated with the B-52’s, Yo La Tengo, Jonathan Richman, They Might Be Giants, Medeski Martin & Wood, Bill Laswell, Elvis Costello, Frank Black, Les Claypool, the Black Keys and many others.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>In 2015, after the church shooting in Charleston, South Carolina, Carney was watching TV when the shooter was arraigned. “The victims’ families were there, and they were all like, ‘I forgive you,’” Carney \u003ca href=\"https://ww2.kqed.org/arts/2016/01/23/in-the-wake-of-tragedy-ralph-carney-finds-a-new-voice/\" rel=\"noopener\" target=\"_blank\">told KQED\u003c/a>. “I just lost it. I was crying, and I was thinking about John Coltrane’s ‘Alabama.’” The result, “Lament for Charleston,” was performed at the Cabrillo Festival of Contemporary Music in Santa Cruz with the Kronos Quartet.\u003c/p>\n\u003cp>The cause of death, according to early reports, is related to injuries sustained in an accident. Services have not yet been announced.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Dear Johnny,\u003c/p>\n\u003cp>I can’t believe I’m doing this — writing a letter to my dead friends, one year later.\u003c/p>\n\u003cp>It feels a bit too obvious, doesn’t it? Artless, even; not my style. And yet, if there is one thing more than any other that I remember you by, it was your willingness — or more like your \u003cem>insistence\u003c/em> — to be vulnerable emotionally, to be sensitive \u003cem>and proud of it\u003c/em>, to accept and embrace the full range of your feelings no matter how overbearing, or awkward, or “uncool” that made you seem. The world desperately needs more men like you. So bear with me.\u003c/p>\n\u003cp>[contextly_sidebar id=”Gq8f9zQ1TyJllc8yhmsYA5l6fDq4mf3K”]\u003c/p>\n\u003cp>I miss you, Johnny. (Or “John,” as your brother calls you. I love the way that sounds; how I wish you were here, so I could try that on for size.) I miss you, and Chelsea, and Barrett, and Amanda, and Cash, and Joey, and Griffin, and Micah, and Kiyomi, and I feel viscerally the absence of everyone else whom I never had the pleasure of knowing personally. Writing this just now, like so many times before, I had to look up a list of the deceased to double-check which of my friends are gone because sometimes I have trouble remembering — or maybe I don’t want to remember? — which of you are no longer with us. That is just one of life’s many new contours; the “new normal.” \u003c/p>\n\u003cfigure id=\"attachment_13816500\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/JohnnyIgaz.Brother.jpg\" alt=\"Johnny Igaz (right) with his brother, Paul, in Nicasio.\" width=\"800\" height=\"560\" class=\"size-full wp-image-13816500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/JohnnyIgaz.Brother.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/JohnnyIgaz.Brother-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/JohnnyIgaz.Brother-768x538.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/JohnnyIgaz.Brother-240x168.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/JohnnyIgaz.Brother-375x263.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/JohnnyIgaz.Brother-520x364.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Johnny Igaz (right) with his brother, Paul, in Nicasio.\u003c/figcaption>\u003c/figure>\n\u003cp>I miss you desperately. I think about you every day. Your laugh: booming, hearty, rich. It bellows in my head out of nowhere, sometimes at the most inopportune times. Your face: the big, dumb, goofy smile, visible from across the room, set against the pair of brilliantly sharp eyes that revealed a wisdom far beyond their years. I see you in strangers, in my friends, at the club, on the street, in my records. Your voice: bassy and deep, like the music we’d ramble on about, elementally playful and always prone to kindness. I hear you talking to me, sometimes: \u003cem>Man, you got this — don’t worry about that shit. Trust.\u003c/em> \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[audio src=\"https://www.kqed.org/.stream/anon/radio/tcr/2017/12/GhostShipIgaz171201.mp3\" title=\" Ghost Ship/Johnny Igaz 2way\" program=”The California Report” image=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/JohnnyIgaz.RedShirt-800x533.jpg\"]\u003c/p>\n\u003cp>The good news: Your new record sounds and looks phenomenal. If you were here to see it, you’d be over the moon. Your dear friend \u003ca href=\"https://www.pea-be.com/\" rel=\"noopener\" target=\"_blank\">Bryan Odiamar\u003c/a> did the artwork. You both loved graffiti and had even talked about working on a piece together, so he worked up some classic graff style art with the title you’d chosen, \u003cem>Private Property Created Crime\u003c/em>. \u003c/p>\n\u003cp>The bad news: Some days are harder than others. The world is inexorably worse than before you left it, and not the least because you’re no longer here. Categorically, this has not been a good year. Did you ever think “crisis of epistemology” is a phrase we’d use in relation to everyday America instead of entry-level college philosophy? \u003c/p>\n\u003cfigure id=\"attachment_13816501\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/JohnnyIgaz.RedShirt-800x533.jpg\" alt=\"Johnny Igaz.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13816501\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/JohnnyIgaz.RedShirt-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/JohnnyIgaz.RedShirt-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/JohnnyIgaz.RedShirt-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/JohnnyIgaz.RedShirt-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/JohnnyIgaz.RedShirt.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/JohnnyIgaz.RedShirt-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/JohnnyIgaz.RedShirt-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/JohnnyIgaz.RedShirt-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/JohnnyIgaz.RedShirt-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/JohnnyIgaz.RedShirt-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Johnny Igaz.\u003c/figcaption>\u003c/figure>\n\u003cp>Pointedly, the (obvious and inevitable) crackdown on warehouses and underground spaces has hit Oakland — and San Francisco, and Vallejo, and L.A., and Baltimore, and many more — very hard. Which is no surprise, I suppose, but in the fire’s aftermath, the chorus of cries for “safety” and “investigations into what went wrong” rang hollow indeed. \u003c/p>\n\u003cp>It was rubbernecking at its worst. Neither the city of Oakland nor the scavenging out-of-town reporters seemed to care much about the \u003cem>why\u003c/em>, as in those structural factors (the cost of Bay Area real estate; underground music’s incapacity to generate meaningful profit) and arcane, outdated local ordinances (zoning laws, cabaret laws, etc.) that collude to make Ghost Ship and places like it not just unsafe but \u003cem>necessary\u003c/em>.\u003c/p>\n\u003cp>But it hasn’t been all bad. The onslaught of media attention (“if it bleeds, it leads”) has made for dozens of opportunities to shove \u003ca href=\"https://ww2.kqed.org/arts/2017/12/01/saving-the-music-of-ghost-ship-victims-helps-loved-ones-heal/\" rel=\"noopener\" target=\"_blank\">our freakish music\u003c/a> into people’s faces. Wherever you are right now, Johnny, I know you’re laughing at this irony.\u003c/p>\n\u003cfigure id=\"attachment_13816467\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/JohnnyIgaz.ShannaDoherty-800x475.jpg\" alt=\"Johnny Igaz.\" width=\"800\" height=\"475\" class=\"size-medium wp-image-13816467\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/JohnnyIgaz.ShannaDoherty-800x475.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/JohnnyIgaz.ShannaDoherty-160x95.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/JohnnyIgaz.ShannaDoherty-768x456.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/JohnnyIgaz.ShannaDoherty-1020x606.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/JohnnyIgaz.ShannaDoherty.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/JohnnyIgaz.ShannaDoherty-1180x701.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/JohnnyIgaz.ShannaDoherty-960x570.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/JohnnyIgaz.ShannaDoherty-240x143.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/JohnnyIgaz.ShannaDoherty-375x223.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/JohnnyIgaz.ShannaDoherty-520x309.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Johnny Igaz. \u003ccite>(Shanna Doherty)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So all I can say is that we’ve done our best, and looked after each other. In fact, if there is any silver lining to this hellish cloud, it is to see how people have come together, how they have cared for each other, how much love and genuine camaraderie exists among those of kindred spirit. I don’t need to tell you this. You know it well, which is why you were in that warehouse to begin with. But it has been something truly remarkable to see, and to feel, as it unfolds.\u003c/p>\n\u003caside class=\"pullquote alignright\">The enormity of losing all of you, all at once, was beyond comprehension.\u003c/aside>\n\u003cp>On a personal level, this past year has tried me to the utmost. For some time, I was unable to write; just nothing came out. Then Jenna and I split up. It wasn’t until well after the fact that I realized a hard truth: that if the fire had never happened, our breakup likely never would have, either. That one stuck with me. \u003c/p>\n\u003cp>Naturally, I’ve been thinking a lot about grief. Does it ever go away? Should it? I often wonder if I am grieving wrong. I poured myself into work as soon as the fire happened; I went from having never written an obituary to writing four, and advising on \u003ca href=\"https://ww2.kqed.org/arts/programs/oakland-warehouse-memorial/\" rel=\"noopener\" target=\"_blank\">dozens of others\u003c/a> in the span of two weeks. It seemed like the only thing I could do, quite literally, and it helped. \u003c/p>\n\u003cp>But the enormity of losing \u003cem>all of you, all at once\u003c/em> was beyond comprehension. There’s simply no way to make sense of it, and certainly no way to put it into words. I still wonder if I am “doing it wrong.” No ritual, remembrance, moment of silence, or tribute that I could take part in is going to bring you or anyone back. My heart swells in my throat as I write this, but I know you understand. The hardest part — as you well know, as we talked about often — is self-acceptance. \u003c/p>\n\u003cfigure id=\"attachment_12469097\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/JohnnyIgaz.Trust_-800x583.jpg\" alt=\"Johnny Igaz, always empowering others to be their best selves.\" width=\"800\" height=\"583\" class=\"size-medium wp-image-12469097\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JohnnyIgaz.Trust_-800x583.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JohnnyIgaz.Trust_-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JohnnyIgaz.Trust_-768x559.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JohnnyIgaz.Trust_-240x175.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JohnnyIgaz.Trust_-375x273.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JohnnyIgaz.Trust_-520x379.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JohnnyIgaz.Trust_.jpg 938w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Johnny Igaz.\u003c/figcaption>\u003c/figure>\n\u003cp>As for myself, I’m holding up. Jenna and I are back together, and our time apart was for the better — funny how that works, isn’t it? And, as you can tell, I’m writing again. The horror of the world knows no bounds, and seems to expand with each passing day, but I stand here and face it — because without you, I am at a loss to do otherwise. \u003c/p>\n\u003cp>I remember vividly that day we first met. Outside Public Works that afternoon, you approached me and said “You’re Chris, right?” I said yes; you smiled, opened your arms, and said “C’mere, bring it in. I’m a hugger.” Right then and there I knew you were a different kind of guy.\u003c/p>\n\u003cp>I miss you, Johnny.\u003c/p>\n\u003cp>With love,\u003cbr>\nChris\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Dear Johnny,\u003c/p>\n\u003cp>I can’t believe I’m doing this — writing a letter to my dead friends, one year later.\u003c/p>\n\u003cp>It feels a bit too obvious, doesn’t it? Artless, even; not my style. And yet, if there is one thing more than any other that I remember you by, it was your willingness — or more like your \u003cem>insistence\u003c/em> — to be vulnerable emotionally, to be sensitive \u003cem>and proud of it\u003c/em>, to accept and embrace the full range of your feelings no matter how overbearing, or awkward, or “uncool” that made you seem. The world desperately needs more men like you. So bear with me.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>I miss you, Johnny. (Or “John,” as your brother calls you. I love the way that sounds; how I wish you were here, so I could try that on for size.) I miss you, and Chelsea, and Barrett, and Amanda, and Cash, and Joey, and Griffin, and Micah, and Kiyomi, and I feel viscerally the absence of everyone else whom I never had the pleasure of knowing personally. Writing this just now, like so many times before, I had to look up a list of the deceased to double-check which of my friends are gone because sometimes I have trouble remembering — or maybe I don’t want to remember? — which of you are no longer with us. That is just one of life’s many new contours; the “new normal.” \u003c/p>\n\u003cfigure id=\"attachment_13816500\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/JohnnyIgaz.Brother.jpg\" alt=\"Johnny Igaz (right) with his brother, Paul, in Nicasio.\" width=\"800\" height=\"560\" class=\"size-full wp-image-13816500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/JohnnyIgaz.Brother.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/JohnnyIgaz.Brother-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/JohnnyIgaz.Brother-768x538.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/JohnnyIgaz.Brother-240x168.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/JohnnyIgaz.Brother-375x263.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/JohnnyIgaz.Brother-520x364.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Johnny Igaz (right) with his brother, Paul, in Nicasio.\u003c/figcaption>\u003c/figure>\n\u003cp>I miss you desperately. I think about you every day. Your laugh: booming, hearty, rich. It bellows in my head out of nowhere, sometimes at the most inopportune times. Your face: the big, dumb, goofy smile, visible from across the room, set against the pair of brilliantly sharp eyes that revealed a wisdom far beyond their years. I see you in strangers, in my friends, at the club, on the street, in my records. Your voice: bassy and deep, like the music we’d ramble on about, elementally playful and always prone to kindness. I hear you talking to me, sometimes: \u003cem>Man, you got this — don’t worry about that shit. Trust.\u003c/em> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The good news: Your new record sounds and looks phenomenal. If you were here to see it, you’d be over the moon. Your dear friend \u003ca href=\"https://www.pea-be.com/\" rel=\"noopener\" target=\"_blank\">Bryan Odiamar\u003c/a> did the artwork. You both loved graffiti and had even talked about working on a piece together, so he worked up some classic graff style art with the title you’d chosen, \u003cem>Private Property Created Crime\u003c/em>. \u003c/p>\n\u003cp>The bad news: Some days are harder than others. The world is inexorably worse than before you left it, and not the least because you’re no longer here. Categorically, this has not been a good year. Did you ever think “crisis of epistemology” is a phrase we’d use in relation to everyday America instead of entry-level college philosophy? \u003c/p>\n\u003cfigure id=\"attachment_13816501\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/JohnnyIgaz.RedShirt-800x533.jpg\" alt=\"Johnny Igaz.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13816501\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/JohnnyIgaz.RedShirt-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/JohnnyIgaz.RedShirt-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/JohnnyIgaz.RedShirt-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/JohnnyIgaz.RedShirt-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/JohnnyIgaz.RedShirt.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/JohnnyIgaz.RedShirt-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/JohnnyIgaz.RedShirt-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/JohnnyIgaz.RedShirt-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/JohnnyIgaz.RedShirt-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/JohnnyIgaz.RedShirt-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Johnny Igaz.\u003c/figcaption>\u003c/figure>\n\u003cp>Pointedly, the (obvious and inevitable) crackdown on warehouses and underground spaces has hit Oakland — and San Francisco, and Vallejo, and L.A., and Baltimore, and many more — very hard. Which is no surprise, I suppose, but in the fire’s aftermath, the chorus of cries for “safety” and “investigations into what went wrong” rang hollow indeed. \u003c/p>\n\u003cp>It was rubbernecking at its worst. Neither the city of Oakland nor the scavenging out-of-town reporters seemed to care much about the \u003cem>why\u003c/em>, as in those structural factors (the cost of Bay Area real estate; underground music’s incapacity to generate meaningful profit) and arcane, outdated local ordinances (zoning laws, cabaret laws, etc.) that collude to make Ghost Ship and places like it not just unsafe but \u003cem>necessary\u003c/em>.\u003c/p>\n\u003cp>But it hasn’t been all bad. The onslaught of media attention (“if it bleeds, it leads”) has made for dozens of opportunities to shove \u003ca href=\"https://ww2.kqed.org/arts/2017/12/01/saving-the-music-of-ghost-ship-victims-helps-loved-ones-heal/\" rel=\"noopener\" target=\"_blank\">our freakish music\u003c/a> into people’s faces. Wherever you are right now, Johnny, I know you’re laughing at this irony.\u003c/p>\n\u003cfigure id=\"attachment_13816467\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/JohnnyIgaz.ShannaDoherty-800x475.jpg\" alt=\"Johnny Igaz.\" width=\"800\" height=\"475\" class=\"size-medium wp-image-13816467\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/JohnnyIgaz.ShannaDoherty-800x475.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/JohnnyIgaz.ShannaDoherty-160x95.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/JohnnyIgaz.ShannaDoherty-768x456.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/JohnnyIgaz.ShannaDoherty-1020x606.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/JohnnyIgaz.ShannaDoherty.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/JohnnyIgaz.ShannaDoherty-1180x701.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/JohnnyIgaz.ShannaDoherty-960x570.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/JohnnyIgaz.ShannaDoherty-240x143.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/JohnnyIgaz.ShannaDoherty-375x223.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/JohnnyIgaz.ShannaDoherty-520x309.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Johnny Igaz. \u003ccite>(Shanna Doherty)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So all I can say is that we’ve done our best, and looked after each other. In fact, if there is any silver lining to this hellish cloud, it is to see how people have come together, how they have cared for each other, how much love and genuine camaraderie exists among those of kindred spirit. I don’t need to tell you this. You know it well, which is why you were in that warehouse to begin with. But it has been something truly remarkable to see, and to feel, as it unfolds.\u003c/p>\n\u003caside class=\"pullquote alignright\">The enormity of losing all of you, all at once, was beyond comprehension.\u003c/aside>\n\u003cp>On a personal level, this past year has tried me to the utmost. For some time, I was unable to write; just nothing came out. Then Jenna and I split up. It wasn’t until well after the fact that I realized a hard truth: that if the fire had never happened, our breakup likely never would have, either. That one stuck with me. \u003c/p>\n\u003cp>Naturally, I’ve been thinking a lot about grief. Does it ever go away? Should it? I often wonder if I am grieving wrong. I poured myself into work as soon as the fire happened; I went from having never written an obituary to writing four, and advising on \u003ca href=\"https://ww2.kqed.org/arts/programs/oakland-warehouse-memorial/\" rel=\"noopener\" target=\"_blank\">dozens of others\u003c/a> in the span of two weeks. It seemed like the only thing I could do, quite literally, and it helped. \u003c/p>\n\u003cp>But the enormity of losing \u003cem>all of you, all at once\u003c/em> was beyond comprehension. There’s simply no way to make sense of it, and certainly no way to put it into words. I still wonder if I am “doing it wrong.” No ritual, remembrance, moment of silence, or tribute that I could take part in is going to bring you or anyone back. My heart swells in my throat as I write this, but I know you understand. The hardest part — as you well know, as we talked about often — is self-acceptance. \u003c/p>\n\u003cfigure id=\"attachment_12469097\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/JohnnyIgaz.Trust_-800x583.jpg\" alt=\"Johnny Igaz, always empowering others to be their best selves.\" width=\"800\" height=\"583\" class=\"size-medium wp-image-12469097\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JohnnyIgaz.Trust_-800x583.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JohnnyIgaz.Trust_-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JohnnyIgaz.Trust_-768x559.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JohnnyIgaz.Trust_-240x175.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JohnnyIgaz.Trust_-375x273.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JohnnyIgaz.Trust_-520x379.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JohnnyIgaz.Trust_.jpg 938w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Johnny Igaz.\u003c/figcaption>\u003c/figure>\n\u003cp>As for myself, I’m holding up. Jenna and I are back together, and our time apart was for the better — funny how that works, isn’t it? And, as you can tell, I’m writing again. The horror of the world knows no bounds, and seems to expand with each passing day, but I stand here and face it — because without you, I am at a loss to do otherwise. \u003c/p>\n\u003cp>I remember vividly that day we first met. Outside Public Works that afternoon, you approached me and said “You’re Chris, right?” I said yes; you smiled, opened your arms, and said “C’mere, bring it in. I’m a hugger.” Right then and there I knew you were a different kind of guy.\u003c/p>\n\u003cp>I miss you, Johnny.\u003c/p>\n\u003cp>With love,\u003cbr>\nChris\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The first time I talked to Stephen Parr, it felt like a test. I’d been referred to him as a lead to hard-to-find footage of the Velvet Underground while researching films for a book on the group. At our first meeting, Parr asked me whether it was true that noted avant-garde filmmaker/musician Tony Conrad had been an original member. I had to explain at some length that this wasn’t the case, though Conrad had indeed played with John Cale and Lou Reed before the Velvets formed. My explanation wasn’t enough for Parr, who proceeded to jab me with questions and make me justify myself. \u003c/p>\n\u003cp>Satisfied after several minutes that I did indeed know my Velvet Underground, he went to some lengths to help me view rare footage of the group through contacts at the Andy Warhol museum. Several years after that, he invited me to give a Velvet Underground film night of sorts at his small funky theater of sorts at the Oddball Films archive, near Capp and 18th Streets in the Mission. I presented several other screenings of rare rock films at Oddball over the past few years, and on multiple occasions I witnessed Stephen’s generally pessimistic view give way to fanboy enthusiasm when lights dimmed and the show got underway.\u003c/p>\n\u003cp>The last time I saw him this spring, he had no apparent physical problems, so it came as a shock to myself and the entire Bay Area film community when he died Oct. 24 at 63 years old. According to those close to him, Parr died from complications related to Parkinson’s disease.\u003c/p>\n\u003cp>https://vimeo.com/175884766\u003cbr>\n\u003c/p>\n\u003cp>For the past three decades or so, Parr ran Oddball Films and its massive archive that preserved the kind of footage most other film repositories overlook or even disdain. Educational shorts, industrial movies and early punk performances all found a home at Oddball. He even collected actual home movies, all obtained during “home movie days” when the originals would be given to the archive in exchange for higher-tech copies. Clients who licensed footage ranged from mainstream media corporations like ABC, HBO, and MTV to independent filmmakers struggling to complete their first feature.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Steve was down with the underground. There were people approaching him that were advertising agencies, and he would charge them a good amount of money. There were other people who approached him who were, like, some independent filmmaker who lived in the Mission and didn’t really have any money, and he’d work with that,” said filmmaker Sam Green. \u003c/p>\n\u003cp>Green used some of Oddball’s footage in \u003cem>The Weather Underground\u003c/em>, his acclaimed documentary on radical activists the Weathermen. “Steve understood that there were artists were making art, and they didn’t necessarily have the budgets of the ad agencies,” he said. \u003c/p>\n\u003cp>And while Parr could be prickly while you were getting to know him, those who worked with Oddball stress that once he was convinced of the worthiness of your enterprise, he’d go to great lengths to help. \u003c/p>\n\u003cp>“It is a crazy thing to do, film collecting. And there are generally only dribs and drabs of revenue that come in. Without him handling my footage I never would have been able to get it out into the world like that,” director and LGBT film historian Jenni Olson said. Olson’s collection of vintage trailers and 16mm/35mm prints was stored, transferred, and licensed by Oddball.\u003c/p>\n\u003cfigure id=\"attachment_13813547\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Oddball-Films-inside-800x600.jpg\" alt=\"Inside Oddball Films\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13813547\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Oddball-Films-inside.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Oddball-Films-inside-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Oddball-Films-inside-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Oddball-Films-inside-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Oddball-Films-inside-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Oddball-Films-inside-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Inside Oddball Films \u003ccite>(Jenni Olson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Thanks to Stephen and his colleagues at Oddball — especially Robert Chehoski — my footage was licensed for dozens of documentaries, including films like \u003ci>I Am Divine\u003c/i>, \u003ci>After Stonewall\u003c/i>, \u003ci>The Battle of AmFAR\u003c/i>, and \u003ci>Regarding Susan Sontag\u003c/i>.”\u003c/p>\n\u003cp>At Oddball, “you never knew what excitement was gonna get thrown at you” during a regular day, said Chehoski, who worked with Parr as Oddball’s project director for 13 years, beginning in 1998. Chehoski handled licensing and client requests — “the business stuff” as Chehoski called it — so Parr could concentrate on collecting.\u003c/p>\n\u003cp>“What made Stephen tick was collecting,” Chehoski said. “He was so skilled at obtaining that kind of stuff because he was relentless. He would literally haunt people until he got what he wanted.”\u003c/p>\n\u003cp>The thousands of reels of films at Oddball — stacked on dozens of shelves, rising dozens of feet high — formed aisles you walked through when attending Parr’s periodic screenings at the archive’s Capp Street headquarters. It was those same reels that Parr mined for the screenings at Oddball, which showcased the simultaneously eclectic and obscure. They ranged from new work by local filmmakers to vintage Asian-American rock performances.\u003c/p>\n\u003cfigure id=\"attachment_13813581\" class=\"wp-caption alignright\" style=\"max-width: 579px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Stephen-Parr-CAke-1.jpg\" alt=\"A rare photo of Parr smiling on his birthday\" width=\"579\" height=\"872\" class=\"size-full wp-image-13813581\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Stephen-Parr-CAke-1.jpg 579w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Stephen-Parr-CAke-1-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Stephen-Parr-CAke-1-240x361.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Stephen-Parr-CAke-1-375x565.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Stephen-Parr-CAke-1-520x783.jpg 520w\" sizes=\"(max-width: 579px) 100vw, 579px\">\u003cfigcaption class=\"wp-caption-text\">A rare photo of Parr smiling on his birthday \u003ccite>(Robert Chehoski)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“His film screenings were the playful side of Stephen,” Chehoski said. \u003c/p>\n\u003cp>The Bay Area is blessed with several venues showing offbeat films, but arguably none could compare with Oddball what had to offer. And though plenty of Oddball’s films could send those with conservative tastes running for the hills, not everything Parr showed was sexy or shocking. For example, for one of my rare rock clip nights, he unearthed excerpts from the forgotten 1970 TV series \u003ci>Something Else,\u003c/i> which showed the singer Melanie and political folksinger Phil Ochs miming in impossibly industrial settings.\u003c/p>\n\u003cp>“Stephen had a great affection for the most unusual vintage films and footage — both obviously appealing campy things, but also materials that were deceptively mundane but deserved our attention,” Olson said.\u003c/p>\n\u003cp>Chehoski said it was when he showed those films that folks saw the best side of Parr.\u003c/p>\n\u003cp>“The first time I saw him onstage, talking about some films he was gonna show, he was so articulate and so well spoken, he just captivated everybody,” Chehoski said. “When he was in his element and it was something that he loved, he was incredible.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The first time I talked to Stephen Parr, it felt like a test. I’d been referred to him as a lead to hard-to-find footage of the Velvet Underground while researching films for a book on the group. At our first meeting, Parr asked me whether it was true that noted avant-garde filmmaker/musician Tony Conrad had been an original member. I had to explain at some length that this wasn’t the case, though Conrad had indeed played with John Cale and Lou Reed before the Velvets formed. My explanation wasn’t enough for Parr, who proceeded to jab me with questions and make me justify myself. \u003c/p>\n\u003cp>Satisfied after several minutes that I did indeed know my Velvet Underground, he went to some lengths to help me view rare footage of the group through contacts at the Andy Warhol museum. Several years after that, he invited me to give a Velvet Underground film night of sorts at his small funky theater of sorts at the Oddball Films archive, near Capp and 18th Streets in the Mission. I presented several other screenings of rare rock films at Oddball over the past few years, and on multiple occasions I witnessed Stephen’s generally pessimistic view give way to fanboy enthusiasm when lights dimmed and the show got underway.\u003c/p>\n\u003cp>The last time I saw him this spring, he had no apparent physical problems, so it came as a shock to myself and the entire Bay Area film community when he died Oct. 24 at 63 years old. According to those close to him, Parr died from complications related to Parkinson’s disease.\u003c/p>\n\u003cp>https://vimeo.com/175884766\u003cbr>\n\u003c/p>\n\u003cp>For the past three decades or so, Parr ran Oddball Films and its massive archive that preserved the kind of footage most other film repositories overlook or even disdain. Educational shorts, industrial movies and early punk performances all found a home at Oddball. He even collected actual home movies, all obtained during “home movie days” when the originals would be given to the archive in exchange for higher-tech copies. Clients who licensed footage ranged from mainstream media corporations like ABC, HBO, and MTV to independent filmmakers struggling to complete their first feature.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Steve was down with the underground. There were people approaching him that were advertising agencies, and he would charge them a good amount of money. There were other people who approached him who were, like, some independent filmmaker who lived in the Mission and didn’t really have any money, and he’d work with that,” said filmmaker Sam Green. \u003c/p>\n\u003cp>Green used some of Oddball’s footage in \u003cem>The Weather Underground\u003c/em>, his acclaimed documentary on radical activists the Weathermen. “Steve understood that there were artists were making art, and they didn’t necessarily have the budgets of the ad agencies,” he said. \u003c/p>\n\u003cp>And while Parr could be prickly while you were getting to know him, those who worked with Oddball stress that once he was convinced of the worthiness of your enterprise, he’d go to great lengths to help. \u003c/p>\n\u003cp>“It is a crazy thing to do, film collecting. And there are generally only dribs and drabs of revenue that come in. Without him handling my footage I never would have been able to get it out into the world like that,” director and LGBT film historian Jenni Olson said. Olson’s collection of vintage trailers and 16mm/35mm prints was stored, transferred, and licensed by Oddball.\u003c/p>\n\u003cfigure id=\"attachment_13813547\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Oddball-Films-inside-800x600.jpg\" alt=\"Inside Oddball Films\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13813547\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Oddball-Films-inside.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Oddball-Films-inside-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Oddball-Films-inside-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Oddball-Films-inside-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Oddball-Films-inside-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Oddball-Films-inside-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Inside Oddball Films \u003ccite>(Jenni Olson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Thanks to Stephen and his colleagues at Oddball — especially Robert Chehoski — my footage was licensed for dozens of documentaries, including films like \u003ci>I Am Divine\u003c/i>, \u003ci>After Stonewall\u003c/i>, \u003ci>The Battle of AmFAR\u003c/i>, and \u003ci>Regarding Susan Sontag\u003c/i>.”\u003c/p>\n\u003cp>At Oddball, “you never knew what excitement was gonna get thrown at you” during a regular day, said Chehoski, who worked with Parr as Oddball’s project director for 13 years, beginning in 1998. Chehoski handled licensing and client requests — “the business stuff” as Chehoski called it — so Parr could concentrate on collecting.\u003c/p>\n\u003cp>“What made Stephen tick was collecting,” Chehoski said. “He was so skilled at obtaining that kind of stuff because he was relentless. He would literally haunt people until he got what he wanted.”\u003c/p>\n\u003cp>The thousands of reels of films at Oddball — stacked on dozens of shelves, rising dozens of feet high — formed aisles you walked through when attending Parr’s periodic screenings at the archive’s Capp Street headquarters. It was those same reels that Parr mined for the screenings at Oddball, which showcased the simultaneously eclectic and obscure. They ranged from new work by local filmmakers to vintage Asian-American rock performances.\u003c/p>\n\u003cfigure id=\"attachment_13813581\" class=\"wp-caption alignright\" style=\"max-width: 579px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Stephen-Parr-CAke-1.jpg\" alt=\"A rare photo of Parr smiling on his birthday\" width=\"579\" height=\"872\" class=\"size-full wp-image-13813581\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Stephen-Parr-CAke-1.jpg 579w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Stephen-Parr-CAke-1-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Stephen-Parr-CAke-1-240x361.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Stephen-Parr-CAke-1-375x565.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Stephen-Parr-CAke-1-520x783.jpg 520w\" sizes=\"(max-width: 579px) 100vw, 579px\">\u003cfigcaption class=\"wp-caption-text\">A rare photo of Parr smiling on his birthday \u003ccite>(Robert Chehoski)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“His film screenings were the playful side of Stephen,” Chehoski said. \u003c/p>\n\u003cp>The Bay Area is blessed with several venues showing offbeat films, but arguably none could compare with Oddball what had to offer. And though plenty of Oddball’s films could send those with conservative tastes running for the hills, not everything Parr showed was sexy or shocking. For example, for one of my rare rock clip nights, he unearthed excerpts from the forgotten 1970 TV series \u003ci>Something Else,\u003c/i> which showed the singer Melanie and political folksinger Phil Ochs miming in impossibly industrial settings.\u003c/p>\n\u003cp>“Stephen had a great affection for the most unusual vintage films and footage — both obviously appealing campy things, but also materials that were deceptively mundane but deserved our attention,” Olson said.\u003c/p>\n\u003cp>Chehoski said it was when he showed those films that folks saw the best side of Parr.\u003c/p>\n\u003cp>“The first time I saw him onstage, talking about some films he was gonna show, he was so articulate and so well spoken, he just captivated everybody,” Chehoski said. “When he was in his element and it was something that he loved, he was incredible.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Around 350 people gathered in San Jose on Sunday afternoon to mourn the passing of Chinese arts impresario Ann Woo, who died rlnder mysterious circumstances in August at the age of 75.\u003c/p>\n\u003cp>In 1991, Woo co-founded \u003ca href=\"http://cpaasv.info\" target=\"_blank\" rel=\"noopener noreferrer\">Chinese Performing Arts of America\u003c/a> (CPAA), a San Jose-based cultural center focused on promoting interest in traditional Chinese and related performing arts disciplines that was integral to the creative landscape of Silicon Valley.\u003c/p>\n\u003cp>Woo’s commitment won her wide respect in the South Bay, ranging from parents grateful she provided a platform for their children to learn about their heritage, to community leaders happy she could wrangle high-quality entertainment for any civic occasion.\u003c/p>\n\u003cfigure id=\"attachment_13808056\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13808056 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/RS26506_IMG_3632-2-qut-800x450.jpg\" alt=\"Representatives of Ann Woo's two families, her personal family and that of Chinese Performing Arts of America, spoke and performed at her memorial.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26506_IMG_3632-2-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26506_IMG_3632-2-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26506_IMG_3632-2-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26506_IMG_3632-2-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26506_IMG_3632-2-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26506_IMG_3632-2-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26506_IMG_3632-2-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26506_IMG_3632-2-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26506_IMG_3632-2-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26506_IMG_3632-2-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Representatives of Ann Woo’s two families, her personal family and that of Chinese Performing Arts of America, spoke and performed at her memorial. \u003ccite>(Photo: Courtesy of Michael M. Cohen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I knew Ann for 27 years,” said Patrick Kwok, former mayor of Cupertino and former board chair for the CPAA. “Her dedication and passion for Chinese arts is just beyond any description.”\u003c/p>\n\u003cp>Woo’s death\u003ca href=\"http://www.mercurynews.com/2017/09/08/ann-woo-death-as-memorial-nears-case-remains-a-mystery/\" target=\"_blank\" rel=\"noopener noreferrer\"> on Aug. 25\u003c/a> occurred two weeks after she fell into a dispute with a woman who had been involved in planning a future event with Woo’s organization. Woo was found later that same day, Aug. 11, on the ground outside CPAA’s offices, bleeding from the head.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The Santa Clara County medical examiner said an autopsy is complete, but the cause of death remains undetermined.\u003c/p>\n\u003cp>The homicide unit of San Jose’s police department continues to investigate, frustrated by a lack of witnesses to the incident. No arrests have yet been made, and no suspects have been publicly named.\u003c/p>\n\u003cfigure id=\"attachment_13808057\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13808057 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/RS26504_Dancers-qut-800x450.jpg\" alt='Zhou Hui, Christina Cheng, Virginia Jian, Allie Dong, Liu Yan, Wang Xin perform the \"Red Ribbon Dance\" at the memorial for Ann Woo on September 10, 2017.' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26504_Dancers-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26504_Dancers-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26504_Dancers-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26504_Dancers-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26504_Dancers-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26504_Dancers-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26504_Dancers-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26504_Dancers-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26504_Dancers-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26504_Dancers-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Zhou Hui, Christina Cheng, Virginia Jian, Allie Dong, Liu Yan, Wang Xin perform the “Red Ribbon Dance” at the memorial for Ann Woo on September 10, 2017. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>A lifetime of achievement\u003c/h3>\n\u003cp>Woo emigrated from China to San Francisco when she was 14 years old. After graduating from UC Berkeley, she spent 30 years as an electronic design engineer, one of few women of her generation to undertake such work in Silicon Valley.\u003c/p>\n\u003cp>But Woo’s heart was always in the arts. When she retired from her tech career, she co-founded CPAA to provide low-cost dance lessons to children and adults, as well as cultivate an appreciation for Chinese culture in the wider community.\u003c/p>\n\u003cp>So great was Woo’s contribution to the South Bay arts scene that her work was the subject of \u003ca href=\"https://tely2.kqed.org/owa/redir.aspx?C=1tLv3zK35tE5CC9GwDvCk9QmYcCfXVA1v5LMLgyUgbjIoZycsvjUCA..&URL=https%3a%2f%2fww2.kqed.org%2farts%2f2014%2f03%2f20%2fsilicon-valley-businesswoman-builds-a-future-for-ancient-arts%2f\">a KQED Arts video\u003c/a> in 2014.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=S219hCL9-QU\u003c/p>\n\u003cp>“When we started, our mission was to introduce Chinese culture to the mainstream through performing arts,” Woo told KQED back in 2014. “But now, we also promote multi-culture.”\u003c/p>\n\u003cp>The center is home to 10 studios, and hosts classes in Indian, Latino and European traditions, as well as Chinese.\u003c/p>\n\u003cp>Many dignitaries attended and spoke at the memorial, ranging from local and regional politicians to the Consul General of the People’s Republic of China in San Francisco, Luo Linquan. Silent videos of past performances played on a screen while one speaker after another recounted Woo’s role in building and sustaining CPAA.\u003c/p>\n\u003cfigure id=\"attachment_13808058\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13808058\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/RS26505_DonationBoxes-qut-800x450.jpg\" alt=\"Two memorial funds have been established to help Ann Woo's family and her passion project, Chinese Performing Arts of America.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26505_DonationBoxes-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26505_DonationBoxes-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26505_DonationBoxes-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26505_DonationBoxes-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26505_DonationBoxes-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26505_DonationBoxes-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26505_DonationBoxes-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26505_DonationBoxes-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26505_DonationBoxes-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26505_DonationBoxes-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Two memorial funds have been established to help Ann Woo’s family and her passion project, Chinese Performing Arts of America. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“This is a testament to her impact on the community, locally and internationally,” said Woo’s daughter, Tina Fredericks, who came up from Pasadena to speak at the memorial. “My realization of her impact is still growing.”\u003c/p>\n\u003ch3>What lies ahead for CPAA\u003c/h3>\n\u003cp>At the time of Woo’s death, CPAA was struggling financially. The center’s interim director, Andy Jian, said Woo’s death occurred with the nonprofit “six figures” in debt. Jian said he is trying to negotiate with the center’s landlord and bank for a grace period as CPAA pulls itself back together.\u003c/p>\n\u003cp>There seems little question Jian and others are committed to keeping CPAA alive, not just because of Ann Woo’s lifetime of commitment to the organization, but also because of its standing in the South Bay arts community.\u003c/p>\n\u003cp>“If you’ve been to any event in Cupertino, Ann has touched your heart and soul,” said Cupertino Mayor Savita Vaidhyanathan. “I’ve been living in the city for over 20 years, and at any event I’ve been to, I’ve seen something performed by her students. Even if you do not understand Chinese — which I do not — her productions just touch your heart.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Around 350 people gathered in San Jose on Sunday afternoon to mourn the passing of Chinese arts impresario Ann Woo, who died rlnder mysterious circumstances in August at the age of 75.\u003c/p>\n\u003cp>In 1991, Woo co-founded \u003ca href=\"http://cpaasv.info\" target=\"_blank\" rel=\"noopener noreferrer\">Chinese Performing Arts of America\u003c/a> (CPAA), a San Jose-based cultural center focused on promoting interest in traditional Chinese and related performing arts disciplines that was integral to the creative landscape of Silicon Valley.\u003c/p>\n\u003cp>Woo’s commitment won her wide respect in the South Bay, ranging from parents grateful she provided a platform for their children to learn about their heritage, to community leaders happy she could wrangle high-quality entertainment for any civic occasion.\u003c/p>\n\u003cfigure id=\"attachment_13808056\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13808056 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/RS26506_IMG_3632-2-qut-800x450.jpg\" alt=\"Representatives of Ann Woo's two families, her personal family and that of Chinese Performing Arts of America, spoke and performed at her memorial.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26506_IMG_3632-2-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26506_IMG_3632-2-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26506_IMG_3632-2-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26506_IMG_3632-2-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26506_IMG_3632-2-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26506_IMG_3632-2-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26506_IMG_3632-2-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26506_IMG_3632-2-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26506_IMG_3632-2-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26506_IMG_3632-2-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Representatives of Ann Woo’s two families, her personal family and that of Chinese Performing Arts of America, spoke and performed at her memorial. \u003ccite>(Photo: Courtesy of Michael M. Cohen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I knew Ann for 27 years,” said Patrick Kwok, former mayor of Cupertino and former board chair for the CPAA. “Her dedication and passion for Chinese arts is just beyond any description.”\u003c/p>\n\u003cp>Woo’s death\u003ca href=\"http://www.mercurynews.com/2017/09/08/ann-woo-death-as-memorial-nears-case-remains-a-mystery/\" target=\"_blank\" rel=\"noopener noreferrer\"> on Aug. 25\u003c/a> occurred two weeks after she fell into a dispute with a woman who had been involved in planning a future event with Woo’s organization. Woo was found later that same day, Aug. 11, on the ground outside CPAA’s offices, bleeding from the head.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Santa Clara County medical examiner said an autopsy is complete, but the cause of death remains undetermined.\u003c/p>\n\u003cp>The homicide unit of San Jose’s police department continues to investigate, frustrated by a lack of witnesses to the incident. No arrests have yet been made, and no suspects have been publicly named.\u003c/p>\n\u003cfigure id=\"attachment_13808057\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13808057 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/RS26504_Dancers-qut-800x450.jpg\" alt='Zhou Hui, Christina Cheng, Virginia Jian, Allie Dong, Liu Yan, Wang Xin perform the \"Red Ribbon Dance\" at the memorial for Ann Woo on September 10, 2017.' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26504_Dancers-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26504_Dancers-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26504_Dancers-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26504_Dancers-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26504_Dancers-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26504_Dancers-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26504_Dancers-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26504_Dancers-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26504_Dancers-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26504_Dancers-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Zhou Hui, Christina Cheng, Virginia Jian, Allie Dong, Liu Yan, Wang Xin perform the “Red Ribbon Dance” at the memorial for Ann Woo on September 10, 2017. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>A lifetime of achievement\u003c/h3>\n\u003cp>Woo emigrated from China to San Francisco when she was 14 years old. After graduating from UC Berkeley, she spent 30 years as an electronic design engineer, one of few women of her generation to undertake such work in Silicon Valley.\u003c/p>\n\u003cp>But Woo’s heart was always in the arts. When she retired from her tech career, she co-founded CPAA to provide low-cost dance lessons to children and adults, as well as cultivate an appreciation for Chinese culture in the wider community.\u003c/p>\n\u003cp>So great was Woo’s contribution to the South Bay arts scene that her work was the subject of \u003ca href=\"https://tely2.kqed.org/owa/redir.aspx?C=1tLv3zK35tE5CC9GwDvCk9QmYcCfXVA1v5LMLgyUgbjIoZycsvjUCA..&URL=https%3a%2f%2fww2.kqed.org%2farts%2f2014%2f03%2f20%2fsilicon-valley-businesswoman-builds-a-future-for-ancient-arts%2f\">a KQED Arts video\u003c/a> in 2014.\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/S219hCL9-QU'\n title='//www.youtube.com/embed/S219hCL9-QU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“When we started, our mission was to introduce Chinese culture to the mainstream through performing arts,” Woo told KQED back in 2014. “But now, we also promote multi-culture.”\u003c/p>\n\u003cp>The center is home to 10 studios, and hosts classes in Indian, Latino and European traditions, as well as Chinese.\u003c/p>\n\u003cp>Many dignitaries attended and spoke at the memorial, ranging from local and regional politicians to the Consul General of the People’s Republic of China in San Francisco, Luo Linquan. Silent videos of past performances played on a screen while one speaker after another recounted Woo’s role in building and sustaining CPAA.\u003c/p>\n\u003cfigure id=\"attachment_13808058\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13808058\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/RS26505_DonationBoxes-qut-800x450.jpg\" alt=\"Two memorial funds have been established to help Ann Woo's family and her passion project, Chinese Performing Arts of America.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26505_DonationBoxes-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26505_DonationBoxes-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26505_DonationBoxes-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26505_DonationBoxes-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26505_DonationBoxes-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26505_DonationBoxes-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26505_DonationBoxes-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26505_DonationBoxes-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26505_DonationBoxes-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26505_DonationBoxes-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Two memorial funds have been established to help Ann Woo’s family and her passion project, Chinese Performing Arts of America. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“This is a testament to her impact on the community, locally and internationally,” said Woo’s daughter, Tina Fredericks, who came up from Pasadena to speak at the memorial. “My realization of her impact is still growing.”\u003c/p>\n\u003ch3>What lies ahead for CPAA\u003c/h3>\n\u003cp>At the time of Woo’s death, CPAA was struggling financially. The center’s interim director, Andy Jian, said Woo’s death occurred with the nonprofit “six figures” in debt. Jian said he is trying to negotiate with the center’s landlord and bank for a grace period as CPAA pulls itself back together.\u003c/p>\n\u003cp>There seems little question Jian and others are committed to keeping CPAA alive, not just because of Ann Woo’s lifetime of commitment to the organization, but also because of its standing in the South Bay arts community.\u003c/p>\n\u003cp>“If you’ve been to any event in Cupertino, Ann has touched your heart and soul,” said Cupertino Mayor Savita Vaidhyanathan. “I’ve been living in the city for over 20 years, and at any event I’ve been to, I’ve seen something performed by her students. Even if you do not understand Chinese — which I do not — her productions just touch your heart.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Remembering Leigh Markopoulos, Teacher, Curator, Writer and Heavy Metal Vocalist",
"headTitle": "Remembering Leigh Markopoulos, Teacher, Curator, Writer and Heavy Metal Vocalist | KQED",
"content": "\u003cp>\u003cem>Editor’s note: Leigh Markopoulos (1968-2017) was a San Francisco art critic, curator and educator. Among her many professional accomplishments, she served as chair of the graduate program in curatorial practice at \u003ca href=\"https://www.cca.edu/academics/faculty/lmarkopoulos\" target=\"_blank\" rel=\"noopener\">California College of the Arts\u003c/a>, where artist and curator David Kasprzak studied from 2009 to 2011.\u003c/em>\u003c/p>\n\u003cp>It was the spring of 2010, and I had just spent the day walking along Robert Smithson’s \u003ci>Spiral Jetty\u003c/i> with my seven curatorial practice classmates, Marina McDougall (director of the Exploratorium’s Center for Art & Inquiry), and Leigh. I remember being underwhelmed with the infamous work of land art. It may have been the result of the hundreds of aerial photos that present the piece as a magnificent triumph of human will, its full glory visible only from the heavens. More likely it was the nauseating ride over miles of boulders and unmaintained “roads.” Earlier that day there had been a lengthy debate about whether or not we could make it to the \u003ci>Jetty\u003c/i> and back to our base at the Center for Land Use Interpretation in Wendover, Utah, in one day. Always the adventurer, Leigh decided that we would try.\u003c/p>\n\u003cfigure id=\"attachment_12871414\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Jetty1200.jpg\" alt=\"CCA curatorial practice students at Robert Smithson's 'Spiral Jetty,' 2010.\" width=\"1200\" height=\"900\" class=\"size-full wp-image-12871414\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Jetty1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Jetty1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Jetty1200-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Jetty1200-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Jetty1200-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Jetty1200-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Jetty1200-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Jetty1200-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Jetty1200-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Jetty1200-520x390.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">CCA curatorial practice students at Robert Smithson’s ‘Spiral Jetty,’ 2010. \u003ccite>(Courtesy of David Kasprzak)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What Leigh had not anticipated was the effects of two hours of spinal-contusing thrashing on the “road” of boulders leading to the \u003ci>Jetty\u003c/i>, six hours of direct sun over the Great Salt Lake, and the stench of death from an unexpected low tide. By the time we made it back to Interstate 15 our van looked more like a John Chamberlain sculpture than a functioning automobile, and everyone was sleeping fitfully — except for myself and Leigh, our unbreakable pilot behind the wheel. After an hour of silence I heard Leigh whisper, “DK you have to keep me awake. Play some music.” Knowing her musical proclivities well, I plugged in and began playing a set of every ’80s British punk and metal album I could find. Somewhere between The Sex Pistols and Motörhead I looked at the dashboard and realized that we were traveling at a steady 95 mph!\u003c/p>\n\u003cfigure id=\"attachment_12871415\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Jettyb1200.jpg\" alt=\"Allison Terbush, curatorial practice program manager, and Leigh Markopoulos at Robert Smithson's 'Spiral Jetty,' 2010.\" width=\"1200\" height=\"900\" class=\"size-full wp-image-12871415\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Jettyb1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Jettyb1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Jettyb1200-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Jettyb1200-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Jettyb1200-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Jettyb1200-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Jettyb1200-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Jettyb1200-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Jettyb1200-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Jettyb1200-520x390.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Allison Terbush, curatorial practice program manager, and Leigh Markopoulos at Robert Smithson’s ‘Spiral Jetty,’ 2010. \u003ccite>(Courtesy of David Kasprzak)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For the next several hours I deejayed the soundtrack to Leigh’s rampage through northwestern Utah. I do not think a single word was exchanged, just the roar of our Ford Econoline and the growl of Lemmy’s whiskey and gravel vocals. I was in awe — this person of such intellect, poise and grace was barreling down the road, hands a steady as stone, belting out every lyric of “Ace of Spades.” Only a few hours earlier, she had been lecturing us on the nuances of Robert Smithson’s practice and the sociopolitical problems with land art in her flawless Queen’s English. That is the dichotomy of Leigh Markopoulos — the model of pedagogy, wit and class, and a passionate unwavering force of nature. She was at once a teacher, curator, writer and heavy metal vocalist.\u003c/p>\n\u003cp>Ask anyone who was fortunate enough to know Leigh, and they will most likely have a handful of similar narratives. Whether historically researched or experienced first-hand, narratives were important to Leigh. They taught us where we had come from, where we are now, and where we might be going. Over her 14 years as an educator, Leigh taught over one hundred students that are now curators, artists and writers working around the globe.\u003c/p>\n\u003cfigure id=\"attachment_12871417\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/SaoPaulo1200.jpg\" alt=\"Leigh Markopoulos (far right) with curatorial practice students and local organizers during the São Paulo Biennial, 2010.\" width=\"1200\" height=\"900\" class=\"size-full wp-image-12871417\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/SaoPaulo1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/SaoPaulo1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/SaoPaulo1200-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/SaoPaulo1200-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/SaoPaulo1200-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/SaoPaulo1200-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/SaoPaulo1200-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/SaoPaulo1200-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/SaoPaulo1200-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/SaoPaulo1200-520x390.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Leigh Markopoulos (far right) with curatorial practice students and local organizers during the São Paulo Biennial, 2010. \u003ccite>(Courtesy of David Kasprzak)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She taught us to be rigorous, honest, inventive, deliberate and passionate. She taught us to care about our craft but not take ourselves too seriously. She taught us to embrace reality but never lose our optimism. Most importantly she taught us to work with all of our humanity. That is the narrative she leaves behind. Whether it’s in the way we approach our practice or the way we conduct our personal relationships, Leigh affected us all.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Every time you view an exhibition or read a piece by one of her former pupils, look for Leigh Markopoulos in it — you will undoubtedly find her. And every time I hear Motörhead blaring from a bar or a car window, I’ll picture her fighting back a smile.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Editor’s note: Leigh Markopoulos (1968-2017) was a San Francisco art critic, curator and educator. Among her many professional accomplishments, she served as chair of the graduate program in curatorial practice at \u003ca href=\"https://www.cca.edu/academics/faculty/lmarkopoulos\" target=\"_blank\" rel=\"noopener\">California College of the Arts\u003c/a>, where artist and curator David Kasprzak studied from 2009 to 2011.\u003c/em>\u003c/p>\n\u003cp>It was the spring of 2010, and I had just spent the day walking along Robert Smithson’s \u003ci>Spiral Jetty\u003c/i> with my seven curatorial practice classmates, Marina McDougall (director of the Exploratorium’s Center for Art & Inquiry), and Leigh. I remember being underwhelmed with the infamous work of land art. It may have been the result of the hundreds of aerial photos that present the piece as a magnificent triumph of human will, its full glory visible only from the heavens. More likely it was the nauseating ride over miles of boulders and unmaintained “roads.” Earlier that day there had been a lengthy debate about whether or not we could make it to the \u003ci>Jetty\u003c/i> and back to our base at the Center for Land Use Interpretation in Wendover, Utah, in one day. Always the adventurer, Leigh decided that we would try.\u003c/p>\n\u003cfigure id=\"attachment_12871414\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Jetty1200.jpg\" alt=\"CCA curatorial practice students at Robert Smithson's 'Spiral Jetty,' 2010.\" width=\"1200\" height=\"900\" class=\"size-full wp-image-12871414\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Jetty1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Jetty1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Jetty1200-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Jetty1200-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Jetty1200-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Jetty1200-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Jetty1200-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Jetty1200-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Jetty1200-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Jetty1200-520x390.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">CCA curatorial practice students at Robert Smithson’s ‘Spiral Jetty,’ 2010. \u003ccite>(Courtesy of David Kasprzak)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What Leigh had not anticipated was the effects of two hours of spinal-contusing thrashing on the “road” of boulders leading to the \u003ci>Jetty\u003c/i>, six hours of direct sun over the Great Salt Lake, and the stench of death from an unexpected low tide. By the time we made it back to Interstate 15 our van looked more like a John Chamberlain sculpture than a functioning automobile, and everyone was sleeping fitfully — except for myself and Leigh, our unbreakable pilot behind the wheel. After an hour of silence I heard Leigh whisper, “DK you have to keep me awake. Play some music.” Knowing her musical proclivities well, I plugged in and began playing a set of every ’80s British punk and metal album I could find. Somewhere between The Sex Pistols and Motörhead I looked at the dashboard and realized that we were traveling at a steady 95 mph!\u003c/p>\n\u003cfigure id=\"attachment_12871415\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Jettyb1200.jpg\" alt=\"Allison Terbush, curatorial practice program manager, and Leigh Markopoulos at Robert Smithson's 'Spiral Jetty,' 2010.\" width=\"1200\" height=\"900\" class=\"size-full wp-image-12871415\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Jettyb1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Jettyb1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Jettyb1200-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Jettyb1200-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Jettyb1200-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Jettyb1200-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Jettyb1200-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Jettyb1200-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Jettyb1200-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Jettyb1200-520x390.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Allison Terbush, curatorial practice program manager, and Leigh Markopoulos at Robert Smithson’s ‘Spiral Jetty,’ 2010. \u003ccite>(Courtesy of David Kasprzak)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For the next several hours I deejayed the soundtrack to Leigh’s rampage through northwestern Utah. I do not think a single word was exchanged, just the roar of our Ford Econoline and the growl of Lemmy’s whiskey and gravel vocals. I was in awe — this person of such intellect, poise and grace was barreling down the road, hands a steady as stone, belting out every lyric of “Ace of Spades.” Only a few hours earlier, she had been lecturing us on the nuances of Robert Smithson’s practice and the sociopolitical problems with land art in her flawless Queen’s English. That is the dichotomy of Leigh Markopoulos — the model of pedagogy, wit and class, and a passionate unwavering force of nature. She was at once a teacher, curator, writer and heavy metal vocalist.\u003c/p>\n\u003cp>Ask anyone who was fortunate enough to know Leigh, and they will most likely have a handful of similar narratives. Whether historically researched or experienced first-hand, narratives were important to Leigh. They taught us where we had come from, where we are now, and where we might be going. Over her 14 years as an educator, Leigh taught over one hundred students that are now curators, artists and writers working around the globe.\u003c/p>\n\u003cfigure id=\"attachment_12871417\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/SaoPaulo1200.jpg\" alt=\"Leigh Markopoulos (far right) with curatorial practice students and local organizers during the São Paulo Biennial, 2010.\" width=\"1200\" height=\"900\" class=\"size-full wp-image-12871417\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/SaoPaulo1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/SaoPaulo1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/SaoPaulo1200-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/SaoPaulo1200-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/SaoPaulo1200-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/SaoPaulo1200-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/SaoPaulo1200-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/SaoPaulo1200-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/SaoPaulo1200-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/SaoPaulo1200-520x390.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Leigh Markopoulos (far right) with curatorial practice students and local organizers during the São Paulo Biennial, 2010. \u003ccite>(Courtesy of David Kasprzak)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She taught us to be rigorous, honest, inventive, deliberate and passionate. She taught us to care about our craft but not take ourselves too seriously. She taught us to embrace reality but never lose our optimism. Most importantly she taught us to work with all of our humanity. That is the narrative she leaves behind. Whether it’s in the way we approach our practice or the way we conduct our personal relationships, Leigh affected us all.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Every time you view an exhibition or read a piece by one of her former pupils, look for Leigh Markopoulos in it — you will undoubtedly find her. And every time I hear Motörhead blaring from a bar or a car window, I’ll picture her fighting back a smile.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Amanda Allen Kershaw, Promoter and Photographer With 'Infectious Smile'",
"headTitle": "Amanda Allen Kershaw, Promoter and Photographer With ‘Infectious Smile’ | KQED",
"content": "\u003cp>When Amanda Kershaw and her new husband Andy arrived in San Francisco from Boston in late 2008, she set out to explore her new city.\u003c/p>\n\u003cp>“One of the things she started to do was walk around with her point-and-shoot camera and just take photos,” Andy Kershaw says. “And I was noticing and our friends were noticing there was something to them — they had really good composition, and she just had that eye.”\u003c/p>\n\u003cp>Not too long after, Andy Kershaw got his wife what he calls “a so-called real camera,” a digital SLR, and she started what would become a serious pursuit as a photographer.\u003c/p>\n\u003cp>The portfolio Kershaw built over the last five years or so under the name \u003ca href=\"http://www.pandasnaps.com/\" target=\"_blank\" rel=\"noopener\">Panda Snaps\u003c/a> exhibits a warm connection to other people, a love affair with color and motion, and a tireless enthusiasm for the world of DJs and dance parties. \u003c/p>\n\u003cfigure id=\"attachment_12493637\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/amanda-allen-Amanda-Kershaw-Photogrpahy-800x451.jpg\" alt=\"Amanda Allen Kershaw.\" width=\"800\" height=\"451\" class=\"size-medium wp-image-12493637\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/amanda-allen-Amanda-Kershaw-Photogrpahy-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/amanda-allen-Amanda-Kershaw-Photogrpahy-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/amanda-allen-Amanda-Kershaw-Photogrpahy-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/amanda-allen-Amanda-Kershaw-Photogrpahy-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/amanda-allen-Amanda-Kershaw-Photogrpahy-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/amanda-allen-Amanda-Kershaw-Photogrpahy-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/amanda-allen-Amanda-Kershaw-Photogrpahy.jpg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Amanda Allen Kershaw.\u003c/figcaption>\u003c/figure>\n\u003cp>Kershaw, 34, grew up in Chelmsford, Massachusetts, a suburb of Boston, in a house full of brothers — Brandon, Christopher and her twin, Patrick. She graduated summa cum laude from Bridgewater State University and wrote her honors thesis on radical feminism. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Kershaw worked for several years as a staffer in the entomology department of the California Academy of Sciences. For the past five years, she’d been on the staff of the Oakland-based Trust for Conservation Innovation, where she served as human resources and operations manager. \u003c/p>\n\u003cp>Andy Kershaw met his future wife — then Amanda Allen — in 2005, when they both lived in Boston. They married two years later, and after saving up cash for their adventure west, hit the road for San Francisco on Dec. 2, 2008 — eight years to the day before the Ghost Ship fire. \u003c/p>\n\u003cp>Andy Kershaw says that his wife’s talents shone most spectacularly in the after-work worlds she embraced — electronica, dance and bringing people together. A DJ who does independent record production, Andy Kershaw says that his spouse was a force to be reckoned with when she started organizing her own gatherings under the name Pulse Generator. “We were sort of like a ‘power couple’ in this scene that could draw a lot of people together,” he says. “She became a better promoter than I was.”\u003c/p>\n\u003cfigure id=\"attachment_12493638\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/AmandaKershaw1.jpg\" alt=\"Amanda Allen Kershaw.\" width=\"640\" height=\"640\" class=\"size-full wp-image-12493638\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/AmandaKershaw1.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/AmandaKershaw1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/AmandaKershaw1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/AmandaKershaw1-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/AmandaKershaw1-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/AmandaKershaw1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/AmandaKershaw1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/AmandaKershaw1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/AmandaKershaw1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/AmandaKershaw1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/AmandaKershaw1-150x150.jpg 150w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Amanda Allen Kershaw.\u003c/figcaption>\u003c/figure>\n\u003cp>Andy Kershaw says his wife had a magnetic personality. “Everybody she encountered absolutely adored her. She had one of the best personalities and attitudes — she always transcended any drama that was going on around her.” \u003c/p>\n\u003cp>Recently, Amanda and Andy had separated, and Amanda had started dating \u003ca href=\"https://ww2.kqed.org/arts/2016/12/11/johnny-igaz-a-pillar-of-community-electronic-musician-and-inspiration/\" target=\"_blank\" rel=\"noopener\">Johnny Igaz\u003c/a>, who also died in the Oakland warehouse fire. The last photo she posted was of Igaz DJing that night. In a \u003ca href=\"https://medium.com/@hunterleight/johnny-johnny-i-love-you-8270dadc3353#.9er8a3ldq\" target=\"_blank\" rel=\"noopener\">touching remembrance\u003c/a> of her relationship with Igaz, Hunter Leight says that the night before the fire, Amanda told her some news: that she and Johnny “had been dating for a month or so, and it had been low key, but she wanted to tell me and get my blessing. I was happy and supportive, as she was a gem and Johnny had been crushing on her for a while.”\u003c/p>\n\u003cp>Adds Leight, “They were both lovely people.”\u003c/p>\n\u003cp>When asked a reporter’s boilerplate question — “What haven’t I asked that you’d like people to know about Amanda?” – Andy Kershaw is at a loss.\u003c/p>\n\u003cp>But later he texts: “Please include something about Amanda’s infectious smile and deep, loud, genuine laugh.” \u003c/p>\n\u003cp>Done. And it’s clearly a smile and laugh her friends miss.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"alignright size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>For more of Amanda’s photography, see her \u003ca href=\"http://www.pandasnaps.com/\" target=\"_blank\" rel=\"noopener\">Panda Snaps Smugmug page\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003cem>For more of our tributes to the victims of the Oakland warehouse fire, please visit our \u003ca href=\"https://ww2.kqed.org/arts/programs/oakland-warehouse-memorial/\" target=\"_blank\" rel=\"noopener\">remembrances page here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>For a printable poster of the illustration above, \u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/amandaallenedit.pdf\" target=\"_blank\" rel=\"noopener\">see here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "As an event photographer and promoter of Pulse Generator, Amanda Allen Kershaw loved to draw people together; everyone \"absolutely adored her.\"",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When Amanda Kershaw and her new husband Andy arrived in San Francisco from Boston in late 2008, she set out to explore her new city.\u003c/p>\n\u003cp>“One of the things she started to do was walk around with her point-and-shoot camera and just take photos,” Andy Kershaw says. “And I was noticing and our friends were noticing there was something to them — they had really good composition, and she just had that eye.”\u003c/p>\n\u003cp>Not too long after, Andy Kershaw got his wife what he calls “a so-called real camera,” a digital SLR, and she started what would become a serious pursuit as a photographer.\u003c/p>\n\u003cp>The portfolio Kershaw built over the last five years or so under the name \u003ca href=\"http://www.pandasnaps.com/\" target=\"_blank\" rel=\"noopener\">Panda Snaps\u003c/a> exhibits a warm connection to other people, a love affair with color and motion, and a tireless enthusiasm for the world of DJs and dance parties. \u003c/p>\n\u003cfigure id=\"attachment_12493637\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/amanda-allen-Amanda-Kershaw-Photogrpahy-800x451.jpg\" alt=\"Amanda Allen Kershaw.\" width=\"800\" height=\"451\" class=\"size-medium wp-image-12493637\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/amanda-allen-Amanda-Kershaw-Photogrpahy-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/amanda-allen-Amanda-Kershaw-Photogrpahy-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/amanda-allen-Amanda-Kershaw-Photogrpahy-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/amanda-allen-Amanda-Kershaw-Photogrpahy-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/amanda-allen-Amanda-Kershaw-Photogrpahy-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/amanda-allen-Amanda-Kershaw-Photogrpahy-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/amanda-allen-Amanda-Kershaw-Photogrpahy.jpg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Amanda Allen Kershaw.\u003c/figcaption>\u003c/figure>\n\u003cp>Kershaw, 34, grew up in Chelmsford, Massachusetts, a suburb of Boston, in a house full of brothers — Brandon, Christopher and her twin, Patrick. She graduated summa cum laude from Bridgewater State University and wrote her honors thesis on radical feminism. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Kershaw worked for several years as a staffer in the entomology department of the California Academy of Sciences. For the past five years, she’d been on the staff of the Oakland-based Trust for Conservation Innovation, where she served as human resources and operations manager. \u003c/p>\n\u003cp>Andy Kershaw met his future wife — then Amanda Allen — in 2005, when they both lived in Boston. They married two years later, and after saving up cash for their adventure west, hit the road for San Francisco on Dec. 2, 2008 — eight years to the day before the Ghost Ship fire. \u003c/p>\n\u003cp>Andy Kershaw says that his wife’s talents shone most spectacularly in the after-work worlds she embraced — electronica, dance and bringing people together. A DJ who does independent record production, Andy Kershaw says that his spouse was a force to be reckoned with when she started organizing her own gatherings under the name Pulse Generator. “We were sort of like a ‘power couple’ in this scene that could draw a lot of people together,” he says. “She became a better promoter than I was.”\u003c/p>\n\u003cfigure id=\"attachment_12493638\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/AmandaKershaw1.jpg\" alt=\"Amanda Allen Kershaw.\" width=\"640\" height=\"640\" class=\"size-full wp-image-12493638\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/AmandaKershaw1.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/AmandaKershaw1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/AmandaKershaw1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/AmandaKershaw1-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/AmandaKershaw1-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/AmandaKershaw1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/AmandaKershaw1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/AmandaKershaw1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/AmandaKershaw1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/AmandaKershaw1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/AmandaKershaw1-150x150.jpg 150w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Amanda Allen Kershaw.\u003c/figcaption>\u003c/figure>\n\u003cp>Andy Kershaw says his wife had a magnetic personality. “Everybody she encountered absolutely adored her. She had one of the best personalities and attitudes — she always transcended any drama that was going on around her.” \u003c/p>\n\u003cp>Recently, Amanda and Andy had separated, and Amanda had started dating \u003ca href=\"https://ww2.kqed.org/arts/2016/12/11/johnny-igaz-a-pillar-of-community-electronic-musician-and-inspiration/\" target=\"_blank\" rel=\"noopener\">Johnny Igaz\u003c/a>, who also died in the Oakland warehouse fire. The last photo she posted was of Igaz DJing that night. In a \u003ca href=\"https://medium.com/@hunterleight/johnny-johnny-i-love-you-8270dadc3353#.9er8a3ldq\" target=\"_blank\" rel=\"noopener\">touching remembrance\u003c/a> of her relationship with Igaz, Hunter Leight says that the night before the fire, Amanda told her some news: that she and Johnny “had been dating for a month or so, and it had been low key, but she wanted to tell me and get my blessing. I was happy and supportive, as she was a gem and Johnny had been crushing on her for a while.”\u003c/p>\n\u003cp>Adds Leight, “They were both lovely people.”\u003c/p>\n\u003cp>When asked a reporter’s boilerplate question — “What haven’t I asked that you’d like people to know about Amanda?” – Andy Kershaw is at a loss.\u003c/p>\n\u003cp>But later he texts: “Please include something about Amanda’s infectious smile and deep, loud, genuine laugh.” \u003c/p>\n\u003cp>Done. And it’s clearly a smile and laugh her friends miss.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"alignright size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>For more of Amanda’s photography, see her \u003ca href=\"http://www.pandasnaps.com/\" target=\"_blank\" rel=\"noopener\">Panda Snaps Smugmug page\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003cem>For more of our tributes to the victims of the Oakland warehouse fire, please visit our \u003ca href=\"https://ww2.kqed.org/arts/programs/oakland-warehouse-memorial/\" target=\"_blank\" rel=\"noopener\">remembrances page here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>For a printable poster of the illustration above, \u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/amandaallenedit.pdf\" target=\"_blank\" rel=\"noopener\">see here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Feral Pines, Artist and Electronic Musician 'So Full of Life and Love'",
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"content": "\u003cp>Feral Pines, 29, moved to Oakland in Sept. 2016 to join the Bay Area’s welcoming artistic and transgender communities. “I had never seen her so happy, so full of life and love,” says friend Scout Wolfcave of Pines after the move. “She was so ready to take people in, and to give parts of herself out.”\u003c/p>\n\u003cp>Wolfcave met Pines and her then-partner Eliza (Winter) Wicks-Frank in Bloomington, Indiana. The three lived together for about a year and a half. “She was multi-disciplinary,” Wolfcave says, listing off Pines’ talents: collecting and playing synths, drawing, playing bass in a hardcore band, and writing lists that read like poetry.\u003c/p>\n\u003cp>Pines made lists of bands she liked in a wide variety of genres, as well as “lists of colors to wear for certain occasions, lists of things she liked on certain days,” Wolfcave says. “She would sometimes leave me joke shopping lists that were completely absurd.”\u003c/p>\n\u003cfigure id=\"attachment_12483972\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/FeralPines-800x597.jpg\" alt=\"Feral Pines\" width=\"800\" height=\"597\" class=\"size-medium wp-image-12483972\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/FeralPines-800x597.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/FeralPines-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/FeralPines-768x573.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/FeralPines-240x179.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/FeralPines-375x280.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/FeralPines-520x388.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/FeralPines.jpg 920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Feral Pines.\u003c/figcaption>\u003c/figure>\n\u003cp>Pines grew up in Westport, Conn. and moved to New York City to study printmaking at the School of Visual Arts. She lived in Ohio, North Carolina and Indiana before moving to Oakland. “Life was getting rough for her in Indiana and I kept telling her to move to the West Coast,” says Wolfcave, who is the executive director of the \u003ca href=\"https://www.transassistance.org/\" target=\"_blank\" rel=\"noopener\">Trans Assistance Project\u003c/a> (TAP), a nonprofit she recently established in Portland to provide nationwide financial assistance and resources for transgender people for anything from gender confirmation surgery to legal name changes.\u003c/p>\n\u003cp>In addition to its ongoing fundraising, TAP has created a separate fund for the trans women who were victims of the Ghost Ship warehouse fire: \u003ca href=\"https://ww2.kqed.org/arts/2016/12/12/cash-askew/\" target=\"_blank\" rel=\"noopener\">Cash Askew\u003c/a>, \u003ca href=\"https://ww2.kqed.org/arts/2016/12/08/em-bohlka/\" target=\"_blank\" rel=\"noopener\">Em Bohlka\u003c/a> and Feral Pines. Money raised will go towards funeral services and end-of-life costs for Askew, Bohlka and Pines, along with medical care for another trans woman who sustained injuries in the fire. According to the project’s website, Pines had applied for TAP’s services before her death.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“As is true of all trans people, life was hard for her,” Ben Fritz, Pines’ stepbrother, told the \u003ci>San Francisco Chronicle\u003c/i>. “But she was very brave in following a path that is true to herself.”\u003c/p>\n\u003cfigure id=\"attachment_12483974\" class=\"wp-caption alignright\" style=\"max-width: 717px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/FeralPines3.jpg\" alt=\"Feral Pines\" width=\"717\" height=\"960\" class=\"size-full wp-image-12483974\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/FeralPines3.jpg 717w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/FeralPines3-160x214.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/FeralPines3-240x321.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/FeralPines3-375x502.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/FeralPines3-520x696.jpg 520w\" sizes=\"(max-width: 717px) 100vw, 717px\">\u003cfigcaption class=\"wp-caption-text\">Feral Pines.\u003c/figcaption>\u003c/figure>\n\u003cp>“She had an impeccable sense of style,” Wolfcave says. “Her primary outfit was usually black leather short shorts and a tank top, a Mercedez-Benz hood ornament necklace, sometimes a bullet belt and almost always boots.”\u003c/p>\n\u003cp>Pines’ tough styling belied nerdier interests. “She really loved D&D,” Wolfcave says, referring to the fantasy tabletop role-playing game \u003ci>Dungeons & Dragons\u003c/i>. “She was probably one of the better dungeonmasters I’ve ever played with.”\u003c/p>\n\u003cp>In Oakland, Pines was just beginning to connect with the Bay Area’s supportive transgender community and the electronic music scene. After encouraging her friend to move to a state where she would find trans-inclusive healthcare and anti-discrimination laws, Wolfcave says Pines blossomed. “It was beautiful, she was beautiful,” Wolfcave says. “It was so good to see her in that emotional state.”\u003c/p>\n\u003cp>When musician Aja Archuleta appeared on \u003ca href=\"https://ww2.kqed.org/forum/2016/12/05/remembering-the-victims-of-the-oakland-warehouse-fire/\" target=\"_blank\" rel=\"noopener\">KQED’s Forum\u003c/a> shortly after the fire, she relayed a story about Pines’ burgeoning network. “I heard that Feral had just been spending time in Oakland and had this vision of starting an all trans woman kind of techno electronic music crew, bringing together myself and someone like Cash and a crew of people to create a family that doesn’t exist here,” Archuleta said on the program. “And I think that speaks to the dreams that were also lost that night.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"alignright size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>For the Trans Assistance Project’s Oakland fund, see \u003ca href=\"https://www.transassistance.org/oakland-donations\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003cem>For more of our tributes to the victims of the Oakland warehouse fire, please visit our \u003ca href=\"https://ww2.kqed.org/arts/programs/oakland-warehouse-memorial/\" target=\"_blank\" rel=\"noopener\">remembrances page here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>For a printable poster of the illustration above, \u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/feralpinesedit.pdf\" target=\"_blank\" rel=\"noopener\">see here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Feral Pines, 29, moved to Oakland in Sept. 2016 to join the Bay Area’s welcoming artistic and transgender communities. “I had never seen her so happy, so full of life and love,” says friend Scout Wolfcave of Pines after the move. “She was so ready to take people in, and to give parts of herself out.”\u003c/p>\n\u003cp>Wolfcave met Pines and her then-partner Eliza (Winter) Wicks-Frank in Bloomington, Indiana. The three lived together for about a year and a half. “She was multi-disciplinary,” Wolfcave says, listing off Pines’ talents: collecting and playing synths, drawing, playing bass in a hardcore band, and writing lists that read like poetry.\u003c/p>\n\u003cp>Pines made lists of bands she liked in a wide variety of genres, as well as “lists of colors to wear for certain occasions, lists of things she liked on certain days,” Wolfcave says. “She would sometimes leave me joke shopping lists that were completely absurd.”\u003c/p>\n\u003cfigure id=\"attachment_12483972\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/FeralPines-800x597.jpg\" alt=\"Feral Pines\" width=\"800\" height=\"597\" class=\"size-medium wp-image-12483972\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/FeralPines-800x597.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/FeralPines-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/FeralPines-768x573.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/FeralPines-240x179.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/FeralPines-375x280.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/FeralPines-520x388.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/FeralPines.jpg 920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Feral Pines.\u003c/figcaption>\u003c/figure>\n\u003cp>Pines grew up in Westport, Conn. and moved to New York City to study printmaking at the School of Visual Arts. She lived in Ohio, North Carolina and Indiana before moving to Oakland. “Life was getting rough for her in Indiana and I kept telling her to move to the West Coast,” says Wolfcave, who is the executive director of the \u003ca href=\"https://www.transassistance.org/\" target=\"_blank\" rel=\"noopener\">Trans Assistance Project\u003c/a> (TAP), a nonprofit she recently established in Portland to provide nationwide financial assistance and resources for transgender people for anything from gender confirmation surgery to legal name changes.\u003c/p>\n\u003cp>In addition to its ongoing fundraising, TAP has created a separate fund for the trans women who were victims of the Ghost Ship warehouse fire: \u003ca href=\"https://ww2.kqed.org/arts/2016/12/12/cash-askew/\" target=\"_blank\" rel=\"noopener\">Cash Askew\u003c/a>, \u003ca href=\"https://ww2.kqed.org/arts/2016/12/08/em-bohlka/\" target=\"_blank\" rel=\"noopener\">Em Bohlka\u003c/a> and Feral Pines. Money raised will go towards funeral services and end-of-life costs for Askew, Bohlka and Pines, along with medical care for another trans woman who sustained injuries in the fire. According to the project’s website, Pines had applied for TAP’s services before her death.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“As is true of all trans people, life was hard for her,” Ben Fritz, Pines’ stepbrother, told the \u003ci>San Francisco Chronicle\u003c/i>. “But she was very brave in following a path that is true to herself.”\u003c/p>\n\u003cfigure id=\"attachment_12483974\" class=\"wp-caption alignright\" style=\"max-width: 717px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/FeralPines3.jpg\" alt=\"Feral Pines\" width=\"717\" height=\"960\" class=\"size-full wp-image-12483974\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/FeralPines3.jpg 717w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/FeralPines3-160x214.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/FeralPines3-240x321.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/FeralPines3-375x502.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/FeralPines3-520x696.jpg 520w\" sizes=\"(max-width: 717px) 100vw, 717px\">\u003cfigcaption class=\"wp-caption-text\">Feral Pines.\u003c/figcaption>\u003c/figure>\n\u003cp>“She had an impeccable sense of style,” Wolfcave says. “Her primary outfit was usually black leather short shorts and a tank top, a Mercedez-Benz hood ornament necklace, sometimes a bullet belt and almost always boots.”\u003c/p>\n\u003cp>Pines’ tough styling belied nerdier interests. “She really loved D&D,” Wolfcave says, referring to the fantasy tabletop role-playing game \u003ci>Dungeons & Dragons\u003c/i>. “She was probably one of the better dungeonmasters I’ve ever played with.”\u003c/p>\n\u003cp>In Oakland, Pines was just beginning to connect with the Bay Area’s supportive transgender community and the electronic music scene. After encouraging her friend to move to a state where she would find trans-inclusive healthcare and anti-discrimination laws, Wolfcave says Pines blossomed. “It was beautiful, she was beautiful,” Wolfcave says. “It was so good to see her in that emotional state.”\u003c/p>\n\u003cp>When musician Aja Archuleta appeared on \u003ca href=\"https://ww2.kqed.org/forum/2016/12/05/remembering-the-victims-of-the-oakland-warehouse-fire/\" target=\"_blank\" rel=\"noopener\">KQED’s Forum\u003c/a> shortly after the fire, she relayed a story about Pines’ burgeoning network. “I heard that Feral had just been spending time in Oakland and had this vision of starting an all trans woman kind of techno electronic music crew, bringing together myself and someone like Cash and a crew of people to create a family that doesn’t exist here,” Archuleta said on the program. “And I think that speaks to the dreams that were also lost that night.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"alignright size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>For the Trans Assistance Project’s Oakland fund, see \u003ca href=\"https://www.transassistance.org/oakland-donations\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003cem>For more of our tributes to the victims of the Oakland warehouse fire, please visit our \u003ca href=\"https://ww2.kqed.org/arts/programs/oakland-warehouse-memorial/\" target=\"_blank\" rel=\"noopener\">remembrances page here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>For a printable poster of the illustration above, \u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/feralpinesedit.pdf\" target=\"_blank\" rel=\"noopener\">see here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>I considered Micah Danemayer a friend, even though relative to others, I didn’t know him well. I’d see him out and about, mostly in Oakland, showing up to support his friends when they were performing. In particular, I loved his social media presence, where he was unabashedly unguarded. While many carefully curate their lives online, building an idealized version of themselves — a “personal brand” — Micah took the opposite tack, sharing his innermost thoughts and feelings without hesitation. \u003c/p>\n\u003cp>Years ago, when I first met him, Micah’s online musings were uncertain, tentative; he neither knew where he fit in nor what to do about it. But over time, I noticed a distinct shift in the tenor of what Micah shared online. This past year, he had found his place with his friends and peers — his “mutant family,” he called them, with adoration and love. \u003c/p>\n\u003cfigure id=\"attachment_12490439\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/MicahDanemayer3.jpg\" alt=\"Micah Danemayer\" width=\"640\" height=\"640\" class=\"size-full wp-image-12490439\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/MicahDanemayer3.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/MicahDanemayer3-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/MicahDanemayer3-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/MicahDanemayer3-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/MicahDanemayer3-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/MicahDanemayer3-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/MicahDanemayer3-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/MicahDanemayer3-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/MicahDanemayer3-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/MicahDanemayer3-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/MicahDanemayer3-150x150.jpg 150w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Micah Danemayer.\u003c/figcaption>\u003c/figure>\n\u003cp>For more than a year before the fire, Micah had devoted himself to tirelessly building community: hosting an event series called \u003ca href=\"https://www.facebook.com/Obscura-Machina-1489065444754509/\" target=\"_blank\" rel=\"noopener\">Obscura Machina\u003c/a>, showcasing rising experimental musicians, and launching his own cassette-tape label, \u003ca href=\"https://discardedrecords.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Discarded Records\u003c/a>. The label provided a platform for many of the artists he championed at his events. And he had found a loving partner — \u003ca href=\"https://ww2.kqed.org/arts/2016/12/15/jennifer-mendiola/\" target=\"_blank\" rel=\"noopener\">Jennifer Mendiola\u003c/a>, a fellow lover of left-field music and a psychology Ph.D candidate at the University of California Merced. She, like Micah, was lost in the fire; the two of them had moved into an apartment together not long before.\u003c/p>\n\u003cp>But while Micah was here, the force of his dedication to his fellow artists, musicians, and creators made an outsize impact on numerous lives. “Micah’s tireless approach to highlighting under-represented underground musicians was unique,” says Fanciulla Gentile, a San Francisco artist who performs as The Creatrix and as part of the electronic duo Felidae. “He wasn’t shy or intimidated by the diversity of local performers. He’d ask anyone to be part of his shows — people of color, queers, trans people, non-binary performers, lovers of noise and industrial sounds,” she says. Gentile says the billed names on Micah’s lineups were rarely recognizable, because he “was always working hard to encourage someone to play their first set, to keep performing. He would bring artists from different circles together and do away with arbitrary lines dividing music scenes and genres.”\u003c/p>\n\u003cfigure id=\"attachment_12490438\" class=\"wp-caption aligncenter\" style=\"max-width: 540px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/MicahDanemayer.jpg\" alt=\"Micah Danemayer\" width=\"540\" height=\"540\" class=\"size-full wp-image-12490438\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/MicahDanemayer.jpg 540w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/MicahDanemayer-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/MicahDanemayer-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/MicahDanemayer-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/MicahDanemayer-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/MicahDanemayer-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/MicahDanemayer-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/MicahDanemayer-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/MicahDanemayer-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/MicahDanemayer-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/MicahDanemayer-150x150.jpg 150w\" sizes=\"(max-width: 540px) 100vw, 540px\">\u003cfigcaption class=\"wp-caption-text\">Micah Danemayer.\u003c/figcaption>\u003c/figure>\n\u003cp>Friend and fellow Oakland DJ Jason Polastri remembers Micah as someone who “didn’t seem scare-able by the things that often make people insecure about sharing their art.” More than that, he used his limitless energy not just to embolden others to act creatively, but also, Polastri says, “to actively make and build space for creative expression to take root and grow. He cared, even if others didn’t, and was never shy about letting on that he did. So many folks took that next step thanks to a push from Micah.” \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Close friend and fellow electronic musician Matthew Kissel says Micah was hugely impactful on his life. Kissel remembers Micah as part of the “relatively small collection of people that I’m truly comfortable with, and owe much of my comfort to.”\u003c/p>\n\u003cp>Micah was truly empathetic. “He’d find the time almost every week to come visit me, and when he walked in the door, he could tell what sort of emotional state I was in,” Kissel says. “And if I needed support, he knew exactly what form it ought to be in.” \u003c/p>\n\u003cfigure id=\"attachment_12490437\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/JenniferMendiola_MicahDanemayer_MicahIG-800x800.jpg\" alt=\"Micah Danemayer and Jennifer Mendiola\" width=\"800\" height=\"800\" class=\"size-medium wp-image-12490437\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JenniferMendiola_MicahDanemayer_MicahIG-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JenniferMendiola_MicahDanemayer_MicahIG-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JenniferMendiola_MicahDanemayer_MicahIG-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JenniferMendiola_MicahDanemayer_MicahIG-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JenniferMendiola_MicahDanemayer_MicahIG-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JenniferMendiola_MicahDanemayer_MicahIG-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JenniferMendiola_MicahDanemayer_MicahIG-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JenniferMendiola_MicahDanemayer_MicahIG-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JenniferMendiola_MicahDanemayer_MicahIG-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JenniferMendiola_MicahDanemayer_MicahIG-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JenniferMendiola_MicahDanemayer_MicahIG-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JenniferMendiola_MicahDanemayer_MicahIG-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JenniferMendiola_MicahDanemayer_MicahIG-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JenniferMendiola_MicahDanemayer_MicahIG-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JenniferMendiola_MicahDanemayer_MicahIG.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Micah Danemayer and Jennifer Mendiola.\u003c/figcaption>\u003c/figure>\n\u003cp>Micah’s loss has affected Kissel enormously. But one thing he finds solace in, he says, “is knowing how happy Micah was these final weeks of his life.” Meeting Jennifer, his partner, made an enormous impact on Micah, and Kissel believes that she played a role in his life he desperately needed, “providing the most positive outlet for all the love he had to give.” \u003c/p>\n\u003cp>Micah and Jennifer’s loss is tragic, Kissel says, “but his couple months with Jen were one of the most important things he could experience before leaving this planet. They left together.” \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"alignright size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>To hear music released by Danemayer on Discarded Records, see \u003ca href=\"https://discardedrecords.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">the label’s Bandcamp page\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cem>For more of our tributes to the victims of the Oakland warehouse fire, please visit our \u003ca href=\"https://ww2.kqed.org/arts/programs/oakland-warehouse-memorial/\" target=\"_blank\" rel=\"noopener\">remembrances page here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>For a printable poster of the illustration above, \u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/micahdanemayeredit.pdf\" target=\"_blank\" rel=\"noopener\">see here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Whether in his event series Obscura Machina or his cassette label Discarded Records, Danemayer inspired new faces on the scene to blossom.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I considered Micah Danemayer a friend, even though relative to others, I didn’t know him well. I’d see him out and about, mostly in Oakland, showing up to support his friends when they were performing. In particular, I loved his social media presence, where he was unabashedly unguarded. While many carefully curate their lives online, building an idealized version of themselves — a “personal brand” — Micah took the opposite tack, sharing his innermost thoughts and feelings without hesitation. \u003c/p>\n\u003cp>Years ago, when I first met him, Micah’s online musings were uncertain, tentative; he neither knew where he fit in nor what to do about it. But over time, I noticed a distinct shift in the tenor of what Micah shared online. This past year, he had found his place with his friends and peers — his “mutant family,” he called them, with adoration and love. \u003c/p>\n\u003cfigure id=\"attachment_12490439\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/MicahDanemayer3.jpg\" alt=\"Micah Danemayer\" width=\"640\" height=\"640\" class=\"size-full wp-image-12490439\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/MicahDanemayer3.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/MicahDanemayer3-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/MicahDanemayer3-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/MicahDanemayer3-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/MicahDanemayer3-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/MicahDanemayer3-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/MicahDanemayer3-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/MicahDanemayer3-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/MicahDanemayer3-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/MicahDanemayer3-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/MicahDanemayer3-150x150.jpg 150w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Micah Danemayer.\u003c/figcaption>\u003c/figure>\n\u003cp>For more than a year before the fire, Micah had devoted himself to tirelessly building community: hosting an event series called \u003ca href=\"https://www.facebook.com/Obscura-Machina-1489065444754509/\" target=\"_blank\" rel=\"noopener\">Obscura Machina\u003c/a>, showcasing rising experimental musicians, and launching his own cassette-tape label, \u003ca href=\"https://discardedrecords.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Discarded Records\u003c/a>. The label provided a platform for many of the artists he championed at his events. And he had found a loving partner — \u003ca href=\"https://ww2.kqed.org/arts/2016/12/15/jennifer-mendiola/\" target=\"_blank\" rel=\"noopener\">Jennifer Mendiola\u003c/a>, a fellow lover of left-field music and a psychology Ph.D candidate at the University of California Merced. She, like Micah, was lost in the fire; the two of them had moved into an apartment together not long before.\u003c/p>\n\u003cp>But while Micah was here, the force of his dedication to his fellow artists, musicians, and creators made an outsize impact on numerous lives. “Micah’s tireless approach to highlighting under-represented underground musicians was unique,” says Fanciulla Gentile, a San Francisco artist who performs as The Creatrix and as part of the electronic duo Felidae. “He wasn’t shy or intimidated by the diversity of local performers. He’d ask anyone to be part of his shows — people of color, queers, trans people, non-binary performers, lovers of noise and industrial sounds,” she says. Gentile says the billed names on Micah’s lineups were rarely recognizable, because he “was always working hard to encourage someone to play their first set, to keep performing. He would bring artists from different circles together and do away with arbitrary lines dividing music scenes and genres.”\u003c/p>\n\u003cfigure id=\"attachment_12490438\" class=\"wp-caption aligncenter\" style=\"max-width: 540px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/MicahDanemayer.jpg\" alt=\"Micah Danemayer\" width=\"540\" height=\"540\" class=\"size-full wp-image-12490438\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/MicahDanemayer.jpg 540w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/MicahDanemayer-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/MicahDanemayer-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/MicahDanemayer-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/MicahDanemayer-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/MicahDanemayer-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/MicahDanemayer-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/MicahDanemayer-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/MicahDanemayer-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/MicahDanemayer-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/MicahDanemayer-150x150.jpg 150w\" sizes=\"(max-width: 540px) 100vw, 540px\">\u003cfigcaption class=\"wp-caption-text\">Micah Danemayer.\u003c/figcaption>\u003c/figure>\n\u003cp>Friend and fellow Oakland DJ Jason Polastri remembers Micah as someone who “didn’t seem scare-able by the things that often make people insecure about sharing their art.” More than that, he used his limitless energy not just to embolden others to act creatively, but also, Polastri says, “to actively make and build space for creative expression to take root and grow. He cared, even if others didn’t, and was never shy about letting on that he did. So many folks took that next step thanks to a push from Micah.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Close friend and fellow electronic musician Matthew Kissel says Micah was hugely impactful on his life. Kissel remembers Micah as part of the “relatively small collection of people that I’m truly comfortable with, and owe much of my comfort to.”\u003c/p>\n\u003cp>Micah was truly empathetic. “He’d find the time almost every week to come visit me, and when he walked in the door, he could tell what sort of emotional state I was in,” Kissel says. “And if I needed support, he knew exactly what form it ought to be in.” \u003c/p>\n\u003cfigure id=\"attachment_12490437\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/JenniferMendiola_MicahDanemayer_MicahIG-800x800.jpg\" alt=\"Micah Danemayer and Jennifer Mendiola\" width=\"800\" height=\"800\" class=\"size-medium wp-image-12490437\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JenniferMendiola_MicahDanemayer_MicahIG-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JenniferMendiola_MicahDanemayer_MicahIG-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JenniferMendiola_MicahDanemayer_MicahIG-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JenniferMendiola_MicahDanemayer_MicahIG-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JenniferMendiola_MicahDanemayer_MicahIG-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JenniferMendiola_MicahDanemayer_MicahIG-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JenniferMendiola_MicahDanemayer_MicahIG-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JenniferMendiola_MicahDanemayer_MicahIG-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JenniferMendiola_MicahDanemayer_MicahIG-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JenniferMendiola_MicahDanemayer_MicahIG-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JenniferMendiola_MicahDanemayer_MicahIG-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JenniferMendiola_MicahDanemayer_MicahIG-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JenniferMendiola_MicahDanemayer_MicahIG-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JenniferMendiola_MicahDanemayer_MicahIG-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JenniferMendiola_MicahDanemayer_MicahIG.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Micah Danemayer and Jennifer Mendiola.\u003c/figcaption>\u003c/figure>\n\u003cp>Micah’s loss has affected Kissel enormously. But one thing he finds solace in, he says, “is knowing how happy Micah was these final weeks of his life.” Meeting Jennifer, his partner, made an enormous impact on Micah, and Kissel believes that she played a role in his life he desperately needed, “providing the most positive outlet for all the love he had to give.” \u003c/p>\n\u003cp>Micah and Jennifer’s loss is tragic, Kissel says, “but his couple months with Jen were one of the most important things he could experience before leaving this planet. They left together.” \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"alignright size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>To hear music released by Danemayer on Discarded Records, see \u003ca href=\"https://discardedrecords.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">the label’s Bandcamp page\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cem>For more of our tributes to the victims of the Oakland warehouse fire, please visit our \u003ca href=\"https://ww2.kqed.org/arts/programs/oakland-warehouse-memorial/\" target=\"_blank\" rel=\"noopener\">remembrances page here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>For a printable poster of the illustration above, \u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/micahdanemayeredit.pdf\" target=\"_blank\" rel=\"noopener\">see here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Jonathan Bernbaum was a visual wizard who wanted to blow minds. Creating complex video projections with remarkable technical prowess, he pulled from a vast library of materials he obsessively sourced and created over the years.\u003c/p>\n\u003cp>“I would give him a line out and he would build these complex ecosystems of light, animation, and image, and all in real time,” says Jay Fields, member of Katabatik, one of several local experimental music and sound collectives Bernbaum collaborated with. “No one will ever be able to fill his shoes.”\u003c/p>\n\u003cfigure id=\"attachment_12485543\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12485543\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/JonathanBernbaum2013_photocreditBeauMcGavin-800x536.jpg\" alt=\"Jonathan Bernbaum in 2013\" width=\"800\" height=\"536\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JonathanBernbaum2013_photocreditBeauMcGavin-800x536.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JonathanBernbaum2013_photocreditBeauMcGavin-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JonathanBernbaum2013_photocreditBeauMcGavin-768x515.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JonathanBernbaum2013_photocreditBeauMcGavin-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JonathanBernbaum2013_photocreditBeauMcGavin-960x643.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JonathanBernbaum2013_photocreditBeauMcGavin-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JonathanBernbaum2013_photocreditBeauMcGavin-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JonathanBernbaum2013_photocreditBeauMcGavin-520x348.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JonathanBernbaum2013_photocreditBeauMcGavin.jpg 1021w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jonathan Bernbaum in 2013. (Photo: Beau McGavin Photography/V Squared Labs) \u003ccite>(Photo: Beau McGavin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>An internationally-recognized VJ, Bernbaum, 34, toured the globe with big-name electronic music acts such as Australian duo Knife Party and German-American DJ Markus Schulz, sometimes designing and running video projections at mega-festivals with hundreds of thousands of attendees and millions around the world watching via live stream.\u003c/p>\n\u003cp>But Bernbaum, who grew up in Berkeley, felt most at home in the tight-knit Bay Area underground electronic music scene. “We are a family,” says friend, DJ and sound artist Remy Beatty, of the S.P.A.Z. collective. “It was the community first, the acceptance there, and then the music that drew Jonathan in.”\u003c/p>\n\u003cp>https://vimeo.com/57787243\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It wasn’t uncommon for Bernbaum — who was possessed of a “freakishly sharp brain,” according to family and friends — to lure those close to him into long, in-depth conversations. “Like, four-hour debates on the nature of God,” says friend Tony Lund, who was a classmate of Bernbaum’s at the University of Southern California’s (USC) prestigious School of Cinema Arts. “He loved to wrestle with big ideas, and he wanted us to join in that great wrestling.”\u003c/p>\n\u003cp>After receiving his MFA, Bernbaum stayed in Los Angeles, picking up editing jobs on indie films, music videos, and commercials. When he wasn’t navigating his way through the film industry, he began to experiment with video-projected art, sometimes using a wall behind his Silverlake home or a bed sheet he’d hang at friends’ parties to project new ideas. Bernbaum used the stage name \u003ca href=\"https://circuit5tv.wordpress.com/about/\" target=\"_blank\" rel=\"noopener\">Circuit 5\u003c/a>.\u003c/p>\n\u003cp>“He was a passionate person, always committed to learning new things, to self-expression, freedom of thought and personal growth,” says best friend Nabila Lester, who attended both Berkeley High School and USC with Bernbaum.\u003c/p>\n\u003cp>https://vimeo.com/134010713\u003c/p>\n\u003cp>Bernbaum gradually became disillusioned with Hollywood, deciding in 2012 to return to the Bay Area, where he struggled with what to do next. Eventually he poured all of his creative passions into VJ-ing. “He would sometimes cocoon himself for days, sourcing new materials, creating sequences and combinations of clips that had thematic cohesion and a unique cinematic quality,” says older brother David Bernbaum, who shared many common friends in the underground scene.\u003c/p>\n\u003cp>In recent years, friends and family recognized how Bernbaum had undergone a profound transformation. “I saw him change from a man on a serious journey to figure out who he was, to a man who \u003cem>knew\u003c/em> who he was,” Lester says.\u003c/p>\n\u003cp>Bernbaum’s newfound clarity was a source of inspiration to friends in his life, which continues in his death. “I literally can hear him saying to me, ‘I appreciate the tears, but stop crying. You got shit to do,’” Lester says. “‘And do it a hundred times more than you have been doing it. Do it for me.’”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>For more of Bernbaum’s visuals, see his \u003ca href=\"https://vimeo.com/circuit5\" target=\"_blank\" rel=\"noopener\">Circuit 5 Vimeo page\u003c/a>.\u003cbr>\n\u003c/em>\u003cbr>\n\u003cem>Watch Bernbaum’s visuals accompanying RMS — a.k.a. Barrett Clark, who also died in the fire — \u003ca href=\"https://vimeo.com/61052002\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Friends have created a Jonathan Bernbaum Memorial Scholarship Fund at the School of Cinematic Arts. To contribute, see \u003ca href=\"https://cinema.usc.edu/onlinegiving/index.cfm\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cem>For more of our tributes to the victims of the Oakland warehouse fire, please visit our \u003ca href=\"https://ww2.kqed.org/arts/programs/oakland-warehouse-memorial/\" target=\"_blank\" rel=\"noopener\">remembrances page here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>For a printable poster of the illustration above, \u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/jonathanbernbaumedit.pdf\" target=\"_blank\" rel=\"noopener\">see here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Jonathan Bernbaum was a visual wizard who wanted to blow minds. Creating complex video projections with remarkable technical prowess, he pulled from a vast library of materials he obsessively sourced and created over the years.\u003c/p>\n\u003cp>“I would give him a line out and he would build these complex ecosystems of light, animation, and image, and all in real time,” says Jay Fields, member of Katabatik, one of several local experimental music and sound collectives Bernbaum collaborated with. “No one will ever be able to fill his shoes.”\u003c/p>\n\u003cfigure id=\"attachment_12485543\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12485543\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/JonathanBernbaum2013_photocreditBeauMcGavin-800x536.jpg\" alt=\"Jonathan Bernbaum in 2013\" width=\"800\" height=\"536\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JonathanBernbaum2013_photocreditBeauMcGavin-800x536.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JonathanBernbaum2013_photocreditBeauMcGavin-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JonathanBernbaum2013_photocreditBeauMcGavin-768x515.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JonathanBernbaum2013_photocreditBeauMcGavin-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JonathanBernbaum2013_photocreditBeauMcGavin-960x643.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JonathanBernbaum2013_photocreditBeauMcGavin-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JonathanBernbaum2013_photocreditBeauMcGavin-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JonathanBernbaum2013_photocreditBeauMcGavin-520x348.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JonathanBernbaum2013_photocreditBeauMcGavin.jpg 1021w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jonathan Bernbaum in 2013. (Photo: Beau McGavin Photography/V Squared Labs) \u003ccite>(Photo: Beau McGavin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>An internationally-recognized VJ, Bernbaum, 34, toured the globe with big-name electronic music acts such as Australian duo Knife Party and German-American DJ Markus Schulz, sometimes designing and running video projections at mega-festivals with hundreds of thousands of attendees and millions around the world watching via live stream.\u003c/p>\n\u003cp>But Bernbaum, who grew up in Berkeley, felt most at home in the tight-knit Bay Area underground electronic music scene. “We are a family,” says friend, DJ and sound artist Remy Beatty, of the S.P.A.Z. collective. “It was the community first, the acceptance there, and then the music that drew Jonathan in.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It wasn’t uncommon for Bernbaum — who was possessed of a “freakishly sharp brain,” according to family and friends — to lure those close to him into long, in-depth conversations. “Like, four-hour debates on the nature of God,” says friend Tony Lund, who was a classmate of Bernbaum’s at the University of Southern California’s (USC) prestigious School of Cinema Arts. “He loved to wrestle with big ideas, and he wanted us to join in that great wrestling.”\u003c/p>\n\u003cp>After receiving his MFA, Bernbaum stayed in Los Angeles, picking up editing jobs on indie films, music videos, and commercials. When he wasn’t navigating his way through the film industry, he began to experiment with video-projected art, sometimes using a wall behind his Silverlake home or a bed sheet he’d hang at friends’ parties to project new ideas. Bernbaum used the stage name \u003ca href=\"https://circuit5tv.wordpress.com/about/\" target=\"_blank\" rel=\"noopener\">Circuit 5\u003c/a>.\u003c/p>\n\u003cp>“He was a passionate person, always committed to learning new things, to self-expression, freedom of thought and personal growth,” says best friend Nabila Lester, who attended both Berkeley High School and USC with Bernbaum.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Bernbaum gradually became disillusioned with Hollywood, deciding in 2012 to return to the Bay Area, where he struggled with what to do next. Eventually he poured all of his creative passions into VJ-ing. “He would sometimes cocoon himself for days, sourcing new materials, creating sequences and combinations of clips that had thematic cohesion and a unique cinematic quality,” says older brother David Bernbaum, who shared many common friends in the underground scene.\u003c/p>\n\u003cp>In recent years, friends and family recognized how Bernbaum had undergone a profound transformation. “I saw him change from a man on a serious journey to figure out who he was, to a man who \u003cem>knew\u003c/em> who he was,” Lester says.\u003c/p>\n\u003cp>Bernbaum’s newfound clarity was a source of inspiration to friends in his life, which continues in his death. “I literally can hear him saying to me, ‘I appreciate the tears, but stop crying. You got shit to do,’” Lester says. “‘And do it a hundred times more than you have been doing it. Do it for me.’”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>For more of Bernbaum’s visuals, see his \u003ca href=\"https://vimeo.com/circuit5\" target=\"_blank\" rel=\"noopener\">Circuit 5 Vimeo page\u003c/a>.\u003cbr>\n\u003c/em>\u003cbr>\n\u003cem>Watch Bernbaum’s visuals accompanying RMS — a.k.a. Barrett Clark, who also died in the fire — \u003ca href=\"https://vimeo.com/61052002\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Friends have created a Jonathan Bernbaum Memorial Scholarship Fund at the School of Cinematic Arts. To contribute, see \u003ca href=\"https://cinema.usc.edu/onlinegiving/index.cfm\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cem>For more of our tributes to the victims of the Oakland warehouse fire, please visit our \u003ca href=\"https://ww2.kqed.org/arts/programs/oakland-warehouse-memorial/\" target=\"_blank\" rel=\"noopener\">remembrances page here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>For a printable poster of the illustration above, \u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/jonathanbernbaumedit.pdf\" target=\"_blank\" rel=\"noopener\">see here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"id": "american-suburb-podcast",
"title": "American Suburb: The Podcast",
"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
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"order": 19
},
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}
},
"baycurious": {
"id": "baycurious",
"title": "Bay Curious",
"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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},
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},
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"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
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},
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},
"californiareport": {
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"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"officialWebsiteLink": "/californiareport",
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"order": 8
},
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},
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"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"order": 10
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"order": 1
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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}
},
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"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"id": "fresh-air",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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"source": "npr"
},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
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