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"content": "\u003cp>\u003cem>This week, KQED is proud to present \u003c/em>\u003ca href=\"https://www.kqed.org/arts/tag/movie-theaters-we-have-lost\">Movie Theaters We Have Lost\u003c/a>\u003cem> by Briana Loewinsohn, a cartoonist, teacher and author of the upcoming graphic memoir \u003c/em>\u003ca href=\"https://www.fantagraphics.com/collections/briana-loewinsohn/products/raised-by-ghosts\">Raised By Ghosts\u003c/a>\u003cem>, about growing up in the East Bay.\u003c/em>\u003c/p>\n\u003cp>\u003cem>At a time of \u003ca href=\"https://www.kqed.org/forum/2010101893696/the-pandemic-took-a-number-of-bay-area-movie-theaters-whats-working-for-the-theaters-that-survived\">unprecedented movie theater closures\u003c/a>, Briana illustrates her memories of shuttered East Bay theaters, and the ways they adorned our lives. Today’s installment is the United Artists theater in Berkeley (“the UA”), which closed in 2023.\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_0.jpg\" alt=\"\" width=\"2000\" height=\"2000\" class=\"aligncenter size-full wp-image-13968240\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_0.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_0-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_0-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_0-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_0-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_0-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_0-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" 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1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_7.jpg\" alt=\"\" width=\"2000\" height=\"2000\" class=\"aligncenter size-full wp-image-13968242\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_7.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_7-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_7-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_7-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_7-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_7-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_7-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" 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"title": "‘Movie Theaters We Have Lost’: The California Theater in Berkeley",
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"content": "\u003cp>\u003cem>This week, KQED is proud to present \u003c/em>\u003ca href=\"https://www.kqed.org/arts/tag/movie-theaters-we-have-lost\">Movie Theaters We Have Lost\u003c/a>\u003cem> by Briana Loewinsohn, a cartoonist, teacher and author of the upcoming graphic memoir \u003c/em>\u003ca href=\"https://www.fantagraphics.com/collections/briana-loewinsohn/products/raised-by-ghosts\">Raised By Ghosts\u003c/a>\u003cem>, about growing up in the East Bay.\u003c/em>\u003c/p>\n\u003cp>\u003cem>At a time of \u003ca href=\"https://www.kqed.org/forum/2010101893696/the-pandemic-took-a-number-of-bay-area-movie-theaters-whats-working-for-the-theaters-that-survived\">unprecedented movie theater closures\u003c/a>, Briana illustrates her memories of shuttered East Bay theaters, and the ways they adorned our lives. Today’s installment is the California Theater in Berkeley, which closed in 2020.\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/California_3_0.jpg\" alt=\"\" width=\"2000\" height=\"2000\" class=\"aligncenter size-full wp-image-13968210\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/California_3_0.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/California_3_0-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/California_3_0-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/California_3_0-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/California_3_0-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/California_3_0-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/California_3_0-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/California_3_1.jpg\" alt=\"\" width=\"2000\" height=\"2000\" class=\"aligncenter size-full wp-image-13968206\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/California_3_1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/California_3_1-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/California_3_1-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/California_3_1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/California_3_1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/California_3_1-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/California_3_1-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/California_3_2.jpg\" alt=\"\" width=\"2000\" height=\"2000\" class=\"aligncenter size-full wp-image-13968205\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/California_3_2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/California_3_2-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/California_3_2-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/California_3_2-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/California_3_2-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/California_3_2-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/California_3_2-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" 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alt=\"\" width=\"2000\" height=\"2000\" class=\"aligncenter size-full wp-image-13968202\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/California_3_4.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/California_3_4-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/California_3_4-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/California_3_4-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/California_3_4-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/California_3_4-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/California_3_4-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/California_3_5.jpg\" alt=\"\" width=\"2000\" height=\"2000\" class=\"aligncenter size-full wp-image-13968203\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/California_3_5.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/California_3_5-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/California_3_5-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/California_3_5-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/California_3_5-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/California_3_5-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/California_3_5-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/California_3_6.jpg\" alt=\"\" width=\"2000\" height=\"2000\" class=\"aligncenter size-full wp-image-13968208\" 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"slug": "quincy-jones-dead-at-91-obituary",
"title": "Quincy Jones, Musical Genius Who Worked With the Greats, Dies at 91",
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"headTitle": "Quincy Jones, Musical Genius Who Worked With the Greats, Dies at 91 | KQED",
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"content": "\u003cp>Quincy Jones, the multi-talented music titan whose vast legacy ranged from producing Michael Jackson’s historic \u003cem>Thriller\u003c/em> album to writing prize-winning film and television scores and collaborating with Frank Sinatra, Ray Charles and hundreds of other recording artists, has died at 91.\u003c/p>\n\u003cp>Jones’ publicist, Arnold Robinson, says he died Sunday night at his home in the Bel Air section of Los Angeles, surrounded by his family. Jones was to have received an honorary Academy Award later this month.\u003c/p>\n\u003cp>“Tonight, with full but broken hearts, we must share the news of our father and brother Quincy Jones’ passing,” the family said in a statement. “And although this is an incredible loss for our family, we celebrate the great life that he lived and know there will never be another like him.”\u003c/p>\n\u003cfigure id=\"attachment_13967640\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1183662311.jpg\" alt=\"\" width=\"2000\" height=\"1409\" class=\"size-full wp-image-13967640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1183662311.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1183662311-800x564.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1183662311-1020x719.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1183662311-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1183662311-768x541.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1183662311-1536x1082.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1183662311-1920x1353.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Quincy Jones attends an event for the Netflix film ‘Dolemite Is My Name!’ on October 26, 2019 in West Hollywood, California. \u003ccite>(Arnold Turner/Getty Images for Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jones rose from running with gangs on the South Side of Chicago to the very heights of show business, becoming one of the first Black executives to thrive in Hollywood and leaving behind a vast musical catalog that includes some of the richest moments of American song and rhythm. Over the past half century, it was hard to find a music lover who did not own at least one record with Jones’ name on it or someone in the music, television or movie industries who did not have some connection to him.\u003c/p>\n\u003cp>Jones kept company with presidents and foreign leaders, movie stars and musicians, philanthropists and business leaders. He toured with Count Basie and Lionel Hampton, arranged records for Sinatra and Ella Fitzgerald, composed the soundtracks for \u003cem>Roots\u003c/em> and \u003cem>In the Heat of the Night\u003c/em>, organized President Clinton’s first inaugural celebration and oversaw the all-star recording of “We Are the World.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/2013/05/27/186052477/quincy-jones-the-man-behind-the-music\">\u003cstrong>\u003cem>Listen to Quincy Jones’ ‘Fresh Air’ interview with Terry Gross\u003c/em>\u003c/strong>\u003c/a>.\u003c/p>\n\u003cp>In a career that began when records were still played on vinyl at 78 rpm, singling out any work seems unfair. But honors likely go to his productions with Jackson on \u003cem>Off the Wall\u003c/em>, \u003cem>Thriller\u003c/em> and \u003cem>Bad\u003c/em>, albums universal in their style and appeal. Jones’ versatility and imagination fit perfectly with the bursting talents of Jackson as he sensationally transformed from child star to the “King of Pop.” \u003c/p>\n\u003cp>On such classic tracks as “Billie Jean” and “Wanna Be Startin’ Somethin’,” Jones and Jackson drew upon disco, funk, rock, pop, R&B and jazz and African chants. For \u003cem>Thriller\u003c/em>, some of the most memorable touches originated with Jones, who recruited Eddie Van Halen for a guitar solo on the genre-defying “Beat It” and brought in Vincent Price for a ghoulish voiceover on the title track.\u003c/p>\n\u003cfigure id=\"attachment_13967639\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-88686317.jpg\" alt=\"\" width=\"2000\" height=\"1228\" class=\"size-full wp-image-13967639\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-88686317.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-88686317-800x491.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-88686317-1020x626.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-88686317-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-88686317-768x472.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-88686317-1536x943.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-88686317-1920x1179.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Quincy Jones, Michael Jackson and David Geffen at a post-concert party at Universal Studios circa 1982 in Los Angeles. \u003ccite>(Brad Elterman/FilmMagic)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Thriller\u003c/em> sold more than 20 million copies in 1983 alone, helped Jackson become the first major Black artist to have a video played on MTV and influenced countless performers.\u003c/p>\n\u003cp>“Michael had the look and the voice, and I had every sound you can think of,” Jones would explain.\u003c/p>\n\u003cp>The list of his honors and awards fills 18 pages in his 2001 autobiography \u003cem>Q\u003c/em>: 28 Grammys (out of 80 nominations), an honorary Academy Award and an Emmy for \u003cem>Roots\u003c/em>. He also received France’s Legion d’Honneur and the Rudolph Valentino Award from the Republic of Italy. In 2001, Jones was named a Kennedy Center Honoree for his contributions to American culture. He was the subject of a 1990 documentary, \u003cem>Listen Up: The Lives of Quincy Jones\u003c/em>, and his memoir made him a best-selling author.\u003c/p>\n\u003cp>[aside postID='arts_13951126']“Despite all the Grammys and the special awards and testimonials that maturity bestows, it will always be the values you carry within yourself — of work, love, and integrity — that carry the greatest worth, because these are what get you through with your dreams intact, your heart held firm and your spirit ready for another day,” he wrote in his book.\u003c/p>\n\u003cp>Born in Chicago in 1933, Jones would cite the hymns his mother sang around the house as the first music he could remember. But he looked back sadly on his childhood, telling Oprah Winfrey that “There are two kinds of people: those who have nurturing parents or caretakers, and those who don’t. Nothing’s in between.” \u003c/p>\n\u003cp>Jones’ mother suffered from emotional problems and was eventually institutionalized, a loss that made the world seem “senseless” for Quincy. He spent much of his time in Chicago on the streets, with gangs, stealing and fighting.\u003c/p>\n\u003cfigure id=\"attachment_13967638\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-3031648.jpg\" alt=\"\" width=\"2000\" height=\"1595\" class=\"size-full wp-image-13967638\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-3031648.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-3031648-800x638.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-3031648-1020x813.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-3031648-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-3031648-768x612.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-3031648-1536x1225.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-3031648-1920x1531.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Composer Quincy Jones and Andre 3000 arrive at the ‘Saks Fifth Avenue’s Unforgettable Evening’ at the Regent Beverly Wilshire on March 1, 2004 in Beverly Hills, California. \u003ccite>(Doug Benc/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Music was his passion, and, almost literally, his salvation. As a boy, he learned that a Chicago neighbor owned a piano and he soon played it constantly himself. His father moved to Washington state when Quincy was 10 and his world changed at a neighborhood recreation center. Jones and some friends had broken into the kitchen and helped themselves to lemon meringue pie when Jones noticed a small room nearby with a stage. On the stage was a piano.\u003c/p>\n\u003cp>“I went up there, paused, stared, and then tinkled on it for a moment,” he wrote in his autobiography. “That’s where I began to find peace. I was 11. I knew this was it for me. Forever.”\u003c/p>\n\u003cp>Within a few years he was playing trumpet and befriending a young blind musician named Ray Charles, who became a lifelong friend. He was gifted enough to win a scholarship at the Berklee College of Music in Boston, but dropped out when Hampton invited him to tour with his band. Jones went on to work as a freelance composer, conductor, arranger and producer. As a teen, he backed Billie Holiday. By his mid-20s, he was touring with his own band.\u003c/p>\n\u003cp>“We had the best jazz band on the planet, and yet we were literally starving,” Jones later told \u003cem>Musician\u003c/em> magazine. “That’s when I discovered that there was music, and there was the music business. If I were to survive, I would have to learn the difference between the two.”\u003c/p>\n\u003cp>His survivors include actor Rashida Jones and five other daughters: Jolie Jones Levine, Rachel Jones, Martina Jones, Kidada Jones and Kenya Kinski-Jones; son Quincy Jones III; brother Richard Jones and sisters Theresa Frank and Margie Jay.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>AP Entertainment writer Andrew Dalton and former AP Entertainment Writer Sandy Cohen contributed to this report from Los Angeles.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Quincy Jones, the multi-talented music titan whose vast legacy ranged from producing Michael Jackson’s historic \u003cem>Thriller\u003c/em> album to writing prize-winning film and television scores and collaborating with Frank Sinatra, Ray Charles and hundreds of other recording artists, has died at 91.\u003c/p>\n\u003cp>Jones’ publicist, Arnold Robinson, says he died Sunday night at his home in the Bel Air section of Los Angeles, surrounded by his family. Jones was to have received an honorary Academy Award later this month.\u003c/p>\n\u003cp>“Tonight, with full but broken hearts, we must share the news of our father and brother Quincy Jones’ passing,” the family said in a statement. “And although this is an incredible loss for our family, we celebrate the great life that he lived and know there will never be another like him.”\u003c/p>\n\u003cfigure id=\"attachment_13967640\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1183662311.jpg\" alt=\"\" width=\"2000\" height=\"1409\" class=\"size-full wp-image-13967640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1183662311.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1183662311-800x564.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1183662311-1020x719.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1183662311-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1183662311-768x541.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1183662311-1536x1082.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1183662311-1920x1353.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Quincy Jones attends an event for the Netflix film ‘Dolemite Is My Name!’ on October 26, 2019 in West Hollywood, California. \u003ccite>(Arnold Turner/Getty Images for Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jones rose from running with gangs on the South Side of Chicago to the very heights of show business, becoming one of the first Black executives to thrive in Hollywood and leaving behind a vast musical catalog that includes some of the richest moments of American song and rhythm. Over the past half century, it was hard to find a music lover who did not own at least one record with Jones’ name on it or someone in the music, television or movie industries who did not have some connection to him.\u003c/p>\n\u003cp>Jones kept company with presidents and foreign leaders, movie stars and musicians, philanthropists and business leaders. He toured with Count Basie and Lionel Hampton, arranged records for Sinatra and Ella Fitzgerald, composed the soundtracks for \u003cem>Roots\u003c/em> and \u003cem>In the Heat of the Night\u003c/em>, organized President Clinton’s first inaugural celebration and oversaw the all-star recording of “We Are the World.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/2013/05/27/186052477/quincy-jones-the-man-behind-the-music\">\u003cstrong>\u003cem>Listen to Quincy Jones’ ‘Fresh Air’ interview with Terry Gross\u003c/em>\u003c/strong>\u003c/a>.\u003c/p>\n\u003cp>In a career that began when records were still played on vinyl at 78 rpm, singling out any work seems unfair. But honors likely go to his productions with Jackson on \u003cem>Off the Wall\u003c/em>, \u003cem>Thriller\u003c/em> and \u003cem>Bad\u003c/em>, albums universal in their style and appeal. Jones’ versatility and imagination fit perfectly with the bursting talents of Jackson as he sensationally transformed from child star to the “King of Pop.” \u003c/p>\n\u003cp>On such classic tracks as “Billie Jean” and “Wanna Be Startin’ Somethin’,” Jones and Jackson drew upon disco, funk, rock, pop, R&B and jazz and African chants. For \u003cem>Thriller\u003c/em>, some of the most memorable touches originated with Jones, who recruited Eddie Van Halen for a guitar solo on the genre-defying “Beat It” and brought in Vincent Price for a ghoulish voiceover on the title track.\u003c/p>\n\u003cfigure id=\"attachment_13967639\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-88686317.jpg\" alt=\"\" width=\"2000\" height=\"1228\" class=\"size-full wp-image-13967639\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-88686317.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-88686317-800x491.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-88686317-1020x626.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-88686317-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-88686317-768x472.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-88686317-1536x943.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-88686317-1920x1179.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Quincy Jones, Michael Jackson and David Geffen at a post-concert party at Universal Studios circa 1982 in Los Angeles. \u003ccite>(Brad Elterman/FilmMagic)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Thriller\u003c/em> sold more than 20 million copies in 1983 alone, helped Jackson become the first major Black artist to have a video played on MTV and influenced countless performers.\u003c/p>\n\u003cp>“Michael had the look and the voice, and I had every sound you can think of,” Jones would explain.\u003c/p>\n\u003cp>The list of his honors and awards fills 18 pages in his 2001 autobiography \u003cem>Q\u003c/em>: 28 Grammys (out of 80 nominations), an honorary Academy Award and an Emmy for \u003cem>Roots\u003c/em>. He also received France’s Legion d’Honneur and the Rudolph Valentino Award from the Republic of Italy. In 2001, Jones was named a Kennedy Center Honoree for his contributions to American culture. He was the subject of a 1990 documentary, \u003cem>Listen Up: The Lives of Quincy Jones\u003c/em>, and his memoir made him a best-selling author.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Despite all the Grammys and the special awards and testimonials that maturity bestows, it will always be the values you carry within yourself — of work, love, and integrity — that carry the greatest worth, because these are what get you through with your dreams intact, your heart held firm and your spirit ready for another day,” he wrote in his book.\u003c/p>\n\u003cp>Born in Chicago in 1933, Jones would cite the hymns his mother sang around the house as the first music he could remember. But he looked back sadly on his childhood, telling Oprah Winfrey that “There are two kinds of people: those who have nurturing parents or caretakers, and those who don’t. Nothing’s in between.” \u003c/p>\n\u003cp>Jones’ mother suffered from emotional problems and was eventually institutionalized, a loss that made the world seem “senseless” for Quincy. He spent much of his time in Chicago on the streets, with gangs, stealing and fighting.\u003c/p>\n\u003cfigure id=\"attachment_13967638\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-3031648.jpg\" alt=\"\" width=\"2000\" height=\"1595\" class=\"size-full wp-image-13967638\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-3031648.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-3031648-800x638.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-3031648-1020x813.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-3031648-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-3031648-768x612.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-3031648-1536x1225.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-3031648-1920x1531.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Composer Quincy Jones and Andre 3000 arrive at the ‘Saks Fifth Avenue’s Unforgettable Evening’ at the Regent Beverly Wilshire on March 1, 2004 in Beverly Hills, California. \u003ccite>(Doug Benc/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Music was his passion, and, almost literally, his salvation. As a boy, he learned that a Chicago neighbor owned a piano and he soon played it constantly himself. His father moved to Washington state when Quincy was 10 and his world changed at a neighborhood recreation center. Jones and some friends had broken into the kitchen and helped themselves to lemon meringue pie when Jones noticed a small room nearby with a stage. On the stage was a piano.\u003c/p>\n\u003cp>“I went up there, paused, stared, and then tinkled on it for a moment,” he wrote in his autobiography. “That’s where I began to find peace. I was 11. I knew this was it for me. Forever.”\u003c/p>\n\u003cp>Within a few years he was playing trumpet and befriending a young blind musician named Ray Charles, who became a lifelong friend. He was gifted enough to win a scholarship at the Berklee College of Music in Boston, but dropped out when Hampton invited him to tour with his band. Jones went on to work as a freelance composer, conductor, arranger and producer. As a teen, he backed Billie Holiday. By his mid-20s, he was touring with his own band.\u003c/p>\n\u003cp>“We had the best jazz band on the planet, and yet we were literally starving,” Jones later told \u003cem>Musician\u003c/em> magazine. “That’s when I discovered that there was music, and there was the music business. If I were to survive, I would have to learn the difference between the two.”\u003c/p>\n\u003cp>His survivors include actor Rashida Jones and five other daughters: Jolie Jones Levine, Rachel Jones, Martina Jones, Kidada Jones and Kenya Kinski-Jones; son Quincy Jones III; brother Richard Jones and sisters Theresa Frank and Margie Jay.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "remembering-adela-vazquez-beloved-trans-activist-and-performer",
"title": "Remembering Adela Vázquez, Beloved Trans Activist and Performer",
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"content": "\u003cp>Adela Vázquez, a beloved San Francisco transgender activist, died on Oct. 11 at 66 years old, her chosen family confirmed to KQED. The cause of death was a heart attack. Vázquez dedicated her career to advocating for HIV/AIDS healthcare and prevention, and paved the way for transgender Latinas in nightlife with her performance group, Las AtreDivas.\u003c/p>\n\u003cp>Vázquez studied to be a teacher in her native Cuba before arriving to the U.S. by boat as an asylum seeker in 1980. In the early ’80s, she made her way from Florida to a refugee center in Arkansas, then to Dallas and Los Angeles, where she began her gender transition.\u003c/p>\n\u003cp>In Dallas, she became roommates with Catherine Nelson D’Alerta, a drag performer who arrived from Cuba the same year. D’Alerta put Vázquez in drag and invited her to perform for the first time. When D’Alerta moved to San Francisco, Vázquez joined her in 1983.\u003c/p>\n\u003cp>In San Francisco, the charismatic, stylish Vázquez became instantly popular. “She was everywhere, everybody knows her,” D’Alerta said. “It was amazing.”\u003c/p>\n\u003cfigure id=\"attachment_13967308\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967308\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Miss_Gay_Latina_1993.jpg\" alt=\"\" width=\"720\" height=\"510\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Miss_Gay_Latina_1993.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Miss_Gay_Latina_1993-160x113.jpg 160w\" sizes=\"auto, (max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">Adela Vázquez began her health advocacy after being crowned Miss Gay Latina in 1992. \u003ccite>(Wikimedia Commons)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 1992, Vázquez won the title of Miss Gay Latina from the community health organization Instituto Familiar de la Raza, which led her to her calling in health advocacy. As the AIDS epidemic raged on, she lost friends and loved ones, and decided to devote herself to uplifting trans people who were being misgendered, mistreated or ignored in the healthcare system.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“At the time there were hospitals that were housing people that were dying of AIDS,” Vázquez told KQED in a 2023 interview. “And I found the transgender people were unhappy in these places because they were not represented. They know that they didn’t have a voice in the community yet. So I thought to myself, ‘I need to get involved with it,’ because it bothered me.”\u003c/p>\n\u003cp>Vázquez joined forces with a Mexican performer who went by La Condonera (the Condom Queen), who’d hand out free condoms to queer people and sex workers. Together with several other trans and gender-nonconforming Latinas, they founded Las AtreDivas (the Daring Divas). The drag group would use their 1:30 a.m. performance slot at the gay Latinx bar Esta Noche to educate people about safer sex. They also fundraised for the HIV/AIDS healthcare organization Proyecto ContraSIDA Por Vida, where Vázquez eventually got a job to further her community outreach.\u003c/p>\n\u003cfigure id=\"attachment_13967307\" class=\"wp-caption aligncenter\" style=\"max-width: 604px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967307\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/AtreDivas.jpg\" alt=\"\" width=\"604\" height=\"448\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/AtreDivas.jpg 604w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/AtreDivas-160x119.jpg 160w\" sizes=\"auto, (max-width: 604px) 100vw, 604px\">\u003cfigcaption class=\"wp-caption-text\">Adela Vázquez performing with Las AtreDivas in the early ’90s. \u003ccite>(Wikimedia Commons)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“She was one of the people who was [breaking] ceilings, being the first trans Latina to do a bunch of things, including talking for the first time in front of the Human Rights Commission to advocate for trans people in hospices,” said writer Julian Delgado Lopera in a speech at San Francisco Pride’s Ken Jones Awards earlier this year, when Vázquez received the José Sarria History Maker award.\u003c/p>\n\u003cp>Vázquez’s care for others also extended to her personal life. She was a mother figure to several queer and trans immigrants from Latin America.\u003c/p>\n\u003cp>“When I met her 13 years ago, I was running away, like many queer kids in San Francisco, from homophobia and transphobia in my family,” said Delgado Lopera, who grew up in Colombia, when presenting the award. “I found my mom. And in my mom, I found somebody who really taught me how to say, ‘I don’t give a fuck.’ I have so much love and so much respect for this woman who has really taught me how to hustle, how to be a bad bitch and how to love unconditionally.”\u003c/p>\n\u003cp>Vázquez and D’Alerta were roommates for over 30 years and became a chosen family. D’Alerta recalls Vázquez playing flamenco records and cooking delicious Cuban dishes like roasted pork. “Every morning she’d wake up singing and making jokes,” D’Alerta said. “She was amazing to me. Never a problem. She took care of me like she was my mother.”\u003c/p>\n\u003cp>Artist Marcel Pardo Ariza, who also became part of the family, featured Vázquez in several of their projects. Portraits they shot of her appeared in their 2022 SECA Award show at SFMOMA. At Pardo Ariza’s \u003ca href=\"https://www.kqed.org/arts/13936474/marcel-pardo-ariza-orquideas-500-capp-street\">exhibition about transgender history last year at 500 Capp Street\u003c/a>, they invited Vázquez for an AtreDivas revival performance.\u003c/p>\n\u003cp>“Hearing from someone who left their home country to be who they are and to be in San Francisco and to organize for the trans community felt so inspiring to me,” said Pardo Ariza, who is originally from Colombia.\u003c/p>\n\u003cp>“It almost always felt like she was just really in one way or another looking out for us,” they added. “And she just loved to cook. She loved to dance. She used to love to party.”\u003c/p>\n\u003cfigure id=\"attachment_13936482\" class=\"wp-caption aligncenter\" style=\"max-width: 1456px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936482\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Photo-by-Freddie-Niem.png\" alt=\"Flyer with event info, black text on cream paper, photos of three storytellers at top of page\" width=\"1456\" height=\"1928\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Photo-by-Freddie-Niem.png 1456w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Photo-by-Freddie-Niem-800x1059.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Photo-by-Freddie-Niem-1020x1351.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Photo-by-Freddie-Niem-160x212.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Photo-by-Freddie-Niem-768x1017.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Photo-by-Freddie-Niem-1160x1536.png 1160w\" sizes=\"auto, (max-width: 1456px) 100vw, 1456px\">\u003cfigcaption class=\"wp-caption-text\">A 1997 flyer by Laylani Wong (photo by Freddie Niems) for Adela Vázquez, Tamara Ching and Connie Amarathithada’s live storytelling event promoting safe sex behavior. \u003ccite>(Courtesy Adela Vázquez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Pardo Ariza’s projects weren’t the first time Vázquez’s life inspired works of art. Artist Jaime Cortez published a graphic novel based on her life, \u003ci>Sexile/Sexilio\u003c/i>, in 2004. Her story was also featured in \u003ci>¡Cuéntamelo!: Oral Histories by LGBT Latino Immigrants\u003c/i>, edited by Delgado Lopera; \u003ci>Queer Brown Voices\u003c/i>, edited by Letitia Gomez, Uriel Quesada and Salvador Vidal-Ortiz; and Juana Maria Rodriguez’s 2023 book, \u003ci>Puta Life: Seeing Latinas, Working Sex\u003c/i>.\u003c/p>\n\u003cp>After decades of working in community health and nightlife, Vázquez retired but found herself feeling lonely. In 2023, she started 50 and Fabulous, a support group for transgender women over 50 at the San Francisco AIDS Foundation. As facilitator, she’d bring the women clothes and throw them birthday parties.\u003c/p>\n\u003cp>“It’s a lot of fun. I found community again. It’s so fantastic,” Vázquez told KQED last year. “It’s a group that has no form. Sometimes we talk; sometimes we eat; sometimes we cry. I don’t think transgender people over a certain age have a lot of representation … So now they have a place.”\u003c/p>\n\u003cp>Pardo Ariza and Delgado Lopera have plans to tell Vázquez’s story through their trans historical archive, \u003ca href=\"https://www.juliandlopera.com/memoria-trans-sf\">Memoria Trans SF\u003c/a>. Vázquez’s loved ones are \u003ca href=\"https://www.gofundme.com/f/help-us-give-adela-vazquez-a-dignified-farewell\">fundraising for burial costs on GoFundMe\u003c/a>, and on Oct. 27 at the Women’s Building in San Francisco, there will be a celebration of life open to the public.\u003c/p>\n\u003cp>“She was very private,” said D’Alerta, “but the community needs to say goodbye to somebody so special.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Adela Vázquez’s celebration of life takes place at the Women’s Building in San Francisco on Oct. 27 at 4 p.m.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Adela Vázquez, a beloved San Francisco transgender activist, died on Oct. 11 at 66 years old, her chosen family confirmed to KQED. The cause of death was a heart attack. Vázquez dedicated her career to advocating for HIV/AIDS healthcare and prevention, and paved the way for transgender Latinas in nightlife with her performance group, Las AtreDivas.\u003c/p>\n\u003cp>Vázquez studied to be a teacher in her native Cuba before arriving to the U.S. by boat as an asylum seeker in 1980. In the early ’80s, she made her way from Florida to a refugee center in Arkansas, then to Dallas and Los Angeles, where she began her gender transition.\u003c/p>\n\u003cp>In Dallas, she became roommates with Catherine Nelson D’Alerta, a drag performer who arrived from Cuba the same year. D’Alerta put Vázquez in drag and invited her to perform for the first time. When D’Alerta moved to San Francisco, Vázquez joined her in 1983.\u003c/p>\n\u003cp>In San Francisco, the charismatic, stylish Vázquez became instantly popular. “She was everywhere, everybody knows her,” D’Alerta said. “It was amazing.”\u003c/p>\n\u003cfigure id=\"attachment_13967308\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967308\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Miss_Gay_Latina_1993.jpg\" alt=\"\" width=\"720\" height=\"510\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Miss_Gay_Latina_1993.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Miss_Gay_Latina_1993-160x113.jpg 160w\" sizes=\"auto, (max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">Adela Vázquez began her health advocacy after being crowned Miss Gay Latina in 1992. \u003ccite>(Wikimedia Commons)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 1992, Vázquez won the title of Miss Gay Latina from the community health organization Instituto Familiar de la Raza, which led her to her calling in health advocacy. As the AIDS epidemic raged on, she lost friends and loved ones, and decided to devote herself to uplifting trans people who were being misgendered, mistreated or ignored in the healthcare system.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“At the time there were hospitals that were housing people that were dying of AIDS,” Vázquez told KQED in a 2023 interview. “And I found the transgender people were unhappy in these places because they were not represented. They know that they didn’t have a voice in the community yet. So I thought to myself, ‘I need to get involved with it,’ because it bothered me.”\u003c/p>\n\u003cp>Vázquez joined forces with a Mexican performer who went by La Condonera (the Condom Queen), who’d hand out free condoms to queer people and sex workers. Together with several other trans and gender-nonconforming Latinas, they founded Las AtreDivas (the Daring Divas). The drag group would use their 1:30 a.m. performance slot at the gay Latinx bar Esta Noche to educate people about safer sex. They also fundraised for the HIV/AIDS healthcare organization Proyecto ContraSIDA Por Vida, where Vázquez eventually got a job to further her community outreach.\u003c/p>\n\u003cfigure id=\"attachment_13967307\" class=\"wp-caption aligncenter\" style=\"max-width: 604px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967307\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/AtreDivas.jpg\" alt=\"\" width=\"604\" height=\"448\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/AtreDivas.jpg 604w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/AtreDivas-160x119.jpg 160w\" sizes=\"auto, (max-width: 604px) 100vw, 604px\">\u003cfigcaption class=\"wp-caption-text\">Adela Vázquez performing with Las AtreDivas in the early ’90s. \u003ccite>(Wikimedia Commons)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“She was one of the people who was [breaking] ceilings, being the first trans Latina to do a bunch of things, including talking for the first time in front of the Human Rights Commission to advocate for trans people in hospices,” said writer Julian Delgado Lopera in a speech at San Francisco Pride’s Ken Jones Awards earlier this year, when Vázquez received the José Sarria History Maker award.\u003c/p>\n\u003cp>Vázquez’s care for others also extended to her personal life. She was a mother figure to several queer and trans immigrants from Latin America.\u003c/p>\n\u003cp>“When I met her 13 years ago, I was running away, like many queer kids in San Francisco, from homophobia and transphobia in my family,” said Delgado Lopera, who grew up in Colombia, when presenting the award. “I found my mom. And in my mom, I found somebody who really taught me how to say, ‘I don’t give a fuck.’ I have so much love and so much respect for this woman who has really taught me how to hustle, how to be a bad bitch and how to love unconditionally.”\u003c/p>\n\u003cp>Vázquez and D’Alerta were roommates for over 30 years and became a chosen family. D’Alerta recalls Vázquez playing flamenco records and cooking delicious Cuban dishes like roasted pork. “Every morning she’d wake up singing and making jokes,” D’Alerta said. “She was amazing to me. Never a problem. She took care of me like she was my mother.”\u003c/p>\n\u003cp>Artist Marcel Pardo Ariza, who also became part of the family, featured Vázquez in several of their projects. Portraits they shot of her appeared in their 2022 SECA Award show at SFMOMA. At Pardo Ariza’s \u003ca href=\"https://www.kqed.org/arts/13936474/marcel-pardo-ariza-orquideas-500-capp-street\">exhibition about transgender history last year at 500 Capp Street\u003c/a>, they invited Vázquez for an AtreDivas revival performance.\u003c/p>\n\u003cp>“Hearing from someone who left their home country to be who they are and to be in San Francisco and to organize for the trans community felt so inspiring to me,” said Pardo Ariza, who is originally from Colombia.\u003c/p>\n\u003cp>“It almost always felt like she was just really in one way or another looking out for us,” they added. “And she just loved to cook. She loved to dance. She used to love to party.”\u003c/p>\n\u003cfigure id=\"attachment_13936482\" class=\"wp-caption aligncenter\" style=\"max-width: 1456px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936482\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Photo-by-Freddie-Niem.png\" alt=\"Flyer with event info, black text on cream paper, photos of three storytellers at top of page\" width=\"1456\" height=\"1928\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Photo-by-Freddie-Niem.png 1456w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Photo-by-Freddie-Niem-800x1059.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Photo-by-Freddie-Niem-1020x1351.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Photo-by-Freddie-Niem-160x212.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Photo-by-Freddie-Niem-768x1017.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Photo-by-Freddie-Niem-1160x1536.png 1160w\" sizes=\"auto, (max-width: 1456px) 100vw, 1456px\">\u003cfigcaption class=\"wp-caption-text\">A 1997 flyer by Laylani Wong (photo by Freddie Niems) for Adela Vázquez, Tamara Ching and Connie Amarathithada’s live storytelling event promoting safe sex behavior. \u003ccite>(Courtesy Adela Vázquez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Pardo Ariza’s projects weren’t the first time Vázquez’s life inspired works of art. Artist Jaime Cortez published a graphic novel based on her life, \u003ci>Sexile/Sexilio\u003c/i>, in 2004. Her story was also featured in \u003ci>¡Cuéntamelo!: Oral Histories by LGBT Latino Immigrants\u003c/i>, edited by Delgado Lopera; \u003ci>Queer Brown Voices\u003c/i>, edited by Letitia Gomez, Uriel Quesada and Salvador Vidal-Ortiz; and Juana Maria Rodriguez’s 2023 book, \u003ci>Puta Life: Seeing Latinas, Working Sex\u003c/i>.\u003c/p>\n\u003cp>After decades of working in community health and nightlife, Vázquez retired but found herself feeling lonely. In 2023, she started 50 and Fabulous, a support group for transgender women over 50 at the San Francisco AIDS Foundation. As facilitator, she’d bring the women clothes and throw them birthday parties.\u003c/p>\n\u003cp>“It’s a lot of fun. I found community again. It’s so fantastic,” Vázquez told KQED last year. “It’s a group that has no form. Sometimes we talk; sometimes we eat; sometimes we cry. I don’t think transgender people over a certain age have a lot of representation … So now they have a place.”\u003c/p>\n\u003cp>Pardo Ariza and Delgado Lopera have plans to tell Vázquez’s story through their trans historical archive, \u003ca href=\"https://www.juliandlopera.com/memoria-trans-sf\">Memoria Trans SF\u003c/a>. Vázquez’s loved ones are \u003ca href=\"https://www.gofundme.com/f/help-us-give-adela-vazquez-a-dignified-farewell\">fundraising for burial costs on GoFundMe\u003c/a>, and on Oct. 27 at the Women’s Building in San Francisco, there will be a celebration of life open to the public.\u003c/p>\n\u003cp>“She was very private,” said D’Alerta, “but the community needs to say goodbye to somebody so special.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Barbara Dane, Singer and Champion of Revolutionary Causes, Dies at 97",
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"content": "\u003cp>Barbara Dane, a jazz, blues and folk music giant who tirelessly championed social justice movements from around the world, died of heart failure in her Oakland home on Oct. 20 at age 97, her daughter Nina Menendez told the \u003ca href=\"https://www.sfchronicle.com/entertainment/article/barbara-dane-indomitable-blues-jazz-singer-dead-19850203.php\">\u003cem>San Francisco Chronicle\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Praised for her rich voice, Dane was known not only for singing with Louis Armstrong and Muddy Waters, but also for founding Paredon Records with her husband, music scholar and activist Irwin Silber. From 1970 to 1985, the label put out over 50 albums that addressed racial justice, feminism and anti-imperialism, giving a platform to activist artists from Cuba, Palestine, Puerto Rico, Mexico, Greece, the United States and many other places. Their work is now archived in Smithsonian Folkways.\u003c/p>\n\u003cp>“I saw that whenever the movement in a particular country was strong, there was an emerging music to go with it,” Dane told \u003ca href=\"https://www.nytimes.com/2021/02/10/arts/music/barbara-dane-paredon-records.html\">\u003cem>The New York Times\u003c/em> in 2021\u003c/a>. “It struck me that this stuff needed to be heard in the voices of the people who wrote the songs.”\u003c/p>\n\u003cp>Instead of following a conventional path to fame, the Detroit-born Dane began her career as a teenager in the 1940s singing at protests. “Why would I want to stand in front of a band with a low-cut dress singing stupid words when I could be singing for workers who are on strike?” she said in the \u003cem>Times\u003c/em> interview about her career beginnings. “It didn’t seem like a good bargain to me.”\u003c/p>\n\u003cp>Dane relocated to San Francisco that decade and became a star of the local post-World War II jazz and blues scene, which also launched the careers of Etta James and \u003ca href=\"https://www.kqed.org/arts/13934476/8-over-80-sugar-pie-desanto\">Sugar Pie DeSanto\u003c/a>. She made her debut as a recording artist with her 1957 album, \u003cem>Trouble in Mind\u003c/em>. As a white artist, she defied convention by touring with Black musicians like Willie Dixon and Memphis Slim during segregation. In 1961, Dane opened her own club in San Francisco’s North Beach, Sugar Hill.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Even in this business the way it is now, there really isn’t anyone that accomplished as much as she did, in terms of breaking barriers and standing up for what she believed in,” \u003ca href=\"https://www.npr.org/2011/03/14/134532146/barbara-dane-a-versatile-voice-with-a-political-purpose\">Bonnie Raitt told NPR in 2011\u003c/a>. “She’s always been a role model and a hero of mine, musically and politically.”\u003c/p>\n\u003cp>From the 1940s, Dane was involved in leftist politics and joined the Communist Party, from which she was later expelled in the 1950s for undisclosed reasons. She continued to identify as a socialist. In 1966, she became the first singer from the U.S. to perform in post-revolutionary Cuba. In the 1970s, she dedicated herself to performing at anti-Vietnam War rallies, and released her album \u003ci>I Hate the Capitalist System\u003c/i> in 1973.\u003c/p>\n\u003cp>Dane was one of the many artists whom the FBI surveilled because of their activism, and her FBI file later became source material for her 2022 autobiography, \u003ci>This Bell Still Rings: My Life of Defiance and Song\u003c/i>, where she revealed that she suspected her first husband, Rolf Cahn, of feeding the FBI information about her.\u003c/p>\n\u003cp>Dane continued to be active well into her 90s. In addition to publishing her book, she continued to perform and appeared in a 2023 documentary about her life, \u003ca href=\"https://www.imdb.com/title/tt32394267/?ref_=tt_mv_close\">\u003ci>The Nine Lives of Barbara Dane\u003c/i>\u003c/a>, which is currently on the international film festival circuit.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>She is survived by her children Jesse Cahn, Pablo Menendez and Nina Menendez, and grandson Osamu Menendez (all of whom are musicians), and three great-grandchildren. According to the \u003cem>San Francisco Chronicle\u003c/em>, a memorial will be announced in the spring.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Barbara Dane, a jazz, blues and folk music giant who tirelessly championed social justice movements from around the world, died of heart failure in her Oakland home on Oct. 20 at age 97, her daughter Nina Menendez told the \u003ca href=\"https://www.sfchronicle.com/entertainment/article/barbara-dane-indomitable-blues-jazz-singer-dead-19850203.php\">\u003cem>San Francisco Chronicle\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Praised for her rich voice, Dane was known not only for singing with Louis Armstrong and Muddy Waters, but also for founding Paredon Records with her husband, music scholar and activist Irwin Silber. From 1970 to 1985, the label put out over 50 albums that addressed racial justice, feminism and anti-imperialism, giving a platform to activist artists from Cuba, Palestine, Puerto Rico, Mexico, Greece, the United States and many other places. Their work is now archived in Smithsonian Folkways.\u003c/p>\n\u003cp>“I saw that whenever the movement in a particular country was strong, there was an emerging music to go with it,” Dane told \u003ca href=\"https://www.nytimes.com/2021/02/10/arts/music/barbara-dane-paredon-records.html\">\u003cem>The New York Times\u003c/em> in 2021\u003c/a>. “It struck me that this stuff needed to be heard in the voices of the people who wrote the songs.”\u003c/p>\n\u003cp>Instead of following a conventional path to fame, the Detroit-born Dane began her career as a teenager in the 1940s singing at protests. “Why would I want to stand in front of a band with a low-cut dress singing stupid words when I could be singing for workers who are on strike?” she said in the \u003cem>Times\u003c/em> interview about her career beginnings. “It didn’t seem like a good bargain to me.”\u003c/p>\n\u003cp>Dane relocated to San Francisco that decade and became a star of the local post-World War II jazz and blues scene, which also launched the careers of Etta James and \u003ca href=\"https://www.kqed.org/arts/13934476/8-over-80-sugar-pie-desanto\">Sugar Pie DeSanto\u003c/a>. She made her debut as a recording artist with her 1957 album, \u003cem>Trouble in Mind\u003c/em>. As a white artist, she defied convention by touring with Black musicians like Willie Dixon and Memphis Slim during segregation. In 1961, Dane opened her own club in San Francisco’s North Beach, Sugar Hill.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Even in this business the way it is now, there really isn’t anyone that accomplished as much as she did, in terms of breaking barriers and standing up for what she believed in,” \u003ca href=\"https://www.npr.org/2011/03/14/134532146/barbara-dane-a-versatile-voice-with-a-political-purpose\">Bonnie Raitt told NPR in 2011\u003c/a>. “She’s always been a role model and a hero of mine, musically and politically.”\u003c/p>\n\u003cp>From the 1940s, Dane was involved in leftist politics and joined the Communist Party, from which she was later expelled in the 1950s for undisclosed reasons. She continued to identify as a socialist. In 1966, she became the first singer from the U.S. to perform in post-revolutionary Cuba. In the 1970s, she dedicated herself to performing at anti-Vietnam War rallies, and released her album \u003ci>I Hate the Capitalist System\u003c/i> in 1973.\u003c/p>\n\u003cp>Dane was one of the many artists whom the FBI surveilled because of their activism, and her FBI file later became source material for her 2022 autobiography, \u003ci>This Bell Still Rings: My Life of Defiance and Song\u003c/i>, where she revealed that she suspected her first husband, Rolf Cahn, of feeding the FBI information about her.\u003c/p>\n\u003cp>Dane continued to be active well into her 90s. In addition to publishing her book, she continued to perform and appeared in a 2023 documentary about her life, \u003ca href=\"https://www.imdb.com/title/tt32394267/?ref_=tt_mv_close\">\u003ci>The Nine Lives of Barbara Dane\u003c/i>\u003c/a>, which is currently on the international film festival circuit.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>She is survived by her children Jesse Cahn, Pablo Menendez and Nina Menendez, and grandson Osamu Menendez (all of whom are musicians), and three great-grandchildren. According to the \u003cem>San Francisco Chronicle\u003c/em>, a memorial will be announced in the spring.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Liam Payne, Former One Direction Member, Dies at 31 in Argentina Hotel Fall",
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"content": "\u003cp>Former One Direction singer Liam Payne, 31, whose chart-topping British boy band generated a global following of swooning fans, was found dead Wednesday after falling from a hotel balcony in Buenos Aires, local officials said.\u003c/p>\n\u003cp>Buenos Aires police said in a statement that Payne fell from the third floor of the Casa Sur Hotel in the trendy Palermo neighborhood of Argentina’s capital, resulting in “extremely serious injuries.” Medics confirmed his death on the spot, the statement said.\u003c/p>\n\u003cp>Pablo Policicchio, the communications director for the Buenos Aires Security Ministry, said in a statement to The Associated Press that Payne “had jumped from the balcony of his room.” Police rushed to the hotel in response to an emergency call just after 5 p.m. local time, he said, warning of an “aggressive man who could be under the influence of drugs or alcohol.” At 5:07 p.m., arriving police requested an ambulance after finding a man who had apparently just plunged from the third-floor balcony. Medics pulled up a few minutes later.\u003c/p>\n\u003cp>Alberto Crescenti, head of the state emergency medical system, told Argentina’s Todo Noticias TV channel that authorities were investigating the circumstances of his death and conducting an autopsy. He declined to answer further questions about the incident until authorities completed their investigation.\u003c/p>\n\u003cp>Payne had been vocal about struggling with alcoholism, posting a video in July 2023 to his YouTube channel where he said he had been sober for six months after receiving treatment. Representatives for Payne did not immediately return emails and calls.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Dozens of One Direction fans flocked from across Buenos Aires to the Casa Sur Hotel after the news broke, forming lines that spilled into the cordoned-off street outside the hotel where police stood sentinel. Forensic investigators were seen exiting the hotel, from where Payne’s body was removed around three hours after the fall. Young women filming with their cellphones expressed shock and heartbreak as a makeshift memorial with rows of candles and bouquets quickly grew outside the hotel.\u003c/p>\n\u003cp>“I didn’t think he was going to die so young,” 21-year-old Isabella Milesi told The Associated Press.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vSW2M-BB1NE\u003c/p>\n\u003cp>Payne was one of five members of One Direction, which formed when they each auditioned for the British singing competition series \u003cem>The X Factor\u003c/em> in 2010, two years after Payne’s first attempt to get on the show. At 16 the second time around, Payne sang Michael Bublé’s version of “Cry Me a River,” appearing nervous at the start but warming up with the audience’s cheers and applause.\u003c/p>\n\u003cp>After each singer failed to make it through the competition as solo acts, Simon Cowell and his fellow judges combined Payne, Zayn Malik, Harry Styles, Niall Horan and Louis Tomlinson into what would become one of the most successful boy bands — even though they lost the competition.\u003c/p>\n\u003cp>Each member had their own persona, with Payne — who hailed from Wolverhampton, a city in the West Midlands region of England — being known as the responsible one. The band became known for their pop sound and romantic hits like “What Makes You Beautiful,” “Night Changes” and “Story of My Life.” Payne had prominent solos on songs including “Stole My Heart” and “Change Your Ticket,” co-writing several of the band’s hits. They had six Top 10 hits on the Billboard charts by the time they disbanded in 2016 and a highly loyal fan base, known as “Directioners,” many of whom were teen girls.\u003c/p>\n\u003cp>“I’ve always loved One Direction since I was little,” said 18-year-old Juana Relh, another fan outside Payne’s hotel. “To see that he died and that there will never be another reunion of the boys is unbelievable, it kills me.”\u003c/p>\n\u003cp>With his meteoric rise to fame, Payne had said that it took some time to adjust to the public eye.\u003c/p>\n\u003cp>“I don’t think you can ever deal with that, it’s all a bit crazy for us to see that people get in that sort of state of mind about us and what we do,” he said in a 2013 interview with the AP after recounting an experience where a fan was in a state of shock upon meeting him.\u003c/p>\n\u003cp>After the group’s dissolution, Payne — like each of his erstwhile bandmates — pursued a solo career, shifting toward EDM and hip-hop. His 2017 single “Strip That Down,” featuring Quavo, reached the Billboard Top 10, and stayed on the charts for several months. He put out an album \u003cem>LP1\u003c/em> in 2019, and his last release — a single called “Teardrops” — was released in March.\u003c/p>\n\u003cp>Payne had a 7-year-old son, Bear Grey Payne, with his former girlfriend, the musician Cheryl who was known as Cheryl Cole when she performed with Girls Aloud. She was an \u003cem>X Factor\u003c/em> judge during One Direction’s season, although their relationship began years later. Payne was previously engaged to Maya Henry, from August 2020 to early 2022. Henry released a novel earlier this year that she said was based on their relationship.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In addition to his son, he is survived by his parents, Geoff and Karen Payne, and his two older sisters, Ruth and Nicola.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Former One Direction singer Liam Payne, 31, whose chart-topping British boy band generated a global following of swooning fans, was found dead Wednesday after falling from a hotel balcony in Buenos Aires, local officials said.\u003c/p>\n\u003cp>Buenos Aires police said in a statement that Payne fell from the third floor of the Casa Sur Hotel in the trendy Palermo neighborhood of Argentina’s capital, resulting in “extremely serious injuries.” Medics confirmed his death on the spot, the statement said.\u003c/p>\n\u003cp>Pablo Policicchio, the communications director for the Buenos Aires Security Ministry, said in a statement to The Associated Press that Payne “had jumped from the balcony of his room.” Police rushed to the hotel in response to an emergency call just after 5 p.m. local time, he said, warning of an “aggressive man who could be under the influence of drugs or alcohol.” At 5:07 p.m., arriving police requested an ambulance after finding a man who had apparently just plunged from the third-floor balcony. Medics pulled up a few minutes later.\u003c/p>\n\u003cp>Alberto Crescenti, head of the state emergency medical system, told Argentina’s Todo Noticias TV channel that authorities were investigating the circumstances of his death and conducting an autopsy. He declined to answer further questions about the incident until authorities completed their investigation.\u003c/p>\n\u003cp>Payne had been vocal about struggling with alcoholism, posting a video in July 2023 to his YouTube channel where he said he had been sober for six months after receiving treatment. Representatives for Payne did not immediately return emails and calls.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Dozens of One Direction fans flocked from across Buenos Aires to the Casa Sur Hotel after the news broke, forming lines that spilled into the cordoned-off street outside the hotel where police stood sentinel. Forensic investigators were seen exiting the hotel, from where Payne’s body was removed around three hours after the fall. Young women filming with their cellphones expressed shock and heartbreak as a makeshift memorial with rows of candles and bouquets quickly grew outside the hotel.\u003c/p>\n\u003cp>“I didn’t think he was going to die so young,” 21-year-old Isabella Milesi told The Associated Press.\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/vSW2M-BB1NE'\n title='//www.youtube.com/embed/vSW2M-BB1NE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Payne was one of five members of One Direction, which formed when they each auditioned for the British singing competition series \u003cem>The X Factor\u003c/em> in 2010, two years after Payne’s first attempt to get on the show. At 16 the second time around, Payne sang Michael Bublé’s version of “Cry Me a River,” appearing nervous at the start but warming up with the audience’s cheers and applause.\u003c/p>\n\u003cp>After each singer failed to make it through the competition as solo acts, Simon Cowell and his fellow judges combined Payne, Zayn Malik, Harry Styles, Niall Horan and Louis Tomlinson into what would become one of the most successful boy bands — even though they lost the competition.\u003c/p>\n\u003cp>Each member had their own persona, with Payne — who hailed from Wolverhampton, a city in the West Midlands region of England — being known as the responsible one. The band became known for their pop sound and romantic hits like “What Makes You Beautiful,” “Night Changes” and “Story of My Life.” Payne had prominent solos on songs including “Stole My Heart” and “Change Your Ticket,” co-writing several of the band’s hits. They had six Top 10 hits on the Billboard charts by the time they disbanded in 2016 and a highly loyal fan base, known as “Directioners,” many of whom were teen girls.\u003c/p>\n\u003cp>“I’ve always loved One Direction since I was little,” said 18-year-old Juana Relh, another fan outside Payne’s hotel. “To see that he died and that there will never be another reunion of the boys is unbelievable, it kills me.”\u003c/p>\n\u003cp>With his meteoric rise to fame, Payne had said that it took some time to adjust to the public eye.\u003c/p>\n\u003cp>“I don’t think you can ever deal with that, it’s all a bit crazy for us to see that people get in that sort of state of mind about us and what we do,” he said in a 2013 interview with the AP after recounting an experience where a fan was in a state of shock upon meeting him.\u003c/p>\n\u003cp>After the group’s dissolution, Payne — like each of his erstwhile bandmates — pursued a solo career, shifting toward EDM and hip-hop. His 2017 single “Strip That Down,” featuring Quavo, reached the Billboard Top 10, and stayed on the charts for several months. He put out an album \u003cem>LP1\u003c/em> in 2019, and his last release — a single called “Teardrops” — was released in March.\u003c/p>\n\u003cp>Payne had a 7-year-old son, Bear Grey Payne, with his former girlfriend, the musician Cheryl who was known as Cheryl Cole when she performed with Girls Aloud. She was an \u003cem>X Factor\u003c/em> judge during One Direction’s season, although their relationship began years later. Payne was previously engaged to Maya Henry, from August 2020 to early 2022. Henry released a novel earlier this year that she said was based on their relationship.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In addition to his son, he is survived by his parents, Geoff and Karen Payne, and his two older sisters, Ruth and Nicola.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Missing Kris Kristofferson? Here Are Some Ways to Process",
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"content": "\u003cp>There was no one like Kris Kristofferson. Talented, insightful, charismatic, on the right side of history \u003ca href=\"https://www.nytimes.com/2024/09/30/arts/music/kris-kristofferson-sinead-oconnor.html\">even when it wasn’t popular\u003c/a>, the songwriter and actor endeared himself to millions.\u003c/p>\n\u003cp>Upon learning of his death over the weekend at age 88, I felt lucky to have \u003ca href=\"https://www.metrosiliconvalley.com/bohemian/10.17.07/music-kris-0742.html\">once talked to him on the phone\u003c/a>, in 2007. It was supposed to be a simple preview for his upcoming local show, but it turned into something much deeper: a meditation on mortality and kindness.\u003c/p>\n\u003cp>“There is a freedom in accepting the fact that there is a difference at this end of the road,” he told me, about getting older.\u003c/p>\n\u003cp>“I’ve watched a lot of my friends and heroes, like Johnny Cash and Waylon, I’ve watched ’em slip and fall. And be gone. And it’s gonna happen to all of us. So I think the acceptance of it gives you a freedom to be less critical of yourself when you make mistakes, and to not be so hard on others.”\u003c/p>\n\u003cp>How could you not love the guy?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postID='arts_13965726']Those wanting to get their Kristofferson fix among like-minded admirers have two opportunities in the next week.\u003c/p>\n\u003cp>On Monday, Oct. 14, \u003ca href=\"https://www.4-star-movies.com/calendar-of-events/litquak-presents-double-feature-film-noircomics-noir-hosted-by-robert-mailer-anderson-amp-peter-hoey\">the 4-Star Theater in San Francisco screens \u003cem>A Star Is Born\u003c/em>\u003c/a>, the 1976 Oscar-winning classic with Kristofferson and co-star Barbra Streisand. The screening, planned before Kristofferson’s death, is a benefit for the \u003ca href=\"https://billgrahamfoundation.org/\">Bill Graham Memorial Foundation\u003c/a>; Bob Barsotti, who began his decades-long working relationship with Bill Graham in 1970, hosts. \u003ca href=\"https://www.4-star-movies.com/calendar-of-events/litquak-presents-double-feature-film-noircomics-noir-hosted-by-robert-mailer-anderson-amp-peter-hoey\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>On Friday, Oct. 11, \u003ca href=\"https://thelostchurch.my.salesforce-sites.com/ticket/patronticket__publicticketapp#/instances/a0FTU00000BHN6j2AH\">the Lost Church in Santa Rosa hosts a A Tribute to Kris Kristofferson\u003c/a>, with local musicians like John Courage, Solid Air, Schlee, Sally Haggard and others performing his songs. Expect deeper cuts alongside the big hits — “Help Me Make It Through the Night,” “Sunday Mornin’ Comin’ Down,” “For the Good Times.” (I see no other way to end a night like this than a grand-finale singalong to “Me and Bobby McGee.”) \u003ca href=\"https://thelostchurch.my.salesforce-sites.com/ticket/patronticket__publicticketapp#/instances/a0FTU00000BHN6j2AH\">Details here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There was no one like Kris Kristofferson. Talented, insightful, charismatic, on the right side of history \u003ca href=\"https://www.nytimes.com/2024/09/30/arts/music/kris-kristofferson-sinead-oconnor.html\">even when it wasn’t popular\u003c/a>, the songwriter and actor endeared himself to millions.\u003c/p>\n\u003cp>Upon learning of his death over the weekend at age 88, I felt lucky to have \u003ca href=\"https://www.metrosiliconvalley.com/bohemian/10.17.07/music-kris-0742.html\">once talked to him on the phone\u003c/a>, in 2007. It was supposed to be a simple preview for his upcoming local show, but it turned into something much deeper: a meditation on mortality and kindness.\u003c/p>\n\u003cp>“There is a freedom in accepting the fact that there is a difference at this end of the road,” he told me, about getting older.\u003c/p>\n\u003cp>“I’ve watched a lot of my friends and heroes, like Johnny Cash and Waylon, I’ve watched ’em slip and fall. And be gone. And it’s gonna happen to all of us. So I think the acceptance of it gives you a freedom to be less critical of yourself when you make mistakes, and to not be so hard on others.”\u003c/p>\n\u003cp>How could you not love the guy?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Those wanting to get their Kristofferson fix among like-minded admirers have two opportunities in the next week.\u003c/p>\n\u003cp>On Monday, Oct. 14, \u003ca href=\"https://www.4-star-movies.com/calendar-of-events/litquak-presents-double-feature-film-noircomics-noir-hosted-by-robert-mailer-anderson-amp-peter-hoey\">the 4-Star Theater in San Francisco screens \u003cem>A Star Is Born\u003c/em>\u003c/a>, the 1976 Oscar-winning classic with Kristofferson and co-star Barbra Streisand. The screening, planned before Kristofferson’s death, is a benefit for the \u003ca href=\"https://billgrahamfoundation.org/\">Bill Graham Memorial Foundation\u003c/a>; Bob Barsotti, who began his decades-long working relationship with Bill Graham in 1970, hosts. \u003ca href=\"https://www.4-star-movies.com/calendar-of-events/litquak-presents-double-feature-film-noircomics-noir-hosted-by-robert-mailer-anderson-amp-peter-hoey\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>On Friday, Oct. 11, \u003ca href=\"https://thelostchurch.my.salesforce-sites.com/ticket/patronticket__publicticketapp#/instances/a0FTU00000BHN6j2AH\">the Lost Church in Santa Rosa hosts a A Tribute to Kris Kristofferson\u003c/a>, with local musicians like John Courage, Solid Air, Schlee, Sally Haggard and others performing his songs. Expect deeper cuts alongside the big hits — “Help Me Make It Through the Night,” “Sunday Mornin’ Comin’ Down,” “For the Good Times.” (I see no other way to end a night like this than a grand-finale singalong to “Me and Bobby McGee.”) \u003ca href=\"https://thelostchurch.my.salesforce-sites.com/ticket/patronticket__publicticketapp#/instances/a0FTU00000BHN6j2AH\">Details here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Kris Kristofferson, Country Music Outlaw and Film Star, Dies at Age 88",
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"headTitle": "Kris Kristofferson, Country Music Outlaw and Film Star, Dies at Age 88 | KQED",
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"content": "\u003cp>Kris Kristofferson, who wrote indelible songs about lovers, loners, boozers and a footloose pair of hitchhikers — and who later became a screen star, appearing in dozens of films — has died at age 88.\u003c/p>\n\u003cp>According to his representative, the singer, songwriter and actor died peacefully in his home in Maui, Hawaii, on Saturday, Sept. 28, surrounded by family. No cause of death was shared.\u003c/p>\n\u003cp>Kristofferson made his name as a songwriter in Nashville starting in the late 1960s, penning songs including “Me and Bobby McGee,” “Sunday Morning Coming Down” and “Help Me Make It Through the Night,” which other singers (Janis Joplin, Johnny Cash and Sammi Smith, respectively) took to the top of the charts.\u003c/p>\n\u003cp>His fame and sex symbol status grew through his movie roles, most notably when he co-starred with Barbra Streisand in the 1976 remake of \u003cem>A Star is Born\u003c/em>. \u003c/p>\n\u003cp>“I imagined myself into a pretty full life,” Kristofferson \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=5506402\">told NPR’s \u003cem>Fresh Air\u003c/em>\u003c/a> in 1999. “I was certainly not equipped, by God, to be a football player, but I got to be one. And I got to be a Ranger, and a paratrooper, and a helicopter pilot, you know, and a boxer, and a lot of things that I don’t think I was built to do. I just imagined ’em.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Kristofferson won three Grammy awards, two of them for \u003ca href=\"https://www.youtube.com/watch?v=Rq4wgvZ1vv4\">duets\u003c/a> with his then-wife \u003ca href=\"https://www.youtube.com/watch?v=DgoPagLKJtI\">Rita Coolidge\u003c/a>, to whom he was married from 1973-80. His performance in \u003cem>A Star Is Born\u003c/em> earned him a Golden Globe in 1976.\u003c/p>\n\u003cp>In 2004, Kristofferson was inducted into the Country Music Hall of Fame, and in 2014, he was honored with a Grammy Lifetime Achievement Award.\u003c/p>\n\u003cfigure id=\"attachment_13965727\" class=\"wp-caption aligncenter\" style=\"max-width: 1862px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/gettyimages-811897.jpeg\" alt=\"\" width=\"1862\" height=\"2483\" class=\"size-full wp-image-13965727\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/gettyimages-811897.jpeg 1862w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/gettyimages-811897-800x1067.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/gettyimages-811897-1020x1360.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/gettyimages-811897-160x213.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/gettyimages-811897-768x1024.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/gettyimages-811897-1152x1536.jpeg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/gettyimages-811897-1536x2048.jpeg 1536w\" sizes=\"(max-width: 1862px) 100vw, 1862px\">\u003cfigcaption class=\"wp-caption-text\">Kris Kristofferson attends the film premiere of “Chelsea Walls” on April 15, 2002 in Los Angeles. \u003ccite>(Frederick M. Brown/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Early on, he found his calling as a writer\u003c/h3>\n\u003cp>Kristofferson was born in Brownsville, Texas to a military family; his father was a major general in the U.S. Air Force. It was there, at age 11, that he wrote his first song, titled “\u003ca href=\"https://www.youtube.com/watch?v=M-WKI_vlSro\">I Hate Your Ugly Face\u003c/a>.” (He included that number as a bonus track on one of his last albums, \u003cem>Closer to the Bone\u003c/em>, in 2009.) As a military kid, he moved often, landing in the Bay Area at one point and graduating from San Mateo High School in 1954.\u003c/p>\n\u003cp>At \u003ca href=\"https://magazine.pomona.edu/pomoniana/2012/03/06/photo-memory-kris-kristofferson-58-and-johnny-cash-visit-campus-in-the-1970s/\">Pomona College\u003c/a> in southern California, Kristofferson majored in creative literature. His many diverse talents drew the attention of \u003cem>Sports Illustrated\u003c/em>, which \u003ca href=\"https://vault.si.com/vault/1958/03/31/kristoffer-kristofferson\">highlighted him\u003c/a> as one of its “Faces in the Crowd” in 1954. “This dashing young man,” the magazine trumpeted, not only played rugby and varsity football and was a Golden Gloves boxer; he was also sports editor of the college paper, a folk singer, an award-winning writer and an “outstanding” ROTC cadet.\u003c/p>\n\u003cp>From Pomona, Kristofferson won a prestigious \u003ca href=\"https://www.rhodeshouse.ox.ac.uk/scholars-volunteers/rhodes-scholar-database/\">Rhodes Scholarship\u003c/a> to study at Oxford University, where he dove into the works of Shakespeare and William Blake. \u003c/p>\n\u003cp>In a \u003ca href=\"https://www.npr.org/1999/09/17/1064155/kris-kristofferson\">1999 interview\u003c/a> with NPR’s \u003cem>Morning Edition\u003c/em>, he explained that Blake “was a wonderful example for somebody who wanted to be an artist, because he believed if you were cut out to be one, it was your moral responsibility to be one, or you’d be haunted throughout your life and after death — ’til eternity!”\u003c/p>\n\u003cp>Perhaps inspired by Blake’s admonition, Kristofferson harbored dreams of writing the Great American Novel. Instead, after Oxford he followed his father into the military, joining the U.S. Army, where he became a helicopter pilot and attained the rank of Captain. Assigned to teach literature at West Point, Kristofferson decided to ditch the Army, and he moved to Nashville to pursue his dream of songwriting. \u003c/p>\n\u003cp>For that choice, he was disowned by his parents. “They thought that somewhere between Oxford and the Army I had gone crazy,” Kristofferson \u003ca href=\"https://media.npr.org/assets/pdf/2021/10/pomona.pdf\">told Pomona College Magazine\u003c/a> in 2004. “My mother said nobody over 14 listens to that kind of stuff anyway…. But I was more and more determined to go that way. And being virtually disowned was kind of liberating for me, because I had nothing left to lose.”\u003c/p>\n\u003cfigure id=\"attachment_10642751\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/KristoffersonSFJAZZ.jpg\" alt=\"\" width=\"640\" height=\"457\" class=\"size-full wp-image-10642751\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/KristoffersonSFJAZZ.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/KristoffersonSFJAZZ-400x286.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Kris Kristofferson performs as part of a tribute to Joni Mitchell at the SFJAZZ Center on May 8, 2015 in San Francisco. \u003ccite>(File Photo/Drew Altizer Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>From janitor to hit songwriter\u003c/h3>\n\u003cp>Arriving in Nashville in 1965, Kristofferson got a job as a janitor at Columbia Studios, sweeping floors and emptying ashtrays, while writing songs on the side. \u003c/p>\n\u003cp>He often compared the creative ferment of Nashville in the ’60s to that of Paris in the ’20s. “When I got there,” he said in the 1999 \u003cem>Fresh Air\u003c/em> interview, “it was so different from any life that I’d been in before; just hanging out with these people who stayed up for three or four days at a time, and nights, and were writing songs all the time.”\u003c/p>\n\u003cp>“I think I wrote four songs during the first week I was there,” he continued. “And it was just so exciting to me. It was like a lifeboat, you know? It was like my salvation.”\u003c/p>\n\u003cp>The story goes that Kristofferson was so desperate to get his songs into the hands of Johnny Cash that he landed a helicopter on Cash’s lawn. In the version Cash used to tell, Kristofferson emerged with a tape in one hand and a beer in the other.\u003c/p>\n\u003cp>“It’s a great story, and a story that good needs to be believed, even if it’s not true,” quips musician Rodney Crowell, who became Cash’s son-in-law when he married Rosanne Cash. “But, you know, according to John, that literally happened.” \u003c/p>\n\u003cp>Johnny Cash would turn out to be instrumental in launching Kristofferson’s career, \u003ca href=\"https://www.facebook.com/newportfolkfest/photos/tbt-in-1969-kris-kristofferson-made-his-national-debut-at-the-newport-folk-festi/10153784481136288/\">introducing him \u003c/a>at the 1969 Newport Folk Festival and \u003ca href=\"https://youtu.be/FkKNQel41pI\">inviting him\u003c/a> to \u003ca href=\"https://www.youtube.com/watch?v=pWUlmBO5fr0\">perform\u003c/a> on his television variety show.\u003c/p>\n\u003cp>[aside postID='arts_13878306']\u003c/p>\n\u003ch3>His songs were like short stories\u003c/h3>\n\u003cp>Rodney Crowell was one of many young songwriters who were drawn to Nashville by the beacon of Kristofferson’s success. “Because of Kris Kristofferson, a lot of songwriters came into Nashville, came in droves. And I was part of that wave,” he tells NPR.\u003c/p>\n\u003cp>What set Kristofferson’s music apart, Crowell says, was the way he wove a story and sustained a narrative through his songs. Take “Sunday Morning Coming Down,” for example — a vivid portrait of bleak, hungover loneliness. Crowell calls the song “a beautifully-written short story.”\u003c/p>\n\u003cblockquote>\n\u003cdiv>\n\u003cp>\u003cem>Well I woke up Sunday morning with no way to hold my head that didn’t hurt\u003c/em>\u003cbr>\u003cem>And the beer I had for breakfast wasn’t bad, so I had one more for dessert\u003c/em>\u003c/p>\n\u003cp>\u003cem>Then I fumbled through my closet for my clothes and found my cleanest dirty shirt \u003c/em>\u003c/p>\n\u003cp>\u003cem>And I shaved my face and combed my hair and stumbled down the stairs to meet the day\u003c/em>\u003c/p>\n\u003c/div>\n\u003c/blockquote>\n\u003cp>Musician Steve Earle recalls that when he first heard “Sunday Morning Coming Down” as a teenager in Texas, it made such an impact that he rushed out to buy Kristofferson’s first two records. \u003c/p>\n\u003cp>“The imagery and the use of language is just being cranked up to a level higher than really anything that came before in country music, for sure,” Earle says.\u003c/p>\n\u003cp>Kristofferson, he says, “raised the bar single-handedly in country music lyrically to a place that writers are still aspiring to, and I still aspire to, to this day\u003cstrong>.\u003c/strong>“\u003c/p>\n\u003cfigure id=\"attachment_13965732\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/MV5BZmE2MzdlNjItMzk5My00MDRmLWJmNjMtOTg1NTUxYTczNzNiXkEyXkFqcGc@._V1_.jpg\" alt=\"\" width=\"2000\" height=\"1699\" class=\"size-full wp-image-13965732\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/MV5BZmE2MzdlNjItMzk5My00MDRmLWJmNjMtOTg1NTUxYTczNzNiXkEyXkFqcGc@._V1_.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/MV5BZmE2MzdlNjItMzk5My00MDRmLWJmNjMtOTg1NTUxYTczNzNiXkEyXkFqcGc@._V1_-800x680.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/MV5BZmE2MzdlNjItMzk5My00MDRmLWJmNjMtOTg1NTUxYTczNzNiXkEyXkFqcGc@._V1_-1020x866.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/MV5BZmE2MzdlNjItMzk5My00MDRmLWJmNjMtOTg1NTUxYTczNzNiXkEyXkFqcGc@._V1_-160x136.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/MV5BZmE2MzdlNjItMzk5My00MDRmLWJmNjMtOTg1NTUxYTczNzNiXkEyXkFqcGc@._V1_-768x652.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/MV5BZmE2MzdlNjItMzk5My00MDRmLWJmNjMtOTg1NTUxYTczNzNiXkEyXkFqcGc@._V1_-1536x1305.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/MV5BZmE2MzdlNjItMzk5My00MDRmLWJmNjMtOTg1NTUxYTczNzNiXkEyXkFqcGc@._V1_-1920x1631.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Kris Kristofferson with co-star Ellen Burstyn on the set of the 1974 film ‘Alice Doesn’t Live Here Anymore.’ \u003ccite>(Warner Bros.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>He was a master of seduction, in song and on screen\u003c/h3>\n\u003cp>For Nashville, Kristofferson’s 1970 song of naked, unapologetic desire, “Help Me Make It Through the Night,” was nothing short of revolutionary. “It was earth-shaking, and a paradigm shift,” Crowell says. “It is literally a form of seduction. It’s silver-tongue seduction.”\u003c/p>\n\u003cblockquote>\n\u003cdiv>\n\u003cp>\u003cem>Take the ribbon from your hair\u003c/em>\u003cbr>\u003cem>Shake it loose and let it fall\u003c/em>\u003c/p>\n\u003cp>\u003cem>Layin’ soft upon my skin \u003c/em>\u003c/p>\n\u003cp>\u003cem>Like the shadows on the wall\u003c/em>\u003c/p>\n\u003cp>\u003cem>Come and lay down by my side\u003c/em>\u003c/p>\n\u003cp>\u003cem>‘Til the early morning light\u003c/em>\u003c/p>\n\u003cp>\u003cem>All I’m takin’ is your time\u003c/em>\u003c/p>\n\u003cp>\u003cem>Help me make it through the night\u003c/em>\u003c/p>\n\u003c/div>\n\u003c/blockquote>\n\u003cp>In person and on the screen, Kristofferson was magnetic: movie-star gorgeous, with a roguish grin and electric blue eyes.\u003c/p>\n\u003cp>“Women loved him, you know? I mean, absolutely fell over,” Crowell says. “He was a sex symbol and a rock star.”\u003c/p>\n\u003cp>For a young, eager musician like Crowell, Kristofferson offered an intoxicating role model. \u003c/p>\n\u003cp>“It was like, ‘Hmm, I want to be like that,'” Crowell says. “I was like, ‘How do you do that? How do you have that kind of swagger?'” \u003c/p>\n\u003cp>Kristofferson brought that same sensual swagger to his movie roles over his decades-long career. He starred in films including \u003cem>Pat Garrett and Billy the Kid, Alice Doesn’t Live Here Anymore\u003c/em>, \u003cem>A Star Is Born, Semi-Tough\u003c/em>, \u003cem>Heaven’s Gate\u003c/em> and \u003cem>Lone Star\u003c/em>, working with directors Sam Peckinpah, Martin Scorsese, Alan Rudolph and John Sayles, among others. \u003c/p>\n\u003cp>For a stretch in the 1980s and ’90s, Kristofferson was part of an occasional country outlaw supergroup, joining with Johnny Cash, Waylon Jennings and Willie Nelson to form the Highwaymen. Recalling that time in an \u003ca href=\"https://www.loudersound.com/features/q-a-kris-kristofferson\">interview\u003c/a> with the British magazine \u003cem>Classic Rock\u003c/em> years later, he said, “I just wish I was more aware of how lucky I was to share a stage with those people. I had no idea that two of them [Cash and Jennings] would be done so soon. Hell, I was up there and I had all my heroes with me – these are guys whose ashtrays I used to clean. I’m kinda amazed I wasn’t more amazed.” \u003c/p>\n\u003cp>In the ’80s and ’90s, Kristofferson also embraced a number of leftist political causes. He \u003ca href=\"https://www.nytimes.com/1987/02/06/us/438-protesters-are-arrested-at-nevada-nuclear-test-site.html\">protested\u003c/a> nuclear testing in Nevada, and \u003ca href=\"https://freshairarchive.org/segments/kris-kristofferson-his-trip-nicaragua-and-his-support-sandinistas\">vocally opposed \u003c/a>U.S. policy in Central America, making several trips to Nicaragua in support of the Sandinista government, and excoriating the U.S. backing of El Salvador’s military-led junta in that country’s brutal civil war. “I’m a songwriter,” he said in a 1988 \u003cem>Fresh Air\u003c/em> interview, “but I’m also concerned with my fellow human beings. And I’m real concerned with the soul of my country.” His 1990 album, \u003cem>Third World Warrior\u003c/em>, is filled with songs expressing his political views:\u003c/p>\n\u003cblockquote>\n\u003cdiv>\n\u003cp>\u003cem>Broken rules and dirty warriors spreading lies and secret funds\u003c/em>\u003cbr>\u003cem>Can’t defeat the Campesino with their money and their guns\u003c/em>\u003c/p>\n\u003cp>\u003cem>Cause he’s fighting for his future and his freedom and his sons\u003c/em>\u003c/p>\n\u003cp>\u003cem>In the third world war \u003c/em>\u003c/p>\n\u003c/div>\n\u003c/blockquote>\n\u003cfigure id=\"attachment_13965733\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Kris-Kristofferson-Ocean-2-Mary-Ellen-Mark-e1727649844111.jpg\" alt=\"\" width=\"2000\" height=\"2000\" class=\"size-full wp-image-13965733\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Kris-Kristofferson-Ocean-2-Mary-Ellen-Mark-e1727649844111.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Kris-Kristofferson-Ocean-2-Mary-Ellen-Mark-e1727649844111-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Kris-Kristofferson-Ocean-2-Mary-Ellen-Mark-e1727649844111-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Kris-Kristofferson-Ocean-2-Mary-Ellen-Mark-e1727649844111-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Kris-Kristofferson-Ocean-2-Mary-Ellen-Mark-e1727649844111-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Kris-Kristofferson-Ocean-2-Mary-Ellen-Mark-e1727649844111-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Kris-Kristofferson-Ocean-2-Mary-Ellen-Mark-e1727649844111-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Kris Kristofferson in 2005 during the Iraq War, which he vehemently opposed. \u003ccite>(Mary Ellen Clark/New West Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Music connected him to memory\u003c/h3>\n\u003cp>In his later years, Kristofferson suffered from profound memory loss, but he kept performing up \u003ca href=\"https://www.youtube.com/watch?v=bIa0aFLjAjw\">until 2020\u003c/a>. Among those he shared the stage with was \u003ca href=\"https://www.youtube.com/watch?v=eMwgwamUhoI\">Margo Price\u003c/a>. “Without a doubt,” she says, “he still had all the same charisma and all the sex appeal, every time.”\u003c/p>\n\u003cp>On stage, Price says, Kristofferson could connect with his musical memories and “feel like he was himself…. There’s been times where I’ve got off stage with Kris and I’m like, ‘Great show, Kris!’ He’s like, ‘Oh, thanks. You know, I wish I could have been there!’ I mean, that was the powerful thing about seeing him perform his songs, was that he could remember songs he’d written so long ago, but yet not remember something from five minutes ago.”\u003c/p>\n\u003cp>In an \u003ca href=\"https://www.npr.org/2013/02/03/170872651/kris-kristofferson-on-writing-for-and-outliving-his-idols\">interview\u003c/a> with NPR in 2013, Kristofferson reflected on his life and career. At 76, he had just released an album titled \u003cem>Feeling Mortal\u003c/em>.\u003c/p>\n\u003cp>“To my surprise,” he told Rachel Martin, “I feel nothing but gratitude for being this old, and still above ground, living with the people I love. I’ve had a life of all kinds of experiences, most of ’em good. I got eight kids and a wife that puts up with everything I do, and keeps me out of trouble.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Kristofferson lived for many years on the island of Maui, in a home built high on the slope of the Haleakala volcano, with a panoramic view of the Pacific Ocean. He \u003ca href=\"https://lasvegasmagazine.com/interviews/qa/2015/oct/23/q-a-kris-kristofferson-pearl-palms/\">told an interviewer\u003c/a> in 2016, “I’ve had so much blessing, so much reward for my life that I want to stay right where I am, which is on an island with no neighbors and 180 degrees of empty horizon. It’s a beautiful view.”\u003c/p>\n\n",
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"excerpt": "The musician, actor and activist behind songs like “Me and Bobby McGee” and “Sunday Mornin’ Comin’ Down” died at his home in Maui. ",
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"title": "Kris Kristofferson, Country Music Outlaw and Film Star, Dies at Age 88 | KQED",
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"headline": "Kris Kristofferson, Country Music Outlaw and Film Star, Dies at Age 88",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Kris Kristofferson, who wrote indelible songs about lovers, loners, boozers and a footloose pair of hitchhikers — and who later became a screen star, appearing in dozens of films — has died at age 88.\u003c/p>\n\u003cp>According to his representative, the singer, songwriter and actor died peacefully in his home in Maui, Hawaii, on Saturday, Sept. 28, surrounded by family. No cause of death was shared.\u003c/p>\n\u003cp>Kristofferson made his name as a songwriter in Nashville starting in the late 1960s, penning songs including “Me and Bobby McGee,” “Sunday Morning Coming Down” and “Help Me Make It Through the Night,” which other singers (Janis Joplin, Johnny Cash and Sammi Smith, respectively) took to the top of the charts.\u003c/p>\n\u003cp>His fame and sex symbol status grew through his movie roles, most notably when he co-starred with Barbra Streisand in the 1976 remake of \u003cem>A Star is Born\u003c/em>. \u003c/p>\n\u003cp>“I imagined myself into a pretty full life,” Kristofferson \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=5506402\">told NPR’s \u003cem>Fresh Air\u003c/em>\u003c/a> in 1999. “I was certainly not equipped, by God, to be a football player, but I got to be one. And I got to be a Ranger, and a paratrooper, and a helicopter pilot, you know, and a boxer, and a lot of things that I don’t think I was built to do. I just imagined ’em.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Kristofferson won three Grammy awards, two of them for \u003ca href=\"https://www.youtube.com/watch?v=Rq4wgvZ1vv4\">duets\u003c/a> with his then-wife \u003ca href=\"https://www.youtube.com/watch?v=DgoPagLKJtI\">Rita Coolidge\u003c/a>, to whom he was married from 1973-80. His performance in \u003cem>A Star Is Born\u003c/em> earned him a Golden Globe in 1976.\u003c/p>\n\u003cp>In 2004, Kristofferson was inducted into the Country Music Hall of Fame, and in 2014, he was honored with a Grammy Lifetime Achievement Award.\u003c/p>\n\u003cfigure id=\"attachment_13965727\" class=\"wp-caption aligncenter\" style=\"max-width: 1862px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/gettyimages-811897.jpeg\" alt=\"\" width=\"1862\" height=\"2483\" class=\"size-full wp-image-13965727\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/gettyimages-811897.jpeg 1862w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/gettyimages-811897-800x1067.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/gettyimages-811897-1020x1360.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/gettyimages-811897-160x213.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/gettyimages-811897-768x1024.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/gettyimages-811897-1152x1536.jpeg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/gettyimages-811897-1536x2048.jpeg 1536w\" sizes=\"(max-width: 1862px) 100vw, 1862px\">\u003cfigcaption class=\"wp-caption-text\">Kris Kristofferson attends the film premiere of “Chelsea Walls” on April 15, 2002 in Los Angeles. \u003ccite>(Frederick M. Brown/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Early on, he found his calling as a writer\u003c/h3>\n\u003cp>Kristofferson was born in Brownsville, Texas to a military family; his father was a major general in the U.S. Air Force. It was there, at age 11, that he wrote his first song, titled “\u003ca href=\"https://www.youtube.com/watch?v=M-WKI_vlSro\">I Hate Your Ugly Face\u003c/a>.” (He included that number as a bonus track on one of his last albums, \u003cem>Closer to the Bone\u003c/em>, in 2009.) As a military kid, he moved often, landing in the Bay Area at one point and graduating from San Mateo High School in 1954.\u003c/p>\n\u003cp>At \u003ca href=\"https://magazine.pomona.edu/pomoniana/2012/03/06/photo-memory-kris-kristofferson-58-and-johnny-cash-visit-campus-in-the-1970s/\">Pomona College\u003c/a> in southern California, Kristofferson majored in creative literature. His many diverse talents drew the attention of \u003cem>Sports Illustrated\u003c/em>, which \u003ca href=\"https://vault.si.com/vault/1958/03/31/kristoffer-kristofferson\">highlighted him\u003c/a> as one of its “Faces in the Crowd” in 1954. “This dashing young man,” the magazine trumpeted, not only played rugby and varsity football and was a Golden Gloves boxer; he was also sports editor of the college paper, a folk singer, an award-winning writer and an “outstanding” ROTC cadet.\u003c/p>\n\u003cp>From Pomona, Kristofferson won a prestigious \u003ca href=\"https://www.rhodeshouse.ox.ac.uk/scholars-volunteers/rhodes-scholar-database/\">Rhodes Scholarship\u003c/a> to study at Oxford University, where he dove into the works of Shakespeare and William Blake. \u003c/p>\n\u003cp>In a \u003ca href=\"https://www.npr.org/1999/09/17/1064155/kris-kristofferson\">1999 interview\u003c/a> with NPR’s \u003cem>Morning Edition\u003c/em>, he explained that Blake “was a wonderful example for somebody who wanted to be an artist, because he believed if you were cut out to be one, it was your moral responsibility to be one, or you’d be haunted throughout your life and after death — ’til eternity!”\u003c/p>\n\u003cp>Perhaps inspired by Blake’s admonition, Kristofferson harbored dreams of writing the Great American Novel. Instead, after Oxford he followed his father into the military, joining the U.S. Army, where he became a helicopter pilot and attained the rank of Captain. Assigned to teach literature at West Point, Kristofferson decided to ditch the Army, and he moved to Nashville to pursue his dream of songwriting. \u003c/p>\n\u003cp>For that choice, he was disowned by his parents. “They thought that somewhere between Oxford and the Army I had gone crazy,” Kristofferson \u003ca href=\"https://media.npr.org/assets/pdf/2021/10/pomona.pdf\">told Pomona College Magazine\u003c/a> in 2004. “My mother said nobody over 14 listens to that kind of stuff anyway…. But I was more and more determined to go that way. And being virtually disowned was kind of liberating for me, because I had nothing left to lose.”\u003c/p>\n\u003cfigure id=\"attachment_10642751\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/KristoffersonSFJAZZ.jpg\" alt=\"\" width=\"640\" height=\"457\" class=\"size-full wp-image-10642751\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/KristoffersonSFJAZZ.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/KristoffersonSFJAZZ-400x286.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Kris Kristofferson performs as part of a tribute to Joni Mitchell at the SFJAZZ Center on May 8, 2015 in San Francisco. \u003ccite>(File Photo/Drew Altizer Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>From janitor to hit songwriter\u003c/h3>\n\u003cp>Arriving in Nashville in 1965, Kristofferson got a job as a janitor at Columbia Studios, sweeping floors and emptying ashtrays, while writing songs on the side. \u003c/p>\n\u003cp>He often compared the creative ferment of Nashville in the ’60s to that of Paris in the ’20s. “When I got there,” he said in the 1999 \u003cem>Fresh Air\u003c/em> interview, “it was so different from any life that I’d been in before; just hanging out with these people who stayed up for three or four days at a time, and nights, and were writing songs all the time.”\u003c/p>\n\u003cp>“I think I wrote four songs during the first week I was there,” he continued. “And it was just so exciting to me. It was like a lifeboat, you know? It was like my salvation.”\u003c/p>\n\u003cp>The story goes that Kristofferson was so desperate to get his songs into the hands of Johnny Cash that he landed a helicopter on Cash’s lawn. In the version Cash used to tell, Kristofferson emerged with a tape in one hand and a beer in the other.\u003c/p>\n\u003cp>“It’s a great story, and a story that good needs to be believed, even if it’s not true,” quips musician Rodney Crowell, who became Cash’s son-in-law when he married Rosanne Cash. “But, you know, according to John, that literally happened.” \u003c/p>\n\u003cp>Johnny Cash would turn out to be instrumental in launching Kristofferson’s career, \u003ca href=\"https://www.facebook.com/newportfolkfest/photos/tbt-in-1969-kris-kristofferson-made-his-national-debut-at-the-newport-folk-festi/10153784481136288/\">introducing him \u003c/a>at the 1969 Newport Folk Festival and \u003ca href=\"https://youtu.be/FkKNQel41pI\">inviting him\u003c/a> to \u003ca href=\"https://www.youtube.com/watch?v=pWUlmBO5fr0\">perform\u003c/a> on his television variety show.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch3>His songs were like short stories\u003c/h3>\n\u003cp>Rodney Crowell was one of many young songwriters who were drawn to Nashville by the beacon of Kristofferson’s success. “Because of Kris Kristofferson, a lot of songwriters came into Nashville, came in droves. And I was part of that wave,” he tells NPR.\u003c/p>\n\u003cp>What set Kristofferson’s music apart, Crowell says, was the way he wove a story and sustained a narrative through his songs. Take “Sunday Morning Coming Down,” for example — a vivid portrait of bleak, hungover loneliness. Crowell calls the song “a beautifully-written short story.”\u003c/p>\n\u003cblockquote>\n\u003cdiv>\n\u003cp>\u003cem>Well I woke up Sunday morning with no way to hold my head that didn’t hurt\u003c/em>\u003cbr>\u003cem>And the beer I had for breakfast wasn’t bad, so I had one more for dessert\u003c/em>\u003c/p>\n\u003cp>\u003cem>Then I fumbled through my closet for my clothes and found my cleanest dirty shirt \u003c/em>\u003c/p>\n\u003cp>\u003cem>And I shaved my face and combed my hair and stumbled down the stairs to meet the day\u003c/em>\u003c/p>\n\u003c/div>\n\u003c/blockquote>\n\u003cp>Musician Steve Earle recalls that when he first heard “Sunday Morning Coming Down” as a teenager in Texas, it made such an impact that he rushed out to buy Kristofferson’s first two records. \u003c/p>\n\u003cp>“The imagery and the use of language is just being cranked up to a level higher than really anything that came before in country music, for sure,” Earle says.\u003c/p>\n\u003cp>Kristofferson, he says, “raised the bar single-handedly in country music lyrically to a place that writers are still aspiring to, and I still aspire to, to this day\u003cstrong>.\u003c/strong>“\u003c/p>\n\u003cfigure id=\"attachment_13965732\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/MV5BZmE2MzdlNjItMzk5My00MDRmLWJmNjMtOTg1NTUxYTczNzNiXkEyXkFqcGc@._V1_.jpg\" alt=\"\" width=\"2000\" height=\"1699\" class=\"size-full wp-image-13965732\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/MV5BZmE2MzdlNjItMzk5My00MDRmLWJmNjMtOTg1NTUxYTczNzNiXkEyXkFqcGc@._V1_.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/MV5BZmE2MzdlNjItMzk5My00MDRmLWJmNjMtOTg1NTUxYTczNzNiXkEyXkFqcGc@._V1_-800x680.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/MV5BZmE2MzdlNjItMzk5My00MDRmLWJmNjMtOTg1NTUxYTczNzNiXkEyXkFqcGc@._V1_-1020x866.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/MV5BZmE2MzdlNjItMzk5My00MDRmLWJmNjMtOTg1NTUxYTczNzNiXkEyXkFqcGc@._V1_-160x136.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/MV5BZmE2MzdlNjItMzk5My00MDRmLWJmNjMtOTg1NTUxYTczNzNiXkEyXkFqcGc@._V1_-768x652.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/MV5BZmE2MzdlNjItMzk5My00MDRmLWJmNjMtOTg1NTUxYTczNzNiXkEyXkFqcGc@._V1_-1536x1305.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/MV5BZmE2MzdlNjItMzk5My00MDRmLWJmNjMtOTg1NTUxYTczNzNiXkEyXkFqcGc@._V1_-1920x1631.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Kris Kristofferson with co-star Ellen Burstyn on the set of the 1974 film ‘Alice Doesn’t Live Here Anymore.’ \u003ccite>(Warner Bros.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>He was a master of seduction, in song and on screen\u003c/h3>\n\u003cp>For Nashville, Kristofferson’s 1970 song of naked, unapologetic desire, “Help Me Make It Through the Night,” was nothing short of revolutionary. “It was earth-shaking, and a paradigm shift,” Crowell says. “It is literally a form of seduction. It’s silver-tongue seduction.”\u003c/p>\n\u003cblockquote>\n\u003cdiv>\n\u003cp>\u003cem>Take the ribbon from your hair\u003c/em>\u003cbr>\u003cem>Shake it loose and let it fall\u003c/em>\u003c/p>\n\u003cp>\u003cem>Layin’ soft upon my skin \u003c/em>\u003c/p>\n\u003cp>\u003cem>Like the shadows on the wall\u003c/em>\u003c/p>\n\u003cp>\u003cem>Come and lay down by my side\u003c/em>\u003c/p>\n\u003cp>\u003cem>‘Til the early morning light\u003c/em>\u003c/p>\n\u003cp>\u003cem>All I’m takin’ is your time\u003c/em>\u003c/p>\n\u003cp>\u003cem>Help me make it through the night\u003c/em>\u003c/p>\n\u003c/div>\n\u003c/blockquote>\n\u003cp>In person and on the screen, Kristofferson was magnetic: movie-star gorgeous, with a roguish grin and electric blue eyes.\u003c/p>\n\u003cp>“Women loved him, you know? I mean, absolutely fell over,” Crowell says. “He was a sex symbol and a rock star.”\u003c/p>\n\u003cp>For a young, eager musician like Crowell, Kristofferson offered an intoxicating role model. \u003c/p>\n\u003cp>“It was like, ‘Hmm, I want to be like that,'” Crowell says. “I was like, ‘How do you do that? How do you have that kind of swagger?'” \u003c/p>\n\u003cp>Kristofferson brought that same sensual swagger to his movie roles over his decades-long career. He starred in films including \u003cem>Pat Garrett and Billy the Kid, Alice Doesn’t Live Here Anymore\u003c/em>, \u003cem>A Star Is Born, Semi-Tough\u003c/em>, \u003cem>Heaven’s Gate\u003c/em> and \u003cem>Lone Star\u003c/em>, working with directors Sam Peckinpah, Martin Scorsese, Alan Rudolph and John Sayles, among others. \u003c/p>\n\u003cp>For a stretch in the 1980s and ’90s, Kristofferson was part of an occasional country outlaw supergroup, joining with Johnny Cash, Waylon Jennings and Willie Nelson to form the Highwaymen. Recalling that time in an \u003ca href=\"https://www.loudersound.com/features/q-a-kris-kristofferson\">interview\u003c/a> with the British magazine \u003cem>Classic Rock\u003c/em> years later, he said, “I just wish I was more aware of how lucky I was to share a stage with those people. I had no idea that two of them [Cash and Jennings] would be done so soon. Hell, I was up there and I had all my heroes with me – these are guys whose ashtrays I used to clean. I’m kinda amazed I wasn’t more amazed.” \u003c/p>\n\u003cp>In the ’80s and ’90s, Kristofferson also embraced a number of leftist political causes. He \u003ca href=\"https://www.nytimes.com/1987/02/06/us/438-protesters-are-arrested-at-nevada-nuclear-test-site.html\">protested\u003c/a> nuclear testing in Nevada, and \u003ca href=\"https://freshairarchive.org/segments/kris-kristofferson-his-trip-nicaragua-and-his-support-sandinistas\">vocally opposed \u003c/a>U.S. policy in Central America, making several trips to Nicaragua in support of the Sandinista government, and excoriating the U.S. backing of El Salvador’s military-led junta in that country’s brutal civil war. “I’m a songwriter,” he said in a 1988 \u003cem>Fresh Air\u003c/em> interview, “but I’m also concerned with my fellow human beings. And I’m real concerned with the soul of my country.” His 1990 album, \u003cem>Third World Warrior\u003c/em>, is filled with songs expressing his political views:\u003c/p>\n\u003cblockquote>\n\u003cdiv>\n\u003cp>\u003cem>Broken rules and dirty warriors spreading lies and secret funds\u003c/em>\u003cbr>\u003cem>Can’t defeat the Campesino with their money and their guns\u003c/em>\u003c/p>\n\u003cp>\u003cem>Cause he’s fighting for his future and his freedom and his sons\u003c/em>\u003c/p>\n\u003cp>\u003cem>In the third world war \u003c/em>\u003c/p>\n\u003c/div>\n\u003c/blockquote>\n\u003cfigure id=\"attachment_13965733\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Kris-Kristofferson-Ocean-2-Mary-Ellen-Mark-e1727649844111.jpg\" alt=\"\" width=\"2000\" height=\"2000\" class=\"size-full wp-image-13965733\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Kris-Kristofferson-Ocean-2-Mary-Ellen-Mark-e1727649844111.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Kris-Kristofferson-Ocean-2-Mary-Ellen-Mark-e1727649844111-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Kris-Kristofferson-Ocean-2-Mary-Ellen-Mark-e1727649844111-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Kris-Kristofferson-Ocean-2-Mary-Ellen-Mark-e1727649844111-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Kris-Kristofferson-Ocean-2-Mary-Ellen-Mark-e1727649844111-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Kris-Kristofferson-Ocean-2-Mary-Ellen-Mark-e1727649844111-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Kris-Kristofferson-Ocean-2-Mary-Ellen-Mark-e1727649844111-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Kris Kristofferson in 2005 during the Iraq War, which he vehemently opposed. \u003ccite>(Mary Ellen Clark/New West Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Music connected him to memory\u003c/h3>\n\u003cp>In his later years, Kristofferson suffered from profound memory loss, but he kept performing up \u003ca href=\"https://www.youtube.com/watch?v=bIa0aFLjAjw\">until 2020\u003c/a>. Among those he shared the stage with was \u003ca href=\"https://www.youtube.com/watch?v=eMwgwamUhoI\">Margo Price\u003c/a>. “Without a doubt,” she says, “he still had all the same charisma and all the sex appeal, every time.”\u003c/p>\n\u003cp>On stage, Price says, Kristofferson could connect with his musical memories and “feel like he was himself…. There’s been times where I’ve got off stage with Kris and I’m like, ‘Great show, Kris!’ He’s like, ‘Oh, thanks. You know, I wish I could have been there!’ I mean, that was the powerful thing about seeing him perform his songs, was that he could remember songs he’d written so long ago, but yet not remember something from five minutes ago.”\u003c/p>\n\u003cp>In an \u003ca href=\"https://www.npr.org/2013/02/03/170872651/kris-kristofferson-on-writing-for-and-outliving-his-idols\">interview\u003c/a> with NPR in 2013, Kristofferson reflected on his life and career. At 76, he had just released an album titled \u003cem>Feeling Mortal\u003c/em>.\u003c/p>\n\u003cp>“To my surprise,” he told Rachel Martin, “I feel nothing but gratitude for being this old, and still above ground, living with the people I love. I’ve had a life of all kinds of experiences, most of ’em good. I got eight kids and a wife that puts up with everything I do, and keeps me out of trouble.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Kristofferson lived for many years on the island of Maui, in a home built high on the slope of the Haleakala volcano, with a panoramic view of the Pacific Ocean. He \u003ca href=\"https://lasvegasmagazine.com/interviews/qa/2015/oct/23/q-a-kris-kristofferson-pearl-palms/\">told an interviewer\u003c/a> in 2016, “I’ve had so much blessing, so much reward for my life that I want to stay right where I am, which is on an island with no neighbors and 180 degrees of empty horizon. It’s a beautiful view.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Maggie Smith, Scene-Stealing Actor Famed for ‘Downton Abbey’ and Harry Potter, Dies at 89",
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"content": "\u003cp>Maggie Smith, the masterful, scene-stealing actor who won an Oscar for 1969 film \u003cem>The Prime of Miss Jean Brodie\u003c/em> and gained new fans in the 21st century as the dowager Countess of Grantham in \u003cem>Downton Abbey\u003c/em> and Professor Minerva McGonagall in the Harry Potter films, died Friday. She was 89.\u003c/p>\n\u003cp>Smith’s sons, Chris Larkin and Toby Stephens, said in a statement that Smith died early Friday in a London hospital.\u003c/p>\n\u003cp>“She leaves two sons and five loving grandchildren who are devastated by the loss of their extraordinary mother and grandmother,” they said in a statement issued through publicist Clair Dobbs.\u003c/p>\n\u003cp>Smith was frequently rated the preeminent British female performer of a generation that included Vanessa Redgrave and Judi Dench, with two Oscars, a clutch of Academy Award nominations and a shelf full of acting trophies.\u003c/p>\n\u003cp>She remained in demand even in her later years, despite her lament that “when you get into the granny era, you’re lucky to get anything.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Smith drily summarized her later roles as “a gallery of grotesques,” including Professor McGonagall. Asked why she took the role, she quipped: “Harry Potter is my pension.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=2Tpb1XyqGOQ\u003c/p>\n\u003cp>Richard Eyre, who directed Smith in a television production of \u003cem>Suddenly, Last Summer\u003c/em>, said she was “intellectually the smartest actress I’ve ever worked with. You have to get up very, very early in the morning to outwit Maggie Smith.”\u003c/p>\n\u003cp>\u003cem>Jean Brodie\u003c/em>, in which she played a dangerously charismatic Edinburgh schoolteacher, brought her the Academy Award for best actress, and the British Academy Film Award (BAFTA) as well.\u003c/p>\n\u003cp>Smith added a supporting actress Oscar for \u003cem>California Suite\u003c/em> in 1978, Golden Globes for \u003cem>California Suite\u003c/em> and \u003cem>A Room with a View\u003c/em>, and BAFTAs for lead actress in \u003cem>A Private Function\u003c/em> in 1984, \u003cem>A Room with a View\u003c/em> in 1986 and \u003cem>The Lonely Passion of Judith Hearne\u003c/em> in 1988.\u003c/p>\n\u003cp>She also received Academy Award nominations as a supporting actress in \u003cem>Othello\u003c/em>, \u003cem>Travels with My Aunt\u003c/em>, \u003cem>A Room with a View\u003c/em> and \u003cem>Gosford Park\u003c/em>, and a BAFTA award for supporting actress in \u003cem>Tea with Mussolini\u003c/em>. On stage, she won a Tony in 1990 for \u003cem>Lettice and Lovage\u003c/em>.\u003c/p>\n\u003cp>From 2010, she was the acid-tongued Violet Crawley, Dowager Countess of Grantham, in hit TV period drama \u003cem>Downton Abbey\u003c/em>, a role that won her legions of fans, three Emmy Awards, a Golden Globe and a host of other awards nominations.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-kobB4Q5qO8\u003c/p>\n\u003cp>But she chafed at television fame. When the show’s run ended in 2016, Smith said she was relieved. “It’s freedom,” she told The Associated Press.\u003c/p>\n\u003cp>“Not until \u003cem>Downton Abbey\u003c/em> was I well-known or stopped in the street and asked for one of those terrible photographs,” she said.\u003c/p>\n\u003cp>She continued acting well into her 80s, in films including the big-screen spinoff to \u003cem>Downton Abbey\u003c/em> in 2019, its 2022 sequel \u003cem>Downton Abbey: A New Era\u003c/em> and 2023 release \u003cem>The Miracle Club\u003c/em>.\u003c/p>\n\u003cp>Smith had a reputation for being difficult, and sometimes upstaging others.\u003c/p>\n\u003cp>Richard Burton remarked that Smith didn’t just take over a scene in \u003cem>The VIPs\u003c/em> with him: “She commits grand larceny.” However, the director Peter Hall found that Smith wasn’t “remotely difficult unless she’s among idiots. She’s very hard on herself, and I don’t think she sees any reason why she shouldn’t be hard on other people, too.”\u003c/p>\n\u003cp>Smith conceded that she could be impatient at times.\u003c/p>\n\u003cp>“It’s true I don’t tolerate fools, but then they don’t tolerate me, so I am spiky,” Smith said. “Maybe that’s why I’m quite good at playing spiky elderly ladies.”\u003c/p>\n\u003cp>Critic Frank Rich, in a \u003cem>New York Times\u003c/em> review of \u003cem>Lettice and Lovage\u003c/em>, praised Smith as “the stylized classicist who can italicize a line as prosaic as ‘Have you no marmalade?’ until it sounds like a freshly minted epigram by Coward or Wilde.”\u003c/p>\n\u003cp>Smith famously drew laughs from a prosaic line — “This haddock is disgusting” — in a 1964 revival of Noel Coward’s \u003cem>Hay Fever\u003c/em>.\u003c/p>\n\u003cp>She repeated the gift for one-liners in \u003cem>Downton Abbey\u003c/em>, when the tradition-bound Violet witheringly asked, “What is a weekend?”\u003c/p>\n\u003cp>Fellow actors paid tribute to her on Friday. Hugh Bonneville, who played the son of Smith’s character in \u003cem>Downton Abbey\u003c/em>, said “anyone who ever shared a scene with Maggie will attest to her sharp eye, sharp wit and formidable talent.”\u003c/p>\n\u003cp>“She was a true legend of her generation and thankfully will live on in so many magnificent screen performances,” he said in a statement.\u003c/p>\n\u003cp>https://twitter.com/RobLowe/status/1839668066793423319\u003c/p>\n\u003cp>Rob Lowe, who co-starred with her in \u003cem>Suddenly, Last Summer\u003c/em>, said the experience was “unforgettable … sharing a two-shot was like being paired with a lion.”\u003c/p>\n\u003cp>“She could eat anyone alive, and often did. But funny, and great company. And suffered no fools. We will never see another. God speed, Ms. Smith!” Lowe wrote on X.\u003c/p>\n\u003cp>Prime Minister Keir Starmer called Smith “a true national treasure whose work will be cherished for generations to come.”\u003c/p>\n\u003cp>Margaret Natalie Smith was born in Ilford, on the eastern edge of London, on Dec. 28, 1934. She summed up her life briefly: “One went to school, one wanted to act, one started to act, one’s still acting.”\u003c/p>\n\u003cp>Her father was assigned in 1939 to wartime duty in Oxford, where her theater studies at the Oxford Playhouse School led to a busy apprenticeship.\u003c/p>\n\u003cp>“I did so many things, you know, round the universities there … If you were kind of clever enough and I suppose quick enough, you could almost do weekly rep because all the colleges were doing different productions at different times,” she said in a BBC interview.\u003c/p>\n\u003cp>She took Maggie as her stage name because another Margaret Smith was active in the theater.\u003c/p>\n\u003cp>Laurence Olivier spotted her talent, invited her to be part of his original National Theatre company and cast her as his co-star in a 1965 film adaptation of \u003cem>Othello\u003c/em>.\u003c/p>\n\u003cp>Smith said two directors, Ingmar Bergman and William Gaskill, both in National Theatre productions, were important influences.\u003c/p>\n\u003cp>Alan Bennett, preparing to film the monologue “A Bed Among the Lentils,” said he was wary of Smith’s reputation for becoming bored. As the actor Jeremy Brett put it, “she starts divinely and then goes off, rather like a cheese.”\u003c/p>\n\u003cp>“So the fact that we only just had enough time to do it was an absolute blessing really because she was so fresh and just so into it,” said Bennett. He also wrote a starring role for Smith in \u003cem>The Lady in the Van\u003c/em>, as Miss Shepherd, a redoubtable woman who lived for years in her vehicle on Bennett’s London driveway.\u003c/p>\n\u003cp>However extravagant she may have been on stage or before the cameras, Smith was known to be intensely private.\u003c/p>\n\u003cp>“She never wanted to talk about acting. Acting was something she was terrified to talk about because if she did, it would disappear,” said Simon Callow, who performed with her in \u003cem>A Room with a View\u003c/em>.\u003c/p>\n\u003cp>Smith was made a Dame Commander of the British Empire, the equivalent of a knight, in 1990.\u003c/p>\n\u003cp>She married fellow actor Robert Stephens in 1967. They had two sons, Christopher and Toby — who both grew up to be actors — and divorced in 1975. The same year she married the writer Beverley Cross, who died in 1998.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Hilary Fox in London contributed to this story. Associated Press writer Robert Barr contributed biographical material to this obituary before his death in 2018.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Maggie Smith, the masterful, scene-stealing actor who won an Oscar for 1969 film \u003cem>The Prime of Miss Jean Brodie\u003c/em> and gained new fans in the 21st century as the dowager Countess of Grantham in \u003cem>Downton Abbey\u003c/em> and Professor Minerva McGonagall in the Harry Potter films, died Friday. She was 89.\u003c/p>\n\u003cp>Smith’s sons, Chris Larkin and Toby Stephens, said in a statement that Smith died early Friday in a London hospital.\u003c/p>\n\u003cp>“She leaves two sons and five loving grandchildren who are devastated by the loss of their extraordinary mother and grandmother,” they said in a statement issued through publicist Clair Dobbs.\u003c/p>\n\u003cp>Smith was frequently rated the preeminent British female performer of a generation that included Vanessa Redgrave and Judi Dench, with two Oscars, a clutch of Academy Award nominations and a shelf full of acting trophies.\u003c/p>\n\u003cp>She remained in demand even in her later years, despite her lament that “when you get into the granny era, you’re lucky to get anything.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Smith drily summarized her later roles as “a gallery of grotesques,” including Professor McGonagall. Asked why she took the role, she quipped: “Harry Potter is my pension.”\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/2Tpb1XyqGOQ'\n title='//www.youtube.com/embed/2Tpb1XyqGOQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Richard Eyre, who directed Smith in a television production of \u003cem>Suddenly, Last Summer\u003c/em>, said she was “intellectually the smartest actress I’ve ever worked with. You have to get up very, very early in the morning to outwit Maggie Smith.”\u003c/p>\n\u003cp>\u003cem>Jean Brodie\u003c/em>, in which she played a dangerously charismatic Edinburgh schoolteacher, brought her the Academy Award for best actress, and the British Academy Film Award (BAFTA) as well.\u003c/p>\n\u003cp>Smith added a supporting actress Oscar for \u003cem>California Suite\u003c/em> in 1978, Golden Globes for \u003cem>California Suite\u003c/em> and \u003cem>A Room with a View\u003c/em>, and BAFTAs for lead actress in \u003cem>A Private Function\u003c/em> in 1984, \u003cem>A Room with a View\u003c/em> in 1986 and \u003cem>The Lonely Passion of Judith Hearne\u003c/em> in 1988.\u003c/p>\n\u003cp>She also received Academy Award nominations as a supporting actress in \u003cem>Othello\u003c/em>, \u003cem>Travels with My Aunt\u003c/em>, \u003cem>A Room with a View\u003c/em> and \u003cem>Gosford Park\u003c/em>, and a BAFTA award for supporting actress in \u003cem>Tea with Mussolini\u003c/em>. On stage, she won a Tony in 1990 for \u003cem>Lettice and Lovage\u003c/em>.\u003c/p>\n\u003cp>From 2010, she was the acid-tongued Violet Crawley, Dowager Countess of Grantham, in hit TV period drama \u003cem>Downton Abbey\u003c/em>, a role that won her legions of fans, three Emmy Awards, a Golden Globe and a host of other awards nominations.\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/-kobB4Q5qO8'\n title='//www.youtube.com/embed/-kobB4Q5qO8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But she chafed at television fame. When the show’s run ended in 2016, Smith said she was relieved. “It’s freedom,” she told The Associated Press.\u003c/p>\n\u003cp>“Not until \u003cem>Downton Abbey\u003c/em> was I well-known or stopped in the street and asked for one of those terrible photographs,” she said.\u003c/p>\n\u003cp>She continued acting well into her 80s, in films including the big-screen spinoff to \u003cem>Downton Abbey\u003c/em> in 2019, its 2022 sequel \u003cem>Downton Abbey: A New Era\u003c/em> and 2023 release \u003cem>The Miracle Club\u003c/em>.\u003c/p>\n\u003cp>Smith had a reputation for being difficult, and sometimes upstaging others.\u003c/p>\n\u003cp>Richard Burton remarked that Smith didn’t just take over a scene in \u003cem>The VIPs\u003c/em> with him: “She commits grand larceny.” However, the director Peter Hall found that Smith wasn’t “remotely difficult unless she’s among idiots. She’s very hard on herself, and I don’t think she sees any reason why she shouldn’t be hard on other people, too.”\u003c/p>\n\u003cp>Smith conceded that she could be impatient at times.\u003c/p>\n\u003cp>“It’s true I don’t tolerate fools, but then they don’t tolerate me, so I am spiky,” Smith said. “Maybe that’s why I’m quite good at playing spiky elderly ladies.”\u003c/p>\n\u003cp>Critic Frank Rich, in a \u003cem>New York Times\u003c/em> review of \u003cem>Lettice and Lovage\u003c/em>, praised Smith as “the stylized classicist who can italicize a line as prosaic as ‘Have you no marmalade?’ until it sounds like a freshly minted epigram by Coward or Wilde.”\u003c/p>\n\u003cp>Smith famously drew laughs from a prosaic line — “This haddock is disgusting” — in a 1964 revival of Noel Coward’s \u003cem>Hay Fever\u003c/em>.\u003c/p>\n\u003cp>She repeated the gift for one-liners in \u003cem>Downton Abbey\u003c/em>, when the tradition-bound Violet witheringly asked, “What is a weekend?”\u003c/p>\n\u003cp>Fellow actors paid tribute to her on Friday. Hugh Bonneville, who played the son of Smith’s character in \u003cem>Downton Abbey\u003c/em>, said “anyone who ever shared a scene with Maggie will attest to her sharp eye, sharp wit and formidable talent.”\u003c/p>\n\u003cp>“She was a true legend of her generation and thankfully will live on in so many magnificent screen performances,” he said in a statement.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Rob Lowe, who co-starred with her in \u003cem>Suddenly, Last Summer\u003c/em>, said the experience was “unforgettable … sharing a two-shot was like being paired with a lion.”\u003c/p>\n\u003cp>“She could eat anyone alive, and often did. But funny, and great company. And suffered no fools. We will never see another. God speed, Ms. Smith!” Lowe wrote on X.\u003c/p>\n\u003cp>Prime Minister Keir Starmer called Smith “a true national treasure whose work will be cherished for generations to come.”\u003c/p>\n\u003cp>Margaret Natalie Smith was born in Ilford, on the eastern edge of London, on Dec. 28, 1934. She summed up her life briefly: “One went to school, one wanted to act, one started to act, one’s still acting.”\u003c/p>\n\u003cp>Her father was assigned in 1939 to wartime duty in Oxford, where her theater studies at the Oxford Playhouse School led to a busy apprenticeship.\u003c/p>\n\u003cp>“I did so many things, you know, round the universities there … If you were kind of clever enough and I suppose quick enough, you could almost do weekly rep because all the colleges were doing different productions at different times,” she said in a BBC interview.\u003c/p>\n\u003cp>She took Maggie as her stage name because another Margaret Smith was active in the theater.\u003c/p>\n\u003cp>Laurence Olivier spotted her talent, invited her to be part of his original National Theatre company and cast her as his co-star in a 1965 film adaptation of \u003cem>Othello\u003c/em>.\u003c/p>\n\u003cp>Smith said two directors, Ingmar Bergman and William Gaskill, both in National Theatre productions, were important influences.\u003c/p>\n\u003cp>Alan Bennett, preparing to film the monologue “A Bed Among the Lentils,” said he was wary of Smith’s reputation for becoming bored. As the actor Jeremy Brett put it, “she starts divinely and then goes off, rather like a cheese.”\u003c/p>\n\u003cp>“So the fact that we only just had enough time to do it was an absolute blessing really because she was so fresh and just so into it,” said Bennett. He also wrote a starring role for Smith in \u003cem>The Lady in the Van\u003c/em>, as Miss Shepherd, a redoubtable woman who lived for years in her vehicle on Bennett’s London driveway.\u003c/p>\n\u003cp>However extravagant she may have been on stage or before the cameras, Smith was known to be intensely private.\u003c/p>\n\u003cp>“She never wanted to talk about acting. Acting was something she was terrified to talk about because if she did, it would disappear,” said Simon Callow, who performed with her in \u003cem>A Room with a View\u003c/em>.\u003c/p>\n\u003cp>Smith was made a Dame Commander of the British Empire, the equivalent of a knight, in 1990.\u003c/p>\n\u003cp>She married fellow actor Robert Stephens in 1967. They had two sons, Christopher and Toby — who both grew up to be actors — and divorced in 1975. The same year she married the writer Beverley Cross, who died in 1998.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Hilary Fox in London contributed to this story. Associated Press writer Robert Barr contributed biographical material to this obituary before his death in 2018.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "photos-the-end-of-green-collar-baseball-at-the-oakland-coliseum",
"title": "Photos: The End of Green-Collar Baseball at the Oakland Coliseum",
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"headTitle": "Photos: The End of Green-Collar Baseball at the Oakland Coliseum | KQED",
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"content": "\u003cfigure id=\"attachment_13965408\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965408\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/AB5BA9D1-3CA8-48CE-B94C-2D7133AD6717-scaled.jpg\" alt=\"\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/AB5BA9D1-3CA8-48CE-B94C-2D7133AD6717-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/AB5BA9D1-3CA8-48CE-B94C-2D7133AD6717-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/AB5BA9D1-3CA8-48CE-B94C-2D7133AD6717-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/AB5BA9D1-3CA8-48CE-B94C-2D7133AD6717-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/AB5BA9D1-3CA8-48CE-B94C-2D7133AD6717-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/AB5BA9D1-3CA8-48CE-B94C-2D7133AD6717-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/AB5BA9D1-3CA8-48CE-B94C-2D7133AD6717-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/AB5BA9D1-3CA8-48CE-B94C-2D7133AD6717-1920x2880.jpg 1920w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Oakland will never be the same without the Golden State Warriors, the Oakland Raiders — and now, the Oakland Athletics. \u003ccite>(Briana Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s not until you’ve lived through the trenches of fandom that it hits you: Local sports teams are like extended family. And when you’ve lost one of your childhood homes, there’s nothing but grief left in its place.\u003c/p>\n\u003cp>The loss of the Oakland Athletics at the Coliseum is the saddest collective mourning I’ve ever known. The hole that it leaves is enormous. Both my wife and I grew up attending the outdated, mostly dilapidated stadium. Over the past two years, we’ve started to bring our toddler along, too.\u003c/p>\n\u003cp>Recently, and before the madness of the Thursday’s final game, the three of us went to a typical home game together to say goodbye. A sense of abandonment permeated the Coliseum, in stark contrast to the vibrancy of A’s games in decades past.\u003c/p>\n\u003cp>Walking across the BART bridge, through the gated entrances and around the barren gray concourse, we documented the stadium’s vacant ghostliness following the team’s announcement to leave Oakland after 57 years.\u003c/p>\n\u003cfigure id=\"attachment_13965412\" class=\"wp-caption alignnone\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965412\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/25167C29-298F-4564-92B8-A95544C2464F-scaled.jpg\" alt=\"\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/25167C29-298F-4564-92B8-A95544C2464F-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/25167C29-298F-4564-92B8-A95544C2464F-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/25167C29-298F-4564-92B8-A95544C2464F-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/25167C29-298F-4564-92B8-A95544C2464F-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/25167C29-298F-4564-92B8-A95544C2464F-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/25167C29-298F-4564-92B8-A95544C2464F-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/25167C29-298F-4564-92B8-A95544C2464F-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/25167C29-298F-4564-92B8-A95544C2464F-1920x2880.jpg 1920w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Getting to the Coliseum has always been easy. Due to its unbeatable proximity to Bay Area Rapid Transit and Highway 880, it has long stood as the most easily reachable sports venue in all of California. \u003ccite>(Briana Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965411\" class=\"wp-caption alignnone\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965411\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/527E5EEE-CF60-40E4-8A37-4BDB906BA408-scaled.jpg\" alt=\"\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/527E5EEE-CF60-40E4-8A37-4BDB906BA408-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/527E5EEE-CF60-40E4-8A37-4BDB906BA408-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/527E5EEE-CF60-40E4-8A37-4BDB906BA408-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/527E5EEE-CF60-40E4-8A37-4BDB906BA408-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/527E5EEE-CF60-40E4-8A37-4BDB906BA408-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/527E5EEE-CF60-40E4-8A37-4BDB906BA408-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/527E5EEE-CF60-40E4-8A37-4BDB906BA408-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/527E5EEE-CF60-40E4-8A37-4BDB906BA408-1920x2880.jpg 1920w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Since 1972, countless Oakland sports fans have crossed the BART bridge to attend games, while bootleggers and buskers have endearingly converted it into a site of pre- and post-game action. \u003ccite>(Briana Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965409\" class=\"wp-caption alignnone\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965409\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/B258D21E-33AA-494F-A530-A615893A248D-scaled.jpg\" alt=\"\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/B258D21E-33AA-494F-A530-A615893A248D-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/B258D21E-33AA-494F-A530-A615893A248D-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/B258D21E-33AA-494F-A530-A615893A248D-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/B258D21E-33AA-494F-A530-A615893A248D-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/B258D21E-33AA-494F-A530-A615893A248D-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/B258D21E-33AA-494F-A530-A615893A248D-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/B258D21E-33AA-494F-A530-A615893A248D-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/B258D21E-33AA-494F-A530-A615893A248D-1920x2880.jpg 1920w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">The Coliseum isn’t the most beautiful sports venue out there, but it’s definitely the realest. \u003ccite>(Briana Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965407\" class=\"wp-caption alignnone\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965407\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/A498CF1B-C322-46F1-B438-82B883EA2D4C-scaled.jpg\" alt=\"\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/A498CF1B-C322-46F1-B438-82B883EA2D4C-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/A498CF1B-C322-46F1-B438-82B883EA2D4C-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/A498CF1B-C322-46F1-B438-82B883EA2D4C-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/A498CF1B-C322-46F1-B438-82B883EA2D4C-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/A498CF1B-C322-46F1-B438-82B883EA2D4C-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/A498CF1B-C322-46F1-B438-82B883EA2D4C-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/A498CF1B-C322-46F1-B438-82B883EA2D4C-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/A498CF1B-C322-46F1-B438-82B883EA2D4C-1920x2880.jpg 1920w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">The neglect and abandonment of the Coliseum by the team’s ownership is pure Shakesperean tragedy. \u003ccite>(Briana Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965406\" class=\"wp-caption alignnone\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965406\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/880995A7-76FF-4AF0-90E2-4F424C97717C-scaled.jpg\" alt=\"\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/880995A7-76FF-4AF0-90E2-4F424C97717C-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/880995A7-76FF-4AF0-90E2-4F424C97717C-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/880995A7-76FF-4AF0-90E2-4F424C97717C-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/880995A7-76FF-4AF0-90E2-4F424C97717C-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/880995A7-76FF-4AF0-90E2-4F424C97717C-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/880995A7-76FF-4AF0-90E2-4F424C97717C-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/880995A7-76FF-4AF0-90E2-4F424C97717C-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/880995A7-76FF-4AF0-90E2-4F424C97717C-1920x2880.jpg 1920w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Walking into Oakland’s baseball sanctuary for a final time. \u003ccite>(Briana Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965405\" class=\"wp-caption alignnone\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965405\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/038464A3-BDB4-4B41-AD8D-4D3A39A67ED4-scaled.jpg\" alt=\"\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/038464A3-BDB4-4B41-AD8D-4D3A39A67ED4-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/038464A3-BDB4-4B41-AD8D-4D3A39A67ED4-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/038464A3-BDB4-4B41-AD8D-4D3A39A67ED4-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/038464A3-BDB4-4B41-AD8D-4D3A39A67ED4-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/038464A3-BDB4-4B41-AD8D-4D3A39A67ED4-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/038464A3-BDB4-4B41-AD8D-4D3A39A67ED4-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/038464A3-BDB4-4B41-AD8D-4D3A39A67ED4-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/038464A3-BDB4-4B41-AD8D-4D3A39A67ED4-1920x2880.jpg 1920w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">The Coliseum has always been imperfect, but its unfinished edges have appealed to fans for decades, and highlight Oakland’s unadorned authenticity. \u003ccite>(Briana Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965403\" class=\"wp-caption alignnone\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965403\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/2907E449-4CAD-4C8E-97B2-99F0BC93A2A1-scaled.jpg\" alt=\"\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/2907E449-4CAD-4C8E-97B2-99F0BC93A2A1-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/2907E449-4CAD-4C8E-97B2-99F0BC93A2A1-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/2907E449-4CAD-4C8E-97B2-99F0BC93A2A1-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/2907E449-4CAD-4C8E-97B2-99F0BC93A2A1-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/2907E449-4CAD-4C8E-97B2-99F0BC93A2A1-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/2907E449-4CAD-4C8E-97B2-99F0BC93A2A1-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/2907E449-4CAD-4C8E-97B2-99F0BC93A2A1-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/2907E449-4CAD-4C8E-97B2-99F0BC93A2A1-1920x2880.jpg 1920w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Discarded peanut shells littering a row of empty seats. \u003ccite>(Briana Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965402\" class=\"wp-caption alignnone\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965402\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/61A84BE2-1BEB-45C1-8F02-0088B2CA7A8E-scaled.jpg\" alt=\"\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/61A84BE2-1BEB-45C1-8F02-0088B2CA7A8E-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/61A84BE2-1BEB-45C1-8F02-0088B2CA7A8E-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/61A84BE2-1BEB-45C1-8F02-0088B2CA7A8E-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/61A84BE2-1BEB-45C1-8F02-0088B2CA7A8E-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/61A84BE2-1BEB-45C1-8F02-0088B2CA7A8E-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/61A84BE2-1BEB-45C1-8F02-0088B2CA7A8E-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/61A84BE2-1BEB-45C1-8F02-0088B2CA7A8E-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/61A84BE2-1BEB-45C1-8F02-0088B2CA7A8E-1920x2880.jpg 1920w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">The beloved bleachers and the controversial Mount Davis and luxury suites above. \u003ccite>(Briana Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965401\" class=\"wp-caption alignnone\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965401\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/8B27A946-EA98-4D90-BBCD-EAB6C52D0CF8-scaled.jpg\" alt=\"\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/8B27A946-EA98-4D90-BBCD-EAB6C52D0CF8-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/8B27A946-EA98-4D90-BBCD-EAB6C52D0CF8-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/8B27A946-EA98-4D90-BBCD-EAB6C52D0CF8-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/8B27A946-EA98-4D90-BBCD-EAB6C52D0CF8-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/8B27A946-EA98-4D90-BBCD-EAB6C52D0CF8-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/8B27A946-EA98-4D90-BBCD-EAB6C52D0CF8-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/8B27A946-EA98-4D90-BBCD-EAB6C52D0CF8-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/8B27A946-EA98-4D90-BBCD-EAB6C52D0CF8-1920x2880.jpg 1920w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">A graffitied message of gratitude in the second deck of the right-field seats, thanking the city of Oakland for 57 years of baseball memories. \u003ccite>(Briana Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "A final look at the Oakland Coliseum's unadorned grit through the lens of a lifetime fan.",
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"title": "Photos: The End of Green-Collar Baseball at the Oakland Coliseum | KQED",
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"headline": "Photos: The End of Green-Collar Baseball at the Oakland Coliseum",
"datePublished": "2024-09-26T08:47:45-07:00",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13965408\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965408\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/AB5BA9D1-3CA8-48CE-B94C-2D7133AD6717-scaled.jpg\" alt=\"\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/AB5BA9D1-3CA8-48CE-B94C-2D7133AD6717-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/AB5BA9D1-3CA8-48CE-B94C-2D7133AD6717-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/AB5BA9D1-3CA8-48CE-B94C-2D7133AD6717-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/AB5BA9D1-3CA8-48CE-B94C-2D7133AD6717-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/AB5BA9D1-3CA8-48CE-B94C-2D7133AD6717-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/AB5BA9D1-3CA8-48CE-B94C-2D7133AD6717-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/AB5BA9D1-3CA8-48CE-B94C-2D7133AD6717-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/AB5BA9D1-3CA8-48CE-B94C-2D7133AD6717-1920x2880.jpg 1920w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Oakland will never be the same without the Golden State Warriors, the Oakland Raiders — and now, the Oakland Athletics. \u003ccite>(Briana Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s not until you’ve lived through the trenches of fandom that it hits you: Local sports teams are like extended family. And when you’ve lost one of your childhood homes, there’s nothing but grief left in its place.\u003c/p>\n\u003cp>The loss of the Oakland Athletics at the Coliseum is the saddest collective mourning I’ve ever known. The hole that it leaves is enormous. Both my wife and I grew up attending the outdated, mostly dilapidated stadium. Over the past two years, we’ve started to bring our toddler along, too.\u003c/p>\n\u003cp>Recently, and before the madness of the Thursday’s final game, the three of us went to a typical home game together to say goodbye. A sense of abandonment permeated the Coliseum, in stark contrast to the vibrancy of A’s games in decades past.\u003c/p>\n\u003cp>Walking across the BART bridge, through the gated entrances and around the barren gray concourse, we documented the stadium’s vacant ghostliness following the team’s announcement to leave Oakland after 57 years.\u003c/p>\n\u003cfigure id=\"attachment_13965412\" class=\"wp-caption alignnone\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965412\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/25167C29-298F-4564-92B8-A95544C2464F-scaled.jpg\" alt=\"\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/25167C29-298F-4564-92B8-A95544C2464F-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/25167C29-298F-4564-92B8-A95544C2464F-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/25167C29-298F-4564-92B8-A95544C2464F-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/25167C29-298F-4564-92B8-A95544C2464F-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/25167C29-298F-4564-92B8-A95544C2464F-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/25167C29-298F-4564-92B8-A95544C2464F-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/25167C29-298F-4564-92B8-A95544C2464F-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/25167C29-298F-4564-92B8-A95544C2464F-1920x2880.jpg 1920w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Getting to the Coliseum has always been easy. Due to its unbeatable proximity to Bay Area Rapid Transit and Highway 880, it has long stood as the most easily reachable sports venue in all of California. \u003ccite>(Briana Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965411\" class=\"wp-caption alignnone\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965411\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/527E5EEE-CF60-40E4-8A37-4BDB906BA408-scaled.jpg\" alt=\"\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/527E5EEE-CF60-40E4-8A37-4BDB906BA408-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/527E5EEE-CF60-40E4-8A37-4BDB906BA408-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/527E5EEE-CF60-40E4-8A37-4BDB906BA408-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/527E5EEE-CF60-40E4-8A37-4BDB906BA408-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/527E5EEE-CF60-40E4-8A37-4BDB906BA408-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/527E5EEE-CF60-40E4-8A37-4BDB906BA408-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/527E5EEE-CF60-40E4-8A37-4BDB906BA408-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/527E5EEE-CF60-40E4-8A37-4BDB906BA408-1920x2880.jpg 1920w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Since 1972, countless Oakland sports fans have crossed the BART bridge to attend games, while bootleggers and buskers have endearingly converted it into a site of pre- and post-game action. \u003ccite>(Briana Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965409\" class=\"wp-caption alignnone\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965409\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/B258D21E-33AA-494F-A530-A615893A248D-scaled.jpg\" alt=\"\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/B258D21E-33AA-494F-A530-A615893A248D-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/B258D21E-33AA-494F-A530-A615893A248D-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/B258D21E-33AA-494F-A530-A615893A248D-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/B258D21E-33AA-494F-A530-A615893A248D-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/B258D21E-33AA-494F-A530-A615893A248D-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/B258D21E-33AA-494F-A530-A615893A248D-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/B258D21E-33AA-494F-A530-A615893A248D-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/B258D21E-33AA-494F-A530-A615893A248D-1920x2880.jpg 1920w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">The Coliseum isn’t the most beautiful sports venue out there, but it’s definitely the realest. \u003ccite>(Briana Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965407\" class=\"wp-caption alignnone\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965407\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/A498CF1B-C322-46F1-B438-82B883EA2D4C-scaled.jpg\" alt=\"\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/A498CF1B-C322-46F1-B438-82B883EA2D4C-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/A498CF1B-C322-46F1-B438-82B883EA2D4C-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/A498CF1B-C322-46F1-B438-82B883EA2D4C-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/A498CF1B-C322-46F1-B438-82B883EA2D4C-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/A498CF1B-C322-46F1-B438-82B883EA2D4C-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/A498CF1B-C322-46F1-B438-82B883EA2D4C-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/A498CF1B-C322-46F1-B438-82B883EA2D4C-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/A498CF1B-C322-46F1-B438-82B883EA2D4C-1920x2880.jpg 1920w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">The neglect and abandonment of the Coliseum by the team’s ownership is pure Shakesperean tragedy. \u003ccite>(Briana Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965406\" class=\"wp-caption alignnone\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965406\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/880995A7-76FF-4AF0-90E2-4F424C97717C-scaled.jpg\" alt=\"\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/880995A7-76FF-4AF0-90E2-4F424C97717C-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/880995A7-76FF-4AF0-90E2-4F424C97717C-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/880995A7-76FF-4AF0-90E2-4F424C97717C-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/880995A7-76FF-4AF0-90E2-4F424C97717C-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/880995A7-76FF-4AF0-90E2-4F424C97717C-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/880995A7-76FF-4AF0-90E2-4F424C97717C-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/880995A7-76FF-4AF0-90E2-4F424C97717C-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/880995A7-76FF-4AF0-90E2-4F424C97717C-1920x2880.jpg 1920w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Walking into Oakland’s baseball sanctuary for a final time. \u003ccite>(Briana Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965405\" class=\"wp-caption alignnone\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965405\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/038464A3-BDB4-4B41-AD8D-4D3A39A67ED4-scaled.jpg\" alt=\"\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/038464A3-BDB4-4B41-AD8D-4D3A39A67ED4-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/038464A3-BDB4-4B41-AD8D-4D3A39A67ED4-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/038464A3-BDB4-4B41-AD8D-4D3A39A67ED4-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/038464A3-BDB4-4B41-AD8D-4D3A39A67ED4-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/038464A3-BDB4-4B41-AD8D-4D3A39A67ED4-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/038464A3-BDB4-4B41-AD8D-4D3A39A67ED4-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/038464A3-BDB4-4B41-AD8D-4D3A39A67ED4-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/038464A3-BDB4-4B41-AD8D-4D3A39A67ED4-1920x2880.jpg 1920w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">The Coliseum has always been imperfect, but its unfinished edges have appealed to fans for decades, and highlight Oakland’s unadorned authenticity. \u003ccite>(Briana Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965403\" class=\"wp-caption alignnone\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965403\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/2907E449-4CAD-4C8E-97B2-99F0BC93A2A1-scaled.jpg\" alt=\"\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/2907E449-4CAD-4C8E-97B2-99F0BC93A2A1-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/2907E449-4CAD-4C8E-97B2-99F0BC93A2A1-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/2907E449-4CAD-4C8E-97B2-99F0BC93A2A1-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/2907E449-4CAD-4C8E-97B2-99F0BC93A2A1-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/2907E449-4CAD-4C8E-97B2-99F0BC93A2A1-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/2907E449-4CAD-4C8E-97B2-99F0BC93A2A1-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/2907E449-4CAD-4C8E-97B2-99F0BC93A2A1-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/2907E449-4CAD-4C8E-97B2-99F0BC93A2A1-1920x2880.jpg 1920w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Discarded peanut shells littering a row of empty seats. \u003ccite>(Briana Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965402\" class=\"wp-caption alignnone\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965402\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/61A84BE2-1BEB-45C1-8F02-0088B2CA7A8E-scaled.jpg\" alt=\"\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/61A84BE2-1BEB-45C1-8F02-0088B2CA7A8E-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/61A84BE2-1BEB-45C1-8F02-0088B2CA7A8E-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/61A84BE2-1BEB-45C1-8F02-0088B2CA7A8E-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/61A84BE2-1BEB-45C1-8F02-0088B2CA7A8E-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/61A84BE2-1BEB-45C1-8F02-0088B2CA7A8E-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/61A84BE2-1BEB-45C1-8F02-0088B2CA7A8E-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/61A84BE2-1BEB-45C1-8F02-0088B2CA7A8E-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/61A84BE2-1BEB-45C1-8F02-0088B2CA7A8E-1920x2880.jpg 1920w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">The beloved bleachers and the controversial Mount Davis and luxury suites above. \u003ccite>(Briana Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965401\" class=\"wp-caption alignnone\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965401\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/8B27A946-EA98-4D90-BBCD-EAB6C52D0CF8-scaled.jpg\" alt=\"\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/8B27A946-EA98-4D90-BBCD-EAB6C52D0CF8-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/8B27A946-EA98-4D90-BBCD-EAB6C52D0CF8-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/8B27A946-EA98-4D90-BBCD-EAB6C52D0CF8-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/8B27A946-EA98-4D90-BBCD-EAB6C52D0CF8-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/8B27A946-EA98-4D90-BBCD-EAB6C52D0CF8-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/8B27A946-EA98-4D90-BBCD-EAB6C52D0CF8-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/8B27A946-EA98-4D90-BBCD-EAB6C52D0CF8-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/8B27A946-EA98-4D90-BBCD-EAB6C52D0CF8-1920x2880.jpg 1920w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">A graffitied message of gratitude in the second deck of the right-field seats, thanking the city of Oakland for 57 years of baseball memories. \u003ccite>(Briana Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>One of America’s most beloved actors, James Earl Jones, died Monday at age 93. He was at home in Dutchess County, N.Y. surrounded by his family, his longtime agent Barry McPherson confirmed to NPR.\u003c/p>\n\u003cp>In addition to an illustrious stage career — which included roles in classics like \u003cem>Macbeth\u003c/em>, \u003cem>Othello\u003c/em> and \u003cem>The Iceman Cometh\u003c/em> — Jones also had an extensive film career, appearing in \u003cem>Dr. Strangelove\u003c/em>, \u003cem>Field of Dreams\u003c/em>, and \u003cem>The Hunt for Red October\u003c/em>. He voiced Mufasa in \u003cem>The Lion King,\u003c/em> and as Darth Vader, he delivered \u003ca href=\"http://www.starwars.com/video/i-am-your-father\">the line that still sends shivers up the spines of \u003cem>Star Wars\u003c/em> fans\u003c/a>: “I am your father.”\u003c/p>\n\u003cp>James Earl Jones was born on Jan. 17, 1931, in Arkabutla, Miss. He was raised by his grandparents. When he was 5 years old, the family moved to a rural farm in Dublin, Mich. Jones said the move so traumatized him that he developed a severe stutter that continued until he was in high school.\u003c/p>\n\u003cp>“I was able to function as a farm kid, doing all those chores where you call animals,” he told WHYY’s \u003cem>Fresh Air \u003c/em>in 1993, “and I certainly let the family know what my needs were. But when strangers came to the house, the mute happened. I didn’t want to confront them and I wasn’t ready. I hid in a state of muteness.”\u003c/p>\n\u003cp>Then a high school teacher found a way to help: “He one day discovered that I wrote poetry and he said to me, ‘This poem is so good I can’t believe you wrote it. The way you can prove it to me is to get up in front of the class and recite it by heart.’ And I accepted the challenge and did it, and we both realized we had a means — we had a way of regaining the power of speech through poetry.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And what a power it was. Jones’ baritone came complete with its own echo chamber. His voice became one of the most instantly recognizable in entertainment history.\u003c/p>\n\u003cp>Everything about him was big: his commanding stage presence, the intensity of his glance and his brilliance at his chosen craft. Woodie King Jr. is founder of New York’s New Federal Theater, which has been producing shows by and about African-Americans throughout its history. He first became aware of Jones in the early 1960s.\u003c/p>\n\u003cp>“I was a young aspiring actor who had come into New York and he had all the elements of acting — physicality, vocal range, psychically in tune with what was going on,” King says. “And I wanted to be that kind of artist who had that kind of freedom with his instrument.”\u003c/p>\n\u003cp>King saw Jones’ critically acclaimed performance in a 1961 production of Jean Genet’s \u003cem>The Blacks\u003c/em>. He also worked with Jones in a 1968 Broadway production of Howard Sackler’s \u003cem>The Great White Hope\u003c/em>, based on the life of champion black boxer Jack Johnson.\u003c/p>\n\u003cp>“It was an unbelievable kind of performance,” King recalled. “It was an amazing metamorphosis, watching him transform himself into this vicious boxer.”\u003c/p>\n\u003cp>Jones won a Tony for that role, as well as an Oscar nomination for the 1970 film adaptation, and he won a second Tony in 1987 for his role in August Wilson’s \u003cem>Fences\u003c/em>.\u003c/p>\n\u003cp>His first film role was as bombardier Lothar Zogg in Stanley Kubrick’s 1964 classic \u003cem>Dr. Strangelove\u003c/em>. In 1972’s \u003cem>The Man\u003c/em>, Jones played the first Black president; in the 1974 black classic \u003cem>Claudine, \u003c/em>he played a garbage man who charms a date out of a welfare mom; and in 1989’s \u003cem>Field of Dreams\u003c/em>, he \u003ca href=\"https://youtu.be/z6U1p0hehtg?t=5s\">explained why people would care about a baseball diamond in an Iowa cornfield\u003c/a>. Jones \u003ca href=\"http://www.broadway.com/buzz/162156/tony-nominee-james-earl-jones-on-four-decades-of-great-performances-from-othello-to-the-best-man/\">has said\u003c/a> that one of his favorite roles was that of the South African reverend in \u003cem>Cry, the Beloved Country\u003c/em>.\u003c/p>\n\u003cp>Jones’ voice has pervaded pop culture: He’s the voice of CNN and Verizon, and even showed up on a few episodes of \u003cem>The Simpsons\u003c/em>, which managed to kid the actor about his kaleidoscopic work \u003ca href=\"https://youtu.be/PX05DJWNj3k?t=1m4s\">in one fell swoop\u003c/a>.\u003c/p>\n\u003cp>In his conversation with \u003cem>Fresh Air\u003c/em>, Jones remembered the beginning of his voice-over career with amusement. “I think the first commercials I did … they asked me to ‘just give us the sound of God.’ … They were not embarrassed about saying that.”\u003c/p>\n\u003cfigure id=\"attachment_13963951\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963951\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/JEJ.png\" alt=\"A Black man wearing a suit stretches out his arms and bows his head on stage, surrounded by applauding fellow cast members.\" width=\"2000\" height=\"1330\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/JEJ.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/JEJ-800x532.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/JEJ-1020x678.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/JEJ-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/JEJ-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/JEJ-1536x1021.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/JEJ-1920x1277.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jones takes a bow after his final performance in Broadway’s ‘You Can’t Take It With You’ in 2015. \u003ccite>(Grant Lamos IV/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>New Federal Theater’s Woodie King said Jones was a warm, somewhat shy man who was a powerful artist. He followed in the footsteps of actors like Sidney Poitier, Paul Robeson and Canada Lee, all of whom refused to be limited by the old stereotypical roles of butlers or buffoons. Jones saw theater as a place for all people.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“What you have is a master craftsman at work,” King said. “He makes young people aware of the vast possibilities of this business when you are a craftsman. … The Broadway stage sees him as really colorless — not Black or white, but a brilliant artist.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>One of America’s most beloved actors, James Earl Jones, died Monday at age 93. He was at home in Dutchess County, N.Y. surrounded by his family, his longtime agent Barry McPherson confirmed to NPR.\u003c/p>\n\u003cp>In addition to an illustrious stage career — which included roles in classics like \u003cem>Macbeth\u003c/em>, \u003cem>Othello\u003c/em> and \u003cem>The Iceman Cometh\u003c/em> — Jones also had an extensive film career, appearing in \u003cem>Dr. Strangelove\u003c/em>, \u003cem>Field of Dreams\u003c/em>, and \u003cem>The Hunt for Red October\u003c/em>. He voiced Mufasa in \u003cem>The Lion King,\u003c/em> and as Darth Vader, he delivered \u003ca href=\"http://www.starwars.com/video/i-am-your-father\">the line that still sends shivers up the spines of \u003cem>Star Wars\u003c/em> fans\u003c/a>: “I am your father.”\u003c/p>\n\u003cp>James Earl Jones was born on Jan. 17, 1931, in Arkabutla, Miss. He was raised by his grandparents. When he was 5 years old, the family moved to a rural farm in Dublin, Mich. Jones said the move so traumatized him that he developed a severe stutter that continued until he was in high school.\u003c/p>\n\u003cp>“I was able to function as a farm kid, doing all those chores where you call animals,” he told WHYY’s \u003cem>Fresh Air \u003c/em>in 1993, “and I certainly let the family know what my needs were. But when strangers came to the house, the mute happened. I didn’t want to confront them and I wasn’t ready. I hid in a state of muteness.”\u003c/p>\n\u003cp>Then a high school teacher found a way to help: “He one day discovered that I wrote poetry and he said to me, ‘This poem is so good I can’t believe you wrote it. The way you can prove it to me is to get up in front of the class and recite it by heart.’ And I accepted the challenge and did it, and we both realized we had a means — we had a way of regaining the power of speech through poetry.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And what a power it was. Jones’ baritone came complete with its own echo chamber. His voice became one of the most instantly recognizable in entertainment history.\u003c/p>\n\u003cp>Everything about him was big: his commanding stage presence, the intensity of his glance and his brilliance at his chosen craft. Woodie King Jr. is founder of New York’s New Federal Theater, which has been producing shows by and about African-Americans throughout its history. He first became aware of Jones in the early 1960s.\u003c/p>\n\u003cp>“I was a young aspiring actor who had come into New York and he had all the elements of acting — physicality, vocal range, psychically in tune with what was going on,” King says. “And I wanted to be that kind of artist who had that kind of freedom with his instrument.”\u003c/p>\n\u003cp>King saw Jones’ critically acclaimed performance in a 1961 production of Jean Genet’s \u003cem>The Blacks\u003c/em>. He also worked with Jones in a 1968 Broadway production of Howard Sackler’s \u003cem>The Great White Hope\u003c/em>, based on the life of champion black boxer Jack Johnson.\u003c/p>\n\u003cp>“It was an unbelievable kind of performance,” King recalled. “It was an amazing metamorphosis, watching him transform himself into this vicious boxer.”\u003c/p>\n\u003cp>Jones won a Tony for that role, as well as an Oscar nomination for the 1970 film adaptation, and he won a second Tony in 1987 for his role in August Wilson’s \u003cem>Fences\u003c/em>.\u003c/p>\n\u003cp>His first film role was as bombardier Lothar Zogg in Stanley Kubrick’s 1964 classic \u003cem>Dr. Strangelove\u003c/em>. In 1972’s \u003cem>The Man\u003c/em>, Jones played the first Black president; in the 1974 black classic \u003cem>Claudine, \u003c/em>he played a garbage man who charms a date out of a welfare mom; and in 1989’s \u003cem>Field of Dreams\u003c/em>, he \u003ca href=\"https://youtu.be/z6U1p0hehtg?t=5s\">explained why people would care about a baseball diamond in an Iowa cornfield\u003c/a>. Jones \u003ca href=\"http://www.broadway.com/buzz/162156/tony-nominee-james-earl-jones-on-four-decades-of-great-performances-from-othello-to-the-best-man/\">has said\u003c/a> that one of his favorite roles was that of the South African reverend in \u003cem>Cry, the Beloved Country\u003c/em>.\u003c/p>\n\u003cp>Jones’ voice has pervaded pop culture: He’s the voice of CNN and Verizon, and even showed up on a few episodes of \u003cem>The Simpsons\u003c/em>, which managed to kid the actor about his kaleidoscopic work \u003ca href=\"https://youtu.be/PX05DJWNj3k?t=1m4s\">in one fell swoop\u003c/a>.\u003c/p>\n\u003cp>In his conversation with \u003cem>Fresh Air\u003c/em>, Jones remembered the beginning of his voice-over career with amusement. “I think the first commercials I did … they asked me to ‘just give us the sound of God.’ … They were not embarrassed about saying that.”\u003c/p>\n\u003cfigure id=\"attachment_13963951\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963951\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/JEJ.png\" alt=\"A Black man wearing a suit stretches out his arms and bows his head on stage, surrounded by applauding fellow cast members.\" width=\"2000\" height=\"1330\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/JEJ.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/JEJ-800x532.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/JEJ-1020x678.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/JEJ-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/JEJ-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/JEJ-1536x1021.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/JEJ-1920x1277.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jones takes a bow after his final performance in Broadway’s ‘You Can’t Take It With You’ in 2015. \u003ccite>(Grant Lamos IV/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>New Federal Theater’s Woodie King said Jones was a warm, somewhat shy man who was a powerful artist. He followed in the footsteps of actors like Sidney Poitier, Paul Robeson and Canada Lee, all of whom refused to be limited by the old stereotypical roles of butlers or buffoons. Jones saw theater as a place for all people.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“What you have is a master craftsman at work,” King said. “He makes young people aware of the vast possibilities of this business when you are a craftsman. … The Broadway stage sees him as really colorless — not Black or white, but a brilliant artist.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "silver-crest-closed-sf-donut-shop",
"title": "R.I.P., Silver Crest Donut Shop",
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"content": "\u003cp>And so it has finally closed, the portal to another dimension, the 24-hour purveyor of eggs and cigarettes and baked goods that claimed to be donuts, the David Lynch film come to life right here in San Francisco.\u003c/p>\n\u003cp>I’m talking, of course, about \u003ca href=\"https://www.latimes.com/california/story/2023-12-23/silver-crest-donut-24-hour-business-battle-to-stay-open\">Silver Crest\u003c/a>, the donut shop on Bayshore Boulevard that improbably stayed open for over 50 years, becoming a San Francisco institution. Along the way, it also became a restaurant and bar, a hangout for drunks, a set for photoshoots and at least \u003ca href=\"https://youtu.be/lcqwfFKagH4?feature=shared\">one music video\u003c/a>, and a late-night “Heyyy, you wanna see something \u003cem>really\u003c/em> weird?” double-dare for area teenagers. \u003c/p>\n\u003cp>As the \u003cem>San Francisco Chronicle\u003c/em> \u003ca href=\"https://www.sfchronicle.com/food/restaurants/article/silver-crest-donut-shop-closed-19606798.php\">reports\u003c/a>, Silver Crest was boarded up Monday, seemingly for good. My immediate reaction was conflicting feelings of shock that such an institution could ever close and wonder that it lasted so long.\u003c/p>\n\u003cp>You see, I actually \u003cem>went\u003c/em> to Silver Crest, at least when I was in the area. I never ventured into the bar in the back, but I regularly sidled up and bought a donut to go. Like the Old Clam House just down the boulevard, it seemed like a place that deserved support while it was around, instead of mourned when it was gone. \u003c/p>\n\u003cfigure id=\"attachment_13961796\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/SilverCrest.Counter.jpg\" alt=\"\" width=\"2000\" height=\"1520\" class=\"size-full wp-image-13961796\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/SilverCrest.Counter.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/SilverCrest.Counter-800x608.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/SilverCrest.Counter-1020x775.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/SilverCrest.Counter-160x122.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/SilverCrest.Counter-768x584.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/SilverCrest.Counter-1536x1167.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/SilverCrest.Counter-1920x1459.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Silver Crest was co-owned by George and Nina Giavris, who opened it in 1970. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If you also went to Silver Crest, you already know the ambiance. A fading menu, posted above a formica lunch counter with fixed seats. Usually empty. “CASH ONLY” signs. Countertop jukeboxes that didn’t work. Five wooden 1950s pinball machines against the wall that amazingly did work.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And to the left, tended to by an older woman who’d eventually emerge from the bar area: a cash register, a row of cigarettes, a sad houseplant, and a display case of donuts. \u003c/p>\n\u003cp>Were they donuts, though? Those five-inch-diameter puffs of dry bread, topped with a tart glaze that only made them taste weirder?\u003c/p>\n\u003cp>Just last week, on the way back from SFO, I suggested to my wife that we stop at Silver Crest. “I don’t like donuts,” she said. “You know that.”\u003c/p>\n\u003cp>“Oh, but these are not really donuts,” I replied. “In fact, I’m not even sure if Silver Crest is a real place that exists on this Earth.”\u003c/p>\n\u003cp>I couldn’t talk her into it, the way I talked other friends into visiting Silver Crest with me, always late at night. The owners, George and Nina Giavris, routinely said in interviews that they lost the front door key years ago. The neon sign out front still boasts — at least until someone steals it — “WE NEVER CLOSE.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Well, Silver Crest finally closed. It may not have been as popular as Tommy’s Joynt, or as enduring as Red’s Java House. But it did feel like a misunderstood runt of that particular family, and San Francisco will be a little less surreal without it. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>And so it has finally closed, the portal to another dimension, the 24-hour purveyor of eggs and cigarettes and baked goods that claimed to be donuts, the David Lynch film come to life right here in San Francisco.\u003c/p>\n\u003cp>I’m talking, of course, about \u003ca href=\"https://www.latimes.com/california/story/2023-12-23/silver-crest-donut-24-hour-business-battle-to-stay-open\">Silver Crest\u003c/a>, the donut shop on Bayshore Boulevard that improbably stayed open for over 50 years, becoming a San Francisco institution. Along the way, it also became a restaurant and bar, a hangout for drunks, a set for photoshoots and at least \u003ca href=\"https://youtu.be/lcqwfFKagH4?feature=shared\">one music video\u003c/a>, and a late-night “Heyyy, you wanna see something \u003cem>really\u003c/em> weird?” double-dare for area teenagers. \u003c/p>\n\u003cp>As the \u003cem>San Francisco Chronicle\u003c/em> \u003ca href=\"https://www.sfchronicle.com/food/restaurants/article/silver-crest-donut-shop-closed-19606798.php\">reports\u003c/a>, Silver Crest was boarded up Monday, seemingly for good. My immediate reaction was conflicting feelings of shock that such an institution could ever close and wonder that it lasted so long.\u003c/p>\n\u003cp>You see, I actually \u003cem>went\u003c/em> to Silver Crest, at least when I was in the area. I never ventured into the bar in the back, but I regularly sidled up and bought a donut to go. Like the Old Clam House just down the boulevard, it seemed like a place that deserved support while it was around, instead of mourned when it was gone. \u003c/p>\n\u003cfigure id=\"attachment_13961796\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/SilverCrest.Counter.jpg\" alt=\"\" width=\"2000\" height=\"1520\" class=\"size-full wp-image-13961796\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/SilverCrest.Counter.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/SilverCrest.Counter-800x608.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/SilverCrest.Counter-1020x775.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/SilverCrest.Counter-160x122.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/SilverCrest.Counter-768x584.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/SilverCrest.Counter-1536x1167.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/SilverCrest.Counter-1920x1459.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Silver Crest was co-owned by George and Nina Giavris, who opened it in 1970. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If you also went to Silver Crest, you already know the ambiance. A fading menu, posted above a formica lunch counter with fixed seats. Usually empty. “CASH ONLY” signs. Countertop jukeboxes that didn’t work. Five wooden 1950s pinball machines against the wall that amazingly did work.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And to the left, tended to by an older woman who’d eventually emerge from the bar area: a cash register, a row of cigarettes, a sad houseplant, and a display case of donuts. \u003c/p>\n\u003cp>Were they donuts, though? Those five-inch-diameter puffs of dry bread, topped with a tart glaze that only made them taste weirder?\u003c/p>\n\u003cp>Just last week, on the way back from SFO, I suggested to my wife that we stop at Silver Crest. “I don’t like donuts,” she said. “You know that.”\u003c/p>\n\u003cp>“Oh, but these are not really donuts,” I replied. “In fact, I’m not even sure if Silver Crest is a real place that exists on this Earth.”\u003c/p>\n\u003cp>I couldn’t talk her into it, the way I talked other friends into visiting Silver Crest with me, always late at night. The owners, George and Nina Giavris, routinely said in interviews that they lost the front door key years ago. The neon sign out front still boasts — at least until someone steals it — “WE NEVER CLOSE.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Well, Silver Crest finally closed. It may not have been as popular as Tommy’s Joynt, or as enduring as Red’s Java House. But it did feel like a misunderstood runt of that particular family, and San Francisco will be a little less surreal without it. \u003c/p>\n\n\u003c/div>\u003c/p>",
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}
},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"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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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"id": "code-switch-life-kit",
"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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"meta": {
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"id": "forum",
"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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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
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"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
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"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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},
"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"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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},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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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. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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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. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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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/",
"meta": {
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"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": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"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)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
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"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
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