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"content": "\u003cp>\u003cstrong>By Jean Lee\u003cbr>\n\u003ca href=\"http://oaklandlocal.com/\" target=\"_blank\" rel=\"noopener\">Oakland Local\u003c/a>\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_142506\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/07/off-the-grid-oakland-640.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-142506\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/07/off-the-grid-oakland-640.jpg\" alt=\"Off the Grid organizers estimate that their first Uptown Oakland event on Monday evening brought out around 1,000 people. (Joanna Huang/Off the Grid)\" width=\"640\" height=\"360\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Off the Grid organizers estimate that their first Uptown Oakland event on Monday evening brought out around 1,000 people. (Joanna Huang/Off the Grid)\u003c/figcaption>\u003c/figure>\n\u003cp>San Francisco-based food truck organizer \u003ca href=\"http://offthegridsf.com/\" target=\"_blank\" rel=\"noopener\">Off the Grid\u003c/a> launched a new dinner market Monday in Uptown this week, expanding its presence in Oakland.\u003c/p>\n\u003cp>Off the Grid has gained significant popularity in the Bay Area with its concept of public lunch and dinner markets and diversity of food vendors. The opening night for Off the Grid: Uptown Oakland featured local Bay Area food trucks like El Porteño, Roderick’s BBQ and J-Shack. Other trucks that will participate on a rotating basis are Doc’s of the Bay, Garden Creamery, Out of the Cave, Whip Out, Frozen Kuhsterd, Ebbett’s Good to Go and SAJJ.\u003c/p>\n\u003cp>Through a partnership with the developer Forest City, the trucks can be found outside The Uptown apartments on Williams Street and Telegraph Avenue every Friday night.\u003c/p>\n\u003cp>Monday’s event brought in around 1,000 guests, according to Off the Grid spokeswoman Marla McLaughlin.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We’re really happy about that,” McLaughlin said. “For the course of four hours, that feels really comfortable.”\u003c/p>\n\u003cp>According to a company press release, Off the Grid embraces Uptown’s “rich musical history” and will work to bring more Oakland music to the area, which already has a strong musical presence through venues such as the the Fox Theater, Paramount Theatre, The New Parish and The Uptown Nightclub. Through partnerships with local organizations, Off the Grid strives to emphasize youth music in particular. Local partners for Off the Grid include Oakland Museum of California, Oakland Asian Cultural Center, The Museum of Art and Digital Entertainment and Funky Soul Stop Records.\u003c/p>\n\u003cp>Off the Grid’s introduction to Oakland began last January through a partnership with the Oakland Museum of California. \u003ca href=\"http://oaklandlocal.com/2013/07/friday-night-dates-with-the-kids-at-off-the-grid-lake-merritt-at-omca/\" target=\"_blank\" rel=\"noopener\">Off the Grid: Lake Merritt @ OMCA\u003c/a> is part of the \u003ca href=\"http://www.museumca.org/friday-nights-omca\" target=\"_blank\" rel=\"noopener\">OMCA’s Friday Nights\u003c/a> program, where visitors can choose from a variety of gourmet food vendors, get drinks at the Blue Oak beer garden, participate in family-friendly workshops and dance lessons, listen to live music and get half off museum admission for adults.\u003c/p>\n\u003cp>Off the Grid’s Uptown location marked its 35th space since its inception in 2010. Other East Bay locations include Alameda, North Berkeley, Hayward and El Cerrito.\u003c/p>\n\u003cp>Off the Grid: Uptown Oakland will be held every Friday night, 5 p.m. to 9 p.m. All ages are welcome.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This post originally appeared on KQED’s News Associate site Oakland Local.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>By Jean Lee\u003cbr>\n\u003ca href=\"http://oaklandlocal.com/\" target=\"_blank\" rel=\"noopener\">Oakland Local\u003c/a>\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_142506\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/07/off-the-grid-oakland-640.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-142506\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/07/off-the-grid-oakland-640.jpg\" alt=\"Off the Grid organizers estimate that their first Uptown Oakland event on Monday evening brought out around 1,000 people. (Joanna Huang/Off the Grid)\" width=\"640\" height=\"360\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Off the Grid organizers estimate that their first Uptown Oakland event on Monday evening brought out around 1,000 people. (Joanna Huang/Off the Grid)\u003c/figcaption>\u003c/figure>\n\u003cp>San Francisco-based food truck organizer \u003ca href=\"http://offthegridsf.com/\" target=\"_blank\" rel=\"noopener\">Off the Grid\u003c/a> launched a new dinner market Monday in Uptown this week, expanding its presence in Oakland.\u003c/p>\n\u003cp>Off the Grid has gained significant popularity in the Bay Area with its concept of public lunch and dinner markets and diversity of food vendors. The opening night for Off the Grid: Uptown Oakland featured local Bay Area food trucks like El Porteño, Roderick’s BBQ and J-Shack. Other trucks that will participate on a rotating basis are Doc’s of the Bay, Garden Creamery, Out of the Cave, Whip Out, Frozen Kuhsterd, Ebbett’s Good to Go and SAJJ.\u003c/p>\n\u003cp>Through a partnership with the developer Forest City, the trucks can be found outside The Uptown apartments on Williams Street and Telegraph Avenue every Friday night.\u003c/p>\n\u003cp>Monday’s event brought in around 1,000 guests, according to Off the Grid spokeswoman Marla McLaughlin.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We’re really happy about that,” McLaughlin said. “For the course of four hours, that feels really comfortable.”\u003c/p>\n\u003cp>According to a company press release, Off the Grid embraces Uptown’s “rich musical history” and will work to bring more Oakland music to the area, which already has a strong musical presence through venues such as the the Fox Theater, Paramount Theatre, The New Parish and The Uptown Nightclub. Through partnerships with local organizations, Off the Grid strives to emphasize youth music in particular. Local partners for Off the Grid include Oakland Museum of California, Oakland Asian Cultural Center, The Museum of Art and Digital Entertainment and Funky Soul Stop Records.\u003c/p>\n\u003cp>Off the Grid’s introduction to Oakland began last January through a partnership with the Oakland Museum of California. \u003ca href=\"http://oaklandlocal.com/2013/07/friday-night-dates-with-the-kids-at-off-the-grid-lake-merritt-at-omca/\" target=\"_blank\" rel=\"noopener\">Off the Grid: Lake Merritt @ OMCA\u003c/a> is part of the \u003ca href=\"http://www.museumca.org/friday-nights-omca\" target=\"_blank\" rel=\"noopener\">OMCA’s Friday Nights\u003c/a> program, where visitors can choose from a variety of gourmet food vendors, get drinks at the Blue Oak beer garden, participate in family-friendly workshops and dance lessons, listen to live music and get half off museum admission for adults.\u003c/p>\n\u003cp>Off the Grid’s Uptown location marked its 35th space since its inception in 2010. Other East Bay locations include Alameda, North Berkeley, Hayward and El Cerrito.\u003c/p>\n\u003cp>Off the Grid: Uptown Oakland will be held every Friday night, 5 p.m. to 9 p.m. All ages are welcome.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This post originally appeared on KQED’s News Associate site Oakland Local.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>[vimeo 100907038 w=640 h=360]\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>California's water bureaucracy has approved penalties against the hydro-criminals among us who do things like wash sidewalks and dump too much water on our lawns. Penalties could be as much as $500 per offense. It remains to be seen how the scores and scores of water agencies that will need to enforce the new rules will actually do it, though. If San Francisco and its massive Hetch Hetchy system are any indication, our new water cops will hand out warnings before trying to impose fines.\u003c/p>\n\u003cp>But both the state and the city are also going to try a softer, pop culture-based approach to winning over the water-wasting public.\u003c/p>\n\u003cp>\u003ca href=\"http://saveourwater.com/\" target=\"_blank\">Save Our Water\u003c/a>, a joint project of the state Department of Water Resources and the Association of California Water Agencies, has signed up Lady Gaga to pitch water conservation. I don't know much about Lady Gaga, but her message (in the video above) is a pretty simple one: She recently learned on a visit to Hearst Castle that we need to conserve water. So do it.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The San Francisco Public Utilties Commission takes a different tack: Using a Barry White sound-alike, it promotes the notion that water conservation is sexy. Here's a sample:\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=3o4GdsSX870?rel=0&w=640&h=360]\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>California's water bureaucracy has approved penalties against the hydro-criminals among us who do things like wash sidewalks and dump too much water on our lawns. Penalties could be as much as $500 per offense. It remains to be seen how the scores and scores of water agencies that will need to enforce the new rules will actually do it, though. If San Francisco and its massive Hetch Hetchy system are any indication, our new water cops will hand out warnings before trying to impose fines.\u003c/p>\n\u003cp>But both the state and the city are also going to try a softer, pop culture-based approach to winning over the water-wasting public.\u003c/p>\n\u003cp>\u003ca href=\"http://saveourwater.com/\" target=\"_blank\">Save Our Water\u003c/a>, a joint project of the state Department of Water Resources and the Association of California Water Agencies, has signed up Lady Gaga to pitch water conservation. I don't know much about Lady Gaga, but her message (in the video above) is a pretty simple one: She recently learned on a visit to Hearst Castle that we need to conserve water. So do it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cstrong>By Frances Dinkelspiel, \u003ca href=\"http://www.berkeleyside.com/\" target=\"_blank\">Berkeleyside\u003c/a>\u003cbr>\n\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_141851\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/07/Daughters-House-959-Indian-Rock-Ave.1.jpg\">\u003cimg class=\"size-full wp-image-141851\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/07/Daughters-House-959-Indian-Rock-Ave.1.jpg\" alt=\"John Hudson Thomas built this house at 959 Indian Rock Ave. for his daughter. (Robert Kehlmann/Berkeleyside)\" width=\"640\" height=\"480\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">John Hudson Thomas built this house at 959 Indian Rock Ave. for his daughter. (Robert Kehlmann/Berkeleyside)\u003c/figcaption>\u003c/figure>\n\u003cp>The \u003ca href=\"http://berkeleyplaques.org/\" target=\"_blank\">Berkeley Historical Plaque Project\u003c/a> has been calling attention to Berkeley’s history since 1997, when it started to place oval plaques on historic sites around the city. In 2012, the group \u003ca href=\"http://berkeleyplaques.org/\" target=\"_blank\">launched a new website\u003c/a> and created a new category -- E-Plaques -- to note not only important architectural structures, but the everyday life that makes Berkeley unique.\u003c/p>\n\u003cp>The E-Plaques mark things like the \u003ca href=\"http://berkeleyplaques.org/e-plaque/newt-road-closure/\" target=\"_blank\">newt crossing in Tilden Park\u003c/a>, the old garage where Creedence Clearwater Revival \u003ca href=\"http://berkeleyplaques.org/e-plaque/cosmos-factory/\" target=\"_blank\">rehearsed in 1970 for their album \"Cosmo’s Factory\u003c/a>\", and Berkeley’s “\u003ca href=\"http://berkeleyplaques.org/e-plaque/foreign-policy/\" target=\"_blank\">foreign policy\u003c/a>.” Want to know why Berkeley has all those traffic diverters? The project\u003ca href=\"http://berkeleyplaques.org/e-plaque/traffic-diverters/\" target=\"_blank\"> will tell you why\u003c/a>.\u003ca href=\"http://www.berkeleyside.com/\">\u003cimg class=\"alignright wp-image-118795\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2013/11/Berkeleyside-logo.jpg\" alt=\"Berkeleyside-logo\" width=\"295\" height=\"61\">\u003c/a>\u003c/p>\n\u003cp>The project just \u003ca href=\"http://berkeleyplaques.org/\" target=\"_blank\">revamped its website\u003c/a> to make it easier to use. Users \u003ca href=\"http://berkeleyplaques.org/maps/\" target=\"_blank\">can click on a map\u003c/a> of a plaque or E-Plaque and bring up a neighborhood map, which will tell you about other interesting places nearby. The hope is to draw more participants, people who will write about unique Berkeley experiences, or share what it is like to live in a historic or unusual home. (See \u003ca href=\"http://berkeleyplaques.org/e-plaques/submission-guidelines/\" target=\"_blank\">how to submit here\u003c/a>. The only caveat is that subjects cannot be living.)\u003c/p>\n\u003cp>“The idea is to have a self-portrait of Berkeley by Berkeley,” said Robert Kehlmann, artist, former chair of the Landmarks Commission and the chairman and founder of the Berkeley Historical Plaque Project. “There are lots of people out there with lots of knowledge about interesting things, who have lived next door to interesting people. They don’t have to be famous people.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In an effort to showcase more history about Berkeley, Berkeleyside will be highlighting some of the stories from the Berkeley Historical Plaque Project. First up: \u003ca href=\"http://www.berkeleyside.com/tag/john-hudson-thomas/\" target=\"_blank\">John Hudson Thomas\u003c/a>, one of the most influential architects in Berkeley. He lived from 1878-1945.\u003c/p>\n\u003cp>Carl Wikander wrote the following \u003ca href=\"http://berkeleyplaques.org/e-plaque/john-hudson-thomas/\" target=\"_blank\">essay about John Hudson Thomas for the site\u003c/a>:\u003c/p>\n\u003cfigure id=\"attachment_141850\" class=\"wp-caption alignleft\" style=\"max-width: 300px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/07/Captain-Maury-House-1317-Shattuck-Ave.-photo-2014-R.Kehlmann.jpg\">\u003cimg class=\"wp-image-141850 size-thumbnail\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/07/Captain-Maury-House-1317-Shattuck-Ave.-photo-2014-R.Kehlmann-300x300.jpg\" alt=\"Captain-Maury-House-1317-Shattuck-Ave.-photo-2014-R.Kehlmann\" width=\"300\" height=\"300\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Thomas built this house, at 1317 Shattuck Ave., for Capt. Maury. (Robert Kehlmann/Berkeleyside)\u003c/figcaption>\u003c/figure>\n\u003cp>In the early part of the last century, John Hudson Thomas created a series of monumental houses remarkable for their grandeur, architectural verve and robust imagination. While reminiscent of other grand edifices, such creations as the Spring Mansion and Hume Cloister exemplify an architect whose unique and richly fantastical vision can be seen in signature elements ranging from gables and walls of unexpected thickness to Vienna Secessionist ornamentation. Thomas, who pioneered the use of reinforced concrete, also emphasized interior architecture through his use of inglenooks, gothic windows, stepped chimneys and tapestry-covered walls.\u003c/p>\n\u003cp>Born in Nevada, Thomas graduated from Yale in 1902 and completed a graduate program in architecture at the UC Berkeley in 1904. He then joined the office of John Galen Howard, where he worked until leaving to form a partnership in 1907 with another of Howard’s architects, George Plowman. The pair built many Craftsman-style houses to accommodate the burgeoning population in the East Bay -- especially Berkeley with its new trolley lines -- following the 1906 San Francisco earthquake. After the partnership was dissolved in 1910, the work of Thomas was marked by an eclecticism of styles that ranged from Neoclassical to Prairie School, Mission, Gothic and Dutch Colonial.\u003c/p>\n\u003cfigure id=\"attachment_141857\" class=\"wp-caption alignright\" style=\"max-width: 300px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/07/Spring-Mansion.jpg\">\u003cimg class=\"size-thumbnail wp-image-141857\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/07/Spring-Mansion-300x300.jpg\" alt=\"John Hudson Thomas designed the Spring Mansion at 1960 San Antonio Rd in Berkeley. (Courtesy of Robin Gaskins)\" width=\"300\" height=\"300\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">John Hudson Thomas designed the Spring Mansion at 1960 San Antonio Rd in Berkeley. (Courtesy of Robin Gaskins)\u003c/figcaption>\u003c/figure>\n\u003cp>Thomas sought both to incorporate current technological developments with modern kitchens and other conveniences and to recreate the appearance of such traditional forms as half-timbering and thatched roofs. The versions of the English Cottage that he produced late in his career (1941-1947 Yosemite Avenue) were the culmination of this blending of old and new.\u003c/p>\n\u003cp>Among his many prominent Berkeley structures are the Wintermute House (227 Tunnel Road) and landmark houses at 1317 Shattuck Avenue (Captain Maury House), 2900 Buena Vista Way (Hume Cloister), 1730 Spruce Street (Loring House) and 1960 San Antonio Road (Spring Mansion).\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>KQED News Associate Berkeleyside is an independently owned news website based in Berkeley, Calif. \u003ca href=\"http://berkeleyside.us2.list-manage.com/subscribe?u=4851428a10883a05193b1dd6c&id=aad4b5ee64\" target=\"_blank\">Click here\u003c/a> if you would you like to receive the latest Berkeley news in your inbox once a day for free with Berkeleyside’s Daily Briefing email.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>By Frances Dinkelspiel, \u003ca href=\"http://www.berkeleyside.com/\" target=\"_blank\">Berkeleyside\u003c/a>\u003cbr>\n\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_141851\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/07/Daughters-House-959-Indian-Rock-Ave.1.jpg\">\u003cimg class=\"size-full wp-image-141851\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/07/Daughters-House-959-Indian-Rock-Ave.1.jpg\" alt=\"John Hudson Thomas built this house at 959 Indian Rock Ave. for his daughter. (Robert Kehlmann/Berkeleyside)\" width=\"640\" height=\"480\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">John Hudson Thomas built this house at 959 Indian Rock Ave. for his daughter. (Robert Kehlmann/Berkeleyside)\u003c/figcaption>\u003c/figure>\n\u003cp>The \u003ca href=\"http://berkeleyplaques.org/\" target=\"_blank\">Berkeley Historical Plaque Project\u003c/a> has been calling attention to Berkeley’s history since 1997, when it started to place oval plaques on historic sites around the city. In 2012, the group \u003ca href=\"http://berkeleyplaques.org/\" target=\"_blank\">launched a new website\u003c/a> and created a new category -- E-Plaques -- to note not only important architectural structures, but the everyday life that makes Berkeley unique.\u003c/p>\n\u003cp>The E-Plaques mark things like the \u003ca href=\"http://berkeleyplaques.org/e-plaque/newt-road-closure/\" target=\"_blank\">newt crossing in Tilden Park\u003c/a>, the old garage where Creedence Clearwater Revival \u003ca href=\"http://berkeleyplaques.org/e-plaque/cosmos-factory/\" target=\"_blank\">rehearsed in 1970 for their album \"Cosmo’s Factory\u003c/a>\", and Berkeley’s “\u003ca href=\"http://berkeleyplaques.org/e-plaque/foreign-policy/\" target=\"_blank\">foreign policy\u003c/a>.” Want to know why Berkeley has all those traffic diverters? The project\u003ca href=\"http://berkeleyplaques.org/e-plaque/traffic-diverters/\" target=\"_blank\"> will tell you why\u003c/a>.\u003ca href=\"http://www.berkeleyside.com/\">\u003cimg class=\"alignright wp-image-118795\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2013/11/Berkeleyside-logo.jpg\" alt=\"Berkeleyside-logo\" width=\"295\" height=\"61\">\u003c/a>\u003c/p>\n\u003cp>The project just \u003ca href=\"http://berkeleyplaques.org/\" target=\"_blank\">revamped its website\u003c/a> to make it easier to use. Users \u003ca href=\"http://berkeleyplaques.org/maps/\" target=\"_blank\">can click on a map\u003c/a> of a plaque or E-Plaque and bring up a neighborhood map, which will tell you about other interesting places nearby. The hope is to draw more participants, people who will write about unique Berkeley experiences, or share what it is like to live in a historic or unusual home. (See \u003ca href=\"http://berkeleyplaques.org/e-plaques/submission-guidelines/\" target=\"_blank\">how to submit here\u003c/a>. The only caveat is that subjects cannot be living.)\u003c/p>\n\u003cp>“The idea is to have a self-portrait of Berkeley by Berkeley,” said Robert Kehlmann, artist, former chair of the Landmarks Commission and the chairman and founder of the Berkeley Historical Plaque Project. “There are lots of people out there with lots of knowledge about interesting things, who have lived next door to interesting people. They don’t have to be famous people.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In an effort to showcase more history about Berkeley, Berkeleyside will be highlighting some of the stories from the Berkeley Historical Plaque Project. First up: \u003ca href=\"http://www.berkeleyside.com/tag/john-hudson-thomas/\" target=\"_blank\">John Hudson Thomas\u003c/a>, one of the most influential architects in Berkeley. He lived from 1878-1945.\u003c/p>\n\u003cp>Carl Wikander wrote the following \u003ca href=\"http://berkeleyplaques.org/e-plaque/john-hudson-thomas/\" target=\"_blank\">essay about John Hudson Thomas for the site\u003c/a>:\u003c/p>\n\u003cfigure id=\"attachment_141850\" class=\"wp-caption alignleft\" style=\"max-width: 300px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/07/Captain-Maury-House-1317-Shattuck-Ave.-photo-2014-R.Kehlmann.jpg\">\u003cimg class=\"wp-image-141850 size-thumbnail\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/07/Captain-Maury-House-1317-Shattuck-Ave.-photo-2014-R.Kehlmann-300x300.jpg\" alt=\"Captain-Maury-House-1317-Shattuck-Ave.-photo-2014-R.Kehlmann\" width=\"300\" height=\"300\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Thomas built this house, at 1317 Shattuck Ave., for Capt. Maury. (Robert Kehlmann/Berkeleyside)\u003c/figcaption>\u003c/figure>\n\u003cp>In the early part of the last century, John Hudson Thomas created a series of monumental houses remarkable for their grandeur, architectural verve and robust imagination. While reminiscent of other grand edifices, such creations as the Spring Mansion and Hume Cloister exemplify an architect whose unique and richly fantastical vision can be seen in signature elements ranging from gables and walls of unexpected thickness to Vienna Secessionist ornamentation. Thomas, who pioneered the use of reinforced concrete, also emphasized interior architecture through his use of inglenooks, gothic windows, stepped chimneys and tapestry-covered walls.\u003c/p>\n\u003cp>Born in Nevada, Thomas graduated from Yale in 1902 and completed a graduate program in architecture at the UC Berkeley in 1904. He then joined the office of John Galen Howard, where he worked until leaving to form a partnership in 1907 with another of Howard’s architects, George Plowman. The pair built many Craftsman-style houses to accommodate the burgeoning population in the East Bay -- especially Berkeley with its new trolley lines -- following the 1906 San Francisco earthquake. After the partnership was dissolved in 1910, the work of Thomas was marked by an eclecticism of styles that ranged from Neoclassical to Prairie School, Mission, Gothic and Dutch Colonial.\u003c/p>\n\u003cfigure id=\"attachment_141857\" class=\"wp-caption alignright\" style=\"max-width: 300px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/07/Spring-Mansion.jpg\">\u003cimg class=\"size-thumbnail wp-image-141857\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/07/Spring-Mansion-300x300.jpg\" alt=\"John Hudson Thomas designed the Spring Mansion at 1960 San Antonio Rd in Berkeley. (Courtesy of Robin Gaskins)\" width=\"300\" height=\"300\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">John Hudson Thomas designed the Spring Mansion at 1960 San Antonio Rd in Berkeley. (Courtesy of Robin Gaskins)\u003c/figcaption>\u003c/figure>\n\u003cp>Thomas sought both to incorporate current technological developments with modern kitchens and other conveniences and to recreate the appearance of such traditional forms as half-timbering and thatched roofs. The versions of the English Cottage that he produced late in his career (1941-1947 Yosemite Avenue) were the culmination of this blending of old and new.\u003c/p>\n\u003cp>Among his many prominent Berkeley structures are the Wintermute House (227 Tunnel Road) and landmark houses at 1317 Shattuck Avenue (Captain Maury House), 2900 Buena Vista Way (Hume Cloister), 1730 Spruce Street (Loring House) and 1960 San Antonio Road (Spring Mansion).\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>KQED News Associate Berkeleyside is an independently owned news website based in Berkeley, Calif. \u003ca href=\"http://berkeleyside.us2.list-manage.com/subscribe?u=4851428a10883a05193b1dd6c&id=aad4b5ee64\" target=\"_blank\">Click here\u003c/a> if you would you like to receive the latest Berkeley news in your inbox once a day for free with Berkeleyside’s Daily Briefing email.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003caside class=\"aligncenter\">\n\u003ch4>The California Report’s Grace Rubenstein reveals how a new San Francisco company is helping creative people turn art lovers’ affection into cash.\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/tcrmag/2014/07/2014-07-11d-tcrmag.mp3\u003c/p>\n\u003c/aside>\n\u003cp>Artists who publish their work on the Internet might hit it big and find millions of fans. But in a world where online content has become virtually free, fame doesn’t necessarily come with fortune anymore.\u003c/p>\n\u003cp>Now, one San Francisco company — \u003ca href=\"http://www.patreon.com/\" target=\"_blank\" rel=\"noopener\">Patreon\u003c/a> — is making it easier for fans to financially support working artists.\u003c/p>\n\u003cp>Musician and music video producer Jack Conte founded Patreon last year with his friend Sam Yam, a former roommate at Stanford University.\u003c/p>\n\u003cp>“I had been working on this music video for three months straight,” Conte recalls. “I drained my savings account, it was like 10 grand, and I just watched that slowly whittle away.”\u003c/p>\n\u003cp>Back then, Conte had around 100,000 subscribers on his YouTube channel.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I knew I was going to post this video, and I knew it was going to generate a hundred to 200 dollars of ad revenue for me,” he says. “And I knew at the same time that my fans were going to really like it. And I thought that was worth more than $100.”\u003c/p>\n\u003cfigure id=\"attachment_10138984\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/Patreon3.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10138984\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/Patreon3.jpg\" alt=\"Patreon's engineering and product departments have taken over the living room of the company cofounders' Noe Valley apartment\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Patreon3.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Patreon3-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Patreon3-300x199.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Patreon’s engineering and product departments have taken over the living room of the company cofounders’ Noe Valley apartment \u003ccite>(Grace Rubenstein)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So Conte and Yam hatched a website plan. Fans on Patreon could enter their credit card numbers and pledge a few bucks every time Conte published a new video. Unlike Kickstarter, where people chip in for a one-time project, this would be ongoing support for continued work. It’s essentially patronage, only crowdfunded.\u003c/p>\n\u003cp>Yam designed and coded the site, which launched in May 2013. “Within a few hours I passed over $1,000 per video that I uploaded,” Conte says. “So I was making over 10 times what I was making on YouTube. In like 4 hours!”\u003c/p>\n\u003cp>Soon creators and patrons were flocking to the site. Now, he says, Patreon plays host to 85,000 paying patrons and more than 25,000 creators ranging from musicians to web comic illustrators to short story writers. The company takes a 5 percent cut. And it just got $15 million dollars in venture capital.\u003c/p>\n\u003cp>Conte thinks all the enthusiasm reflects a problem that the Internet sort of created, by driving down the value of creative content. “Media these days is free,” he says. “That’s not an opinion at this point. It’s a fact.”\u003c/p>\n\u003cp>Yet he feels really strongly that creative people deserve fair pay. “We need to look at other income streams for people, and I think patronage is where it’s going,” he says.\u003c/p>\n\u003cp>The content that’s funded through Patreon is free for the world to see. But creators give their patrons little perks, like live chats or behind-the-scenes photos. Some of them are making serious money. Conte’s band, Pomplamoose, gets more than $5,000 dollars per video.\u003c/p>\n\u003cp>Still, most creators have more modest audiences and incomes.\u003c/p>\n\u003cfigure id=\"attachment_10138983\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/Patreon2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10138983\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/Patreon2.jpg\" alt=\"Kiki Sanford records her "This Week in Science" podcast from her basement in San Francisco's Bernal Heights neighborhood, and funds it via Patreon.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Patreon2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Patreon2-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Patreon2-300x225.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Kiki Sanford records her “This Week in Science” podcast from her basement in San Francisco’s Bernal Heights neighborhood, and funds it via Patreon. \u003ccite>(Grace Rubenstein)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kiki Sanford is a neurophysiology PhD who publishes her “This Week in Science” podcast out of her basement in San Francisco. Sanford has been broadcasting for more than a decade, and she’s built an audience of around 10,000. She joined Patreon four months ago.\u003c/p>\n\u003cp>“We went from covering our basic costs with $200 to $300 in Paypal donations per month, to now almost bringing in $2,000 a month with Patreon,” she says.\u003c/p>\n\u003cp>Now she’s hoping to realize some long-held dreams, like creating daily content. That is, if the support holds up.\u003c/p>\n\u003cp>“It’s humbling and amazing to me,” Sanford says. “But at the same time I go, can I count on this? Is this something that people are going to really keep doing?”\u003c/p>\n\u003cp>John Maeda says Sanford’s right to be cautious. He’s the former president of the Rhode Island School of Design and now the design partner at Kleiner Perkins Caufield & Byers venture capital in Silicon Valley.\u003c/p>\n\u003cp>“We believe that there’s infinite money in the crowd. You know, ‘crowdsource’ this, ‘crowdfund’ this,” he says. “The crowd gets tired, the crowd gets poorer.”\u003c/p>\n\u003cp>So while Maeda likes the idea of crowdfunding the arts, he says it’s too soon to say if Patreon’s model will have staying power.\u003c/p>\n\u003cp>Patreon does have limitations. First off, it won’t necessarily get you fans if you don’t already have them. And there’s no guarantee of artistic quality, since the site is open to everyone. But that’s the way Conte likes it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Our mission is to fund the creative class,” he says. “If Lady Gaga wanted to use the platform, fine. But that’s not who we’re building products for.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"aligncenter\">\n\u003ch4>The California Report’s Grace Rubenstein reveals how a new San Francisco company is helping creative people turn art lovers’ affection into cash.\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/tcrmag/2014/07/2014-07-11d-tcrmag.mp3\u003c/p>\n\u003c/aside>\n\u003cp>Artists who publish their work on the Internet might hit it big and find millions of fans. But in a world where online content has become virtually free, fame doesn’t necessarily come with fortune anymore.\u003c/p>\n\u003cp>Now, one San Francisco company — \u003ca href=\"http://www.patreon.com/\" target=\"_blank\" rel=\"noopener\">Patreon\u003c/a> — is making it easier for fans to financially support working artists.\u003c/p>\n\u003cp>Musician and music video producer Jack Conte founded Patreon last year with his friend Sam Yam, a former roommate at Stanford University.\u003c/p>\n\u003cp>“I had been working on this music video for three months straight,” Conte recalls. “I drained my savings account, it was like 10 grand, and I just watched that slowly whittle away.”\u003c/p>\n\u003cp>Back then, Conte had around 100,000 subscribers on his YouTube channel.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I knew I was going to post this video, and I knew it was going to generate a hundred to 200 dollars of ad revenue for me,” he says. “And I knew at the same time that my fans were going to really like it. And I thought that was worth more than $100.”\u003c/p>\n\u003cfigure id=\"attachment_10138984\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/Patreon3.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10138984\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/Patreon3.jpg\" alt=\"Patreon's engineering and product departments have taken over the living room of the company cofounders' Noe Valley apartment\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Patreon3.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Patreon3-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Patreon3-300x199.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Patreon’s engineering and product departments have taken over the living room of the company cofounders’ Noe Valley apartment \u003ccite>(Grace Rubenstein)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So Conte and Yam hatched a website plan. Fans on Patreon could enter their credit card numbers and pledge a few bucks every time Conte published a new video. Unlike Kickstarter, where people chip in for a one-time project, this would be ongoing support for continued work. It’s essentially patronage, only crowdfunded.\u003c/p>\n\u003cp>Yam designed and coded the site, which launched in May 2013. “Within a few hours I passed over $1,000 per video that I uploaded,” Conte says. “So I was making over 10 times what I was making on YouTube. In like 4 hours!”\u003c/p>\n\u003cp>Soon creators and patrons were flocking to the site. Now, he says, Patreon plays host to 85,000 paying patrons and more than 25,000 creators ranging from musicians to web comic illustrators to short story writers. The company takes a 5 percent cut. And it just got $15 million dollars in venture capital.\u003c/p>\n\u003cp>Conte thinks all the enthusiasm reflects a problem that the Internet sort of created, by driving down the value of creative content. “Media these days is free,” he says. “That’s not an opinion at this point. It’s a fact.”\u003c/p>\n\u003cp>Yet he feels really strongly that creative people deserve fair pay. “We need to look at other income streams for people, and I think patronage is where it’s going,” he says.\u003c/p>\n\u003cp>The content that’s funded through Patreon is free for the world to see. But creators give their patrons little perks, like live chats or behind-the-scenes photos. Some of them are making serious money. Conte’s band, Pomplamoose, gets more than $5,000 dollars per video.\u003c/p>\n\u003cp>Still, most creators have more modest audiences and incomes.\u003c/p>\n\u003cfigure id=\"attachment_10138983\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/Patreon2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10138983\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/Patreon2.jpg\" alt=\"Kiki Sanford records her "This Week in Science" podcast from her basement in San Francisco's Bernal Heights neighborhood, and funds it via Patreon.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Patreon2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Patreon2-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Patreon2-300x225.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Kiki Sanford records her “This Week in Science” podcast from her basement in San Francisco’s Bernal Heights neighborhood, and funds it via Patreon. \u003ccite>(Grace Rubenstein)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kiki Sanford is a neurophysiology PhD who publishes her “This Week in Science” podcast out of her basement in San Francisco. Sanford has been broadcasting for more than a decade, and she’s built an audience of around 10,000. She joined Patreon four months ago.\u003c/p>\n\u003cp>“We went from covering our basic costs with $200 to $300 in Paypal donations per month, to now almost bringing in $2,000 a month with Patreon,” she says.\u003c/p>\n\u003cp>Now she’s hoping to realize some long-held dreams, like creating daily content. That is, if the support holds up.\u003c/p>\n\u003cp>“It’s humbling and amazing to me,” Sanford says. “But at the same time I go, can I count on this? Is this something that people are going to really keep doing?”\u003c/p>\n\u003cp>John Maeda says Sanford’s right to be cautious. He’s the former president of the Rhode Island School of Design and now the design partner at Kleiner Perkins Caufield & Byers venture capital in Silicon Valley.\u003c/p>\n\u003cp>“We believe that there’s infinite money in the crowd. You know, ‘crowdsource’ this, ‘crowdfund’ this,” he says. “The crowd gets tired, the crowd gets poorer.”\u003c/p>\n\u003cp>So while Maeda likes the idea of crowdfunding the arts, he says it’s too soon to say if Patreon’s model will have staying power.\u003c/p>\n\u003cp>Patreon does have limitations. First off, it won’t necessarily get you fans if you don’t already have them. And there’s no guarantee of artistic quality, since the site is open to everyone. But that’s the way Conte likes it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Our mission is to fund the creative class,” he says. “If Lady Gaga wanted to use the platform, fine. But that’s not who we’re building products for.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cstrong>By Austin Meyer\u003c/strong>\u003cbr>\n\u003ca href=\"http://peninsulapress.com/2014/07/10/san-francisco-gentrification/\" target=\"_blank\">\u003cstrong>Peninsula Press\u003c/strong>\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_141586\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/07/ellis-act.jpg\">\u003cimg class=\"size-full wp-image-141586\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/07/ellis-act.jpg\" alt=\"San Francisco resident Benito Santiago, 63, is one of an increasing number of San Francisco seniors who are facing rising rents and eviction. (Austin Meyer/Peninsula Press)\" width=\"640\" height=\"360\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">San Francisco resident Benito Santiago, 63, is one of an increasing number of San Francisco seniors who are facing rising rents and eviction. (Austin Meyer/Peninsula Press)\u003c/figcaption>\u003c/figure>\n\u003cp>San Francisco resident Benito Santiago, 63, lived in his \u003ca href=\"http://ww2.kqed.org/news/san-francisco-mission-district-artists-evicted-from-longtime-home\" target=\"_blank\">Mission District\u003c/a> apartment 37 years before getting his \u003ca href=\"http://ww2.kqed.org/news/2013/11/07/117540/Priced-Out-Ellis-Act-San-Francisco-eviction\" target=\"_blank\">Ellis Act\u003c/a> eviction notice in November 2013. Santiago is one of an increasing number of San Francisco seniors who are facing rising rents and eviction.\u003c/p>\n\u003cp>Santiago — a ballroom-dance instructor and teacher for special needs children in the San Francisco Unified School District — is energetic yet frail. He walks with a cane and wears an array of colored cowboy hats.\u003c/p>\n\u003cp>For nearly four decades, Santiago has called his apartment on Duboce Avenue home. Today, each room is a time capsule. Drums and percussion instruments line the floors. Dance instruction books paint the shelves. In one room, a sleeping pad and tarp make up his bed, an image that calls back memories of Santiago’s homeless days before getting his apartment.\u003c/p>\n\u003cp>“I have a lot of history here,” said Santiago. “I’ve gone from a starving artist hustling for dance students to having a real job.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=mKCeiYlchF4?rel=0&w=640&h=360]\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>For years, Santiago held many odd jobs around San Francisco, making just enough money to cover the monthly rent of $575.\u003c/p>\n\u003cp>“Being in this space has allowed me to focus on my art without having to worry about survival,” said Santiago. “As long as I have my apartment over my head, I can give more to the community.”\u003c/p>\n\u003cp>Around Thanksgiving 2013, Benito arrived home to a notice on his door. He was being evicted via the Ellis Act — a state law designed to allow a property owner to leave the rental business, thereby vacating rental units. However, the Ellis Act is being abused. Groups of investors are buying property as landlords seek retirement or pass away, and they are evicting tenants by using the Ellis Act. Speculators buy property, hoping to flip the apartments into an easy profit.\u003c/p>\n\u003cp>Suddenly, the prospect of not having a roof over Santiago’s head was all too real.\u003c/p>\n\u003cp>“They wanted me out so they could turn the building into condominiums,” said Santiago. “I didn’t know what to do. I had sleepless nights.”\u003c/p>\n\u003cp>Santiago was offered a $20,000 buyout and was told to be out in one month. He started giving away tables and chairs, slowly offloading what he could. Even with the $20,000, he would be able to afford living in his apartment only for five months.\u003c/p>\n\u003cp>“When I found out that the going rate for this apartment was $4,000 a month, and not $575 like what I am paying,” laughed Santiago. “I mean, how am I going to afford that?”\u003c/p>\n\u003cp>Santiago reconsidered the offer and, along with other tenants in his building, began to fight the eviction. He filed appeals as a senior citizen on disability. He went on protests and fought for tenants rights.\u003c/p>\n\u003cp>“I’m going to stand my ground and see if I can make a difference,” said Santiago. “I’m going to speak up for myself and speak up for the seniors, the disabled, the educators, the students and the families who give to the community and then are being displaced.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As of July 1, Santiago continues that fight as he remains in his apartment. His Ellis Act eviction appeals are pending, and the next chapter of his life with his apartment is unwritten.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\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/mKCeiYlchF4?rel=0'\n title='//www.youtube.com/embed/mKCeiYlchF4?rel=0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>For years, Santiago held many odd jobs around San Francisco, making just enough money to cover the monthly rent of $575.\u003c/p>\n\u003cp>“Being in this space has allowed me to focus on my art without having to worry about survival,” said Santiago. “As long as I have my apartment over my head, I can give more to the community.”\u003c/p>\n\u003cp>Around Thanksgiving 2013, Benito arrived home to a notice on his door. He was being evicted via the Ellis Act — a state law designed to allow a property owner to leave the rental business, thereby vacating rental units. However, the Ellis Act is being abused. Groups of investors are buying property as landlords seek retirement or pass away, and they are evicting tenants by using the Ellis Act. Speculators buy property, hoping to flip the apartments into an easy profit.\u003c/p>\n\u003cp>Suddenly, the prospect of not having a roof over Santiago’s head was all too real.\u003c/p>\n\u003cp>“They wanted me out so they could turn the building into condominiums,” said Santiago. “I didn’t know what to do. I had sleepless nights.”\u003c/p>\n\u003cp>Santiago was offered a $20,000 buyout and was told to be out in one month. He started giving away tables and chairs, slowly offloading what he could. Even with the $20,000, he would be able to afford living in his apartment only for five months.\u003c/p>\n\u003cp>“When I found out that the going rate for this apartment was $4,000 a month, and not $575 like what I am paying,” laughed Santiago. “I mean, how am I going to afford that?”\u003c/p>\n\u003cp>Santiago reconsidered the offer and, along with other tenants in his building, began to fight the eviction. He filed appeals as a senior citizen on disability. He went on protests and fought for tenants rights.\u003c/p>\n\u003cp>“I’m going to stand my ground and see if I can make a difference,” said Santiago. “I’m going to speak up for myself and speak up for the seniors, the disabled, the educators, the students and the families who give to the community and then are being displaced.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As of July 1, Santiago continues that fight as he remains in his apartment. His Ellis Act eviction appeals are pending, and the next chapter of his life with his apartment is unwritten.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "A Wobegon Exile Contemplates 40 Years of 'A Prairie Home Companion'",
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"content": "\u003cfigure id=\"attachment_140923\" class=\"wp-caption alignright\" style=\"max-width: 336px\">\u003ca href=\"http://ww2.kqed.org/news/2014/07/04/prarie-home-companion-is-40-years-old/rs11109_gk-pmbb-sm-hpf/\" rel=\"attachment wp-att-140923\">\u003cimg class=\"wp-image-140923 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/07/RS11109_gk-pmbb-sm-hpf.jpg\" alt=\"Garrison Keillor and the Powdermilk Biscuit Band perform at an outdoor show in Saint Paul, MN, circa 1977. (Courtesy of PHC)\" width=\"336\" height=\"168\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Garrison Keillor and the Powdermilk Biscuit Band perform at an outdoor show in St. Paul, circa 1977. (Courtesy of PHC)\u003c/figcaption>\u003c/figure>\n\u003cp>On July 6, 1974, an audience estimated at 12 people filed into a college auditorium in St. Paul, Minnesota, for the first broadcast of \"A Prairie Home Companion.\"\u003c/p>\n\u003cp>On July 4-6, 2014, a considerably larger number of people will return to that auditorium and the surrounding campus to celebrate \u003ca href=\"http://prairiehome.publicradio.org/features/anniversary/40th/\" target=\"_blank\">the program’s 40\u003csup>th\u003c/sup> anniversary\u003c/a>.\u003c/p>\n\u003cp>I was a listener from the beginning, and then a member of the staff from 1978 to 1987, the first step in a public radio journey that would eventually lead me to the KQED newsroom.\u003c/p>\n\u003cp>I had begun listening to the Saturday show’s predecessor, a local morning show also called \"A Prairie Home Companion,\" in 1972, in search of something that would help me get out of bed and to high school on time. The program was hosted by an announcer whose name I did not know, because he never gave it on the air. But I liked the enormous variety of music, from the Beach Boys to Mendelssohn to Sol Ho'opi'i.\u003c/p>\n\u003cp>And I was fascinated by the sponsors that the announcer talked about, such as Jack's Warm Car Service, an early version of Uber that seemed particularly attractive to a teenager waiting for a bus on a dark Minnesota winter morning. I suspected these sponsors might be fake, and I couldn't find the town that the announcer occasionally described on my state map, but I wanted it to be real, and in the absence of any firm evidence either way I decided to believe in it.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>By the time the Saturday show debuted, I had discovered Garrison Keillor's name, learned from a few articles in the local paper that he had a cult following, and read a few of his stories in the New Yorker. \"A Prairie Home Companion\" had its roots in the lively Twin Cities folk music scene. It was a departure from the rest of Minnesota Public Radio's program schedule, which was mostly classical with the one NPR news program that existed in 1974, \"All Things Considered.\"\u003c/p>\n\u003cp>But it was not considered especially risky, because there was really no Saturday evening audience for public radio to lose. There had been no focus groups or market research to indicate the demand for such a program — just the feeling of Keillor and of MPR's president, Bill Kling, that it might be fun.\u003c/p>\n\u003cp>Four years after the inauspicious 12-person debut on the Macalester College campus, APHC had a regular in-person following of a few hundred people, and MPR decided to rent an old movie theater in downtown St. Paul as a permanent venue for it. Now a college student, I responded to a call for volunteers to clean the place up, and stuck around to help take tickets and sell popcorn. Eventually I finished school and became the full-time house and box office manager. I stayed with the show until it went on hiatus in 1987 when Keillor moved to Denmark.\u003c/p>\n\u003cp>\u003cstrong>Main Features Evolved Slowly\u003c/strong>\u003c/p>\n\u003cp>When I started working for \"A Prairie Home Companion,\" it was still a local broadcast, only 90 minutes instead of the current two hours. Features that are central to the show now evolved slowly. \"The News from Lake Wobegon\" began as a community calendar segment – Visitors Day events as submitted by Harold Starr, editor of the Lake Wobegon Herald-Star.\u003c/p>\n\u003caside class=\"pullquote alignleft\"> The show had its roots in the lively Twin Cities folk music scene. \u003c/aside>\n\u003cfigure id=\"attachment_140930\" class=\"wp-caption alignleft\" style=\"max-width: 300px\">\u003ca href=\"http://ww2.kqed.org/news/2014/07/04/prarie-home-companion-is-40-years-old/norman-mailer-center-4th-annual-benefit-gala-arrivals/\" rel=\"attachment wp-att-140930\">\u003cimg class=\"wp-image-140930 size-thumbnail\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/07/RS5961_153404137-300x300.jpg\" alt=\" Garrison Keillor, former boxing champion Muhammad Ali and Lawrence Schiller attend the Norman Mailer Center 4th Annual Benefit Gala on October 4, 2012 in New York City. (Photo by Stephen Lovekin/Getty Images for Norman Mailer Center)\" width=\"300\" height=\"300\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Garrison Keillor, former boxing champion Muhammad Ali and Lawrence Schiller attend the Norman Mailer Center 4th Annual Benefit Gala on Oct. 4, 2012 in New York City. (Photo by Stephen Lovekin/Getty Images for Norman Mailer Center)\u003c/figcaption>\u003c/figure>\n\u003cp>At first Keillor would ask the audience as part of the preshow warm-up to yell out where they were from, and then would read the list as a way of filling time while the stagehands changed microphones for different musicians. After we got more than 300 people in the theater, it was harder to do that, and one week he asked the audience to write down their hometowns on pieces of paper and give them to the ushers.\u003c/p>\n\u003cp>Almost immediately we started getting notes that said things like, “We’re here from Thief River Falls, and would you say hello to Aunt Ruth and remind her not to give the dogs too much kibble or they'll be sick, and we’ll be home in the morning.” Thus the greetings segment was born, and it became part of my job to sort through and find the ones that were most legible and interesting to send backstage.\u003c/p>\n\u003cp>In 1981, the show went national, and shortly after that was the subject of an article in the Wall Street Journal. Those of us in the theater noticed, with mixed emotions, that the audience started to change. We did the summer shows outdoors if it wasn't raining, because the theater had no air conditioning and got unbearably hot. But in that first summer of national broadcasts and press attention, people began to show up who were so well-dressed that they didn't want to sit on the grass.\u003c/p>\n\u003cp>But I don’t hold that against any of you; those people with the nice pants were probably not from the Bay Area. KQED was one of the first stations outside Minnesota to carry “A Prairie Home Companion” and the audiences here, on the radio and in person, have always been particularly enthusiastic. In 1984, the show made its first Bay Area touring appearance with two shows at the Warfield in San Francisco. It has returned to Northern California 15 times since then, with stops in Berkeley, Oakland, San Jose, Concord and Sacramento, as well as various San Francisco venues.\u003c/p>\n\u003cp>San Francisco, as the site of the Public Radio Conference in May 1989, was also the place where Keillor announced he was returning to the U.S. and beginning weekly live broadcasts of “American Radio Company of the Air” (the show returned to Minnesota and resumed the original name a few years later).\u003c/p>\n\u003cp>It's strange to contemplate what public radio would sound like today if \"A Prairie Home Companion\" had never existed, or had stayed the local cult favorite that it began its life as 40 years ago. So much of public radio's distinctive sound has come from strong local stations producing national programming, and from the diversity of producing organizations around the country: Public Radio International, American Public Media and the Public Radio Exchange, as well as NPR in Washington.\u003c/p>\n\u003cp>That model started with the network that became PRI; APHC was the strongest of its initial offerings and continued to be its flagship for at least a decade. A public radio world without it, I think, would consist of much weaker stations, much more dependent on a single source of programming.\u003c/p>\n\u003cp>As for what comes next for \"A Prairie Home Companion,\" your guess is as good as mine. After briefly considering handing the microphone to a new host, Keillor says he intends to keep doing it for the foreseeable future. Which I think is good news for all of us who have come to spend part of our weekends in a town that is real, as long as you don't go looking for it.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Nina Thorsen is a producer for KQED News and The California Report, and former producer of KQED's Pacific Time.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_140923\" class=\"wp-caption alignright\" style=\"max-width: 336px\">\u003ca href=\"http://ww2.kqed.org/news/2014/07/04/prarie-home-companion-is-40-years-old/rs11109_gk-pmbb-sm-hpf/\" rel=\"attachment wp-att-140923\">\u003cimg class=\"wp-image-140923 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/07/RS11109_gk-pmbb-sm-hpf.jpg\" alt=\"Garrison Keillor and the Powdermilk Biscuit Band perform at an outdoor show in Saint Paul, MN, circa 1977. (Courtesy of PHC)\" width=\"336\" height=\"168\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Garrison Keillor and the Powdermilk Biscuit Band perform at an outdoor show in St. Paul, circa 1977. (Courtesy of PHC)\u003c/figcaption>\u003c/figure>\n\u003cp>On July 6, 1974, an audience estimated at 12 people filed into a college auditorium in St. Paul, Minnesota, for the first broadcast of \"A Prairie Home Companion.\"\u003c/p>\n\u003cp>On July 4-6, 2014, a considerably larger number of people will return to that auditorium and the surrounding campus to celebrate \u003ca href=\"http://prairiehome.publicradio.org/features/anniversary/40th/\" target=\"_blank\">the program’s 40\u003csup>th\u003c/sup> anniversary\u003c/a>.\u003c/p>\n\u003cp>I was a listener from the beginning, and then a member of the staff from 1978 to 1987, the first step in a public radio journey that would eventually lead me to the KQED newsroom.\u003c/p>\n\u003cp>I had begun listening to the Saturday show’s predecessor, a local morning show also called \"A Prairie Home Companion,\" in 1972, in search of something that would help me get out of bed and to high school on time. The program was hosted by an announcer whose name I did not know, because he never gave it on the air. But I liked the enormous variety of music, from the Beach Boys to Mendelssohn to Sol Ho'opi'i.\u003c/p>\n\u003cp>And I was fascinated by the sponsors that the announcer talked about, such as Jack's Warm Car Service, an early version of Uber that seemed particularly attractive to a teenager waiting for a bus on a dark Minnesota winter morning. I suspected these sponsors might be fake, and I couldn't find the town that the announcer occasionally described on my state map, but I wanted it to be real, and in the absence of any firm evidence either way I decided to believe in it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>By the time the Saturday show debuted, I had discovered Garrison Keillor's name, learned from a few articles in the local paper that he had a cult following, and read a few of his stories in the New Yorker. \"A Prairie Home Companion\" had its roots in the lively Twin Cities folk music scene. It was a departure from the rest of Minnesota Public Radio's program schedule, which was mostly classical with the one NPR news program that existed in 1974, \"All Things Considered.\"\u003c/p>\n\u003cp>But it was not considered especially risky, because there was really no Saturday evening audience for public radio to lose. There had been no focus groups or market research to indicate the demand for such a program — just the feeling of Keillor and of MPR's president, Bill Kling, that it might be fun.\u003c/p>\n\u003cp>Four years after the inauspicious 12-person debut on the Macalester College campus, APHC had a regular in-person following of a few hundred people, and MPR decided to rent an old movie theater in downtown St. Paul as a permanent venue for it. Now a college student, I responded to a call for volunteers to clean the place up, and stuck around to help take tickets and sell popcorn. Eventually I finished school and became the full-time house and box office manager. I stayed with the show until it went on hiatus in 1987 when Keillor moved to Denmark.\u003c/p>\n\u003cp>\u003cstrong>Main Features Evolved Slowly\u003c/strong>\u003c/p>\n\u003cp>When I started working for \"A Prairie Home Companion,\" it was still a local broadcast, only 90 minutes instead of the current two hours. Features that are central to the show now evolved slowly. \"The News from Lake Wobegon\" began as a community calendar segment – Visitors Day events as submitted by Harold Starr, editor of the Lake Wobegon Herald-Star.\u003c/p>\n\u003caside class=\"pullquote alignleft\"> The show had its roots in the lively Twin Cities folk music scene. \u003c/aside>\n\u003cfigure id=\"attachment_140930\" class=\"wp-caption alignleft\" style=\"max-width: 300px\">\u003ca href=\"http://ww2.kqed.org/news/2014/07/04/prarie-home-companion-is-40-years-old/norman-mailer-center-4th-annual-benefit-gala-arrivals/\" rel=\"attachment wp-att-140930\">\u003cimg class=\"wp-image-140930 size-thumbnail\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/07/RS5961_153404137-300x300.jpg\" alt=\" Garrison Keillor, former boxing champion Muhammad Ali and Lawrence Schiller attend the Norman Mailer Center 4th Annual Benefit Gala on October 4, 2012 in New York City. (Photo by Stephen Lovekin/Getty Images for Norman Mailer Center)\" width=\"300\" height=\"300\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Garrison Keillor, former boxing champion Muhammad Ali and Lawrence Schiller attend the Norman Mailer Center 4th Annual Benefit Gala on Oct. 4, 2012 in New York City. (Photo by Stephen Lovekin/Getty Images for Norman Mailer Center)\u003c/figcaption>\u003c/figure>\n\u003cp>At first Keillor would ask the audience as part of the preshow warm-up to yell out where they were from, and then would read the list as a way of filling time while the stagehands changed microphones for different musicians. After we got more than 300 people in the theater, it was harder to do that, and one week he asked the audience to write down their hometowns on pieces of paper and give them to the ushers.\u003c/p>\n\u003cp>Almost immediately we started getting notes that said things like, “We’re here from Thief River Falls, and would you say hello to Aunt Ruth and remind her not to give the dogs too much kibble or they'll be sick, and we’ll be home in the morning.” Thus the greetings segment was born, and it became part of my job to sort through and find the ones that were most legible and interesting to send backstage.\u003c/p>\n\u003cp>In 1981, the show went national, and shortly after that was the subject of an article in the Wall Street Journal. Those of us in the theater noticed, with mixed emotions, that the audience started to change. We did the summer shows outdoors if it wasn't raining, because the theater had no air conditioning and got unbearably hot. But in that first summer of national broadcasts and press attention, people began to show up who were so well-dressed that they didn't want to sit on the grass.\u003c/p>\n\u003cp>But I don’t hold that against any of you; those people with the nice pants were probably not from the Bay Area. KQED was one of the first stations outside Minnesota to carry “A Prairie Home Companion” and the audiences here, on the radio and in person, have always been particularly enthusiastic. In 1984, the show made its first Bay Area touring appearance with two shows at the Warfield in San Francisco. It has returned to Northern California 15 times since then, with stops in Berkeley, Oakland, San Jose, Concord and Sacramento, as well as various San Francisco venues.\u003c/p>\n\u003cp>San Francisco, as the site of the Public Radio Conference in May 1989, was also the place where Keillor announced he was returning to the U.S. and beginning weekly live broadcasts of “American Radio Company of the Air” (the show returned to Minnesota and resumed the original name a few years later).\u003c/p>\n\u003cp>It's strange to contemplate what public radio would sound like today if \"A Prairie Home Companion\" had never existed, or had stayed the local cult favorite that it began its life as 40 years ago. So much of public radio's distinctive sound has come from strong local stations producing national programming, and from the diversity of producing organizations around the country: Public Radio International, American Public Media and the Public Radio Exchange, as well as NPR in Washington.\u003c/p>\n\u003cp>That model started with the network that became PRI; APHC was the strongest of its initial offerings and continued to be its flagship for at least a decade. A public radio world without it, I think, would consist of much weaker stations, much more dependent on a single source of programming.\u003c/p>\n\u003cp>As for what comes next for \"A Prairie Home Companion,\" your guess is as good as mine. After briefly considering handing the microphone to a new host, Keillor says he intends to keep doing it for the foreseeable future. Which I think is good news for all of us who have come to spend part of our weekends in a town that is real, as long as you don't go looking for it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "Nitt Witt Ridge: The Poor Man's Hearst Castle",
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"content": "\u003cp>http://www.kqed.org/.stream/anon/radio/tcrmag/2014/07/2014-07-04a-tcrmag.mp3\u003c/p>\n\u003cp>Back in the '20s, carpenters, stonemasons and plasterers flocked to the Central Coast. They came to build William Randolph Hearst’s La Cuesta Encantada — you might know it as Hearst Castle. At the same time, a man named Art Beal began to single-handedly create his own enchanted castle. Today, like Hearst Castle, \u003ca href=\"http://visitcambriaca.com/attractions-california/destinations-cambria-ca/nitt-witt-ridge/\" target=\"_blank\">Nitt Witt Ridge\u003c/a> is a state historic landmark. But the similarities end there.\u003c/p>\n\u003cp>The striking three-story structure is a quirky hodgepodge of beach stones and beer cans, tire rims and toilet seats — castoffs Beal collected during his stint as Cambria’s garbageman. His folk art masterpiece sits behind a locked gate in a quiet residential neighborhood.\u003c/p>\n\u003cp>Vicki Hogue is visiting the area with her friend, Mary Bestgen. “Actually, we just happened upon it because we were driving by,” Hogue says.\u003c/p>\n\u003cfigure id=\"attachment_10341775\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/07/NittWittStreet.jpg\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/07/NittWittStreet-400x434.jpg\" alt=\"Nitt Witt Ridge, as viewed from the street. (Diane Bock/KQED)\" width=\"400\" height=\"434\" class=\"size-thumbnail wp-image-10341775\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2014/07/NittWittStreet-400x434.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2014/07/NittWittStreet.jpg 600w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Nitt Witt Ridge, as viewed from the street. (Diane Bock/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>Both women are intrigued by the house. “Something creative had gone on here,” Bestgen exclaims. “I gotta found out what this is!”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A clock hanging on the gate shows the next tour at 1 o’clock. At 1 on the dot, Mike O’Malley appears.\u003c/p>\n\u003cp>“If you ladies like, I can start the tour for you,” he says. “Now my name’s Mike. I’ll be giving you the tour. But just watch your step.”\u003c/p>\n\u003cp>O’Malley bought Nitt Witt Ridge 15 years ago. He doesn’t live on the property, but he’s here every single day just in case someone stops by.\u003c/p>\n\u003cp>“I’ve been doing this for a long time,” he says. “I thought I’d be sick of it by now. There’s just a feeling in there!”\u003c/p>\n\u003cfigure id=\"attachment_10341776\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/07/NittWittStreet1.jpg\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/07/NittWittStreet1-400x434.jpg\" alt=\"Mike O'Malley, owner of Nitt Witt Ridge. (Diane Bock/KQED)\" width=\"400\" height=\"434\" class=\"size-thumbnail wp-image-10341776\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2014/07/NittWittStreet1-400x434.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2014/07/NittWittStreet1.jpg 600w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mike O'Malley, owner of Nitt Witt Ridge. (Diane Bock/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>O’Malley maintains that feeling by keeping Nitt Witt Ridge in a state of arrested decay. Uneven concrete steps lined with abalone shells lead us through stone-covered arches to a jumble of rooms lined with flaking plaster and peeling wallpaper. Some rooms are like time capsules — nearly untouched.\u003c/p>\n\u003cp>“This is probably my favorite room, and this is actually the kitchen,” O’Malley explains. “Now it was kind of eerie. I came in here in ‘99, I felt like I was breaking into his house. His canned goods are still in here.”\u003c/p>\n\u003cp>Beal was born in Oakland in 1896. He never knew his father, and his mother, a Klamath Indian, was killed in the 1906 San Francisco Earthquake. Beal was then sent to an orphanage. When he was 17, he joined the merchant marines. He went on to become an award-winning long distance swimmer, a vaudevillian, a sous chef and a poet.\u003c/p>\n\u003cp>Beal moved to Cambria in 1928. Legend has it that he arrived with a woman named Gloria. When she left a few years later, it broke Beal’s heart, and he threw himself into constructing his dream home.\u003c/p>\n\u003cfigure id=\"attachment_10341777\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/07/ArtBeal.jpg\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/07/ArtBeal-400x607.jpg\" alt=\"Nitt Witt's creator, Art Beal, in the 1970s. (Courtesy San Luis Obispo Tribune)\" width=\"400\" height=\"607\" class=\"size-thumbnail wp-image-10341777\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2014/07/ArtBeal-400x607.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2014/07/ArtBeal.jpg 500w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Nitt Witt's creator, Art Beal, in the 1970s. (Courtesy San Luis Obispo Tribune)\u003c/figcaption>\u003c/figure>\n\u003cp>In 1977, Beal was featured on the television show \"Real People,\" and O’Malley plays the tape as part of the tour. He switches on a small TV and VHS player that’s powered by his car battery, and suddenly Beal is in the room with us. The four-minute segment portrays Beal as equal parts cantankerous crackpot and creative free spirit. It ends with Beal reading one of his poems.\u003c/p>\n\u003cp>Give me a heart, with sweet smiles round me reading\u003c/p>\n\u003cp>with truthful and loving affections beating\u003c/p>\n\u003cp>Give me a heart of a pal of tested worth\u003c/p>\n\u003cp>I want a heart to dream upon, not just mirth\u003c/p>\n\u003cp>Give me a heart of love, with fondness creating\u003c/p>\n\u003cp>A heart that flutters when our lips are meeting\u003c/p>\n\u003cp>Mike O’Malley is committed to keeping Beal’s legacy alive. “This man was content and happy,” he says. “Even though he didn’t have any family or anything, I feel like he loved himself.” He smiles. “Like he could, you know, like he could live with himself. He was Art Beal!”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Beal died in a Morro Bay rest home in 1992. He was 96. His ashes were scattered beneath a redwood tree on Nitt Witt Ridge.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>http://www.kqed.org/.stream/anon/radio/tcrmag/2014/07/2014-07-04a-tcrmag.mp3\u003c/p>\n\u003cp>Back in the '20s, carpenters, stonemasons and plasterers flocked to the Central Coast. They came to build William Randolph Hearst’s La Cuesta Encantada — you might know it as Hearst Castle. At the same time, a man named Art Beal began to single-handedly create his own enchanted castle. Today, like Hearst Castle, \u003ca href=\"http://visitcambriaca.com/attractions-california/destinations-cambria-ca/nitt-witt-ridge/\" target=\"_blank\">Nitt Witt Ridge\u003c/a> is a state historic landmark. But the similarities end there.\u003c/p>\n\u003cp>The striking three-story structure is a quirky hodgepodge of beach stones and beer cans, tire rims and toilet seats — castoffs Beal collected during his stint as Cambria’s garbageman. His folk art masterpiece sits behind a locked gate in a quiet residential neighborhood.\u003c/p>\n\u003cp>Vicki Hogue is visiting the area with her friend, Mary Bestgen. “Actually, we just happened upon it because we were driving by,” Hogue says.\u003c/p>\n\u003cfigure id=\"attachment_10341775\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/07/NittWittStreet.jpg\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/07/NittWittStreet-400x434.jpg\" alt=\"Nitt Witt Ridge, as viewed from the street. (Diane Bock/KQED)\" width=\"400\" height=\"434\" class=\"size-thumbnail wp-image-10341775\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2014/07/NittWittStreet-400x434.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2014/07/NittWittStreet.jpg 600w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Nitt Witt Ridge, as viewed from the street. (Diane Bock/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>Both women are intrigued by the house. “Something creative had gone on here,” Bestgen exclaims. “I gotta found out what this is!”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A clock hanging on the gate shows the next tour at 1 o’clock. At 1 on the dot, Mike O’Malley appears.\u003c/p>\n\u003cp>“If you ladies like, I can start the tour for you,” he says. “Now my name’s Mike. I’ll be giving you the tour. But just watch your step.”\u003c/p>\n\u003cp>O’Malley bought Nitt Witt Ridge 15 years ago. He doesn’t live on the property, but he’s here every single day just in case someone stops by.\u003c/p>\n\u003cp>“I’ve been doing this for a long time,” he says. “I thought I’d be sick of it by now. There’s just a feeling in there!”\u003c/p>\n\u003cfigure id=\"attachment_10341776\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/07/NittWittStreet1.jpg\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/07/NittWittStreet1-400x434.jpg\" alt=\"Mike O'Malley, owner of Nitt Witt Ridge. (Diane Bock/KQED)\" width=\"400\" height=\"434\" class=\"size-thumbnail wp-image-10341776\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2014/07/NittWittStreet1-400x434.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2014/07/NittWittStreet1.jpg 600w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mike O'Malley, owner of Nitt Witt Ridge. (Diane Bock/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>O’Malley maintains that feeling by keeping Nitt Witt Ridge in a state of arrested decay. Uneven concrete steps lined with abalone shells lead us through stone-covered arches to a jumble of rooms lined with flaking plaster and peeling wallpaper. Some rooms are like time capsules — nearly untouched.\u003c/p>\n\u003cp>“This is probably my favorite room, and this is actually the kitchen,” O’Malley explains. “Now it was kind of eerie. I came in here in ‘99, I felt like I was breaking into his house. His canned goods are still in here.”\u003c/p>\n\u003cp>Beal was born in Oakland in 1896. He never knew his father, and his mother, a Klamath Indian, was killed in the 1906 San Francisco Earthquake. Beal was then sent to an orphanage. When he was 17, he joined the merchant marines. He went on to become an award-winning long distance swimmer, a vaudevillian, a sous chef and a poet.\u003c/p>\n\u003cp>Beal moved to Cambria in 1928. Legend has it that he arrived with a woman named Gloria. When she left a few years later, it broke Beal’s heart, and he threw himself into constructing his dream home.\u003c/p>\n\u003cfigure id=\"attachment_10341777\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/07/ArtBeal.jpg\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/07/ArtBeal-400x607.jpg\" alt=\"Nitt Witt's creator, Art Beal, in the 1970s. (Courtesy San Luis Obispo Tribune)\" width=\"400\" height=\"607\" class=\"size-thumbnail wp-image-10341777\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2014/07/ArtBeal-400x607.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2014/07/ArtBeal.jpg 500w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Nitt Witt's creator, Art Beal, in the 1970s. (Courtesy San Luis Obispo Tribune)\u003c/figcaption>\u003c/figure>\n\u003cp>In 1977, Beal was featured on the television show \"Real People,\" and O’Malley plays the tape as part of the tour. He switches on a small TV and VHS player that’s powered by his car battery, and suddenly Beal is in the room with us. The four-minute segment portrays Beal as equal parts cantankerous crackpot and creative free spirit. It ends with Beal reading one of his poems.\u003c/p>\n\u003cp>Give me a heart, with sweet smiles round me reading\u003c/p>\n\u003cp>with truthful and loving affections beating\u003c/p>\n\u003cp>Give me a heart of a pal of tested worth\u003c/p>\n\u003cp>I want a heart to dream upon, not just mirth\u003c/p>\n\u003cp>Give me a heart of love, with fondness creating\u003c/p>\n\u003cp>A heart that flutters when our lips are meeting\u003c/p>\n\u003cp>Mike O’Malley is committed to keeping Beal’s legacy alive. “This man was content and happy,” he says. “Even though he didn’t have any family or anything, I feel like he loved himself.” He smiles. “Like he could, you know, like he could live with himself. He was Art Beal!”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Beal died in a Morro Bay rest home in 1992. He was 96. His ashes were scattered beneath a redwood tree on Nitt Witt Ridge.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Burnt Almond Cake, a San Jose Specialty, Remains a Mystery",
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"content": "\u003cp>http://www.kqed.org/.stream/anon/radio/tcrmag/2014/07/2014-07-04b-tcrmag.mp3\u003c/p>\n\u003cp>If you grew up in or near San Jose, you’ve probably eaten a slice of burnt almond cake at a birthday or a graduation party. It’s not that people don’t eat this fluffy delight elsewhere, but in San Jose it’s a local specialty.\u003c/p>\n\u003cp>The whole thing started with a man named Tony Peters, back in 1936.\u003c/p>\n\u003cp>\"Believe it or not,\" says Tony's son, Chuck Peters, \"this used to be a horse pasture before my father built this building.\" Chuck, the current owner of Peters' Bakery, is 72 years old.\u003c/p>\n\u003cp>Today, Peters' Bakery is tucked into an aging row of retail storefronts in East San Jose. Between the oven old enough to qualify for an AARP card, the staff wearing old-timey aprons and the white boxes tied up with string, you might be forgiven for presuming burnt almond cake was invented here. But no.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The recipe started with a basic white cake from a Betty Crocker magazine. Fresh creamy custard is slathered inside and out. So far, so good, but it’s what goes on top of the icing that makes the cake utterly addictive. It's a salty, sweet mixture of crushed toasted almonds, plus ... something else. Chuck refuses to reveal what, exactly, despite my repeated attempts to get him to cave.\u003c/p>\n\u003cp>The cake is simple, fluffy and fresh. It's hard to eat just one bite, which may explain how the bakery sells a couple hundred a week, as it has for more than 70 years.\u003c/p>\n\u003cp>\"Well, they’re not too sweet,\" explains Mary Imamura, who lives nearby in Berryessa. I talked to her as she picked up a sheet cake for 50 people. \"They’re always delicious. Always.\"\u003c/p>\n\u003cp>There is a Peters' Facebook page and a Twitter handle, but the cake moves largely by word of mouth. That's how Imamura heard about it. \"My mother-in-law told me about this place probably about 40 years ago, and we’ve been coming since.\"\u003c/p>\n\u003cp>Peters' makes other things — strawberry tarts, chocolate eclairs, hot cross buns — but the bakery's reputation is built on burnt almond cake.\u003c/p>\n\u003cp>Over the years, locals have cultivated a rumor that Peters' is locked in an ancient rivalry with another bakery 20 minutes to the west. Indeed, Dick’s Bakery appears to be cut from the same cloth: the aprons, the boxes tied up with string — and there, in the refrigerated cases — the burnt almond cake.\u003c/p>\n\u003cfigure id=\"attachment_10141314\" class=\"wp-caption alignright\" style=\"max-width: 300px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/09/BurntAlmondCake1.jpg\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/09/BurntAlmondCake1-300x225.jpg\" alt=\"Careful research has determined the Dick's burnt almond cake is almost identical to that from Peters' -- but the Dick's almonds are chunkier and caramelized. (Rachael Myrow/KQED)\" width=\"300\" height=\"225\" class=\"size-thumbnail wp-image-10141314\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Careful research has determined the Dick's burnt almond cake is almost identical to that from Peters' -- but the Dick's almonds are chunkier and caramelized. (Rachael Myrow/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>Laurel Sota explains the two bakeries are related … literally. She married into it. \"My husband’s grandfather and great-uncle actually started Dick’s Bakery together in 1947.\"\u003c/p>\n\u003cp>Tony Peters used to run a local chain of bakeries, and a lot of relatives worked for him, including his cousin, Dick. When Dick came back from World War II, he bought one of the bakeries. Numerous bakers have worked at both businesses. Both sides insist there is no bitter, burnt rivalry. Nobody stole anything. But Dick’s did tweak the recipe.\u003c/p>\n\u003cp>\"Our nuts are different,\" says Sota. \"We’ve changed the nuts to suit more of our taste. They’re larger, and we also caramelize the top.\"\u003c/p>\n\u003cp>It’s just as delicious — and if I was hoping to pry the secret of the almond mixture from Sota, I was mistaken. \"Honestly, I don’t even know. My husband knows. You know, and we have certain bakers that know certain pieces, and they don’t really merge together. So we kind of keep it tightly wrapped.\"\u003c/p>\n\u003cp>Not unlike the way another Silicon Valley neighbor, Apple, is famous for keeping employees working on different parts of the same product siloed from each other.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\"Yes, of course,\" Sota laughs. \"Just as important! Yes.\"\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>http://www.kqed.org/.stream/anon/radio/tcrmag/2014/07/2014-07-04b-tcrmag.mp3\u003c/p>\n\u003cp>If you grew up in or near San Jose, you’ve probably eaten a slice of burnt almond cake at a birthday or a graduation party. It’s not that people don’t eat this fluffy delight elsewhere, but in San Jose it’s a local specialty.\u003c/p>\n\u003cp>The whole thing started with a man named Tony Peters, back in 1936.\u003c/p>\n\u003cp>\"Believe it or not,\" says Tony's son, Chuck Peters, \"this used to be a horse pasture before my father built this building.\" Chuck, the current owner of Peters' Bakery, is 72 years old.\u003c/p>\n\u003cp>Today, Peters' Bakery is tucked into an aging row of retail storefronts in East San Jose. Between the oven old enough to qualify for an AARP card, the staff wearing old-timey aprons and the white boxes tied up with string, you might be forgiven for presuming burnt almond cake was invented here. But no.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The recipe started with a basic white cake from a Betty Crocker magazine. Fresh creamy custard is slathered inside and out. So far, so good, but it’s what goes on top of the icing that makes the cake utterly addictive. It's a salty, sweet mixture of crushed toasted almonds, plus ... something else. Chuck refuses to reveal what, exactly, despite my repeated attempts to get him to cave.\u003c/p>\n\u003cp>The cake is simple, fluffy and fresh. It's hard to eat just one bite, which may explain how the bakery sells a couple hundred a week, as it has for more than 70 years.\u003c/p>\n\u003cp>\"Well, they’re not too sweet,\" explains Mary Imamura, who lives nearby in Berryessa. I talked to her as she picked up a sheet cake for 50 people. \"They’re always delicious. Always.\"\u003c/p>\n\u003cp>There is a Peters' Facebook page and a Twitter handle, but the cake moves largely by word of mouth. That's how Imamura heard about it. \"My mother-in-law told me about this place probably about 40 years ago, and we’ve been coming since.\"\u003c/p>\n\u003cp>Peters' makes other things — strawberry tarts, chocolate eclairs, hot cross buns — but the bakery's reputation is built on burnt almond cake.\u003c/p>\n\u003cp>Over the years, locals have cultivated a rumor that Peters' is locked in an ancient rivalry with another bakery 20 minutes to the west. Indeed, Dick’s Bakery appears to be cut from the same cloth: the aprons, the boxes tied up with string — and there, in the refrigerated cases — the burnt almond cake.\u003c/p>\n\u003cfigure id=\"attachment_10141314\" class=\"wp-caption alignright\" style=\"max-width: 300px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/09/BurntAlmondCake1.jpg\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/09/BurntAlmondCake1-300x225.jpg\" alt=\"Careful research has determined the Dick's burnt almond cake is almost identical to that from Peters' -- but the Dick's almonds are chunkier and caramelized. (Rachael Myrow/KQED)\" width=\"300\" height=\"225\" class=\"size-thumbnail wp-image-10141314\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Careful research has determined the Dick's burnt almond cake is almost identical to that from Peters' -- but the Dick's almonds are chunkier and caramelized. (Rachael Myrow/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>Laurel Sota explains the two bakeries are related … literally. She married into it. \"My husband’s grandfather and great-uncle actually started Dick’s Bakery together in 1947.\"\u003c/p>\n\u003cp>Tony Peters used to run a local chain of bakeries, and a lot of relatives worked for him, including his cousin, Dick. When Dick came back from World War II, he bought one of the bakeries. Numerous bakers have worked at both businesses. Both sides insist there is no bitter, burnt rivalry. Nobody stole anything. But Dick’s did tweak the recipe.\u003c/p>\n\u003cp>\"Our nuts are different,\" says Sota. \"We’ve changed the nuts to suit more of our taste. They’re larger, and we also caramelize the top.\"\u003c/p>\n\u003cp>It’s just as delicious — and if I was hoping to pry the secret of the almond mixture from Sota, I was mistaken. \"Honestly, I don’t even know. My husband knows. You know, and we have certain bakers that know certain pieces, and they don’t really merge together. So we kind of keep it tightly wrapped.\"\u003c/p>\n\u003cp>Not unlike the way another Silicon Valley neighbor, Apple, is famous for keeping employees working on different parts of the same product siloed from each other.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\"Yes, of course,\" Sota laughs. \"Just as important! Yes.\"\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "San Francisco Museum Archives Social Activism",
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"content": "\u003cp>http://www.kqed.org/.stream/anon/radio/tcrmag/2014/07/2014-07-04d-tcrmag.mp3\u003c/p>\n\u003cp>It’s a place where moments in history are captured. At The Freedom Archives, the images and words of social activists are collected from vinyl, tape and film, and then restored, digitized and archived. It connects political events of the past with information seekers in the present.\u003c/p>\n\u003cp>“We’re fed up with all the exploitation,” says Cesar Chavez in a speech before hundreds of people about a historic protest, which caused some consumers to stop buying grapes and made some growers offer fair wages to migrant workers. “We’re fed up with being the worst-paid workers in America. We’re fed up with being exploited. We want a new life. We want a union. We wanted to do something for ourselves and our families, and they went on strike.”\u003c/p>\n\u003cp>This audio clip of Chavez — and many others like it — can be found in the modest offices of \u003ca href=\"http://www.freedomarchives.org/\" target=\"_blank\">The Freedom Archives\u003c/a> in San Francisco's Mission District.\u003c/p>\n\u003cp>“One of the things we find tremendously rewarding is when the material in the archive can be repurposed,” says archives director Claude Marks. “We don’t feel an ownership of it as much as a responsibility to protect and restore this kind of material.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The archive came to life when a group of film, radio and video producers found they’d collected tons of material documenting social movements in the Bay Area and throughout the U.S., Marks says. They decided to preserve the information in one space and make it available to the public, some for free. Filmmakers, commercial producers, teachers and students all come digging for rare sound treasures.\u003c/p>\n\u003cp>Oscar Davalos is a senior at MetWest High School in Oakland. He's also an intern at The Freedom Archives. Because of his interest in the social movement of the '60s and '70s, he thought it was the perfect place for an internship.\u003c/p>\n\u003cp>“A lot of social movements that happened in the past connect to today and a lot of the struggles happening,” Davalos says.\u003c/p>\n\u003cp>His favorite discovery so far is a recording of Assata Shakur, a Black Panther Party member convicted of first-degree murder in 1977. After escaping from prison in 1979, she sought asylum in Cuba, where she gave a speech promoting Black Nationalism.\u003c/p>\n\u003cp>Davalos’ classmate, Jose Cartagena, is also an intern at The Freedom Archives. He is curious about his family’s life in El Salvador and uses the archives to piece together bits of information about their time there.\u003c/p>\n\u003cp>“My parents would tell me some crazy stories that happened to them when they were in the country when the Civil War started,” Cartagena says. “While going through the folder, I read some articles and periodicals and newspapers about stuff that happened there. The connection was really interesting.”\u003c/p>\n\u003cp>Students who come through here get a different sort of education and often begin to really enjoy history, Marks says.\u003c/p>\n\u003cp>“What they find very life changing oftentimes is that there is actually a history of communities of resistance that’s not just about memorizing lists of white presidents over the years,” he says.\u003c/p>\n\u003cp>Some young people today seem to be uninterested in political and social movements of the past. Cartagena and Davalos hope to pass along what they learn about these events to other students, so they see how the past and present are often intertwined.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>They have been so inspired by The Freedom Archives, they say, that they started their own \u003ca href=\"http://youngoakland.com/\" target=\"_blank\">news blog\u003c/a>, Young Oakland.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>http://www.kqed.org/.stream/anon/radio/tcrmag/2014/07/2014-07-04d-tcrmag.mp3\u003c/p>\n\u003cp>It’s a place where moments in history are captured. At The Freedom Archives, the images and words of social activists are collected from vinyl, tape and film, and then restored, digitized and archived. It connects political events of the past with information seekers in the present.\u003c/p>\n\u003cp>“We’re fed up with all the exploitation,” says Cesar Chavez in a speech before hundreds of people about a historic protest, which caused some consumers to stop buying grapes and made some growers offer fair wages to migrant workers. “We’re fed up with being the worst-paid workers in America. We’re fed up with being exploited. We want a new life. We want a union. We wanted to do something for ourselves and our families, and they went on strike.”\u003c/p>\n\u003cp>This audio clip of Chavez — and many others like it — can be found in the modest offices of \u003ca href=\"http://www.freedomarchives.org/\" target=\"_blank\">The Freedom Archives\u003c/a> in San Francisco's Mission District.\u003c/p>\n\u003cp>“One of the things we find tremendously rewarding is when the material in the archive can be repurposed,” says archives director Claude Marks. “We don’t feel an ownership of it as much as a responsibility to protect and restore this kind of material.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The archive came to life when a group of film, radio and video producers found they’d collected tons of material documenting social movements in the Bay Area and throughout the U.S., Marks says. They decided to preserve the information in one space and make it available to the public, some for free. Filmmakers, commercial producers, teachers and students all come digging for rare sound treasures.\u003c/p>\n\u003cp>Oscar Davalos is a senior at MetWest High School in Oakland. He's also an intern at The Freedom Archives. Because of his interest in the social movement of the '60s and '70s, he thought it was the perfect place for an internship.\u003c/p>\n\u003cp>“A lot of social movements that happened in the past connect to today and a lot of the struggles happening,” Davalos says.\u003c/p>\n\u003cp>His favorite discovery so far is a recording of Assata Shakur, a Black Panther Party member convicted of first-degree murder in 1977. After escaping from prison in 1979, she sought asylum in Cuba, where she gave a speech promoting Black Nationalism.\u003c/p>\n\u003cp>Davalos’ classmate, Jose Cartagena, is also an intern at The Freedom Archives. He is curious about his family’s life in El Salvador and uses the archives to piece together bits of information about their time there.\u003c/p>\n\u003cp>“My parents would tell me some crazy stories that happened to them when they were in the country when the Civil War started,” Cartagena says. “While going through the folder, I read some articles and periodicals and newspapers about stuff that happened there. The connection was really interesting.”\u003c/p>\n\u003cp>Students who come through here get a different sort of education and often begin to really enjoy history, Marks says.\u003c/p>\n\u003cp>“What they find very life changing oftentimes is that there is actually a history of communities of resistance that’s not just about memorizing lists of white presidents over the years,” he says.\u003c/p>\n\u003cp>Some young people today seem to be uninterested in political and social movements of the past. Cartagena and Davalos hope to pass along what they learn about these events to other students, so they see how the past and present are often intertwined.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>They have been so inspired by The Freedom Archives, they say, that they started their own \u003ca href=\"http://youngoakland.com/\" target=\"_blank\">news blog\u003c/a>, Young Oakland.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>http://www.kqed.org/.stream/anon/radio/tcrmag/2014/07/2014-07-04c-tcrmag.mp3\u003c/p>\n\u003cp>In the trendy northeast Los Angeles neighborhood of Highland Park, on one end of York Boulevard you’ll find record stores, cafes and hipster boutiques. On the other end you’ll find the \u003ca href=\"http://www.laphs.org/\" target=\"_blank\" rel=\"noopener\">Los Angeles Police Museum\u003c/a>. This collection of all things LAPD lives in the city’s last surviving 1920s station house, and offers a visceral glimpse into the gritty hell and Hollywood noir of the L.A. cop world.\u003c/p>\n\u003cp>Even if you’ve never been here, there’s still a good chance you’ve seen the place. With its classic Neo-Renaissance, just-the-facts-ma’am, architecture, the structure has been a shooting hot spot for decades, and not just the kind with bullets.\u003c/p>\n\u003cp>“Major motion picture-wise, ‘Gangster Squad,’ it was out last year, filmed here,” says Glynn Martin, the museum’s executive director and former LAPD sergeant. “From television, there’s a new show on called ‘Playing House,’ they were here earlier this year. ‘Justified,’ ‘Parks and Rec’… the original ‘Transformers,’ ‘Flags of Our Fathers,’ Clint Eastwood’s ‘Blood Work,’ ‘Dukes of Hazzard 2,’ ‘Stop Loss,’ ‘When a Stranger Calls.’ It’s a long, long list and it’s a very popular filming location.”\u003c/p>\n\u003cfigure id=\"attachment_10141288\" class=\"wp-caption alignright\" style=\"max-width: 343px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/07/CalDrake1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/07/CalDrake1-343x450.jpg\" alt=\"Retired Det. Cal Drake, 84, Medal of Valor recipient and docent at the museum. (Peter Gilstrap/KQED)\" width=\"343\" height=\"450\" class=\"size-medium wp-image-10141288\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Retired Det. Cal Drake, 84, Medal of Valor recipient and docent at the museum. (Peter Gilstrap/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>Martin sits in a small conference room, a space not open to visitors. As with so much in the unique world of the police, the mundane mixes with the extraordinary. On a large table sits a pizza box larger than a manhole cover. A cop-size pie, by God. There are two slices left from the original 44. There is also a carton of cookies. There are no doughnuts.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On a nearby table are small envelopes yellowed with age stacked neatly. They’re filled with negatives from crime scenes — murders, robberies, apparent suicides, all taken in the year 1953, all labeled by some forgotten typist. One example: John Doe, homicide, San Fernando Boulevard rail yard. Hold the thin film up to the light, and there is the mystery corpse in the white areas of the negative, sprawled in the contrasting dark of an empty boxcar.\u003c/p>\n\u003cp>Police station No. 11 has been home to such items for decades. From 1925 to 1983, the building served as the Northeast Division station. When the cops relocated, it stood vacant, decaying and forgotten. At one point, says Martin, the place was so badly damaged by fire you could stand in the basement and see through to the roof. In 2001, old No. 11 got a major face-lift and a new lease on life when it was resurrected as the museum. It’s now on the National Register of Historic Places.\u003c/p>\n\u003cp>“Raymond Chandler said the history of Los Angeles is the history of its police department,” offers Martin, “and I find an awful lot of truth in that. What I also find is that drives an enduring interest in the LAPD. Really what we’re about are three things: faces, places and cases.”\u003c/p>\n\u003cp>Among those cases are some of the most notorious in modern memory, incidents that have inspired the work of many writers, including former cop Joseph Wambaugh, Michael Connelly and James Ellroy, who has participated in museum events for years.\u003c/p>\n\u003cp>“We’re talking Black Dahlia, the assassination of Robert F. Kennedy, the Charles Manson case, the Night Stalker, Hillside Strangler, the Onion Field, The North Hollywood shootout, the SLA shootout,” reels off Martin. “These are events of world renown, and I think that is probably the thing that makes this special. Those kinds of things continue to drive interest in what the LAPD is and what they do.”\u003c/p>\n\u003cfigure id=\"attachment_10141289\" class=\"wp-caption alignleft\" style=\"max-width: 292px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/07/StationHouse.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/07/StationHouse-292x225.jpg\" alt=\"Police station house 11 built in 1925, now home to the Los Angeles Police Museum. (Peter Gilstrap/KQED)\" width=\"292\" height=\"225\" class=\"size-thumbnail wp-image-10141289\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Police station house 11 built in 1925, now home to the Los Angeles Police Museum. (Peter Gilstrap/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>The museum displays powerful artifacts from those crimes, alongside Hollywood relics. You can see Patty Hearst’s iconic M1 carbine, and the suit coat worn by Jack Webb in the classic “Dragnet” series. Behind the museum there’s a bullet-ridden squad car from a bank job gone bad next to the bad guys’ even more bullet-riddled Chevy Celebrity. Back inside, the hall holds poster-size blowups of Police Beat magazine, featuring Bob Hope and the stars of the classic LAPD TV series “Adam-12” on the covers. You’ll find an undetonated pipe bomb the size of a dachshund, and decades of well-used billy clubs and handcuffs.\u003c/p>\n\u003cp>Down a hallway you enter a cement room containing five cells that look like a block of gray cages. Back in the day, Martin says the ceiling bars created a hanging hazard. Nearby is a well-worn metal chair. In front of it, at chin level, there’s a rack of numbers.\u003c/p>\n\u003cp>“Now you can come here and take your own mug shot in a chair that was sat in by thousands of criminals prior to your arrival,” says Martin, as 4-year-old visitor Zyla Delgado plops down in the chair that has held so many law-breaking behinds.\u003c/p>\n\u003cfigure id=\"attachment_10141290\" class=\"wp-caption alignright\" style=\"max-width: 317px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/07/Dummy.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/07/Dummy-317x450.jpg\" alt=\"A mannequin used in the 1963 Onion Field trial to show where slain Officer Ian Campbell was shot. (Peter Gilstrap/KQED)\" width=\"317\" height=\"450\" class=\"size-medium wp-image-10141290\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A mannequin used in the 1963 Onion Field trial to show where slain Officer Ian Campbell was shot. (Peter Gilstrap/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s a big attraction for the youngsters,” Martin says.\u003c/p>\n\u003cp>Zyla’s mother, Rose, says it’s the first time at the museum for the family, who lives in nearby Montclair. “I’ve never been here before and I think it’s amazing. I’ve seen this stuff in movies but I’ve never actually seen it.” Neither has Zyla, who rockets herself from the booking chair and races into a grim jail cell that boasts a cot, a toilet and a sink.\u003c/p>\n\u003cp>What’s her favorite thing?\u003c/p>\n\u003cp>“The jails,” she says. Then she screams with glee and runs to another cell.\u003c/p>\n\u003cp>The biggest draw, however, is upstairs. In 1997, two heavily armed men clad in body armor and ski masks tried to rob a Bank of America in North Hollywood. Both were killed in the ensuing firefight. Their outfits and weapons now adorn two mannequins, complete with bullet holes.\u003c/p>\n\u003cp>Next to the formidable mannequins, a monitor plays the raw, riveting footage of the entire shootout. “We always warn the school groups and the kids of the material,” Martin cautions. “It’s not bloody or gruesome, but if a kid knows what they’re looking at, it’s probably not the best things for the youngest of our visitors.”\u003c/p>\n\u003cp>Museum docent Cal Drake knows about being on the receiving end of a bullet. The 84-year-old retired detective joined the LAPD in 1952, and received the Medal of Valor after being shot by Black Panthers during a 1969 raid. He grew up near the station house, though he spent little time in the building during his career. Now he’s here once a week, guiding visitors through decades of crime history of which he was a part.\u003c/p>\n\u003cp>“I was raised in this division,” he says. “I went to high school in Eagle Rock across the hill here. I didn’t want to work this station. It was a good place to work, good people to work with. I didn’t want to put my neighbors in jail.”\u003c/p>\n\u003cp>If it seems like reliving some of the highest-impact criminal events of the last century on a weekly basis might be a bit tough on a man, remember that this man was a cop.\u003c/p>\n\u003cp>“It can be somewhat emotional,” admits Drake, “but not tremendously. When I’m emotional, you won’t know it. That comes from the business, you know?” Thanks to the Police Museum, it’s a business that he is still not distanced from, retired or not.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“This kind of gets you back into the swing of things,” Drake says. “I didn’t want to get that far away from the department, I enjoyed my time on the police department. It was the best job I’ve ever had.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>http://www.kqed.org/.stream/anon/radio/tcrmag/2014/07/2014-07-04c-tcrmag.mp3\u003c/p>\n\u003cp>In the trendy northeast Los Angeles neighborhood of Highland Park, on one end of York Boulevard you’ll find record stores, cafes and hipster boutiques. On the other end you’ll find the \u003ca href=\"http://www.laphs.org/\" target=\"_blank\" rel=\"noopener\">Los Angeles Police Museum\u003c/a>. This collection of all things LAPD lives in the city’s last surviving 1920s station house, and offers a visceral glimpse into the gritty hell and Hollywood noir of the L.A. cop world.\u003c/p>\n\u003cp>Even if you’ve never been here, there’s still a good chance you’ve seen the place. With its classic Neo-Renaissance, just-the-facts-ma’am, architecture, the structure has been a shooting hot spot for decades, and not just the kind with bullets.\u003c/p>\n\u003cp>“Major motion picture-wise, ‘Gangster Squad,’ it was out last year, filmed here,” says Glynn Martin, the museum’s executive director and former LAPD sergeant. “From television, there’s a new show on called ‘Playing House,’ they were here earlier this year. ‘Justified,’ ‘Parks and Rec’… the original ‘Transformers,’ ‘Flags of Our Fathers,’ Clint Eastwood’s ‘Blood Work,’ ‘Dukes of Hazzard 2,’ ‘Stop Loss,’ ‘When a Stranger Calls.’ It’s a long, long list and it’s a very popular filming location.”\u003c/p>\n\u003cfigure id=\"attachment_10141288\" class=\"wp-caption alignright\" style=\"max-width: 343px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/07/CalDrake1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/07/CalDrake1-343x450.jpg\" alt=\"Retired Det. Cal Drake, 84, Medal of Valor recipient and docent at the museum. (Peter Gilstrap/KQED)\" width=\"343\" height=\"450\" class=\"size-medium wp-image-10141288\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Retired Det. Cal Drake, 84, Medal of Valor recipient and docent at the museum. (Peter Gilstrap/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>Martin sits in a small conference room, a space not open to visitors. As with so much in the unique world of the police, the mundane mixes with the extraordinary. On a large table sits a pizza box larger than a manhole cover. A cop-size pie, by God. There are two slices left from the original 44. There is also a carton of cookies. There are no doughnuts.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On a nearby table are small envelopes yellowed with age stacked neatly. They’re filled with negatives from crime scenes — murders, robberies, apparent suicides, all taken in the year 1953, all labeled by some forgotten typist. One example: John Doe, homicide, San Fernando Boulevard rail yard. Hold the thin film up to the light, and there is the mystery corpse in the white areas of the negative, sprawled in the contrasting dark of an empty boxcar.\u003c/p>\n\u003cp>Police station No. 11 has been home to such items for decades. From 1925 to 1983, the building served as the Northeast Division station. When the cops relocated, it stood vacant, decaying and forgotten. At one point, says Martin, the place was so badly damaged by fire you could stand in the basement and see through to the roof. In 2001, old No. 11 got a major face-lift and a new lease on life when it was resurrected as the museum. It’s now on the National Register of Historic Places.\u003c/p>\n\u003cp>“Raymond Chandler said the history of Los Angeles is the history of its police department,” offers Martin, “and I find an awful lot of truth in that. What I also find is that drives an enduring interest in the LAPD. Really what we’re about are three things: faces, places and cases.”\u003c/p>\n\u003cp>Among those cases are some of the most notorious in modern memory, incidents that have inspired the work of many writers, including former cop Joseph Wambaugh, Michael Connelly and James Ellroy, who has participated in museum events for years.\u003c/p>\n\u003cp>“We’re talking Black Dahlia, the assassination of Robert F. Kennedy, the Charles Manson case, the Night Stalker, Hillside Strangler, the Onion Field, The North Hollywood shootout, the SLA shootout,” reels off Martin. “These are events of world renown, and I think that is probably the thing that makes this special. Those kinds of things continue to drive interest in what the LAPD is and what they do.”\u003c/p>\n\u003cfigure id=\"attachment_10141289\" class=\"wp-caption alignleft\" style=\"max-width: 292px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/07/StationHouse.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/07/StationHouse-292x225.jpg\" alt=\"Police station house 11 built in 1925, now home to the Los Angeles Police Museum. (Peter Gilstrap/KQED)\" width=\"292\" height=\"225\" class=\"size-thumbnail wp-image-10141289\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Police station house 11 built in 1925, now home to the Los Angeles Police Museum. (Peter Gilstrap/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>The museum displays powerful artifacts from those crimes, alongside Hollywood relics. You can see Patty Hearst’s iconic M1 carbine, and the suit coat worn by Jack Webb in the classic “Dragnet” series. Behind the museum there’s a bullet-ridden squad car from a bank job gone bad next to the bad guys’ even more bullet-riddled Chevy Celebrity. Back inside, the hall holds poster-size blowups of Police Beat magazine, featuring Bob Hope and the stars of the classic LAPD TV series “Adam-12” on the covers. You’ll find an undetonated pipe bomb the size of a dachshund, and decades of well-used billy clubs and handcuffs.\u003c/p>\n\u003cp>Down a hallway you enter a cement room containing five cells that look like a block of gray cages. Back in the day, Martin says the ceiling bars created a hanging hazard. Nearby is a well-worn metal chair. In front of it, at chin level, there’s a rack of numbers.\u003c/p>\n\u003cp>“Now you can come here and take your own mug shot in a chair that was sat in by thousands of criminals prior to your arrival,” says Martin, as 4-year-old visitor Zyla Delgado plops down in the chair that has held so many law-breaking behinds.\u003c/p>\n\u003cfigure id=\"attachment_10141290\" class=\"wp-caption alignright\" style=\"max-width: 317px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/07/Dummy.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/07/Dummy-317x450.jpg\" alt=\"A mannequin used in the 1963 Onion Field trial to show where slain Officer Ian Campbell was shot. (Peter Gilstrap/KQED)\" width=\"317\" height=\"450\" class=\"size-medium wp-image-10141290\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A mannequin used in the 1963 Onion Field trial to show where slain Officer Ian Campbell was shot. (Peter Gilstrap/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s a big attraction for the youngsters,” Martin says.\u003c/p>\n\u003cp>Zyla’s mother, Rose, says it’s the first time at the museum for the family, who lives in nearby Montclair. “I’ve never been here before and I think it’s amazing. I’ve seen this stuff in movies but I’ve never actually seen it.” Neither has Zyla, who rockets herself from the booking chair and races into a grim jail cell that boasts a cot, a toilet and a sink.\u003c/p>\n\u003cp>What’s her favorite thing?\u003c/p>\n\u003cp>“The jails,” she says. Then she screams with glee and runs to another cell.\u003c/p>\n\u003cp>The biggest draw, however, is upstairs. In 1997, two heavily armed men clad in body armor and ski masks tried to rob a Bank of America in North Hollywood. Both were killed in the ensuing firefight. Their outfits and weapons now adorn two mannequins, complete with bullet holes.\u003c/p>\n\u003cp>Next to the formidable mannequins, a monitor plays the raw, riveting footage of the entire shootout. “We always warn the school groups and the kids of the material,” Martin cautions. “It’s not bloody or gruesome, but if a kid knows what they’re looking at, it’s probably not the best things for the youngest of our visitors.”\u003c/p>\n\u003cp>Museum docent Cal Drake knows about being on the receiving end of a bullet. The 84-year-old retired detective joined the LAPD in 1952, and received the Medal of Valor after being shot by Black Panthers during a 1969 raid. He grew up near the station house, though he spent little time in the building during his career. Now he’s here once a week, guiding visitors through decades of crime history of which he was a part.\u003c/p>\n\u003cp>“I was raised in this division,” he says. “I went to high school in Eagle Rock across the hill here. I didn’t want to work this station. It was a good place to work, good people to work with. I didn’t want to put my neighbors in jail.”\u003c/p>\n\u003cp>If it seems like reliving some of the highest-impact criminal events of the last century on a weekly basis might be a bit tough on a man, remember that this man was a cop.\u003c/p>\n\u003cp>“It can be somewhat emotional,” admits Drake, “but not tremendously. When I’m emotional, you won’t know it. That comes from the business, you know?” Thanks to the Police Museum, it’s a business that he is still not distanced from, retired or not.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "L.A.'s Bradbury Building Still Dazzles Visitors, Filmmakers",
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"content": "\u003cp>http://www.kqed.org/.stream/anon/radio/tcrmag/2014/07/2014-07-04e-tcrmag.mp3\u003c/p>\n\u003cp>Downtown Los Angeles is full of remarkable 19th century buildings, making it a required stop for architecture buffs. But perhaps no structure receives as many oohs and aahs from tourists as the \u003ca href=\"http://en.wikipedia.org/wiki/Bradbury_Building\" target=\"_blank\">Bradbury Building\u003c/a>.\u003c/p>\n\u003cp>Built in the Romanesque Revival style, with sandstone and brick, the Bradbury Building looks perfectly nice from the outside. But it’s the interior that made it famous.\u003c/p>\n\u003cp>If you haven’t been inside the building before, perhaps you’d recognize it from the many movies that have used it as a setting. The most iconic is the 1982 dystopian science fiction classic “Blade Runner.” Director Ridley Scott filled the Bradbury Building with neon and smoke, lending it a creepy film noir quality. Yet stepping inside, one is immediately struck by how bright it is.\u003c/p>\n\u003cp>“It’s just this explosion of balconies and stairs and Victorian elevators that go up and down, and it’s totally unexpected,” said Linda Dishman, executive director of the Los Angeles Conservancy, a group that promotes historic conservation.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The entire roof is made of glass, allowing beams of light to enter the five-story structure, like a cathedral. Architecture critic Esther McCoy called the oversized skylight “a fairy tale of mathematics.”\u003c/p>\n\u003cp>The building was constructed in 1893 by mining and real estate millionaire Louis Bradbury, who wanted an office building that he could walk to from his house on Bunker Hill. Architect Sumner P. Hunt was tapped to design the building, but Bradbury was unhappy with his work and instead turned to one of Hunt’s employees, a young draftsman named George Wyman.\u003c/p>\n\u003cp>Wyman wasn’t sure whether to take the commission so, according to legend, he took to a planchette, a precursor to the Ouija board, and summoned the ghost of his dead brother, Mark.\u003c/p>\n\u003cp>“And the question was, ‘Should I do this?’,” explained Los Angeles historian Kim Cooper, who co-runs a tour company, Esotouric Bus Adventures, with her husband Richard Schave.\u003c/p>\n\u003cp>“And it wrote, ‘Take Bradbury, you will be blablabla,’ some sort of random scribble. And it wasn’t until one of the family members got up and walked around the table and saw it was actually script upside down and the word, ‘successful.’ ”\u003c/p>\n\u003cp>And with that message from beyond, Wyman accepted Bradbury’s offer, and it became his most famous project. Wyman is said to have been inspired by Edward Bellamy’s 1887 novel, “Looking Backward,” about a utopian civilization in the year 2000, which described a commercial office building as “a vast hall full of light, received not alone from the windows on all sides but from the dome, the point of which was a hundred feet above.”\u003c/p>\n\u003cp>“Wyman was obsessed with it. He was a spiritualist,” said Schave. “Spiritualism was something that was very much of that day, and the notion of this temple of industry that was light and elevated the soul, was something he was very attached to.”\u003c/p>\n\u003cfigure id=\"attachment_10141293\" class=\"wp-caption alignright\" style=\"max-width: 321px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/09/BradInterior.jpg\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/09/BradInterior-321x450.jpg\" alt=\"The Bradbury Building's balconies, stairs and Victorian elevators. (Avishay Artsy/KQED)\" width=\"321\" height=\"450\" class=\"size-medium wp-image-10141293\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Bradbury Building's balconies, stairs and Victorian elevators. (Avishay Artsy/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>Plenty of movies were shot here, including \"D.O.A.\" (1950), Roman Polanski's classic \"Chinatown\" (1974), \"Blade Runner\" (1982), \"Wolf\" (1994), \"Pay It Forward\" (2000), “500 Days of Summer” (2009) and Oscar winner “The Artist” (2012).\u003c/p>\n\u003cp>“There’s an old-world charm to it, with all of the ornate work that you see, and the rails, and the brass, and the wrought iron, and the elevator,” said Marty Cummins, the key location assistant manager for “500 Days of Summer.” “It’s like walking back in time, when you walk in that elevator.”\u003c/p>\n\u003cp>The building was nearly destroyed by fire in 1947, save for the valiant efforts of Minnie Epp, the 62-year-old elevator operator. “She was the only person who knew how to get upstairs at the Bradbury,” Cooper said.\u003c/p>\n\u003cp>When a carpet company upstairs began to smolder, and fire trucks put their ladders against the side of the building, Cooper said, “she stayed at her post, bravely, despite the smoke and the fear, and she ferried firemen up and down to fight the fire, and saved this building.”\u003c/p>\n\u003cp>The Bradbury Building was placed on the National Register of Historic Places in 1971. Lawyer, developer and preservationist Ira Yellin restored and seismically upgraded the Bradbury Building from 1989 to 1991. The New York Times covered the re-dedication with the headline \"New Life for a Neglected Jewel in Los Angeles.”\u003c/p>\n\u003cp>The building now houses the Los Angeles Police Department’s Internal Affairs Division, and attorney Ira Salzman represents officers facing disciplinary charges. “Oftentimes, the work that you do here is very tense, very important, but the building exudes its own sense of calmness,” Salzman said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>This is perhaps why hundreds of visitors a day come to take refuge in the light-filled building.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The entire roof is made of glass, allowing beams of light to enter the five-story structure, like a cathedral. Architecture critic Esther McCoy called the oversized skylight “a fairy tale of mathematics.”\u003c/p>\n\u003cp>The building was constructed in 1893 by mining and real estate millionaire Louis Bradbury, who wanted an office building that he could walk to from his house on Bunker Hill. Architect Sumner P. Hunt was tapped to design the building, but Bradbury was unhappy with his work and instead turned to one of Hunt’s employees, a young draftsman named George Wyman.\u003c/p>\n\u003cp>Wyman wasn’t sure whether to take the commission so, according to legend, he took to a planchette, a precursor to the Ouija board, and summoned the ghost of his dead brother, Mark.\u003c/p>\n\u003cp>“And the question was, ‘Should I do this?’,” explained Los Angeles historian Kim Cooper, who co-runs a tour company, Esotouric Bus Adventures, with her husband Richard Schave.\u003c/p>\n\u003cp>“And it wrote, ‘Take Bradbury, you will be blablabla,’ some sort of random scribble. And it wasn’t until one of the family members got up and walked around the table and saw it was actually script upside down and the word, ‘successful.’ ”\u003c/p>\n\u003cp>And with that message from beyond, Wyman accepted Bradbury’s offer, and it became his most famous project. Wyman is said to have been inspired by Edward Bellamy’s 1887 novel, “Looking Backward,” about a utopian civilization in the year 2000, which described a commercial office building as “a vast hall full of light, received not alone from the windows on all sides but from the dome, the point of which was a hundred feet above.”\u003c/p>\n\u003cp>“Wyman was obsessed with it. He was a spiritualist,” said Schave. “Spiritualism was something that was very much of that day, and the notion of this temple of industry that was light and elevated the soul, was something he was very attached to.”\u003c/p>\n\u003cfigure id=\"attachment_10141293\" class=\"wp-caption alignright\" style=\"max-width: 321px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/09/BradInterior.jpg\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/09/BradInterior-321x450.jpg\" alt=\"The Bradbury Building's balconies, stairs and Victorian elevators. (Avishay Artsy/KQED)\" width=\"321\" height=\"450\" class=\"size-medium wp-image-10141293\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Bradbury Building's balconies, stairs and Victorian elevators. (Avishay Artsy/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>Plenty of movies were shot here, including \"D.O.A.\" (1950), Roman Polanski's classic \"Chinatown\" (1974), \"Blade Runner\" (1982), \"Wolf\" (1994), \"Pay It Forward\" (2000), “500 Days of Summer” (2009) and Oscar winner “The Artist” (2012).\u003c/p>\n\u003cp>“There’s an old-world charm to it, with all of the ornate work that you see, and the rails, and the brass, and the wrought iron, and the elevator,” said Marty Cummins, the key location assistant manager for “500 Days of Summer.” “It’s like walking back in time, when you walk in that elevator.”\u003c/p>\n\u003cp>The building was nearly destroyed by fire in 1947, save for the valiant efforts of Minnie Epp, the 62-year-old elevator operator. “She was the only person who knew how to get upstairs at the Bradbury,” Cooper said.\u003c/p>\n\u003cp>When a carpet company upstairs began to smolder, and fire trucks put their ladders against the side of the building, Cooper said, “she stayed at her post, bravely, despite the smoke and the fear, and she ferried firemen up and down to fight the fire, and saved this building.”\u003c/p>\n\u003cp>The Bradbury Building was placed on the National Register of Historic Places in 1971. Lawyer, developer and preservationist Ira Yellin restored and seismically upgraded the Bradbury Building from 1989 to 1991. The New York Times covered the re-dedication with the headline \"New Life for a Neglected Jewel in Los Angeles.”\u003c/p>\n\u003cp>The building now houses the Los Angeles Police Department’s Internal Affairs Division, and attorney Ira Salzman represents officers facing disciplinary charges. “Oftentimes, the work that you do here is very tense, very important, but the building exudes its own sense of calmness,” Salzman said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>This is perhaps why hundreds of visitors a day come to take refuge in the light-filled building.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "News Pix: Lincecum No-Hitter, World Cup Fever and Public Art on Market Street",
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"content": "\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/world-cup-3.jpg\">\u003cimg class=\"aligncenter size-medium wp-image-140301\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/world-cup-3-640x426.jpg\" alt=\"World Cup at Civic Center Plaza\" width=\"640\" height=\"426\">\u003c/a>\u003cbr>\nBay Area soccer fans played hooky from work for a couple of hours Thursday morning so they could be in San Francisco’s Civic Center to \u003ca href=\"http://ww2.kqed.org/news/2014/06/26/world-cup-usa-germany-san-francisco-civic-center/\" target=\"_blank\">watch a big-screen broadcast of the U.S. men’s soccer match\u003c/a> against Germany. Here, USA fans react after a missed opportunity near the end of the game. (Mark Andrew Boyer/KQED)\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/world-cup-2.jpg\">\u003cimg class=\"aligncenter size-medium wp-image-140297\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/world-cup-2-640x426.jpg\" alt=\"World Cup at Civic Center Plaza\" width=\"640\" height=\"426\">\u003c/a>\u003cbr>\nThe vast majority of the crowd was cheering on the American side, but \u003ca href=\"http://ww2.kqed.org/news/2014/06/26/world-cup-usa-germany-san-francisco-civic-center/\" target=\"_blank\">supporters of the German team also turned out\u003c/a> in large numbers. Matthias Kellersohn and Sascha Gissler were visiting San Francisco from Germany for a business trip, and they caught the game before heading to the airport to fly home. Both were pleased with the game’s outcome, but said they were still disappointed in the German team’s performance and the overall quality of play. (Mark Andrew Boyer/KQED)\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/lincecum-no-hitter.jpg\">\u003cimg class=\"aligncenter size-full wp-image-140242\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/lincecum-no-hitter.jpg\" alt=\"lincecum-no-hitter\" width=\"640\" height=\"427\">\u003c/a>\u003cbr>\nSan Francisco Giants pitcher Tim Lincecum celebrates with catcher Hector Sanchez after \u003ca href=\"http://ww2.kqed.org/news/2014/06/25/lincecum-no-hitter-giants-padres/\" target=\"_blank\">Lincecum threw his second career no-hitter \u003c/a>on Wednesday, June 25. The Giants defeated the San Diego Padres 4-0. (Jason O. Watson/Getty Images)\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/RS11076_photo-lpr.jpg\">\u003cimg class=\"aligncenter size-medium wp-image-140349\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/RS11076_photo-lpr-640x480.jpg\" alt=\"Let There Be\" width=\"640\" height=\"480\">\u003c/a>\u003cbr>\nA \u003ca href=\"http://ww2.kqed.org/news/let-there-be-illuminate-the-arts-mid-market\" target=\"_blank\">new public art piece debuted June 26\u003c/a> on San Francisco's Market Street. It's called \"Let There Be\" and, for the moment at least, it features a series of photographs by Bay Area artists projected onto the east wall of the recently renovated home of Zendesk. Ben Davis designed the project and says this new piece is a way to celebrate the neighborhood's past, present and hoped-for future.(Cy Musiker/KQED)\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/GoldenGate.jpg\">\u003cimg class=\"aligncenter size-medium wp-image-140404\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/GoldenGate-640x449.jpg\" alt=\"Golden Gate Bridge To Seek Corporate Sponsorship\" width=\"640\" height=\"449\">\u003c/a>\u003cbr>\nA plan to build \u003ca href=\"http://ww2.kqed.org/news/2014/06/24/funding-nearly-lined-up-for-golden-gate-suicide-barrier/\" target=\"_blank\">suicide prevention nets on the Golden Gate Bridge\u003c/a> got the green light this week. The bridge's board of directors voted on Friday, June 27, to fund the $76 million \"physical suicide deterrent system.\" Since the bridge opened in 1937, some 1,600 people have jumped to their deaths. (Justin Sullivan/Getty Images)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/half-a-bridge.jpg\">\u003cimg class=\"aligncenter size-medium wp-image-140405\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/half-a-bridge-640x450.jpg\" alt=\"half a bridge\" width=\"640\" height=\"450\">\u003c/a>\u003cbr>\nDemolition on the original eastern span of the Bay Bridge is underway, starting with the 600-foot suspended span of the cantilever truss section. This is just a really cool photo. (Adam Grossberg/KQED)\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/world-cup-3.jpg\">\u003cimg class=\"aligncenter size-medium wp-image-140301\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/world-cup-3-640x426.jpg\" alt=\"World Cup at Civic Center Plaza\" width=\"640\" height=\"426\">\u003c/a>\u003cbr>\nBay Area soccer fans played hooky from work for a couple of hours Thursday morning so they could be in San Francisco’s Civic Center to \u003ca href=\"http://ww2.kqed.org/news/2014/06/26/world-cup-usa-germany-san-francisco-civic-center/\" target=\"_blank\">watch a big-screen broadcast of the U.S. men’s soccer match\u003c/a> against Germany. Here, USA fans react after a missed opportunity near the end of the game. (Mark Andrew Boyer/KQED)\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/world-cup-2.jpg\">\u003cimg class=\"aligncenter size-medium wp-image-140297\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/world-cup-2-640x426.jpg\" alt=\"World Cup at Civic Center Plaza\" width=\"640\" height=\"426\">\u003c/a>\u003cbr>\nThe vast majority of the crowd was cheering on the American side, but \u003ca href=\"http://ww2.kqed.org/news/2014/06/26/world-cup-usa-germany-san-francisco-civic-center/\" target=\"_blank\">supporters of the German team also turned out\u003c/a> in large numbers. Matthias Kellersohn and Sascha Gissler were visiting San Francisco from Germany for a business trip, and they caught the game before heading to the airport to fly home. Both were pleased with the game’s outcome, but said they were still disappointed in the German team’s performance and the overall quality of play. (Mark Andrew Boyer/KQED)\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/lincecum-no-hitter.jpg\">\u003cimg class=\"aligncenter size-full wp-image-140242\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/lincecum-no-hitter.jpg\" alt=\"lincecum-no-hitter\" width=\"640\" height=\"427\">\u003c/a>\u003cbr>\nSan Francisco Giants pitcher Tim Lincecum celebrates with catcher Hector Sanchez after \u003ca href=\"http://ww2.kqed.org/news/2014/06/25/lincecum-no-hitter-giants-padres/\" target=\"_blank\">Lincecum threw his second career no-hitter \u003c/a>on Wednesday, June 25. The Giants defeated the San Diego Padres 4-0. (Jason O. Watson/Getty Images)\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/RS11076_photo-lpr.jpg\">\u003cimg class=\"aligncenter size-medium wp-image-140349\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/RS11076_photo-lpr-640x480.jpg\" alt=\"Let There Be\" width=\"640\" height=\"480\">\u003c/a>\u003cbr>\nA \u003ca href=\"http://ww2.kqed.org/news/let-there-be-illuminate-the-arts-mid-market\" target=\"_blank\">new public art piece debuted June 26\u003c/a> on San Francisco's Market Street. It's called \"Let There Be\" and, for the moment at least, it features a series of photographs by Bay Area artists projected onto the east wall of the recently renovated home of Zendesk. Ben Davis designed the project and says this new piece is a way to celebrate the neighborhood's past, present and hoped-for future.(Cy Musiker/KQED)\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/GoldenGate.jpg\">\u003cimg class=\"aligncenter size-medium wp-image-140404\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/GoldenGate-640x449.jpg\" alt=\"Golden Gate Bridge To Seek Corporate Sponsorship\" width=\"640\" height=\"449\">\u003c/a>\u003cbr>\nA plan to build \u003ca href=\"http://ww2.kqed.org/news/2014/06/24/funding-nearly-lined-up-for-golden-gate-suicide-barrier/\" target=\"_blank\">suicide prevention nets on the Golden Gate Bridge\u003c/a> got the green light this week. The bridge's board of directors voted on Friday, June 27, to fund the $76 million \"physical suicide deterrent system.\" Since the bridge opened in 1937, some 1,600 people have jumped to their deaths. (Justin Sullivan/Getty Images)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"radiolab": {
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},
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"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
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