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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",
"title": "Nitt Witt Ridge: The Poor Man's Hearst Castle",
"headTitle": "The California Report | KQED News",
"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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"datePublished": "2014-07-04T08:00:49-07:00",
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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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"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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"content": "\u003cdiv class=\"post-body\">\u003cp>\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\u003c/div>\u003c/p>",
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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>\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>\u003c/p>\u003c/div>",
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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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"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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"content": "\u003cfigure id=\"attachment_140349\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/RS11076_photo-lpr.jpg\">\u003cimg class=\"size-medium wp-image-140349\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/RS11076_photo-lpr-640x480.jpg\" alt=\"The 'Let There Be' art installation, near 6th and Market streets in San Francisco. (Cy Musiker/KQED)\" width=\"640\" height=\"480\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The \"Let There Be\" art installation, near Sixth and Market streets in San Francisco. (Cy Musiker/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>A new public art piece debuted Thursday evening 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 \u003ca href=\"http://www.zendesk.com/\" target=\"_blank\">recently renovated home of Zendesk\u003c/a>.\u003c/p>\n\u003cp>Ben Davis runs \u003ca href=\"http://illuminatethearts.org/\" target=\"_blank\">Illuminate the Arts\u003c/a>, the nonprofit that raised funds for \"\u003ca href=\"http://illuminatethearts.org/our-projects/the-bay-lights/\" target=\"_blank\">The Bay Lights\u003c/a>,\" the Leo Villareal light sculpture on the western span of the Bay Bridge. He says he designed this new piece as a way to celebrate the neighborhood's past, present and hoped-for future.\u003c/p>\n\u003cp>“I think it’s about letting the innate energy of Market Street reveal itself,” Davis said, “If you look at the rich history of the street, it has always performed a really important cultural and creative role in our community.”\u003c/p>\n\u003cp>I talked to Davis Wednesday night as we watched a test run of \"Let There Be\" from the offices of music-streaming service Spotify, just across Market Street.\u003c/p>\n\u003cp>Zendesk and Spotify, along with Twitter's headquarters just up the street and a host of major new residential developments, are transforming a neighborhood that's been an affordable haven for artists.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It's important to find a way to unleash that creativity, and put a marker down again.” Davis said. “At the same time respecting absolutely everyone who's here. This is not about asking anyone to leave. This is about encouraging more people to come.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Davis and his team raised $60,000 for \"Let There Be\" from what Davis calls anonymous donors. He says the project will open with contemporary and historical images of Market Street taken or collected by local photographer Mark Ellinger . They’ll be interspersed with images or videos by artists showing their work at neighborhood galleries, including SF Camerawork, the Luggage Gallery and the Yerba Buena Center For the Arts.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_140349\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/RS11076_photo-lpr.jpg\">\u003cimg class=\"size-medium wp-image-140349\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/RS11076_photo-lpr-640x480.jpg\" alt=\"The 'Let There Be' art installation, near 6th and Market streets in San Francisco. (Cy Musiker/KQED)\" width=\"640\" height=\"480\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The \"Let There Be\" art installation, near Sixth and Market streets in San Francisco. (Cy Musiker/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>A new public art piece debuted Thursday evening 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 \u003ca href=\"http://www.zendesk.com/\" target=\"_blank\">recently renovated home of Zendesk\u003c/a>.\u003c/p>\n\u003cp>Ben Davis runs \u003ca href=\"http://illuminatethearts.org/\" target=\"_blank\">Illuminate the Arts\u003c/a>, the nonprofit that raised funds for \"\u003ca href=\"http://illuminatethearts.org/our-projects/the-bay-lights/\" target=\"_blank\">The Bay Lights\u003c/a>,\" the Leo Villareal light sculpture on the western span of the Bay Bridge. He says he designed this new piece as a way to celebrate the neighborhood's past, present and hoped-for future.\u003c/p>\n\u003cp>“I think it’s about letting the innate energy of Market Street reveal itself,” Davis said, “If you look at the rich history of the street, it has always performed a really important cultural and creative role in our community.”\u003c/p>\n\u003cp>I talked to Davis Wednesday night as we watched a test run of \"Let There Be\" from the offices of music-streaming service Spotify, just across Market Street.\u003c/p>\n\u003cp>Zendesk and Spotify, along with Twitter's headquarters just up the street and a host of major new residential developments, are transforming a neighborhood that's been an affordable haven for artists.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "George Lucas Chooses Chicago for New Art Museum ",
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"content": "\u003cfigure id=\"attachment_125203\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/02/Screenshot-2014-02-04-00.18.06.png\">\u003cimg class=\"wp-image-125203 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/02/Screenshot-2014-02-04-00.18.06-640x353.png\" alt=\"Artist's rendering of George Lucas' proposed art museum in San Francisco's Presidio. (Lucas Cultural Arts Museum presentation, January 2014)\" width=\"640\" height=\"353\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Artist's rendering of George Lucas' proposed art museum in San Francisco's Presidio. (Lucas Cultural Arts Museum presentation, January 2014)\u003c/figcaption>\u003c/figure>\n\u003cp>San Francisco has lost to Chicago in the high-profile contest to host filmmaker George Lucas' museum of popular and cinematic art. Lucas announced today that the new facility will be built on a 17-acre parcel on Chicago's Lake Michigan waterfront. The site of the newly rechristened \u003ca href=\"http://www.lucasmuseum.org/\" target=\"_blank\">Lucas Museum of Narrative Art\u003c/a> is close to a cluster of established museums, including the Field Museum of Natural History, Shedd Aquarium and Adler Planetarium.\u003c/p>\n\u003cp>In a statement, Lucas said:\u003c/p>\n\u003cblockquote>\u003cp>“We are honored to be partnering with the city of Chicago and the many cultural, educational and community groups that have come forward with ideas about how the LMNA will add to their vibrant work. I am humbled to be joining such an extraordinary museum community and to be creating the museum in a city that has a long tradition of embracing the arts.”\u003c/p>\u003c/blockquote>\n\u003cp>Lucas \u003ca href=\"http://www.sfgate.com/default/article/George-Lucas-proposes-Presidio-museum-4331417.php\" target=\"_blank\">originally proposed building the museum\u003c/a> on a site adjacent to Crissy Field in the Presidio. When he presented the plan in March 2013, the San Francisco Chronicle reported that Lucas planned to spend $250 million to $300 million to build the museum and grant the institution $800 million in endowments. The filmmaker's vision for the San Francisco museum was a grand one, the Chronicle said:\u003c/p>\n\u003cblockquote>\u003cp>Lucas is confident that his proposal, three years in the making, would fulfill those goals at no cost to the Presidio Trust. He will pay for everything. The museum would be a gathering place for families, he said, and showcase 150 years of populist art, including the illustrations of Norman Rockwell and Maxfield Parrish, comics, children's books, fashion, cinema and digital technology. There would be permanent and rotating exhibitions, and programs that would be an extension of Edutopia, the educational foundation he started in 1991 to improve K-12 learning.\u003c/p>\u003c/blockquote>\n\u003cp>But that plan collapsed last February when the group that controls development at the historic former Army base, the Presidio Trust, \u003ca href=\"http://ww2.kqed.org/news/2014/02/03/presidio-group-rejects-lucas-museum-proposal/\" target=\"_blank\">rejected a scaled-down Lucas museum plan\u003c/a> and two other proposals for the site. The trust said none of the plans was appropriate for what is considered a marquee property.\u003c/p>\n\u003caside class=\"pullquote alignleft\">'I am humbled to be joining such an extraordinary museum community and to be creating the museum in a city that has a long tradition of embracing the arts.'\u003ccite>— Filmmaker George Lucas,\u003cbr>\nOn choosing Chicago site for new museum\u003c/cite>\u003c/aside>\n\u003cp>Lucas' representatives immediately declared that the museum would consider sites in other cities, and Chicago quickly emerged as the leading contender. Lucas's wife, \u003ca href=\"http://www.ted.com/speakers/mellody_hobson\" target=\"_blank\">investment banker Mellody Hobson\u003c/a>, is a Chicago native and reportedly lobbied fiercely for the Lake Michigan waterfront site. Los Angeles also began courting the filmmaker this month.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The Presidio Trust and San Francisco city officials offered alternatives to the Crissy Field property — one near the Presidio's Letterman Digital Arts Center, which Lucas helped create, and one on the Embarcadero across the street from Piers 30-32. But Lucas opted for Chicago's offer of a $1-a-year lease for the lakefront real estate. The property, just south of Soldier Field and a mile and a half or so from the center of downtown, is currently occupied by two city-owned parking lots.\u003c/p>\n\u003cp>When Lucas and company announced their decision Tuesday, the Chronicle's Phil Matier and Andy Ross were ready with a piece saying that \u003ca href=\"http://blog.sfgate.com/matierandross/2014/06/24/san-francisco-saw-lucas-decision-coming/\" target=\"_blank\">the outcome came as little surprise to San Francisco city officials\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>Team Lucas never seemed to think much of the [alternative] Presidio site — a spokesman all but dismissed it as a “Hail Mary” play after the trust came up with it. But they showed more interest in the city’s spot along the Embarcadero — although, unlike in Chicago, Lucas would have had to pay $30 million or more to buy the port property.\u003c/p>\n\u003cp>Lee and Company cranked up the PR campaign to try to win Lucas over, including taking out a full-page Chronicle ad signed by every living former San Francisco mayor and hundreds of community leaders.\u003c/p>\n\u003cp>Sources tell us that Lee had been preparing to sweeten the pot by pledging to help turn Piers 30-32 into a gateway park — possibly with an amphitheater or other public amenities — that would have protected the views of whatever museum Lucas built across the way. ...\u003c/p>\n\u003cp>... But there were plenty of unresolved issues. For openers, it would probably cost more than $100 million to transform Piers 30-32 into a park — so even if the city put up the $30 million-plus from the land sale to Lucas, it would still have been tens of millions of dollars short.\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>The \u003ca href=\"http://www.chicagotribune.com/business/breaking/chi-sources-say-chicago-to-win-lucas-museum-20140624,0,6741871.story\" target=\"_blank\">Chicago Tribune reports \u003c/a>that the Lucas museum will face development challenges in the Windy City, too:\u003c/p>\n\u003cblockquote>\u003cp>... The museum is expected to draw opposition from open space advocates. Friends of the Parks has opposed the Soldier Field site because it would violate one of the 14 basic policies of the Lakefront Plan of Chicago, which prohibits further private development east of Lake Shore Drive.\u003c/p>\n\u003cp>Under Emanuel’s plan, ... two Chicago Park District-owned parking lots would be leased to the museum for $1, which is similar to arrangements other large cultural institutions have with the Park District. However, unlike other museums, the Lucas museum would not receive taxpayer subsidies to cover a portion of its operations, mayoral aides have said.\u003c/p>\n\u003cp>The theory is that the museum will draw conventioneers from neighboring McCormick Place and that the 17-acre plot of land being offered is large enough to both house the museum while leaving about 12 acres for additional green space.\u003c/p>\n\u003cp>The parking lots would be moved underground at Lucas’ expense, the city has said. In addition to paying construction costs, Lucas has said the museum would receive a $400 million endowment over time.\u003c/p>\u003c/blockquote>\n\n",
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"excerpt": "Months after the Presidio Trust rejected museum proposal, filmmaker chooses site in wife's hometown.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_125203\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/02/Screenshot-2014-02-04-00.18.06.png\">\u003cimg class=\"wp-image-125203 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/02/Screenshot-2014-02-04-00.18.06-640x353.png\" alt=\"Artist's rendering of George Lucas' proposed art museum in San Francisco's Presidio. (Lucas Cultural Arts Museum presentation, January 2014)\" width=\"640\" height=\"353\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Artist's rendering of George Lucas' proposed art museum in San Francisco's Presidio. (Lucas Cultural Arts Museum presentation, January 2014)\u003c/figcaption>\u003c/figure>\n\u003cp>San Francisco has lost to Chicago in the high-profile contest to host filmmaker George Lucas' museum of popular and cinematic art. Lucas announced today that the new facility will be built on a 17-acre parcel on Chicago's Lake Michigan waterfront. The site of the newly rechristened \u003ca href=\"http://www.lucasmuseum.org/\" target=\"_blank\">Lucas Museum of Narrative Art\u003c/a> is close to a cluster of established museums, including the Field Museum of Natural History, Shedd Aquarium and Adler Planetarium.\u003c/p>\n\u003cp>In a statement, Lucas said:\u003c/p>\n\u003cblockquote>\u003cp>“We are honored to be partnering with the city of Chicago and the many cultural, educational and community groups that have come forward with ideas about how the LMNA will add to their vibrant work. I am humbled to be joining such an extraordinary museum community and to be creating the museum in a city that has a long tradition of embracing the arts.”\u003c/p>\u003c/blockquote>\n\u003cp>Lucas \u003ca href=\"http://www.sfgate.com/default/article/George-Lucas-proposes-Presidio-museum-4331417.php\" target=\"_blank\">originally proposed building the museum\u003c/a> on a site adjacent to Crissy Field in the Presidio. When he presented the plan in March 2013, the San Francisco Chronicle reported that Lucas planned to spend $250 million to $300 million to build the museum and grant the institution $800 million in endowments. The filmmaker's vision for the San Francisco museum was a grand one, the Chronicle said:\u003c/p>\n\u003cblockquote>\u003cp>Lucas is confident that his proposal, three years in the making, would fulfill those goals at no cost to the Presidio Trust. He will pay for everything. The museum would be a gathering place for families, he said, and showcase 150 years of populist art, including the illustrations of Norman Rockwell and Maxfield Parrish, comics, children's books, fashion, cinema and digital technology. There would be permanent and rotating exhibitions, and programs that would be an extension of Edutopia, the educational foundation he started in 1991 to improve K-12 learning.\u003c/p>\u003c/blockquote>\n\u003cp>But that plan collapsed last February when the group that controls development at the historic former Army base, the Presidio Trust, \u003ca href=\"http://ww2.kqed.org/news/2014/02/03/presidio-group-rejects-lucas-museum-proposal/\" target=\"_blank\">rejected a scaled-down Lucas museum plan\u003c/a> and two other proposals for the site. The trust said none of the plans was appropriate for what is considered a marquee property.\u003c/p>\n\u003caside class=\"pullquote alignleft\">'I am humbled to be joining such an extraordinary museum community and to be creating the museum in a city that has a long tradition of embracing the arts.'\u003ccite>— Filmmaker George Lucas,\u003cbr>\nOn choosing Chicago site for new museum\u003c/cite>\u003c/aside>\n\u003cp>Lucas' representatives immediately declared that the museum would consider sites in other cities, and Chicago quickly emerged as the leading contender. Lucas's wife, \u003ca href=\"http://www.ted.com/speakers/mellody_hobson\" target=\"_blank\">investment banker Mellody Hobson\u003c/a>, is a Chicago native and reportedly lobbied fiercely for the Lake Michigan waterfront site. Los Angeles also began courting the filmmaker this month.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Presidio Trust and San Francisco city officials offered alternatives to the Crissy Field property — one near the Presidio's Letterman Digital Arts Center, which Lucas helped create, and one on the Embarcadero across the street from Piers 30-32. But Lucas opted for Chicago's offer of a $1-a-year lease for the lakefront real estate. The property, just south of Soldier Field and a mile and a half or so from the center of downtown, is currently occupied by two city-owned parking lots.\u003c/p>\n\u003cp>When Lucas and company announced their decision Tuesday, the Chronicle's Phil Matier and Andy Ross were ready with a piece saying that \u003ca href=\"http://blog.sfgate.com/matierandross/2014/06/24/san-francisco-saw-lucas-decision-coming/\" target=\"_blank\">the outcome came as little surprise to San Francisco city officials\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>Team Lucas never seemed to think much of the [alternative] Presidio site — a spokesman all but dismissed it as a “Hail Mary” play after the trust came up with it. But they showed more interest in the city’s spot along the Embarcadero — although, unlike in Chicago, Lucas would have had to pay $30 million or more to buy the port property.\u003c/p>\n\u003cp>Lee and Company cranked up the PR campaign to try to win Lucas over, including taking out a full-page Chronicle ad signed by every living former San Francisco mayor and hundreds of community leaders.\u003c/p>\n\u003cp>Sources tell us that Lee had been preparing to sweeten the pot by pledging to help turn Piers 30-32 into a gateway park — possibly with an amphitheater or other public amenities — that would have protected the views of whatever museum Lucas built across the way. ...\u003c/p>\n\u003cp>... But there were plenty of unresolved issues. For openers, it would probably cost more than $100 million to transform Piers 30-32 into a park — so even if the city put up the $30 million-plus from the land sale to Lucas, it would still have been tens of millions of dollars short.\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>The \u003ca href=\"http://www.chicagotribune.com/business/breaking/chi-sources-say-chicago-to-win-lucas-museum-20140624,0,6741871.story\" target=\"_blank\">Chicago Tribune reports \u003c/a>that the Lucas museum will face development challenges in the Windy City, too:\u003c/p>\n\u003cblockquote>\u003cp>... The museum is expected to draw opposition from open space advocates. Friends of the Parks has opposed the Soldier Field site because it would violate one of the 14 basic policies of the Lakefront Plan of Chicago, which prohibits further private development east of Lake Shore Drive.\u003c/p>\n\u003cp>Under Emanuel’s plan, ... two Chicago Park District-owned parking lots would be leased to the museum for $1, which is similar to arrangements other large cultural institutions have with the Park District. However, unlike other museums, the Lucas museum would not receive taxpayer subsidies to cover a portion of its operations, mayoral aides have said.\u003c/p>\n\u003cp>The theory is that the museum will draw conventioneers from neighboring McCormick Place and that the 17-acre plot of land being offered is large enough to both house the museum while leaving about 12 acres for additional green space.\u003c/p>\n\u003cp>The parking lots would be moved underground at Lucas’ expense, the city has said. In addition to paying construction costs, Lucas has said the museum would receive a $400 million endowment over time.\u003c/p>\u003c/blockquote>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Ken Kesey and the Merry Pranksters -- a Celebration of Going Further",
"title": "Ken Kesey and the Merry Pranksters -- a Celebration of Going Further",
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"content": "\u003cfigure id=\"attachment_139497\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/keseybus.jpg\">\u003cimg class=\"size-medium wp-image-139497\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/keseybus-640x424.jpg\" alt=\"Ken Kesey's replica of the bus he used to tour across the United States in the mid-1960s. (Joe Mabel/Wikimedia Commons)\" width=\"640\" height=\"424\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ken Kesey's replica of the bus he used to tour across the United States in the mid-1960s. (Joe Mabel/Wikimedia Commons)\u003c/figcaption>\u003c/figure>\n\u003cp>In June of 1964, Ken Kesey was a hot young writer. His novel, \"One Flew Over the Cuckoo’s Nest,\" had been a best-seller and then a hit Broadway play. He needed to get to New York City, because his publisher was bringing out his second novel, \"Sometimes A Great Notion.\" And some of Kesey's pals wanted to make the trip, too.\u003c/p>\n\u003cp>\"The World’s Fair was there, and so a bunch of us wanted to go,\" says Ken Babbs, who had met Kesey at Stanford in the late '50s. After a stint as a Marine helicopter pilot that took him to Vietnam during the war's earliest stages, Babbs returned to Stanford and reconnected with Kesey.\u003c/p>\n\u003cp>Kesey, Babbs and friends were experimenting with filmmaking and with LSD. Kesey had encountered the drug while volunteering for a CIA-sponsored test at the Menlo Park VA hospital. So the trip to New York, to be made in a 1939 International Harvester school bus painted in wild colors and named \"Further\" (a.k.a. \"Furthur\"), was meant to be a psychic journey as well as a physical one.\u003c/p>\n\u003cp>\"We had this movie that we were going to make called 'Intrepid Travelers,' and this merry band of pranksters look for a cool place — the cool place that exists in you in your mind and your body,\" Babbs says.\u003c/p>\n\u003cp>With that vision in mind, Babbs and the rest of the Merry Pranksters boarded the bus at Kesey's home in La Honda. And at first, they didn't go anywhere.\u003c/p>\n\u003caside class=\"pullquote alignleft\">'When we talk about expanding your consciousness ... what it really meant was to connect with other people in a positive way and to be kind.'\u003ccite>— Ken Babbs,\u003cbr>\nMerry Prankster\u003c/cite>\u003c/aside>\n\u003cp>\"We got the bus cranked up, we were ready to go, firing on all cylinders, headed out across the bridge there at La Honda. And ... the engine died,\" Babbs recalls.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Eventually, most of the Pranksters made it to New York, with Kesey’s friend Neal Cassady in the driver's seat much of the time. Cassady was famous as Jack Kerouac’s friend and the basis for the character Dean Moriarty in \"On The Road.\" And so Cassady and Kesey were like a bridge between the beats and the hippies that followed.\u003c/p>\n\u003cp>The thing that distinguished the beats from the hippies was the psychedelic drugs that Kesey had discovered. LSD was still legal, but Ken Babbs says the Pranksters were not trying to turn on the country. The Pranksters' act was more of a theatrical performance, with the bus, painted in spectacular colors, their stage.\u003c/p>\n\u003cp>\"In '64 there was nothing like it,\" Babbs says. \"Today, you know, they're all over the place. But then nobody knew what it was. They thought the circus had come to town. \"\u003c/p>\n\u003cp>Kesey’s bus ride remains famous partly because writer Tom Wolfe chronicled the story in 1968's \"The Electric Kool-Aid Acid Test.\"\u003c/p>\n\u003cp>Kesey and Babbs organized their so-called acid tests up and down the West Coast in 1966, featuring spiked Kool-Aid, light shows and music by the Grateful Dead.\u003c/p>\n\u003cp>The acid tests were part of the wave of cultural change in the mid-1960s that included the folk music revival, rock 'n' roll, feminism, black power and the antiwar movement. But Kesey and the Pranksters weren’t political. Babbs says Kesey always believed the only true currency is that of the spirit.\u003c/p>\n\u003cp>\"When we talk about expanding your consciousness, which we were doing, what it really meant was to connect with other people in a positive way and to be kind,\" Babbs says.\u003c/p>\n\u003cp>And the legend lives on. Kesey's son, Zane, has \u003ca href=\"https://www.kickstarter.com/projects/furthur50/furthur-bus-50th-anniversary-trip\" target=\"_blank\">raised more than $40,000\u003c/a> to stage a 50th anniversary cross-country road trip, minus the LSD that played such a big role in 1964.\u003c/p>\n\u003cp>The trip will use Ken Kesey's updated version of Further. As for the original 1939 vehicle, the author \u003ca href=\"http://furthurdowntheroad.org/index.php/history/furthur-the-bus-then-now/\" target=\"_blank\">parked it in a swamp\u003c/a> on his Oregon farm. Despite \u003ca href=\"http://www.sfgate.com/bayarea/article/Ken-Kesey-s-Furthur-bus-on-new-trip-to-5160396.php\" target=\"_blank\">talk about restoring it\u003c/a> and \u003ca href=\"http://community.seattletimes.nwsource.com/archive/?date=19901102&slug=1101869\" target=\"_blank\">a 1990 Kesey prank\u003c/a> involving the Smithsonian's supposed acquisition of the vehicle, it remains an undrivable hulk.\u003c/p>\n\u003cp>Except, of course, in memory, where it's still tooling down the byways of rebellious fun and psychic discovery.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ciframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/154935170&color=ff5500&auto_play=false&hide_related=false&show_artwork=true&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\">\u003c/iframe>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_139497\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/keseybus.jpg\">\u003cimg class=\"size-medium wp-image-139497\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/keseybus-640x424.jpg\" alt=\"Ken Kesey's replica of the bus he used to tour across the United States in the mid-1960s. (Joe Mabel/Wikimedia Commons)\" width=\"640\" height=\"424\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ken Kesey's replica of the bus he used to tour across the United States in the mid-1960s. (Joe Mabel/Wikimedia Commons)\u003c/figcaption>\u003c/figure>\n\u003cp>In June of 1964, Ken Kesey was a hot young writer. His novel, \"One Flew Over the Cuckoo’s Nest,\" had been a best-seller and then a hit Broadway play. He needed to get to New York City, because his publisher was bringing out his second novel, \"Sometimes A Great Notion.\" And some of Kesey's pals wanted to make the trip, too.\u003c/p>\n\u003cp>\"The World’s Fair was there, and so a bunch of us wanted to go,\" says Ken Babbs, who had met Kesey at Stanford in the late '50s. After a stint as a Marine helicopter pilot that took him to Vietnam during the war's earliest stages, Babbs returned to Stanford and reconnected with Kesey.\u003c/p>\n\u003cp>Kesey, Babbs and friends were experimenting with filmmaking and with LSD. Kesey had encountered the drug while volunteering for a CIA-sponsored test at the Menlo Park VA hospital. So the trip to New York, to be made in a 1939 International Harvester school bus painted in wild colors and named \"Further\" (a.k.a. \"Furthur\"), was meant to be a psychic journey as well as a physical one.\u003c/p>\n\u003cp>\"We had this movie that we were going to make called 'Intrepid Travelers,' and this merry band of pranksters look for a cool place — the cool place that exists in you in your mind and your body,\" Babbs says.\u003c/p>\n\u003cp>With that vision in mind, Babbs and the rest of the Merry Pranksters boarded the bus at Kesey's home in La Honda. And at first, they didn't go anywhere.\u003c/p>\n\u003caside class=\"pullquote alignleft\">'When we talk about expanding your consciousness ... what it really meant was to connect with other people in a positive way and to be kind.'\u003ccite>— Ken Babbs,\u003cbr>\nMerry Prankster\u003c/cite>\u003c/aside>\n\u003cp>\"We got the bus cranked up, we were ready to go, firing on all cylinders, headed out across the bridge there at La Honda. And ... the engine died,\" Babbs recalls.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Eventually, most of the Pranksters made it to New York, with Kesey’s friend Neal Cassady in the driver's seat much of the time. Cassady was famous as Jack Kerouac’s friend and the basis for the character Dean Moriarty in \"On The Road.\" And so Cassady and Kesey were like a bridge between the beats and the hippies that followed.\u003c/p>\n\u003cp>The thing that distinguished the beats from the hippies was the psychedelic drugs that Kesey had discovered. LSD was still legal, but Ken Babbs says the Pranksters were not trying to turn on the country. The Pranksters' act was more of a theatrical performance, with the bus, painted in spectacular colors, their stage.\u003c/p>\n\u003cp>\"In '64 there was nothing like it,\" Babbs says. \"Today, you know, they're all over the place. But then nobody knew what it was. They thought the circus had come to town. \"\u003c/p>\n\u003cp>Kesey’s bus ride remains famous partly because writer Tom Wolfe chronicled the story in 1968's \"The Electric Kool-Aid Acid Test.\"\u003c/p>\n\u003cp>Kesey and Babbs organized their so-called acid tests up and down the West Coast in 1966, featuring spiked Kool-Aid, light shows and music by the Grateful Dead.\u003c/p>\n\u003cp>The acid tests were part of the wave of cultural change in the mid-1960s that included the folk music revival, rock 'n' roll, feminism, black power and the antiwar movement. But Kesey and the Pranksters weren’t political. Babbs says Kesey always believed the only true currency is that of the spirit.\u003c/p>\n\u003cp>\"When we talk about expanding your consciousness, which we were doing, what it really meant was to connect with other people in a positive way and to be kind,\" Babbs says.\u003c/p>\n\u003cp>And the legend lives on. Kesey's son, Zane, has \u003ca href=\"https://www.kickstarter.com/projects/furthur50/furthur-bus-50th-anniversary-trip\" target=\"_blank\">raised more than $40,000\u003c/a> to stage a 50th anniversary cross-country road trip, minus the LSD that played such a big role in 1964.\u003c/p>\n\u003cp>The trip will use Ken Kesey's updated version of Further. As for the original 1939 vehicle, the author \u003ca href=\"http://furthurdowntheroad.org/index.php/history/furthur-the-bus-then-now/\" target=\"_blank\">parked it in a swamp\u003c/a> on his Oregon farm. Despite \u003ca href=\"http://www.sfgate.com/bayarea/article/Ken-Kesey-s-Furthur-bus-on-new-trip-to-5160396.php\" target=\"_blank\">talk about restoring it\u003c/a> and \u003ca href=\"http://community.seattletimes.nwsource.com/archive/?date=19901102&slug=1101869\" target=\"_blank\">a 1990 Kesey prank\u003c/a> involving the Smithsonian's supposed acquisition of the vehicle, it remains an undrivable hulk.\u003c/p>\n\u003cp>Except, of course, in memory, where it's still tooling down the byways of rebellious fun and psychic discovery.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ciframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/154935170&color=ff5500&auto_play=false&hide_related=false&show_artwork=true&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\">\u003c/iframe>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "News Pix: Resident Physicians Picket, Saline Shortage and San Jose Rep Closes",
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"content": "\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/resident-strike.jpg\">\u003cimg class=\"aligncenter size-medium wp-image-139134\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/resident-strike-640x450.jpg\" alt=\"resident strike\" width=\"640\" height=\"450\">\u003c/a>\u003cbr>\nResident physicians at UCSF Benioff Children’s Hospital Oakland say their salaries aren't keeping up with the cost of living in the Bay Area. Theirs is one of the latest \u003ca href=\"http://blogs.kqed.org/stateofhealth/2014/06/10/resident-physicians-at-childrens-oakland-rally-over-contract-stalemate/\" target=\"_blank\">health care union battles to heat up\u003c/a> in California between workers and hospital administration, and is drawing a new generation of members to union organizing. \"A lot of people think being a doctor is super glamorous and you make tons of money and everyone loves you,\" said Alana Arnold, a second-year resident. “But in fact, residency is difficult. We’re here to learn and train. And we have to protect ourselves just like any other workforce.\" (Mark Andrew Boyer/KQED)\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/saline.jpg\">\u003cimg class=\"aligncenter size-medium wp-image-139135\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/saline-640x450.jpg\" alt=\"saline\" width=\"640\" height=\"450\">\u003c/a>\u003cbr>\nSan Francisco General Hospital's materials manager Reid Kennedy reviews his notes in the materials storage room. S.F. General is one of many hospitals across the country struggling to deal with a \u003ca href=\"http://blogs.kqed.org/science/audio/saline-shortage-plagues-hospitals/\" target=\"_blank\">shortage of saline\u003c/a>, an essential product used all over the hospital to clean wounds, mix medications or treat dehydration. Now drug companies say they won't be able to catch up with demand until next year, so hospitals are trying to ration supplies. (Mark Andrew Boyer/KQED)\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/sjrep640.jpg\">\u003cimg class=\"aligncenter size-full wp-image-139142\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/sjrep640.jpg\" alt=\"sjrep640\" width=\"640\" height=\"360\">\u003c/a>\u003cbr>\nThe San Jose Repertory Theatre company announced Wednesday that it has \u003ca href=\"http://ww2.kqed.org/arts/2014/06/11/san-jose-rep-announces-closure/\" target=\"_blank\">ceased operations and is filing for bankruptcy\u003c/a>. The 34-year-old organization has been struggling with financial issues for a number of years. “We regret the impact on the city of San Jose and the local arts community,\" said Holly Walter, president of the San Jose Rep’s board of trustees. However, after months of trying to solve our financial issues, reduce our debts and construct a sustainable model for the organization, we felt we had no choice but to take this action.\" (Wikimedia Commons)\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/domestic-violence.jpg\">\u003cimg class=\"aligncenter size-medium wp-image-139136\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/domestic-violence-640x478.jpg\" alt=\"domestic violence\" width=\"640\" height=\"478\">\u003c/a>\u003cbr>\nStanford student Leah Francis led a chant at a June 12 \u003ca href=\"http://ww2.kqed.org/news/2014/06/12/students-host-rally-stanford-sexual-assault-policy/\" target=\"_blank\">protest against the university's policies on sexual assault\u003c/a>. Stanford announced that it will not expel a student it found responsible for sexual assault, rejecting an appeal from Francis, who thinks the university treated her alleged assailant too leniently. Universities across the country are under fire for mishandling sexual assault cases. (Peter Jon Shuler/KQED)\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/bees.jpg\">\u003cimg class=\"aligncenter size-medium wp-image-139138\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/bees-640x449.jpg\" alt=\"bees\" width=\"640\" height=\"449\">\u003c/a>\u003cbr>\nA beekeeper for Bradshaw Honey Farm wears protective clothing to check the health of the bees. Bradshaw says he'll spend about $80,000 to feed his bees artificial nectar this summer. Typically he would take them to hills laden with wildflowers, but this year those hills are bone-dry because of the drought. (Alice Daniels/KQED)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/RS10853_233.jpg\">\u003cbr>\n\u003c/a>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/RS10853_233.jpg\">\u003cimg class=\"aligncenter\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/RS10853_233-480x640.jpg\" alt=\"RS10853_233\" width=\"480\" height=\"640\">\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The owners of a 14-room Victorian in San Francisco's Mission District have agreed to sell the building to the San Francisco Community Land Trust, which will allow tenants to run the building as a cooperative. Tenant Rose O'Kane poses in her kitchen at 2976 23rd St. with a celebratory glass of champagne after the deal was announced. (Adizah Eghan/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/resident-strike.jpg\">\u003cimg class=\"aligncenter size-medium wp-image-139134\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/resident-strike-640x450.jpg\" alt=\"resident strike\" width=\"640\" height=\"450\">\u003c/a>\u003cbr>\nResident physicians at UCSF Benioff Children’s Hospital Oakland say their salaries aren't keeping up with the cost of living in the Bay Area. Theirs is one of the latest \u003ca href=\"http://blogs.kqed.org/stateofhealth/2014/06/10/resident-physicians-at-childrens-oakland-rally-over-contract-stalemate/\" target=\"_blank\">health care union battles to heat up\u003c/a> in California between workers and hospital administration, and is drawing a new generation of members to union organizing. \"A lot of people think being a doctor is super glamorous and you make tons of money and everyone loves you,\" said Alana Arnold, a second-year resident. “But in fact, residency is difficult. We’re here to learn and train. And we have to protect ourselves just like any other workforce.\" (Mark Andrew Boyer/KQED)\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/saline.jpg\">\u003cimg class=\"aligncenter size-medium wp-image-139135\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/saline-640x450.jpg\" alt=\"saline\" width=\"640\" height=\"450\">\u003c/a>\u003cbr>\nSan Francisco General Hospital's materials manager Reid Kennedy reviews his notes in the materials storage room. S.F. General is one of many hospitals across the country struggling to deal with a \u003ca href=\"http://blogs.kqed.org/science/audio/saline-shortage-plagues-hospitals/\" target=\"_blank\">shortage of saline\u003c/a>, an essential product used all over the hospital to clean wounds, mix medications or treat dehydration. Now drug companies say they won't be able to catch up with demand until next year, so hospitals are trying to ration supplies. (Mark Andrew Boyer/KQED)\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/sjrep640.jpg\">\u003cimg class=\"aligncenter size-full wp-image-139142\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/sjrep640.jpg\" alt=\"sjrep640\" width=\"640\" height=\"360\">\u003c/a>\u003cbr>\nThe San Jose Repertory Theatre company announced Wednesday that it has \u003ca href=\"http://ww2.kqed.org/arts/2014/06/11/san-jose-rep-announces-closure/\" target=\"_blank\">ceased operations and is filing for bankruptcy\u003c/a>. The 34-year-old organization has been struggling with financial issues for a number of years. “We regret the impact on the city of San Jose and the local arts community,\" said Holly Walter, president of the San Jose Rep’s board of trustees. However, after months of trying to solve our financial issues, reduce our debts and construct a sustainable model for the organization, we felt we had no choice but to take this action.\" (Wikimedia Commons)\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/domestic-violence.jpg\">\u003cimg class=\"aligncenter size-medium wp-image-139136\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/domestic-violence-640x478.jpg\" alt=\"domestic violence\" width=\"640\" height=\"478\">\u003c/a>\u003cbr>\nStanford student Leah Francis led a chant at a June 12 \u003ca href=\"http://ww2.kqed.org/news/2014/06/12/students-host-rally-stanford-sexual-assault-policy/\" target=\"_blank\">protest against the university's policies on sexual assault\u003c/a>. Stanford announced that it will not expel a student it found responsible for sexual assault, rejecting an appeal from Francis, who thinks the university treated her alleged assailant too leniently. Universities across the country are under fire for mishandling sexual assault cases. (Peter Jon Shuler/KQED)\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/bees.jpg\">\u003cimg class=\"aligncenter size-medium wp-image-139138\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/bees-640x449.jpg\" alt=\"bees\" width=\"640\" height=\"449\">\u003c/a>\u003cbr>\nA beekeeper for Bradshaw Honey Farm wears protective clothing to check the health of the bees. Bradshaw says he'll spend about $80,000 to feed his bees artificial nectar this summer. Typically he would take them to hills laden with wildflowers, but this year those hills are bone-dry because of the drought. (Alice Daniels/KQED)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/RS10853_233.jpg\">\u003cbr>\n\u003c/a>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/RS10853_233.jpg\">\u003cimg class=\"aligncenter\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/RS10853_233-480x640.jpg\" alt=\"RS10853_233\" width=\"480\" height=\"640\">\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The owners of a 14-room Victorian in San Francisco's Mission District have agreed to sell the building to the San Francisco Community Land Trust, which will allow tenants to run the building as a cooperative. Tenant Rose O'Kane poses in her kitchen at 2976 23rd St. with a celebratory glass of champagne after the deal was announced. (Adizah Eghan/KQED)\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Illegal Professional Studios Thrive in L.A.",
"title": "Illegal Professional Studios Thrive in L.A.",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>http://www.kqed.org/.stream/anon/radio/tcrmag/2014/06/2014-06-13e-tcrmag.mp3\u003c/p>\n\u003cp>When is a garage not a garage? When it’s a professional recording studio. Tucked away among the quiet neighborhood streets of L.A., there are untold numbers of them. From these discrete refigured spaces come the scores, soundtracks and songs that feed the insatiable appetite of the entertainment industry. And, thanks to zoning laws, it’s all illegal.\u003c/p>\n\u003cp>“You know, I’m breaking the law right now. I’m an outlaw, but it’s perfect. It suits the rock and roll mystique,” says producer/engineer/musician Maurice, who’s not using his real name for this story as his studio — like the majority of them — is flying under the legal radar. He has garnered gold and platinum albums for production over a 20-year career, and currently works out of his recently converted 1920s garage in Pasadena, which took him six months and $10,000 to turn into a studio.\u003c/p>\n\u003cp>“The reality is that there’s less money running around the music industry to make records with,” Maurice offers. “I’m sure that Lady Gaga doesn’t have trouble getting a budget to make her record, but for bands that play real instruments — rock bands, folk bands, country bands —anything that includes a drum set and a guitar, those people are really hard pressed to get a record deal or a record budget.”\u003c/p>\n\u003cp>And when wallets are slim, the home studio is a musician’s best friend.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The only way for me to make it affordable for bands is to own my own facility so that they don’t have to go to a commercial studio and pay $1,200 or $2,200 a day to rent the studio and then pay an engineer a day rate and a producer.”\u003c/p>\n\u003cp>But that’s where the risk of running a business where you’re not supposed to comes in. The biggest fear of any home studio owner is coming under the scrutiny of the city.\u003c/p>\n\u003cp>“A professional recording studio is not allowed in a residential zone,” says Luke Zamperini, the chief building inspector for the city of Los Angeles. “The zoning code specifies it needs to be in a commercial zone, but that doesn’t mean that one can’t have a recording studio in their home for their own personal use.”\u003c/p>\n\u003cp>When he’s not inspecting buildings, Zamperini likes to strap on a guitar himself. In fact, in the mid-‘70’s he toured in the band Sparks. Maybe you recall its song, “Angst In My Pants,” which was featured in the film “Valley Girl.” Or maybe you don’t.\u003c/p>\n\u003cp>In theory, Zamperini is the pro home studio owner’s biggest nightmare, but the chief inspector says his department isn’t out hunting down offenders.\u003c/p>\n\u003cp>“We’re not really interested in going around dictating what people can and can’t do in the privacy of their own home,” he says. “I’ve been at this for 23 years and I can count all the complaints we’ve had on recording studios in residences on one hand. We just don’t hear about it.”\u003c/p>\n\u003cp>In fact, the studios do such a good job of not being heard that no one really knows how many exist in L.A. That includes Zamperini. “There’s probably 650,000 parcels in the city that are in residential zones,” he says, “so your guess is as good as mine as to how many have converted their garages or parts of their home into a studio.”\u003c/p>\n\u003cfigure id=\"attachment_10140873\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/09/MauriceProducer2.jpg\">\u003cimg class=\"size-thumbnail wp-image-10140873\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/09/MauriceProducer2-400x492.jpg\" alt=\"Producer Maurice in his garage recording studio with faithful mascot Harry the chihuahua. (Peter Gilstrap/KQED)\" width=\"400\" height=\"492\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Producer Maurice in his garage recording studio with faithful mascot Harry the chihuahua. (Peter Gilstrap/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>The best way to avoid appearing on the city’s complaint radar is simple: Keep your neighbors happy. It’s something that producer-composer Pete, who’s using his first name only, appreciates. Though he permitted his Studio City add-on to his home, that doesn’t make running a business there legal. He made sure to curry favor with the folks in his ‘hood.\u003c/p>\n\u003cp>“When I moved in, the first thing I did was introduce myself to all my immediate neighbors,” he explains. “Then I started doing construction, and when I finished I gave everybody cupcakes, all of them. And I find that that goes a very long way because they think I’m a nice guy. If you have a neighbor who has too much time on their hands and for whatever reason doesn’t like what you’re doing, they can make your life miserable.”\u003c/p>\n\u003cp>Avoiding a neighbor’s wrath is a matter of survival in today’s music business.\u003c/p>\n\u003cp>“Everybody has to have a space if you want to make a living,” he states. “I write, I produce, I engineer, I mix, I master and I didn’t used to do all that stuff but I do it now, and everybody that I know does the same thing.”\u003c/p>\n\u003cp>The fact that Pete permitted the 900-square-foot addition at least allows him to claim the space if he decides to sell. Homeowners who spend big bucks building off the books are faced with a grim truth if they put their pad on the market.\u003c/p>\n\u003cp>It’s a situation that real estate agent Rozz Gallaher is familiar with. He’s the proprietor of L.A. Houses That Rock, a company that deals exclusively with homes that offer studios. Before his current gig, Gallaher was a 1980s hair metal practitioner with a band called Liquor Sweet. He still has the piercings and tats to prove it.\u003c/p>\n\u003cp>“Unfortunately, for the sellers, it doesn’t create a lot of value,” he explains. “It’s not like remodeling a kitchen. The average Joe obviously isn’t going to see any value in a pre-existing studio.”\u003c/p>\n\u003cp>Musician Vincent Jones has worked with names like Morrissey and Alanis Morissette, and has been Sarah McLachlan’s musical director since 1997. He also co-wrote, arranged and recorded the theme to “Parks and Recreation,” using only a laptop on a dining room table.\u003c/p>\n\u003cp>Jones’s current workspace is a bit more elaborate. Part of his rented home, the 900-square-foot studio, began life as a guesthouse. Now “it sounds as good as any studio that I’ve been in with the exception of Abbey Road,” he says. “They spent a lot of money on it.”\u003c/p>\n\u003cp>No matter how much a home studio costs, how good it sounds or how vital it may be to the artist in today’s cutthroat music business, there are certain aspects of the commercial spaces that can’t be replicated.\u003c/p>\n\u003cp>“The thing about a big recording studio that I always miss is the interaction with other people,” Jones says. “In random conversations, you can be creatively inspired by other creative people. And then also recording in a nice, big space where the actual air is moving around the microphones more. Nothing sounds like that.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>As audio software gets better and cheaper, the next chapter in professional home recording may stretch the definition of professional. As Pete says, now any kid with a computer, a credit card and a bedroom can call himself a producer.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>http://www.kqed.org/.stream/anon/radio/tcrmag/2014/06/2014-06-13e-tcrmag.mp3\u003c/p>\n\u003cp>When is a garage not a garage? When it’s a professional recording studio. Tucked away among the quiet neighborhood streets of L.A., there are untold numbers of them. From these discrete refigured spaces come the scores, soundtracks and songs that feed the insatiable appetite of the entertainment industry. And, thanks to zoning laws, it’s all illegal.\u003c/p>\n\u003cp>“You know, I’m breaking the law right now. I’m an outlaw, but it’s perfect. It suits the rock and roll mystique,” says producer/engineer/musician Maurice, who’s not using his real name for this story as his studio — like the majority of them — is flying under the legal radar. He has garnered gold and platinum albums for production over a 20-year career, and currently works out of his recently converted 1920s garage in Pasadena, which took him six months and $10,000 to turn into a studio.\u003c/p>\n\u003cp>“The reality is that there’s less money running around the music industry to make records with,” Maurice offers. “I’m sure that Lady Gaga doesn’t have trouble getting a budget to make her record, but for bands that play real instruments — rock bands, folk bands, country bands —anything that includes a drum set and a guitar, those people are really hard pressed to get a record deal or a record budget.”\u003c/p>\n\u003cp>And when wallets are slim, the home studio is a musician’s best friend.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The only way for me to make it affordable for bands is to own my own facility so that they don’t have to go to a commercial studio and pay $1,200 or $2,200 a day to rent the studio and then pay an engineer a day rate and a producer.”\u003c/p>\n\u003cp>But that’s where the risk of running a business where you’re not supposed to comes in. The biggest fear of any home studio owner is coming under the scrutiny of the city.\u003c/p>\n\u003cp>“A professional recording studio is not allowed in a residential zone,” says Luke Zamperini, the chief building inspector for the city of Los Angeles. “The zoning code specifies it needs to be in a commercial zone, but that doesn’t mean that one can’t have a recording studio in their home for their own personal use.”\u003c/p>\n\u003cp>When he’s not inspecting buildings, Zamperini likes to strap on a guitar himself. In fact, in the mid-‘70’s he toured in the band Sparks. Maybe you recall its song, “Angst In My Pants,” which was featured in the film “Valley Girl.” Or maybe you don’t.\u003c/p>\n\u003cp>In theory, Zamperini is the pro home studio owner’s biggest nightmare, but the chief inspector says his department isn’t out hunting down offenders.\u003c/p>\n\u003cp>“We’re not really interested in going around dictating what people can and can’t do in the privacy of their own home,” he says. “I’ve been at this for 23 years and I can count all the complaints we’ve had on recording studios in residences on one hand. We just don’t hear about it.”\u003c/p>\n\u003cp>In fact, the studios do such a good job of not being heard that no one really knows how many exist in L.A. That includes Zamperini. “There’s probably 650,000 parcels in the city that are in residential zones,” he says, “so your guess is as good as mine as to how many have converted their garages or parts of their home into a studio.”\u003c/p>\n\u003cfigure id=\"attachment_10140873\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/09/MauriceProducer2.jpg\">\u003cimg class=\"size-thumbnail wp-image-10140873\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/09/MauriceProducer2-400x492.jpg\" alt=\"Producer Maurice in his garage recording studio with faithful mascot Harry the chihuahua. (Peter Gilstrap/KQED)\" width=\"400\" height=\"492\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Producer Maurice in his garage recording studio with faithful mascot Harry the chihuahua. (Peter Gilstrap/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>The best way to avoid appearing on the city’s complaint radar is simple: Keep your neighbors happy. It’s something that producer-composer Pete, who’s using his first name only, appreciates. Though he permitted his Studio City add-on to his home, that doesn’t make running a business there legal. He made sure to curry favor with the folks in his ‘hood.\u003c/p>\n\u003cp>“When I moved in, the first thing I did was introduce myself to all my immediate neighbors,” he explains. “Then I started doing construction, and when I finished I gave everybody cupcakes, all of them. And I find that that goes a very long way because they think I’m a nice guy. If you have a neighbor who has too much time on their hands and for whatever reason doesn’t like what you’re doing, they can make your life miserable.”\u003c/p>\n\u003cp>Avoiding a neighbor’s wrath is a matter of survival in today’s music business.\u003c/p>\n\u003cp>“Everybody has to have a space if you want to make a living,” he states. “I write, I produce, I engineer, I mix, I master and I didn’t used to do all that stuff but I do it now, and everybody that I know does the same thing.”\u003c/p>\n\u003cp>The fact that Pete permitted the 900-square-foot addition at least allows him to claim the space if he decides to sell. Homeowners who spend big bucks building off the books are faced with a grim truth if they put their pad on the market.\u003c/p>\n\u003cp>It’s a situation that real estate agent Rozz Gallaher is familiar with. He’s the proprietor of L.A. Houses That Rock, a company that deals exclusively with homes that offer studios. Before his current gig, Gallaher was a 1980s hair metal practitioner with a band called Liquor Sweet. He still has the piercings and tats to prove it.\u003c/p>\n\u003cp>“Unfortunately, for the sellers, it doesn’t create a lot of value,” he explains. “It’s not like remodeling a kitchen. The average Joe obviously isn’t going to see any value in a pre-existing studio.”\u003c/p>\n\u003cp>Musician Vincent Jones has worked with names like Morrissey and Alanis Morissette, and has been Sarah McLachlan’s musical director since 1997. He also co-wrote, arranged and recorded the theme to “Parks and Recreation,” using only a laptop on a dining room table.\u003c/p>\n\u003cp>Jones’s current workspace is a bit more elaborate. Part of his rented home, the 900-square-foot studio, began life as a guesthouse. Now “it sounds as good as any studio that I’ve been in with the exception of Abbey Road,” he says. “They spent a lot of money on it.”\u003c/p>\n\u003cp>No matter how much a home studio costs, how good it sounds or how vital it may be to the artist in today’s cutthroat music business, there are certain aspects of the commercial spaces that can’t be replicated.\u003c/p>\n\u003cp>“The thing about a big recording studio that I always miss is the interaction with other people,” Jones says. “In random conversations, you can be creatively inspired by other creative people. And then also recording in a nice, big space where the actual air is moving around the microphones more. Nothing sounds like that.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
"airtime": "SUN 9pm-10pm",
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"meta": {
"site": "radio",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"id": "here-and-now",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
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"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"rss": "https://feeds.npr.org/510313/podcast.xml"
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"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.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
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"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
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