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"content": "\u003cp>Early Tuesday morning, the LAPD announced that it is seeking a suspect in the \u003ca href=\"https://www.kqed.org/arts/13854027/rapper-nipsey-hussle-shot-and-killed-in-los-angeles\" rel=\"noopener\" target=\"_blank\">shooting death of rapper and entrepreneur Nipsey Hussle\u003c/a> on Sunday afternoon. The police have identified the suspect as Eric Holder, a 29-year-old Los Angeles man. According to \u003ca href=\"https://twitter.com/LAPDHQ/status/1112947396562960384/photo/1\" rel=\"noopener\" target=\"_blank\">a police statement\u003c/a>, it is believed that Holder walked up to three men in front of Marathon Clothing, the 33-year-old musician's store in the Crenshaw area of South Los Angeles, and fired numerous times at them. Holder then allegedly fled the shooting as the passenger in a white 2016 Chevy Cruze driven by an unidentified female.\u003c/p>\n\u003cp>https://twitter.com/LAPDHQ/status/1112947396562960384\u003c/p>\n\u003cp>The Grammy-nominated Nipsey Hussle, born Ermias Asghedom, died from his wounds. A longtime community philanthropist and activist, he had been \u003ca href=\"https://twitter.com/SteveSoboroff/status/1112561081107439618\" rel=\"noopener\" target=\"_blank\">scheduled\u003c/a> to meet Monday with L.A. police commissioner Steve Soboroff and LAPD chief Michel Moore about ways to help stop gang violence. \"I'm very sad,\" Soboroff wrote on Twitter.\u003c/p>\n\u003cp>Meanwhile, there was a \u003ca href=\"https://twitter.com/ABC7Veronica/status/1112918400924176384\" rel=\"noopener\" target=\"_blank\">stampede\u003c/a> at a memorial vigil held for Nipsey Hussle Monday evening, after a rumor spread that gunshots were being fired in the crowd. Michel Moore \u003ca href=\"https://twitter.com/LAPDChiefMoore/status/1112931606983925760\" rel=\"noopener\" target=\"_blank\">posted\u003c/a> on Twitter that 13 people sustained injuries as attendees fled; 12 were treated onsite. The LAPD says that the reports of shots being fired did not appear to be accurate.\u003c/p>\n\u003cp>However, the chaos was frightening. \"Tonight was the first night in a while that I honestly felt scared on the job,\" ABC7 reporter Veronica Miracle \u003ca href=\"https://twitter.com/ABC7Veronica/status/1112953127198646273\" rel=\"noopener\" target=\"_blank\">wrote\u003c/a> on Twitter. \"Babies were screaming, people were shoving themselves under our @ABC7 news van for cover while crying, people were trampled. My heart hurts for everyone who came here to mourn @NipseyHussle's death.\"\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postID='arts_13854043' label='\"Beyond the music, he was a benefactor to the black community of South Central Los Angeles\"']\u003c/p>\n\u003cp>Chief Moore also posted on Sunday evening that Nipsey Hussle's death was one of 26 shootings and 10 homicides that have occurred in Los Angeles in the week since March 24.\u003c/p>\n\u003cp>\"That's 36 families left picking up the pieces,\" Moore wrote on Twitter. \"We will work aggressively with our community to quell this senseless loss of life.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The LAPD is \u003ca href=\"https://twitter.com/LAPDHQ/status/1112884088417923072\" rel=\"noopener\" target=\"_blank\">planning\u003c/a> to hold a press conference Tuesday morning at 8:30 a.m. PT addressing the uptick in violence in the city, as well as give an update on the ongoing murder investigation of Nipsey Hussle. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Police+Name+Suspect+In+Nipsey+Hussle+Killing%3B+13+Injured+At+Rapper%27s+Vigil&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>The Grammy-nominated Nipsey Hussle, born Ermias Asghedom, died from his wounds. A longtime community philanthropist and activist, he had been \u003ca href=\"https://twitter.com/SteveSoboroff/status/1112561081107439618\" rel=\"noopener\" target=\"_blank\">scheduled\u003c/a> to meet Monday with L.A. police commissioner Steve Soboroff and LAPD chief Michel Moore about ways to help stop gang violence. \"I'm very sad,\" Soboroff wrote on Twitter.\u003c/p>\n\u003cp>Meanwhile, there was a \u003ca href=\"https://twitter.com/ABC7Veronica/status/1112918400924176384\" rel=\"noopener\" target=\"_blank\">stampede\u003c/a> at a memorial vigil held for Nipsey Hussle Monday evening, after a rumor spread that gunshots were being fired in the crowd. Michel Moore \u003ca href=\"https://twitter.com/LAPDChiefMoore/status/1112931606983925760\" rel=\"noopener\" target=\"_blank\">posted\u003c/a> on Twitter that 13 people sustained injuries as attendees fled; 12 were treated onsite. The LAPD says that the reports of shots being fired did not appear to be accurate.\u003c/p>\n\u003cp>However, the chaos was frightening. \"Tonight was the first night in a while that I honestly felt scared on the job,\" ABC7 reporter Veronica Miracle \u003ca href=\"https://twitter.com/ABC7Veronica/status/1112953127198646273\" rel=\"noopener\" target=\"_blank\">wrote\u003c/a> on Twitter. \"Babies were screaming, people were shoving themselves under our @ABC7 news van for cover while crying, people were trampled. My heart hurts for everyone who came here to mourn @NipseyHussle's death.\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Chief Moore also posted on Sunday evening that Nipsey Hussle's death was one of 26 shootings and 10 homicides that have occurred in Los Angeles in the week since March 24.\u003c/p>\n\u003cp>\"That's 36 families left picking up the pieces,\" Moore wrote on Twitter. \"We will work aggressively with our community to quell this senseless loss of life.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The LAPD is \u003ca href=\"https://twitter.com/LAPDHQ/status/1112884088417923072\" rel=\"noopener\" target=\"_blank\">planning\u003c/a> to hold a press conference Tuesday morning at 8:30 a.m. PT addressing the uptick in violence in the city, as well as give an update on the ongoing murder investigation of Nipsey Hussle. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Police+Name+Suspect+In+Nipsey+Hussle+Killing%3B+13+Injured+At+Rapper%27s+Vigil&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "PHOTOS: Chef Alice Waters Holds First and Last Chez Panisse Yard Sale",
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"content": "\u003cp>Famed chef Alice Waters didn’t expect a Sunday morning yard sale outside her Chez Panisse restaurant in Berkeley to draw much of a crowd.\u003c/p>\n\u003cp>But hundreds of people — some who started lining up at dawn and came from as far as Burlingame and Half Moon Bay — jumped at the chance to look through Waters' personal items: pottery, sea shells, candlesticks and even a wooden cheese wheel.\u003c/p>\n\u003cp>“I guess I was a little naive about it. I thought I could casually do this,” she said. “But my daughter put it on Instagram, and that was the end of that.”\u003c/p>\n\u003cp>Waters spent the morning signing posters and cookbooks, and talking about the origin of various items.\u003c/p>\n\u003cp>When someone brought her a Chez Panisse breakfast menu to sign she said, “It just makes me want to cry.” It was from when the restaurant tried operating from 7:30 a.m. to 2 a.m. \"Needless to say, that was over in a week. It’s basically the breakfast we never served.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This is what Waters says she likes about flea markets: everything has a backstory. “I want to resist buying new. I’d rather just find something that was made to last,\" she said.\u003c/p>\n\u003cp>Waters even stopped some people from buying items that were too close to her, like a first edition cookbook.\u003c/p>\n\u003cp>Keasley Jones helped organize the event and says the money raised will go towards Waters’ nonprofit, \u003ca href=\"https://edibleschoolyard.org/\" target=\"_blank\" rel=\"noopener\">Edible Schoolyard\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And even though it was a big success, Waters says this was definitely a one time thing.\u003c/p>\n\u003cfigure id=\"attachment_11736917\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11736917 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/03/RS36289_Milo-Blue-of-Oakland-qut-1-800x600.jpg\" alt=\"Milo Blue of Oakland (right) hands out tickets to manage people's place in line. Blue came to the yard sale as a customer, but offered to help with crowd control.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS36289_Milo-Blue-of-Oakland-qut-1-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS36289_Milo-Blue-of-Oakland-qut-1-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS36289_Milo-Blue-of-Oakland-qut-1-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS36289_Milo-Blue-of-Oakland-qut-1-1200x900.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS36289_Milo-Blue-of-Oakland-qut-1.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS36289_Milo-Blue-of-Oakland-qut-1-1832x1374.jpg 1832w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS36289_Milo-Blue-of-Oakland-qut-1-1376x1032.jpg 1376w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS36289_Milo-Blue-of-Oakland-qut-1-1044x783.jpg 1044w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS36289_Milo-Blue-of-Oakland-qut-1-632x474.jpg 632w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS36289_Milo-Blue-of-Oakland-qut-1-536x402.jpg 536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Milo Blue of Oakland (right) hands out tickets to manage people's place in line. Blue came to the yard sale as a customer, but offered to help with crowd control. \u003ccite>(Caroline Champlin/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11736918\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11736918 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/03/RS36292_women-browsing-qut-800x600.jpg\" alt=\"Two women browse for cookbooks and more outside Chez Panisse in North Berkeley. People came from all over the Bay Area to look through chef Alice Waters' belongings.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS36292_women-browsing-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS36292_women-browsing-qut-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS36292_women-browsing-qut-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS36292_women-browsing-qut-1200x900.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS36292_women-browsing-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS36292_women-browsing-qut-1832x1374.jpg 1832w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS36292_women-browsing-qut-1376x1032.jpg 1376w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS36292_women-browsing-qut-1044x783.jpg 1044w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS36292_women-browsing-qut-632x474.jpg 632w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS36292_women-browsing-qut-536x402.jpg 536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Two women browse for cookbooks and more outside Chez Panisse in North Berkeley. People came from all over the Bay Area to look through chef Alice Waters' belongings. \u003ccite>(Caroline Champlin/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11736933\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11736933 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/03/RS36291_Letty-Van_Berkeley-qut-800x600.jpg\" alt=\"Letty Van of Berkeley looks over some ceramics at the sale. 'I was born and raised in Berkeley and just love this stuff.'\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS36291_Letty-Van_Berkeley-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS36291_Letty-Van_Berkeley-qut-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS36291_Letty-Van_Berkeley-qut-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS36291_Letty-Van_Berkeley-qut-1200x900.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS36291_Letty-Van_Berkeley-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS36291_Letty-Van_Berkeley-qut-1832x1374.jpg 1832w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS36291_Letty-Van_Berkeley-qut-1376x1032.jpg 1376w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS36291_Letty-Van_Berkeley-qut-1044x783.jpg 1044w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS36291_Letty-Van_Berkeley-qut-632x474.jpg 632w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS36291_Letty-Van_Berkeley-qut-536x402.jpg 536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Letty Van of Berkeley looks over some ceramics at the sale. 'I was born and raised in Berkeley and just love this stuff.' \u003ccite>(Caroline Champlin/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11736930\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11736930 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/03/RS36290_Sue-Lau-qut-1-e1554085042809-800x706.jpg\" alt=\"Sue Lau came to the sale with her daughter, Lei Lynn Lau, from Burlingame. Lau said people were crazy for waiting in line. 'These are all used things. You can go to the store and buy new things for less money.'\" width=\"800\" height=\"706\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS36290_Sue-Lau-qut-1-e1554085042809-800x706.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS36290_Sue-Lau-qut-1-e1554085042809-160x141.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS36290_Sue-Lau-qut-1-e1554085042809-1020x901.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS36290_Sue-Lau-qut-1-e1554085042809-1200x1060.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS36290_Sue-Lau-qut-1-e1554085042809.jpg 1530w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sue Lau came to the sale with her daughter, Lei Lynn Lau, from Burlingame. Lau said people were crazy for waiting in line. 'These are all used things. You can go to the store and buy new things for less money.' \u003ccite>(Caroline Champlin/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11736920\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11736920 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/03/RS36294_Collection-of-Seashells-qut-e1554085204900-800x501.jpg\" alt=\"A collection of seashells was another Waters artifact up for sale. 'I'm trying to sell all the things I've gathered over 47 years. And offer them to people who might really like to own them and treasure them,' Waters said.\" width=\"800\" height=\"501\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS36294_Collection-of-Seashells-qut-e1554085204900-800x501.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS36294_Collection-of-Seashells-qut-e1554085204900-160x100.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS36294_Collection-of-Seashells-qut-e1554085204900-1020x639.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS36294_Collection-of-Seashells-qut-e1554085204900-1200x752.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS36294_Collection-of-Seashells-qut-e1554085204900.jpg 1536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A collection of seashells was another Waters artifact up for sale. 'I'm trying to sell all the things I've gathered over 47 years. And offer them to people who might really like to own them and treasure them,' Waters said. \u003ccite>(Caroline Champlin/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This is what Waters says she likes about flea markets: everything has a backstory. “I want to resist buying new. I’d rather just find something that was made to last,\" she said.\u003c/p>\n\u003cp>Waters even stopped some people from buying items that were too close to her, like a first edition cookbook.\u003c/p>\n\u003cp>Keasley Jones helped organize the event and says the money raised will go towards Waters’ nonprofit, \u003ca href=\"https://edibleschoolyard.org/\" target=\"_blank\" rel=\"noopener\">Edible Schoolyard\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And even though it was a big success, Waters says this was definitely a one time thing.\u003c/p>\n\u003cfigure id=\"attachment_11736917\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11736917 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/03/RS36289_Milo-Blue-of-Oakland-qut-1-800x600.jpg\" alt=\"Milo Blue of Oakland (right) hands out tickets to manage people's place in line. Blue came to the yard sale as a customer, but offered to help with crowd control.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS36289_Milo-Blue-of-Oakland-qut-1-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS36289_Milo-Blue-of-Oakland-qut-1-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS36289_Milo-Blue-of-Oakland-qut-1-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS36289_Milo-Blue-of-Oakland-qut-1-1200x900.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS36289_Milo-Blue-of-Oakland-qut-1.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS36289_Milo-Blue-of-Oakland-qut-1-1832x1374.jpg 1832w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS36289_Milo-Blue-of-Oakland-qut-1-1376x1032.jpg 1376w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS36289_Milo-Blue-of-Oakland-qut-1-1044x783.jpg 1044w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS36289_Milo-Blue-of-Oakland-qut-1-632x474.jpg 632w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS36289_Milo-Blue-of-Oakland-qut-1-536x402.jpg 536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Milo Blue of Oakland (right) hands out tickets to manage people's place in line. Blue came to the yard sale as a customer, but offered to help with crowd control. \u003ccite>(Caroline Champlin/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11736918\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11736918 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/03/RS36292_women-browsing-qut-800x600.jpg\" alt=\"Two women browse for cookbooks and more outside Chez Panisse in North Berkeley. People came from all over the Bay Area to look through chef Alice Waters' belongings.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS36292_women-browsing-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS36292_women-browsing-qut-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS36292_women-browsing-qut-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS36292_women-browsing-qut-1200x900.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS36292_women-browsing-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS36292_women-browsing-qut-1832x1374.jpg 1832w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS36292_women-browsing-qut-1376x1032.jpg 1376w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS36292_women-browsing-qut-1044x783.jpg 1044w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS36292_women-browsing-qut-632x474.jpg 632w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS36292_women-browsing-qut-536x402.jpg 536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Two women browse for cookbooks and more outside Chez Panisse in North Berkeley. People came from all over the Bay Area to look through chef Alice Waters' belongings. \u003ccite>(Caroline Champlin/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11736933\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11736933 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/03/RS36291_Letty-Van_Berkeley-qut-800x600.jpg\" alt=\"Letty Van of Berkeley looks over some ceramics at the sale. 'I was born and raised in Berkeley and just love this stuff.'\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS36291_Letty-Van_Berkeley-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS36291_Letty-Van_Berkeley-qut-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS36291_Letty-Van_Berkeley-qut-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS36291_Letty-Van_Berkeley-qut-1200x900.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS36291_Letty-Van_Berkeley-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS36291_Letty-Van_Berkeley-qut-1832x1374.jpg 1832w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS36291_Letty-Van_Berkeley-qut-1376x1032.jpg 1376w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS36291_Letty-Van_Berkeley-qut-1044x783.jpg 1044w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS36291_Letty-Van_Berkeley-qut-632x474.jpg 632w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS36291_Letty-Van_Berkeley-qut-536x402.jpg 536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Letty Van of Berkeley looks over some ceramics at the sale. 'I was born and raised in Berkeley and just love this stuff.' \u003ccite>(Caroline Champlin/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11736930\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11736930 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/03/RS36290_Sue-Lau-qut-1-e1554085042809-800x706.jpg\" alt=\"Sue Lau came to the sale with her daughter, Lei Lynn Lau, from Burlingame. Lau said people were crazy for waiting in line. 'These are all used things. You can go to the store and buy new things for less money.'\" width=\"800\" height=\"706\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS36290_Sue-Lau-qut-1-e1554085042809-800x706.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS36290_Sue-Lau-qut-1-e1554085042809-160x141.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS36290_Sue-Lau-qut-1-e1554085042809-1020x901.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS36290_Sue-Lau-qut-1-e1554085042809-1200x1060.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS36290_Sue-Lau-qut-1-e1554085042809.jpg 1530w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sue Lau came to the sale with her daughter, Lei Lynn Lau, from Burlingame. Lau said people were crazy for waiting in line. 'These are all used things. You can go to the store and buy new things for less money.' \u003ccite>(Caroline Champlin/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11736920\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11736920 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/03/RS36294_Collection-of-Seashells-qut-e1554085204900-800x501.jpg\" alt=\"A collection of seashells was another Waters artifact up for sale. 'I'm trying to sell all the things I've gathered over 47 years. And offer them to people who might really like to own them and treasure them,' Waters said.\" width=\"800\" height=\"501\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS36294_Collection-of-Seashells-qut-e1554085204900-800x501.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS36294_Collection-of-Seashells-qut-e1554085204900-160x100.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS36294_Collection-of-Seashells-qut-e1554085204900-1020x639.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS36294_Collection-of-Seashells-qut-e1554085204900-1200x752.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS36294_Collection-of-Seashells-qut-e1554085204900.jpg 1536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A collection of seashells was another Waters artifact up for sale. 'I'm trying to sell all the things I've gathered over 47 years. And offer them to people who might really like to own them and treasure them,' Waters said. \u003ccite>(Caroline Champlin/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"title": "No Joke: Oakland Libraries To Extend Hours Starting April 1",
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"content": "\u003cp>They say \u003ca href=\"https://www.youtube.com/watch?v=p2WdtpNZjnU\" rel=\"noopener\" target=\"_blank\">having fun isn’t hard when you’ve got a library card\u003c/a>, and soon people with an Oakland Public Library card will be able to have even more fun as the system \u003ca href=\"http://oaklandlibrary.org/oakland-public-library-announces-expanded-hours-starting-april-1-2019\" rel=\"noopener\" target=\"_blank\">expands its hours\u003c/a> at all of its branches.\u003c/p>\n\u003cp>Starting April 1, the Main Library on 14th Street and the 81st Avenue branch will be open every day. The other 15 neighborhood branches (except for the Eastmont branch) will be open six days a week including two evenings until 8 p.m., and all branches will be open on Mondays. This adds an additional day to almost all branches and will also increase the number of days branches are open past 5:30 p.m.\u003c/p>\n\u003cp>The library is also extending the hours of its Tool Lending Library at the Telegraph branch and the African American Museum and Library at Oakland.\u003c/p>\n\u003cp>“We’ve heard pretty regularly that the hours aren’t as flexible as people would like,” said Library Director Jamie Turbak.\u003c/p>\n\u003cp>Library hours were cut in 2009 during the Great Recession, leaving most branches only open five days a week and on one evening. All 28 San Francisco Public Library branches are open seven days a week, and all 25 San Jose Public Library locations are open six days a week, with the Dr. Martin Luther King, Jr. branch open every day.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The expanded Oakland hours are being funded by \u003ca href=\"https://votersedge.org/ca/en/ballot/election/area/69/measures/measure/3110?election_authority_id=1\" rel=\"noopener\" target=\"_blank\">Measure D\u003c/a>, a $75 increase to the city’s library parcel tax, which voters approved by a 3-to-1 margin in June 2018. The tax is expected to bring in $10 million a year, much of which will go toward expanding the library system’s hours for the first time since 2004.\u003c/p>\n\u003cp>Turbak said the library has added nearly 100 new, mostly permanent staff positions to work the expanded hours, which will also allow for additional programming — like storytimes — as well as extending the library’s summer lunch program for kids to Mondays, a day that most branches have not been open.\u003c/p>\n\u003cp>The funds will also go toward increasing the library’s online content, such as e-books and databases, and some “light remodels” of the branches, according to Turbak. \u003c/p>\n\u003cp>If people make use of the extended hours over the next year, Turbak said the library will look into adding Sunday hours to more branches.\u003c/p>\n\u003cp>With the help of the Measure D funds, Turbak said the library is also asking the City Council to follow the lead of several other Bay Area libraries and get rid of fines for overdue library materials in the coming year.\u003c/p>\n\u003cp>\u003cstrong>Oakland Public Library Hours Starting April 1:\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Main Library\u003c/em>\u003cbr>\nMonday: 10 a.m. – 8 p.m.\u003cbr>\nTuesday: 10 a.m. – 8 p.m.\u003cbr>\nWednesday: 10 a.m. – 8 p.m.\u003cbr>\nThursday: 10 a.m. – 8 p.m.\u003cbr>\nFriday: 12 p.m. – 5:30 p.m.\u003cbr>\nSaturday: 10 a.m. – 5:30 p.m.\u003cbr>\nSunday: 10 a.m. – 5:30 p.m.\u003c/p>\n\u003cp>\u003cem>81st Avenue Branch\u003c/em>\u003cbr>\nMonday: 10 a.m. – 5:30 p.m.\u003cbr>\nTuesday: 10 a.m. – 8 p.m.\u003cbr>\nWednesday: 10 a.m. – 8 p.m.\u003cbr>\nThursday: 10 a.m. – 5:30 p.m.\u003cbr>\nFriday: 12 p.m. – 5:30 p.m.\u003cbr>\nSaturday: 10 a.m. – 5:30 p.m.\u003cbr>\nSunday: 10 a.m. – 5:30 p.m.\u003c/p>\n\u003cp>\u003cem>All other branches (except Eastmont)\u003c/em>\u003cbr>\nMonday: 10 a.m. – 5:30 p.m.\u003cbr>\nTuesday: 10 a.m. – 8 p.m.\u003cbr>\nWednesday: 10 a.m. – 8 p.m.\u003cbr>\nThursday: 10 a.m. – 5:30 p.m.\u003cbr>\nFriday: 12 p.m. – 5:30 p.m.\u003cbr>\nSaturday: 10 a.m. – 5:30 p.m.\u003cbr>\nSunday: Closed\u003c/p>\n\u003cp>\u003cem>Eastmont Branch\u003c/em>\u003cbr>\nMonday: 9 a.m. – 7 p.m.\u003cbr>\nTuesday: 9 a.m. – 5:30 p.m.\u003cbr>\nWednesday: 9 a.m. – 5:30 p.m.\u003cbr>\nThursday: 9 a.m. – 5:30 p.m.\u003cbr>\nFriday: 12 p.m. – 5:30 p.m.\u003cbr>\nSaturday: Closed\u003cbr>\nSunday: Closed\u003c/p>\n\u003cp>\u003cem>Tool Lending Library (at Telegraph Branch)\u003c/em>\u003cbr>\nMonday: 10 a.m. – 5:30 p.m.\u003cbr>\nTuesday: 10 a.m. – 8 p.m.\u003cbr>\nWednesday: 10 a.m. – 8 p.m.\u003cbr>\nThursday: 10 a.m. – 5:30 p.m.\u003cbr>\nFriday: 12 p.m. – 5:30 p.m.\u003cbr>\nSaturday: 10 a.m. – 5:30 p.m.\u003cbr>\nSunday: Closed\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>African American Museum and Library at Oakland (AAMLO)\u003c/em>\u003cbr>\nMonday: 10 a.m. – 5:30 p.m.\u003cbr>\nTuesday: 10 a.m. – 5:30 p.m.\u003cbr>\nWednesday: 10 a.m. – 5:30 p.m.\u003cbr>\nThursday: 10 a.m. – 5:30 p.m.\u003cbr>\nFriday: 12 p.m. – 5:30 p.m.\u003cbr>\nSaturday: 10 a.m. – 5:30 p.m.\u003cbr>\nSunday: Closed\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>They say \u003ca href=\"https://www.youtube.com/watch?v=p2WdtpNZjnU\" rel=\"noopener\" target=\"_blank\">having fun isn’t hard when you’ve got a library card\u003c/a>, and soon people with an Oakland Public Library card will be able to have even more fun as the system \u003ca href=\"http://oaklandlibrary.org/oakland-public-library-announces-expanded-hours-starting-april-1-2019\" rel=\"noopener\" target=\"_blank\">expands its hours\u003c/a> at all of its branches.\u003c/p>\n\u003cp>Starting April 1, the Main Library on 14th Street and the 81st Avenue branch will be open every day. The other 15 neighborhood branches (except for the Eastmont branch) will be open six days a week including two evenings until 8 p.m., and all branches will be open on Mondays. This adds an additional day to almost all branches and will also increase the number of days branches are open past 5:30 p.m.\u003c/p>\n\u003cp>The library is also extending the hours of its Tool Lending Library at the Telegraph branch and the African American Museum and Library at Oakland.\u003c/p>\n\u003cp>“We’ve heard pretty regularly that the hours aren’t as flexible as people would like,” said Library Director Jamie Turbak.\u003c/p>\n\u003cp>Library hours were cut in 2009 during the Great Recession, leaving most branches only open five days a week and on one evening. All 28 San Francisco Public Library branches are open seven days a week, and all 25 San Jose Public Library locations are open six days a week, with the Dr. Martin Luther King, Jr. branch open every day.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The expanded Oakland hours are being funded by \u003ca href=\"https://votersedge.org/ca/en/ballot/election/area/69/measures/measure/3110?election_authority_id=1\" rel=\"noopener\" target=\"_blank\">Measure D\u003c/a>, a $75 increase to the city’s library parcel tax, which voters approved by a 3-to-1 margin in June 2018. The tax is expected to bring in $10 million a year, much of which will go toward expanding the library system’s hours for the first time since 2004.\u003c/p>\n\u003cp>Turbak said the library has added nearly 100 new, mostly permanent staff positions to work the expanded hours, which will also allow for additional programming — like storytimes — as well as extending the library’s summer lunch program for kids to Mondays, a day that most branches have not been open.\u003c/p>\n\u003cp>The funds will also go toward increasing the library’s online content, such as e-books and databases, and some “light remodels” of the branches, according to Turbak. \u003c/p>\n\u003cp>If people make use of the extended hours over the next year, Turbak said the library will look into adding Sunday hours to more branches.\u003c/p>\n\u003cp>With the help of the Measure D funds, Turbak said the library is also asking the City Council to follow the lead of several other Bay Area libraries and get rid of fines for overdue library materials in the coming year.\u003c/p>\n\u003cp>\u003cstrong>Oakland Public Library Hours Starting April 1:\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Main Library\u003c/em>\u003cbr>\nMonday: 10 a.m. – 8 p.m.\u003cbr>\nTuesday: 10 a.m. – 8 p.m.\u003cbr>\nWednesday: 10 a.m. – 8 p.m.\u003cbr>\nThursday: 10 a.m. – 8 p.m.\u003cbr>\nFriday: 12 p.m. – 5:30 p.m.\u003cbr>\nSaturday: 10 a.m. – 5:30 p.m.\u003cbr>\nSunday: 10 a.m. – 5:30 p.m.\u003c/p>\n\u003cp>\u003cem>81st Avenue Branch\u003c/em>\u003cbr>\nMonday: 10 a.m. – 5:30 p.m.\u003cbr>\nTuesday: 10 a.m. – 8 p.m.\u003cbr>\nWednesday: 10 a.m. – 8 p.m.\u003cbr>\nThursday: 10 a.m. – 5:30 p.m.\u003cbr>\nFriday: 12 p.m. – 5:30 p.m.\u003cbr>\nSaturday: 10 a.m. – 5:30 p.m.\u003cbr>\nSunday: 10 a.m. – 5:30 p.m.\u003c/p>\n\u003cp>\u003cem>All other branches (except Eastmont)\u003c/em>\u003cbr>\nMonday: 10 a.m. – 5:30 p.m.\u003cbr>\nTuesday: 10 a.m. – 8 p.m.\u003cbr>\nWednesday: 10 a.m. – 8 p.m.\u003cbr>\nThursday: 10 a.m. – 5:30 p.m.\u003cbr>\nFriday: 12 p.m. – 5:30 p.m.\u003cbr>\nSaturday: 10 a.m. – 5:30 p.m.\u003cbr>\nSunday: Closed\u003c/p>\n\u003cp>\u003cem>Eastmont Branch\u003c/em>\u003cbr>\nMonday: 9 a.m. – 7 p.m.\u003cbr>\nTuesday: 9 a.m. – 5:30 p.m.\u003cbr>\nWednesday: 9 a.m. – 5:30 p.m.\u003cbr>\nThursday: 9 a.m. – 5:30 p.m.\u003cbr>\nFriday: 12 p.m. – 5:30 p.m.\u003cbr>\nSaturday: Closed\u003cbr>\nSunday: Closed\u003c/p>\n\u003cp>\u003cem>Tool Lending Library (at Telegraph Branch)\u003c/em>\u003cbr>\nMonday: 10 a.m. – 5:30 p.m.\u003cbr>\nTuesday: 10 a.m. – 8 p.m.\u003cbr>\nWednesday: 10 a.m. – 8 p.m.\u003cbr>\nThursday: 10 a.m. – 5:30 p.m.\u003cbr>\nFriday: 12 p.m. – 5:30 p.m.\u003cbr>\nSaturday: 10 a.m. – 5:30 p.m.\u003cbr>\nSunday: Closed\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>African American Museum and Library at Oakland (AAMLO)\u003c/em>\u003cbr>\nMonday: 10 a.m. – 5:30 p.m.\u003cbr>\nTuesday: 10 a.m. – 5:30 p.m.\u003cbr>\nWednesday: 10 a.m. – 5:30 p.m.\u003cbr>\nThursday: 10 a.m. – 5:30 p.m.\u003cbr>\nFriday: 12 p.m. – 5:30 p.m.\u003cbr>\nSaturday: 10 a.m. – 5:30 p.m.\u003cbr>\nSunday: Closed\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "What's Up With the 'Weeping Women' at the Palace of Fine Arts?",
"headTitle": "What’s Up With the ‘Weeping Women’ at the Palace of Fine Arts? | KQED",
"content": "\u003cp>The Palace of Fine Arts is an iconic San Francisco location, a favorite for engagement photos and tour groups.\u003c/p>\n\u003cp>Across a scenic lake sits the giant pastel rotunda, flanked by two colonnades. At the top of those colonnades is a series of large concrete boxes surrounded on each corner by “weeping women.” These women have their backs turned to the viewer and lay their heads upon the tops of the boxes, obscuring their presumably mournful faces.\u003c/p>\n\u003cp>These women have puzzled some passers-by: “Why do the women at the top of the Palace of Fine Arts have their backs turned?” asks Emily Stauffer.\u003c/p>\n\u003cfigure id=\"attachment_11732273\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-11732273 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/03/IMG_4198-800x600.jpg\" alt=\"Emily Stauffer in front of the Palace of Fine Arts.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/03/IMG_4198-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/IMG_4198-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/IMG_4198-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/IMG_4198-1200x900.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/IMG_4198-1920x1440.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/IMG_4198.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Emily Stauffer in front of the Palace of Fine Arts. \u003ccite>(Jessica Placzek/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>The 1915 World’s Fair\u003c/h3>\n\u003cp>The Palace of Fine Arts was built for the 1915 World’s Fair, also called the Panama-Pacific International Exhibition. The PPIE honored the completion of the Panama Canal and was seen as a way for San Francisco to show the world it had risen from the ashes of the devastating 1906 earthquake and fire.\u003c/p>\n\u003cp>Across the city, temporary buildings were constructed for fairgoers. Among them were showstoppers like the \u003ca href=\"http://www.sanfranciscomemories.com/ppie/TowerOfJewels.html\" target=\"_blank\" rel=\"noopener\">Tower of Jewels\u003c/a>, which scintillated with thousands of colorful cut glass gems. Courtyards were landscaped, clubhouses tricked out, and a number of “palaces” were built around various themes like transportation, food, agriculture, metallurgy and of course … fine arts.\u003c/p>\n\u003ch3>The Palace of Fine Arts\u003c/h3>\n\u003cp>During the fair, the Palace of Fine Arts showcased works ranging from the Renaissance to more contemporary pieces. The rotunda and colonnade served as the gateway to see the art inside.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Bernard Maybeck designed the Palace of Fine Arts to emphasize the European influences on American culture and to convey a sense of mystery. “He wished to evoke the ‘sad, minor note’ of ‘an old Roman ruin … partly covered with bushes and trees,” wrote James Ganz in “Jewel City: Art From San Francisco’s Panama-Pacific International Exposition.”\u003c/p>\n\u003cp>[baycuriouspodcastinfo]\u003c/p>\n\u003cp>Maybeck worked with sculptor Ulric Ellerhusen to make the weeping women. The melancholy figures with their backs turned were supposed to enhance the idea of sadness and ruin. He wanted to strike a quiet and reflective tone amid a bustling and stimulating fair.\u003c/p>\n\u003cp>Maybeck planned to fill the giant boxes with flowers and vines so that the women would be shrouded in plant life, and only partially seen. However, due to cost, the vines were never installed, and thus the melancholy ladies have always been exposed.\u003c/p>\n\u003cfigure id=\"attachment_11735914\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-medium wp-image-11735914\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/03/GettyImages-86813409-800x541.jpg\" alt=\"The Palace, built in 1915, was designed by architect Bernard Maybeck for the 1915 Panama-Pacific International Expo. The Palace is the only remaining structure from the Panama-Pacific Expo. \" width=\"800\" height=\"541\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/03/GettyImages-86813409-800x541.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/GettyImages-86813409-160x108.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/GettyImages-86813409-1020x690.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/GettyImages-86813409.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Palace, built in 1915, was designed by architect Bernard Maybeck for the 1915 Panama-Pacific International Expo. The Palace is the only remaining structure from the Panama-Pacific Expo. \u003ccite>(Justin Sullivan/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like all the other structures at the PPIE, the Palace of Fine Arts was built for temporary use, and construction materials were chosen almost as if they were building a stage set. All the columns, figures, walls and entablatures were made of plaster.\u003c/p>\n\u003cp>After the fair, when most other structures were destroyed, the Palace of Fine Arts got a pass from the wrecking ball. It was saved by the Palace Preservationist League, founded by Phoebe Apperson Hearst, the mother of William Randolph Hearst. However, due to the weak materials it was made from, as the years passed, it became in desperate need of repair. In the 1960s it was completely reconstructed, using more lasting materials like concrete. And after seismic retrofitting was completed in 2009, it looks like these ladies will be weeping well into the future.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>[baycuriousquestion]\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Palace of Fine Arts is an iconic San Francisco location, a favorite for engagement photos and tour groups.\u003c/p>\n\u003cp>Across a scenic lake sits the giant pastel rotunda, flanked by two colonnades. At the top of those colonnades is a series of large concrete boxes surrounded on each corner by “weeping women.” These women have their backs turned to the viewer and lay their heads upon the tops of the boxes, obscuring their presumably mournful faces.\u003c/p>\n\u003cp>These women have puzzled some passers-by: “Why do the women at the top of the Palace of Fine Arts have their backs turned?” asks Emily Stauffer.\u003c/p>\n\u003cfigure id=\"attachment_11732273\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-11732273 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/03/IMG_4198-800x600.jpg\" alt=\"Emily Stauffer in front of the Palace of Fine Arts.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/03/IMG_4198-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/IMG_4198-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/IMG_4198-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/IMG_4198-1200x900.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/IMG_4198-1920x1440.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/IMG_4198.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Emily Stauffer in front of the Palace of Fine Arts. \u003ccite>(Jessica Placzek/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>The 1915 World’s Fair\u003c/h3>\n\u003cp>The Palace of Fine Arts was built for the 1915 World’s Fair, also called the Panama-Pacific International Exhibition. The PPIE honored the completion of the Panama Canal and was seen as a way for San Francisco to show the world it had risen from the ashes of the devastating 1906 earthquake and fire.\u003c/p>\n\u003cp>Across the city, temporary buildings were constructed for fairgoers. Among them were showstoppers like the \u003ca href=\"http://www.sanfranciscomemories.com/ppie/TowerOfJewels.html\" target=\"_blank\" rel=\"noopener\">Tower of Jewels\u003c/a>, which scintillated with thousands of colorful cut glass gems. Courtyards were landscaped, clubhouses tricked out, and a number of “palaces” were built around various themes like transportation, food, agriculture, metallurgy and of course … fine arts.\u003c/p>\n\u003ch3>The Palace of Fine Arts\u003c/h3>\n\u003cp>During the fair, the Palace of Fine Arts showcased works ranging from the Renaissance to more contemporary pieces. The rotunda and colonnade served as the gateway to see the art inside.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Bernard Maybeck designed the Palace of Fine Arts to emphasize the European influences on American culture and to convey a sense of mystery. “He wished to evoke the ‘sad, minor note’ of ‘an old Roman ruin … partly covered with bushes and trees,” wrote James Ganz in “Jewel City: Art From San Francisco’s Panama-Pacific International Exposition.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003caside class=\"alignleft utils-parseShortcode-shortcodes-__bayCuriousPodcastShortcode__bayCurious\">\u003cimg src=https://cdn.kqed.org/wp-content/uploads/2023/02/bayCuriousLogo.png alt=\"Bay Curious Podcast\" loading=\"lazy\" />\n \u003ca href=\"/news/series/baycurious\">Bay Curious\u003c/a> is a podcast that answers your questions about the Bay Area.\n Subscribe on \u003ca href=\"https://itunes.apple.com/us/podcast/bay-curious/id1172473406\" target=\"_blank\" rel=\"noopener noreferrer\">Apple Podcasts\u003c/a>,\n \u003ca href=\"http://www.npr.org/podcasts/500557090/bay-curious\" target=\"_blank\" rel=\"noopener noreferrer\">NPR One\u003c/a> or your favorite podcast platform.\u003c/aside>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Maybeck worked with sculptor Ulric Ellerhusen to make the weeping women. The melancholy figures with their backs turned were supposed to enhance the idea of sadness and ruin. He wanted to strike a quiet and reflective tone amid a bustling and stimulating fair.\u003c/p>\n\u003cp>Maybeck planned to fill the giant boxes with flowers and vines so that the women would be shrouded in plant life, and only partially seen. However, due to cost, the vines were never installed, and thus the melancholy ladies have always been exposed.\u003c/p>\n\u003cfigure id=\"attachment_11735914\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-medium wp-image-11735914\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/03/GettyImages-86813409-800x541.jpg\" alt=\"The Palace, built in 1915, was designed by architect Bernard Maybeck for the 1915 Panama-Pacific International Expo. The Palace is the only remaining structure from the Panama-Pacific Expo. \" width=\"800\" height=\"541\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/03/GettyImages-86813409-800x541.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/GettyImages-86813409-160x108.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/GettyImages-86813409-1020x690.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/GettyImages-86813409.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Palace, built in 1915, was designed by architect Bernard Maybeck for the 1915 Panama-Pacific International Expo. The Palace is the only remaining structure from the Panama-Pacific Expo. \u003ccite>(Justin Sullivan/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like all the other structures at the PPIE, the Palace of Fine Arts was built for temporary use, and construction materials were chosen almost as if they were building a stage set. All the columns, figures, walls and entablatures were made of plaster.\u003c/p>\n\u003cp>After the fair, when most other structures were destroyed, the Palace of Fine Arts got a pass from the wrecking ball. It was saved by the Palace Preservationist League, founded by Phoebe Apperson Hearst, the mother of William Randolph Hearst. However, due to the weak materials it was made from, as the years passed, it became in desperate need of repair. In the 1960s it was completely reconstructed, using more lasting materials like concrete. And after seismic retrofitting was completed in 2009, it looks like these ladies will be weeping well into the future.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "Nowruz From Afar: What the Persian New Year Means to Me",
"title": "Nowruz From Afar: What the Persian New Year Means to Me",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>I was born in Los Angeles, but the memory of Iran invokes a potent nostalgia for my parents and older relatives, who all completely uprooted themselves to escape religious persecution during the country's revolution in the late 1970s.\u003c/p>\n\u003cp>The Iran of today doesn’t align with my family’s stories about the Iran of 40 years ago.\u003c/p>\n\u003cp>Still, I dream of visiting. It's an aspiration that grows especially strong during Nowruz, the Persian New Year, which coincides with the start of spring.\u003c/p>\n\u003cp>But I may never be able to experience Iran for myself. Beyond the geopolitical complications, being a Jewish woman, and an artist, makes a visit especially risky.\u003c/p>\n\u003cp>So I live with the possibility that I may never go to Iran. I wish I could see where my parents grew up in Tehran, where all our customs, food, language, and the indescribable ways of our being originated.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I have only recently begun engaging with my Iranian culture, in hopes of partially reversing my assimilation. My parents have proudly championed their desire to adapt in order to survive here as immigrants. I saw this throughout my upbringing in Los Angeles. My first name has no relation to my heritage. I have a Southern California accent and a laid back demeanor to match. I went to schools where there were just a handful of Persian students.\u003c/p>\n\u003cfigure id=\"attachment_11734629\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11734629\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/03/RS36055_02320026-edit-qut-800x530.jpg\" alt=\"\" width=\"800\" height=\"530\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS36055_02320026-edit-qut-800x530.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS36055_02320026-edit-qut-160x106.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS36055_02320026-edit-qut-1020x676.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS36055_02320026-edit-qut-1200x795.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS36055_02320026-edit-qut.jpg 1545w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Navi's mother lighting Shabbat candles at their Los Angeles home. \u003ccite>(Candice Navi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even though there are a lot of Iranian Jews in L.A., the coexistence of these two identities confuses people who are only familiar with contemporary politics in the Middle East. Perhaps they’re not aware of the thousands of years Jews have been in the region.\u003c/p>\n\u003cp>For most of my life, I have felt closer to Judaism than to my Iranian heritage. And my connection to Iran was limited to food and conversational Farsi.\u003c/p>\n\u003cp>But after college, I asked my parents to exclusively speak to me in Farsi. I’ve even been studying how to read and write it.\u003c/p>\n\u003cp>I love living in L.A. because Persian culture is so accessible, so embedded in the city’s landscape. I now seek out the work of local Iranian artists, I read books by Persian authors and poets, listen to cheesy Persian party music and watch Iranian movies at the indie theater a few blocks from where I grew up.\u003c/p>\n\u003cfigure id=\"attachment_11734630\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11734630\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/03/RS36054_02320009-edit-qut-800x530.jpg\" alt=\"\" width=\"800\" height=\"530\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS36054_02320009-edit-qut-800x530.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS36054_02320009-edit-qut-160x106.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS36054_02320009-edit-qut-1020x676.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS36054_02320009-edit-qut-1200x795.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS36054_02320009-edit-qut.jpg 1545w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Like many Iranian households, Navi's home is draped with Persian rugs, a symbol of Iranian artistry. \u003ccite>(Candice Navi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And yet my memories are peppered with moments in which I was forced to realize I was different. I remember elementary school classmates making fun of my lunches, confusing the dill on my rice for ants. I remember strangers questioning if I was from L.A., asking things like, “No, where are you really from?” When I finally met more Iranians in college, they all jokingly referred to me as “white-washed.”\u003c/p>\n\u003cp>This is the struggle of a first-generation American: simultaneously belonging and not belonging.\u003c/p>\n\u003cp>Though I may never see Iran for myself, I have spent my adult life reclaiming my heritage and grasping for my family’s history, language, religion, and culture before it fades into the American abyss. During Nowruz and throughout the year, I want my heritage to be something I lovingly and proudly carry with me.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Candice Navi is a Graphic Design MFA student at CalArts, where her work often explores her Middle Eastern heritage. This piece is a part of a series she created about the Iranian matriarchs in her family.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I was born in Los Angeles, but the memory of Iran invokes a potent nostalgia for my parents and older relatives, who all completely uprooted themselves to escape religious persecution during the country's revolution in the late 1970s.\u003c/p>\n\u003cp>The Iran of today doesn’t align with my family’s stories about the Iran of 40 years ago.\u003c/p>\n\u003cp>Still, I dream of visiting. It's an aspiration that grows especially strong during Nowruz, the Persian New Year, which coincides with the start of spring.\u003c/p>\n\u003cp>But I may never be able to experience Iran for myself. Beyond the geopolitical complications, being a Jewish woman, and an artist, makes a visit especially risky.\u003c/p>\n\u003cp>So I live with the possibility that I may never go to Iran. I wish I could see where my parents grew up in Tehran, where all our customs, food, language, and the indescribable ways of our being originated.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I have only recently begun engaging with my Iranian culture, in hopes of partially reversing my assimilation. My parents have proudly championed their desire to adapt in order to survive here as immigrants. I saw this throughout my upbringing in Los Angeles. My first name has no relation to my heritage. I have a Southern California accent and a laid back demeanor to match. I went to schools where there were just a handful of Persian students.\u003c/p>\n\u003cfigure id=\"attachment_11734629\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11734629\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/03/RS36055_02320026-edit-qut-800x530.jpg\" alt=\"\" width=\"800\" height=\"530\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS36055_02320026-edit-qut-800x530.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS36055_02320026-edit-qut-160x106.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS36055_02320026-edit-qut-1020x676.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS36055_02320026-edit-qut-1200x795.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS36055_02320026-edit-qut.jpg 1545w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Navi's mother lighting Shabbat candles at their Los Angeles home. \u003ccite>(Candice Navi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even though there are a lot of Iranian Jews in L.A., the coexistence of these two identities confuses people who are only familiar with contemporary politics in the Middle East. Perhaps they’re not aware of the thousands of years Jews have been in the region.\u003c/p>\n\u003cp>For most of my life, I have felt closer to Judaism than to my Iranian heritage. And my connection to Iran was limited to food and conversational Farsi.\u003c/p>\n\u003cp>But after college, I asked my parents to exclusively speak to me in Farsi. I’ve even been studying how to read and write it.\u003c/p>\n\u003cp>I love living in L.A. because Persian culture is so accessible, so embedded in the city’s landscape. I now seek out the work of local Iranian artists, I read books by Persian authors and poets, listen to cheesy Persian party music and watch Iranian movies at the indie theater a few blocks from where I grew up.\u003c/p>\n\u003cfigure id=\"attachment_11734630\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11734630\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/03/RS36054_02320009-edit-qut-800x530.jpg\" alt=\"\" width=\"800\" height=\"530\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS36054_02320009-edit-qut-800x530.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS36054_02320009-edit-qut-160x106.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS36054_02320009-edit-qut-1020x676.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS36054_02320009-edit-qut-1200x795.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS36054_02320009-edit-qut.jpg 1545w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Like many Iranian households, Navi's home is draped with Persian rugs, a symbol of Iranian artistry. \u003ccite>(Candice Navi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And yet my memories are peppered with moments in which I was forced to realize I was different. I remember elementary school classmates making fun of my lunches, confusing the dill on my rice for ants. I remember strangers questioning if I was from L.A., asking things like, “No, where are you really from?” When I finally met more Iranians in college, they all jokingly referred to me as “white-washed.”\u003c/p>\n\u003cp>This is the struggle of a first-generation American: simultaneously belonging and not belonging.\u003c/p>\n\u003cp>Though I may never see Iran for myself, I have spent my adult life reclaiming my heritage and grasping for my family’s history, language, religion, and culture before it fades into the American abyss. During Nowruz and throughout the year, I want my heritage to be something I lovingly and proudly carry with me.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Candice Navi is a Graphic Design MFA student at CalArts, where her work often explores her Middle Eastern heritage. This piece is a part of a series she created about the Iranian matriarchs in her family.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "New 'Valley Girl Redefined' Art Show Shatters Gender and Socioeconomic Archetypes",
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"headTitle": "The California Report | KQED News",
"content": "\u003cp>Artist, \u003ca href=\"https://soundcloud.com/rainlucienmatheke\" target=\"_blank\" rel=\"noopener\">musician\u003c/a> and poet \u003ca href=\"http://www.iamjustaghost.com/\" target=\"_blank\" rel=\"noopener\">Rain Lucien Matheke\u003c/a> is about as far from the typical Valley Girl stereotype as one can get. That’s because when her family moved to the sprawling San Fernando Valley from Pennsylvania when she was a kid about 25 years ago, she was identified by others as a \u003cem>boy\u003c/em>.\u003c/p>\n\u003cp>“I have tried to come out as a trans woman since I could talk, even before I understood what that was,” says Matheke, speaking at a small table with a group of other artists at the palatial \u003ca href=\"https://www.brandlibrary.org/\" target=\"_blank\" rel=\"noopener\">Brand Library and Art Center\u003c/a> perched in the picturesque foothills above north Glendale.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Matheke’s writing and multimedia art work takes on gender identity, mortality and her own struggles with illness and depression. She’s among the artists spotlighted in the \u003ca href=\"https://www.facebook.com/events/272560573449087/\" target=\"_blank\" rel=\"noopener\">\u003cem>Valley Girl Redefined\u003c/em>\u003c/a> exhibit presented by curators Erin Stone and Addy Gonzales-Renteria of \u003cem>\u003ca href=\"https://www.1111acc.org/\" target=\"_blank\" rel=\"noopener\">11:11 A Creative Collective\u003c/a>. \u003c/em>\u003c/p>\n\u003cdiv class=\"mceTemp\">\u003c/div>\n\u003cfigure id=\"attachment_11733026\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11733026\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/03/RAIN-close-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/03/RAIN-close-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RAIN-close-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RAIN-close-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RAIN-close-1200x900.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RAIN-close.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rain Lucien Matheke and her 'Confessional Haiku' series in the background. \u003ccite>(Steven Cuevas/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Wearing an olive-green sweater, matching green hair and speaking with a slight but distinct ‘Val’ twang, Matheke, though assigned a male gender at birth, does identify as a Valley Girl.\u003c/p>\n\u003cp>“I mean I have to right? Like listen to the way I talk, sure. But like, you know, I’m far more than my ability to consume,” she laughs.\u003c/p>\n\u003cp>\u003cem>\"Encino is like soo bitchin'\u003c/em>\u003cbr>\n\u003cem>There's like the Galleria \u003c/em>\u003cbr>\n\u003cem>And like all these like really great shoe stores\u003c/em>\u003cbr>\n\u003cem>I love going into like clothing stores and stuff\u003c/em>\u003cbr>\n\u003cem>I like buy the neatest mini-skirts and stuff\u003c/em>\u003cbr>\n\u003cem>It's like so bitchin'...\"\u003c/em>\u003c/p>\n\u003cp>-\"Valley Girl\" (1982) Frank & Moon Zappa\u003c/p>\n\u003cp>Mindless consumerism, preferably at a mall in Glendale or Encino, is part of the stereotype set loose on the world via Frank and daughter \u003ca href=\"https://www.youtube.com/watch?v=Qb21lsCQ3EM\" target=\"_blank\" rel=\"noopener\">Moon Zappa’s 1982 hit song\u003c/a> and as a stock character in tons of TV shows and teen movies, like “Clueless” and the 1983 surprise box office hit “Valley Girl” (both of which were coincidentally directed by women).\u003c/p>\n\u003cp>The Valley Girl that was introduced to the world nearly 40 years ago remains, for better or worse, a stubbornly long lasting Southern California pop culture icon. One that comes with a lot of baggage, say some of the roughly two dozen San Fernando Valley-based artists invited to participate in the Glendale exhibit.\u003c/p>\n\u003cp>The typical Valley Girl was and is typically seen as a skinny, slang talking, dim-witted suburban white girl obsessed with boys, shoe sales and toenail polish. That's despite the fact that the Valley, which includes the cities of Burbank, Glendale and North L.A., is home to one of the most racially and economically diverse populations in the region.\u003c/p>\n\u003cfigure id=\"attachment_11733018\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11733018\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/03/MICHELLE-S-smiles-800x519.jpg\" alt=\"\" width=\"800\" height=\"519\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/03/MICHELLE-S-smiles-800x519.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/MICHELLE-S-smiles-160x104.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/MICHELLE-S-smiles-1020x661.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/MICHELLE-S-smiles-1200x778.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/MICHELLE-S-smiles.jpg 1488w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist and photographer Monica Sandoval with self portrait 'Together Again.' \u003ccite>(Steven Cuevas/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Photographer \u003ca href=\"http://monicasandoval.com/\" target=\"_blank\" rel=\"noopener\">Monica Sandoval\u003c/a> has mixed feelings about Valley Girl identity. On one hand, she loved to do a lot of the stuff that the cliche \"Val\" loved to do.\u003c/p>\n\u003cp>But Sandoval also shatters the archetype. She’s Latina for one. And perhaps most subversively of all — at least when it comes to the Valley Girl ideal — Sandoval is, in her own words, \"fat.\"\u003c/p>\n\u003cp>“Growing up, the Valley Girl was always something like a caricature, just something funny,” says Sandoval. “But it totally influenced the way I would see myself in the mirror. Not liking the size of my body or my face. Because I didn’t fit into that stereotype of the Valley Girl.”\u003c/p>\n\u003cfigure id=\"attachment_11733035\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11733035\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/03/CHRISTINE-RAMOS-GIRL-W-CHICK-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/03/CHRISTINE-RAMOS-GIRL-W-CHICK-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/CHRISTINE-RAMOS-GIRL-W-CHICK-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/CHRISTINE-RAMOS-GIRL-W-CHICK-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/CHRISTINE-RAMOS-GIRL-W-CHICK-1200x900.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/CHRISTINE-RAMOS-GIRL-W-CHICK.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Christine Ramos' painting 'Girl With Chicken' is perhaps more reflective of the typical Valley Girl of the past half-century. (Steven Cuevas/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>Sandoval’s vivid, large format photograph \"Together Again\" commands the Brand’s main gallery space. The carefully staged image riffs on the old Humpty Dumpty nursery rhyme.\u003c/p>\n\u003cp>In it, Sandoval is face down in the foreground. Her body is mysteriously sprawled out in front of an ivy-covered brick wall. A viewer may wonder, did she fall? Was she pushed? Sandoval wears a revealing one-piece bathing suit and lies atop a squashed bed of riotously colorful flowers, her legs twisted up behind her.\u003c/p>\n\u003cp>Her face is turned away from the camera, but she doesn't hide her body. Not anymore, she says. Her bare back, legs and arms are exposed to the viewer.\u003c/p>\n\u003cp>“Once I started to own it, that opened up doors for people to talk to me about their own fears of their own bodies, (and) show the world its OK to be whatever you want to be,” says Sandoval.\u003c/p>\n\u003cfigure id=\"attachment_11733038\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11733038\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/03/NUNES-purple-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/03/NUNES-purple-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/NUNES-purple-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/NUNES-purple-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/NUNES-purple-1200x800.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/NUNES-purple.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Visual artist Michelle Nunes stands inside her immersive installation included in the Valley Girl Redefined exhibit. \u003ccite>(Steven Cuevas/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Conceptual video maker \u003ca href=\"http://www.michellenunesart.com/\" target=\"_blank\" rel=\"noopener\">Michelle Nunes\u003c/a> admits a little Valley Girl exists in her too. But her work goes beyond the San Fernando Valley to take on cornerstones of American identity and culture: junk food, patriotism and guns.\u003c/p>\n\u003cp>“Just take these kind of gluttonous and unsafe acts that we just have embedded in our society, and I’m going to put them together in one video.”\u003c/p>\n\u003cp>In her six-minute video\u003ca href=\"https://vimeo.com/238438272\" target=\"_blank\" rel=\"noopener\"> Little Liberty,\u003c/a> the camera zooms in tight on Nunes’ face as she force-feeds herself marshmallows. As she tries to choke those down, she also tries to choke out directions for how to install a bump stock on a firearm, similar to the kind used by the Las Vegas mass shooter in 2017.\u003c/p>\n\u003cp>The action is punctuated by explosions of fireworks, Nunes’ voice slightly sped up to sound like a child because, she says, it’s children who can be disproportionately be affected by gun violence.\u003c/p>\n\u003cfigure id=\"attachment_11733050\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11733050\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/03/RAIN-flowers-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/03/RAIN-flowers-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RAIN-flowers-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RAIN-flowers-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RAIN-flowers-1200x900.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RAIN-flowers.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dried flowers from a recent memorial are part of Rain Lucien Matheke's provocative 'Confessional Haiku' series. \u003ccite>(Steven Cuevas/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“You can still participate in this (gun) culture that is allowing this to happen and I was like, 'this is madness,'\" she says. \"It really (is) just this never-ending cycle of a depletion of life and then we’re just going to consume more of this tradition.”\u003c/p>\n\u003cp>Another recent mass shooting, just months ago at the Borderline Bar and Grill in Ventura County, also plays into a large installation by Rain Matheke.\u003c/p>\n\u003cp>She fabricated a faux mausoleum wall complete with dried flowers and grave markers. Talking inside the gallery, with the sound of chimes drifting in from an adjacent installation, Matheke says the work, a series dubbed \"Confessional Haikus,\" was partly inspired by the murder of \u003ca href=\"https://www.latimes.com/local/california/la-me-ln-noel-sparks-20181120-story.html\" target=\"_blank\" rel=\"noopener\">Noel Sparks\u003c/a>, a 21-year-old student who was killed in the Borderline massacre. She was an art student at Moorpark College near Thousand Oaks where Matheke also works.\u003c/p>\n\u003cp>“We had a memorial for her and (afterward) I rescued some of the flowers from the trash. And she was an aspiring artist,” says Matheke.\u003c/p>\n\u003cp>But instead of names on the copper grave markers, Matheke instead engraved each with a different haiku that reflects her own Valley Girl identity.\u003c/p>\n\u003cp>“This is probably my favorite,” says Matheke, peering closely at her handiwork.\u003c/p>\n\u003cp>“'How can I be real, when I am half dead, and half disassociated,'” she reads.\u003c/p>\n\u003cp>“Like that’s how I start my day,” she laughs.\u003c/p>\n\u003cp>Matheke also lives with a rare, life-threatening immune deficiency disease that requires monthly blood transfusions and can leave her physically and mentally exhausted.\u003c/p>\n\u003cp>But she says as a trans woman, this exhibit has rejuvenated her.\u003c/p>\n\u003cp>“To be, like, approached to participate in the show, I felt visible. Not even just as a woman but as a human,” she says. “And that was, like, really profound.”\u003c/p>\n\u003cp>\u003cem>\"Valley Girl Redefined,\" curated by Erin Stone and Addy Gonzales-Renteria of 11:11 Creative Collective, is on view at the Brand Library and Art Center in Glendale through March 22. Curators hope to stage a second exhibition later this year.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Artist, \u003ca href=\"https://soundcloud.com/rainlucienmatheke\" target=\"_blank\" rel=\"noopener\">musician\u003c/a> and poet \u003ca href=\"http://www.iamjustaghost.com/\" target=\"_blank\" rel=\"noopener\">Rain Lucien Matheke\u003c/a> is about as far from the typical Valley Girl stereotype as one can get. That’s because when her family moved to the sprawling San Fernando Valley from Pennsylvania when she was a kid about 25 years ago, she was identified by others as a \u003cem>boy\u003c/em>.\u003c/p>\n\u003cp>“I have tried to come out as a trans woman since I could talk, even before I understood what that was,” says Matheke, speaking at a small table with a group of other artists at the palatial \u003ca href=\"https://www.brandlibrary.org/\" target=\"_blank\" rel=\"noopener\">Brand Library and Art Center\u003c/a> perched in the picturesque foothills above north Glendale.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Matheke’s writing and multimedia art work takes on gender identity, mortality and her own struggles with illness and depression. She’s among the artists spotlighted in the \u003ca href=\"https://www.facebook.com/events/272560573449087/\" target=\"_blank\" rel=\"noopener\">\u003cem>Valley Girl Redefined\u003c/em>\u003c/a> exhibit presented by curators Erin Stone and Addy Gonzales-Renteria of \u003cem>\u003ca href=\"https://www.1111acc.org/\" target=\"_blank\" rel=\"noopener\">11:11 A Creative Collective\u003c/a>. \u003c/em>\u003c/p>\n\u003cdiv class=\"mceTemp\">\u003c/div>\n\u003cfigure id=\"attachment_11733026\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11733026\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/03/RAIN-close-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/03/RAIN-close-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RAIN-close-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RAIN-close-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RAIN-close-1200x900.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RAIN-close.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rain Lucien Matheke and her 'Confessional Haiku' series in the background. \u003ccite>(Steven Cuevas/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Wearing an olive-green sweater, matching green hair and speaking with a slight but distinct ‘Val’ twang, Matheke, though assigned a male gender at birth, does identify as a Valley Girl.\u003c/p>\n\u003cp>“I mean I have to right? Like listen to the way I talk, sure. But like, you know, I’m far more than my ability to consume,” she laughs.\u003c/p>\n\u003cp>\u003cem>\"Encino is like soo bitchin'\u003c/em>\u003cbr>\n\u003cem>There's like the Galleria \u003c/em>\u003cbr>\n\u003cem>And like all these like really great shoe stores\u003c/em>\u003cbr>\n\u003cem>I love going into like clothing stores and stuff\u003c/em>\u003cbr>\n\u003cem>I like buy the neatest mini-skirts and stuff\u003c/em>\u003cbr>\n\u003cem>It's like so bitchin'...\"\u003c/em>\u003c/p>\n\u003cp>-\"Valley Girl\" (1982) Frank & Moon Zappa\u003c/p>\n\u003cp>Mindless consumerism, preferably at a mall in Glendale or Encino, is part of the stereotype set loose on the world via Frank and daughter \u003ca href=\"https://www.youtube.com/watch?v=Qb21lsCQ3EM\" target=\"_blank\" rel=\"noopener\">Moon Zappa’s 1982 hit song\u003c/a> and as a stock character in tons of TV shows and teen movies, like “Clueless” and the 1983 surprise box office hit “Valley Girl” (both of which were coincidentally directed by women).\u003c/p>\n\u003cp>The Valley Girl that was introduced to the world nearly 40 years ago remains, for better or worse, a stubbornly long lasting Southern California pop culture icon. One that comes with a lot of baggage, say some of the roughly two dozen San Fernando Valley-based artists invited to participate in the Glendale exhibit.\u003c/p>\n\u003cp>The typical Valley Girl was and is typically seen as a skinny, slang talking, dim-witted suburban white girl obsessed with boys, shoe sales and toenail polish. That's despite the fact that the Valley, which includes the cities of Burbank, Glendale and North L.A., is home to one of the most racially and economically diverse populations in the region.\u003c/p>\n\u003cfigure id=\"attachment_11733018\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11733018\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/03/MICHELLE-S-smiles-800x519.jpg\" alt=\"\" width=\"800\" height=\"519\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/03/MICHELLE-S-smiles-800x519.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/MICHELLE-S-smiles-160x104.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/MICHELLE-S-smiles-1020x661.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/MICHELLE-S-smiles-1200x778.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/MICHELLE-S-smiles.jpg 1488w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist and photographer Monica Sandoval with self portrait 'Together Again.' \u003ccite>(Steven Cuevas/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Photographer \u003ca href=\"http://monicasandoval.com/\" target=\"_blank\" rel=\"noopener\">Monica Sandoval\u003c/a> has mixed feelings about Valley Girl identity. On one hand, she loved to do a lot of the stuff that the cliche \"Val\" loved to do.\u003c/p>\n\u003cp>But Sandoval also shatters the archetype. She’s Latina for one. And perhaps most subversively of all — at least when it comes to the Valley Girl ideal — Sandoval is, in her own words, \"fat.\"\u003c/p>\n\u003cp>“Growing up, the Valley Girl was always something like a caricature, just something funny,” says Sandoval. “But it totally influenced the way I would see myself in the mirror. Not liking the size of my body or my face. Because I didn’t fit into that stereotype of the Valley Girl.”\u003c/p>\n\u003cfigure id=\"attachment_11733035\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11733035\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/03/CHRISTINE-RAMOS-GIRL-W-CHICK-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/03/CHRISTINE-RAMOS-GIRL-W-CHICK-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/CHRISTINE-RAMOS-GIRL-W-CHICK-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/CHRISTINE-RAMOS-GIRL-W-CHICK-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/CHRISTINE-RAMOS-GIRL-W-CHICK-1200x900.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/CHRISTINE-RAMOS-GIRL-W-CHICK.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Christine Ramos' painting 'Girl With Chicken' is perhaps more reflective of the typical Valley Girl of the past half-century. (Steven Cuevas/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>Sandoval’s vivid, large format photograph \"Together Again\" commands the Brand’s main gallery space. The carefully staged image riffs on the old Humpty Dumpty nursery rhyme.\u003c/p>\n\u003cp>In it, Sandoval is face down in the foreground. Her body is mysteriously sprawled out in front of an ivy-covered brick wall. A viewer may wonder, did she fall? Was she pushed? Sandoval wears a revealing one-piece bathing suit and lies atop a squashed bed of riotously colorful flowers, her legs twisted up behind her.\u003c/p>\n\u003cp>Her face is turned away from the camera, but she doesn't hide her body. Not anymore, she says. Her bare back, legs and arms are exposed to the viewer.\u003c/p>\n\u003cp>“Once I started to own it, that opened up doors for people to talk to me about their own fears of their own bodies, (and) show the world its OK to be whatever you want to be,” says Sandoval.\u003c/p>\n\u003cfigure id=\"attachment_11733038\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11733038\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/03/NUNES-purple-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/03/NUNES-purple-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/NUNES-purple-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/NUNES-purple-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/NUNES-purple-1200x800.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/NUNES-purple.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Visual artist Michelle Nunes stands inside her immersive installation included in the Valley Girl Redefined exhibit. \u003ccite>(Steven Cuevas/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Conceptual video maker \u003ca href=\"http://www.michellenunesart.com/\" target=\"_blank\" rel=\"noopener\">Michelle Nunes\u003c/a> admits a little Valley Girl exists in her too. But her work goes beyond the San Fernando Valley to take on cornerstones of American identity and culture: junk food, patriotism and guns.\u003c/p>\n\u003cp>“Just take these kind of gluttonous and unsafe acts that we just have embedded in our society, and I’m going to put them together in one video.”\u003c/p>\n\u003cp>In her six-minute video\u003ca href=\"https://vimeo.com/238438272\" target=\"_blank\" rel=\"noopener\"> Little Liberty,\u003c/a> the camera zooms in tight on Nunes’ face as she force-feeds herself marshmallows. As she tries to choke those down, she also tries to choke out directions for how to install a bump stock on a firearm, similar to the kind used by the Las Vegas mass shooter in 2017.\u003c/p>\n\u003cp>The action is punctuated by explosions of fireworks, Nunes’ voice slightly sped up to sound like a child because, she says, it’s children who can be disproportionately be affected by gun violence.\u003c/p>\n\u003cfigure id=\"attachment_11733050\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11733050\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/03/RAIN-flowers-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/03/RAIN-flowers-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RAIN-flowers-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RAIN-flowers-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RAIN-flowers-1200x900.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RAIN-flowers.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dried flowers from a recent memorial are part of Rain Lucien Matheke's provocative 'Confessional Haiku' series. \u003ccite>(Steven Cuevas/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“You can still participate in this (gun) culture that is allowing this to happen and I was like, 'this is madness,'\" she says. \"It really (is) just this never-ending cycle of a depletion of life and then we’re just going to consume more of this tradition.”\u003c/p>\n\u003cp>Another recent mass shooting, just months ago at the Borderline Bar and Grill in Ventura County, also plays into a large installation by Rain Matheke.\u003c/p>\n\u003cp>She fabricated a faux mausoleum wall complete with dried flowers and grave markers. Talking inside the gallery, with the sound of chimes drifting in from an adjacent installation, Matheke says the work, a series dubbed \"Confessional Haikus,\" was partly inspired by the murder of \u003ca href=\"https://www.latimes.com/local/california/la-me-ln-noel-sparks-20181120-story.html\" target=\"_blank\" rel=\"noopener\">Noel Sparks\u003c/a>, a 21-year-old student who was killed in the Borderline massacre. She was an art student at Moorpark College near Thousand Oaks where Matheke also works.\u003c/p>\n\u003cp>“We had a memorial for her and (afterward) I rescued some of the flowers from the trash. And she was an aspiring artist,” says Matheke.\u003c/p>\n\u003cp>But instead of names on the copper grave markers, Matheke instead engraved each with a different haiku that reflects her own Valley Girl identity.\u003c/p>\n\u003cp>“This is probably my favorite,” says Matheke, peering closely at her handiwork.\u003c/p>\n\u003cp>“'How can I be real, when I am half dead, and half disassociated,'” she reads.\u003c/p>\n\u003cp>“Like that’s how I start my day,” she laughs.\u003c/p>\n\u003cp>Matheke also lives with a rare, life-threatening immune deficiency disease that requires monthly blood transfusions and can leave her physically and mentally exhausted.\u003c/p>\n\u003cp>But she says as a trans woman, this exhibit has rejuvenated her.\u003c/p>\n\u003cp>“To be, like, approached to participate in the show, I felt visible. Not even just as a woman but as a human,” she says. “And that was, like, really profound.”\u003c/p>\n\u003cp>\u003cem>\"Valley Girl Redefined,\" curated by Erin Stone and Addy Gonzales-Renteria of 11:11 Creative Collective, is on view at the Brand Library and Art Center in Glendale through March 22. Curators hope to stage a second exhibition later this year.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "Jake Phelps, Skateboarder and Editor of Thrasher, Dies at 56",
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"content": "\u003cp>Skateboarder Jake Phelps, longtime editor of the San Francisco-based skateboarding magazine Thrasher, has died at age 56. Tony Vitello, the magazine's publisher, confirmed Phelps' death in an \u003ca href=\"https://www.instagram.com/p/BvAo67FAIQz/\" target=\"_blank\" rel=\"noopener\">Instagram post\u003c/a> on Thursday.\u003c/p>\n\u003cp>\"I never met anybody who loves anything more than Jake worshiped skateboarding,\" Vitello wrote. \"Just as we need food and water to survive, Jake needed skateboarding to keep his blood pumping. It was more than a hobby or form of transportation or way of life - it was his oxygen.\"\u003c/p>\n\u003cp>https://www.instagram.com/p/BvAo67FAIQz/\u003c/p>\n\u003cp>His uncle, Clark Phelps, \u003ca href=\"https://www.facebook.com/clark.phelps/posts/10217297117275279\" target=\"_blank\" rel=\"noopener\">posted on Facebook\u003c/a> on Thursday that his nephew \"died suddenly and easily today.\" Further details on his death have not yet been made public.\u003c/p>\n\u003cp>Phelps became the editor of Thrasher in 1993 and was one of the most well-known figures in the skateboarding world. The magazine is known as \"the bible\" to skaters, and according to a 2016 \u003ca href=\"https://story.californiasunday.com/jake-phelps-thrasher\" target=\"_blank\" rel=\"noopener\">California Sunday Magazine profile\u003c/a> on Phelps, he liked to consider himself as the \"brand personified\":\u003c/p>\n\u003cblockquote>\u003cp>Phelps is an unreconstructed punk rocker in a city that has little need or space for them anymore. He refuses to pay his Muni fare, instead slipping through the rear doors. He bums cigarettes everywhere he goes; he calls kids blood. He barks at strangers and screams at drivers. He sails through lights with an unearned confidence, directing traffic with cryptic hand gestures. He shoplifts candy bars just to see if people are paying attention.\u003c/p>\u003c/blockquote>\n\u003cp>He was known to brag about his violent close calls while skateboarding, including in 2017 when he suffered a \u003ca href=\"https://www.nbcbayarea.com/news/local/Skateboarder-Magazine-Editor-Recounts-Wipeout-at-SF-Event-From-His-Hospital-Bed-434425463.html\" target=\"_blank\" rel=\"noopener\">serious head injury\u003c/a> skating on Dolores Hill in San Francisco.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Upon learning of Phelps' death, fans and fellow skateboarders took to social media to mourn his passing.\u003c/p>\n\u003cp>\"He was a true skateboarder to the end, a fan of diverse styles and a passion for the history of skating,\" \u003ca href=\"https://twitter.com/tonyhawk/status/1106551549730287618\" target=\"_blank\" rel=\"noopener\">tweeted\u003c/a> skateboarding legend Tony Hawk.\u003c/p>\n\u003cp>https://twitter.com/tonyhawk/status/1106551549730287618\u003c/p>\n\u003cp>Many fans cited Phelps and Thrasher as important parts of their lives.\u003c/p>\n\u003cp>https://twitter.com/hiimdxr/status/1106642897141747713\u003c/p>\n\u003cp>https://twitter.com/CaseyyMarleyy/status/1106377563021234177\u003c/p>\n\u003cp>https://twitter.com/DanSena/status/1106365223575785472\u003c/p>\n\u003cp>https://twitter.com/ShowYouSuck/status/1106399149770137606\u003c/p>\n\u003cp>https://twitter.com/DanteRoss/status/1106475196620275712\u003c/p>\n\u003cp>Phelps' brash attitude and use of \u003ca href=\"https://twitter.com/MadDublier/status/1106935634977914884\" target=\"_blank\" rel=\"noopener\">homophobic slurs\u003c/a> made him a divisive figure for some in the skating community. In 2016, he \u003ca href=\"https://www.teenvogue.com/story/justin-bieber-thrasher-editor-jake-phelps-stop-wearing-thrasher-tees-rihanna\" target=\"_blank\" rel=\"noopener\">lashed out\u003c/a> when celebrities including Rhianna and Justin Bieber started wearing Thrasher apparel.\u003c/p>\n\u003cp>Phelps spent the first 11 years of his life in California before his parents divorced. He moved to Massachusetts with his mom, according to the \u003ca href=\"https://story.californiasunday.com/jake-phelps-thrasher\" target=\"_blank\" rel=\"noopener\">California Sunday Magazine profile\u003c/a>. That's where he first learned to skate and was briefly sponsored by Pepsi in the late 1970s.\u003c/p>\n\u003cp>He returned to San Francisco in the 1980s, working at a skate shop in the Haight before starting to write for Thrasher and boxing the brand's hats and T-shirts at its Hunters Point warehouse. Phelps would give editorial input on the magazine while working the warehouse before eventually being tapped to take over the publication in 1993.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\"Jake Phelps was 100% skateboarder, but that label sells him way too short,\" Vitello wrote in his Instagram remembrance, \"because beyond his enormous influence in our world, he was truly an individual beyond this world.\"\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Skateboarder Jake Phelps, longtime editor of the San Francisco-based skateboarding magazine Thrasher, has died at age 56. Tony Vitello, the magazine's publisher, confirmed Phelps' death in an \u003ca href=\"https://www.instagram.com/p/BvAo67FAIQz/\" target=\"_blank\" rel=\"noopener\">Instagram post\u003c/a> on Thursday.\u003c/p>\n\u003cp>\"I never met anybody who loves anything more than Jake worshiped skateboarding,\" Vitello wrote. \"Just as we need food and water to survive, Jake needed skateboarding to keep his blood pumping. It was more than a hobby or form of transportation or way of life - it was his oxygen.\"\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>His uncle, Clark Phelps, \u003ca href=\"https://www.facebook.com/clark.phelps/posts/10217297117275279\" target=\"_blank\" rel=\"noopener\">posted on Facebook\u003c/a> on Thursday that his nephew \"died suddenly and easily today.\" Further details on his death have not yet been made public.\u003c/p>\n\u003cp>Phelps became the editor of Thrasher in 1993 and was one of the most well-known figures in the skateboarding world. The magazine is known as \"the bible\" to skaters, and according to a 2016 \u003ca href=\"https://story.californiasunday.com/jake-phelps-thrasher\" target=\"_blank\" rel=\"noopener\">California Sunday Magazine profile\u003c/a> on Phelps, he liked to consider himself as the \"brand personified\":\u003c/p>\n\u003cblockquote>\u003cp>Phelps is an unreconstructed punk rocker in a city that has little need or space for them anymore. He refuses to pay his Muni fare, instead slipping through the rear doors. He bums cigarettes everywhere he goes; he calls kids blood. He barks at strangers and screams at drivers. He sails through lights with an unearned confidence, directing traffic with cryptic hand gestures. He shoplifts candy bars just to see if people are paying attention.\u003c/p>\u003c/blockquote>\n\u003cp>He was known to brag about his violent close calls while skateboarding, including in 2017 when he suffered a \u003ca href=\"https://www.nbcbayarea.com/news/local/Skateboarder-Magazine-Editor-Recounts-Wipeout-at-SF-Event-From-His-Hospital-Bed-434425463.html\" target=\"_blank\" rel=\"noopener\">serious head injury\u003c/a> skating on Dolores Hill in San Francisco.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Upon learning of Phelps' death, fans and fellow skateboarders took to social media to mourn his passing.\u003c/p>\n\u003cp>\"He was a true skateboarder to the end, a fan of diverse styles and a passion for the history of skating,\" \u003ca href=\"https://twitter.com/tonyhawk/status/1106551549730287618\" target=\"_blank\" rel=\"noopener\">tweeted\u003c/a> skateboarding legend Tony Hawk.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Phelps' brash attitude and use of \u003ca href=\"https://twitter.com/MadDublier/status/1106935634977914884\" target=\"_blank\" rel=\"noopener\">homophobic slurs\u003c/a> made him a divisive figure for some in the skating community. In 2016, he \u003ca href=\"https://www.teenvogue.com/story/justin-bieber-thrasher-editor-jake-phelps-stop-wearing-thrasher-tees-rihanna\" target=\"_blank\" rel=\"noopener\">lashed out\u003c/a> when celebrities including Rhianna and Justin Bieber started wearing Thrasher apparel.\u003c/p>\n\u003cp>Phelps spent the first 11 years of his life in California before his parents divorced. He moved to Massachusetts with his mom, according to the \u003ca href=\"https://story.californiasunday.com/jake-phelps-thrasher\" target=\"_blank\" rel=\"noopener\">California Sunday Magazine profile\u003c/a>. That's where he first learned to skate and was briefly sponsored by Pepsi in the late 1970s.\u003c/p>\n\u003cp>He returned to San Francisco in the 1980s, working at a skate shop in the Haight before starting to write for Thrasher and boxing the brand's hats and T-shirts at its Hunters Point warehouse. Phelps would give editorial input on the magazine while working the warehouse before eventually being tapped to take over the publication in 1993.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\"Jake Phelps was 100% skateboarder, but that label sells him way too short,\" Vitello wrote in his Instagram remembrance, \"because beyond his enormous influence in our world, he was truly an individual beyond this world.\"\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003ch2>Flamin’ Hot Cheetos: The Humble Beginnings of a Junk Food\u003c/h2>\n\u003cp>These days, some folks can’t seem to get enough of Flamin’ Hot Cheetos. Love ‘em or hate ‘em, they’re a California-born snack. For our series \u003ca href=\"https://www.kqed.org/news/series/golden-state-plate/\" rel=\"noopener noreferrer\" target=\"_blank\">Golden State Plate\u003c/a>, Bianca Taylor tells us more about the person who invented them. Richard Montañez worked as a janitor at a Frito-Lay factory for nearly two decades before he came up with his concoction. He had grown up picking grapes, living on a farm for migrant workers near Rancho Cucamonga with his 10 siblings.\u003c/p>\n\u003ch2>\u003ca href=\"https://www.kqed.org/news/11732637/literary-icon-lawrence-ferlinghetti-marks-his-100th-birthday-with-new-work\" rel=\"noopener noreferrer\" target=\"_blank\">Literary Icon Lawrence Ferlinghetti Marks His 100th Birthday With New Work\u003c/a>\u003c/h2>\n\u003cp>Poet and publisher Lawrence Ferlinghetti helped change the face of literary culture when he founded City Lights Bookstore and publishing house in San Francisco in the early 1950s. From getting arrested for publishing Allen Ginsberg's \"Howl\" to publishing his own memoir-ish poetic novel \"Little Boy\" this month, he continues to be unstoppable. He's turning 100 on March 24. But as KQED’s Chloe Veltman tells us, in many ways, Ferlinghetti's always been a mischievous little boy.\u003c/p>\n\u003ch2>The Real Valley Girls of SoCal Spotlighted in New Art Show\u003c/h2>\n\u003cp>Frank Zappa’s surprise hit from 1982 introduced the world to the image of the “Valley Girl,” a skinny, slang-talking, suburban white girl, obsessed with stuff like boys, shoes and toenail polish. But a new art exhibit in Glendale is like, totally giving that stereotype a makeover. It’s called “Valley Girl Redefined,” and it brings together a diverse group of more than two dozen women artists challenging what it really means to be female and from the San Fernando Valley. We sent reporter Steven Cuevas to meet some of them.\u003c/p>\n\u003ch2>\u003ca href=\"https://www.kqed.org/arts/13852729/charles-schulzs-letter-about-democracy-discovered-50-years-later\" rel=\"noopener noreferrer\" target=\"_blank\">Charles Schulz’s Letter About Democracy, Discovered 50 Years Later\u003c/a>\u003c/h2>\n\u003cp>Back in 1970, 10-year-old Joel Lipton’s fifth grade class in Beverly Hills got an assignment: Write a letter to someone you admire and ask them, “What makes a good citizen?” Joel decided to write to Charles Schulz, the creator of the Peanuts comic strip. Nearly 50 years later, Lipton and his wife were recently cleaning out a closet and rediscovered the letter young Joel received from Schulz. What Schulz wrote in 1970 has resonance today. Gabe Meline, KQED’s senior Arts joins host Sasha Khokha to shed some light on this bit of timeless correspondence.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003ch2>Flamin’ Hot Cheetos: The Humble Beginnings of a Junk Food\u003c/h2>\n\u003cp>These days, some folks can’t seem to get enough of Flamin’ Hot Cheetos. Love ‘em or hate ‘em, they’re a California-born snack. For our series \u003ca href=\"https://www.kqed.org/news/series/golden-state-plate/\" rel=\"noopener noreferrer\" target=\"_blank\">Golden State Plate\u003c/a>, Bianca Taylor tells us more about the person who invented them. Richard Montañez worked as a janitor at a Frito-Lay factory for nearly two decades before he came up with his concoction. He had grown up picking grapes, living on a farm for migrant workers near Rancho Cucamonga with his 10 siblings.\u003c/p>\n\u003ch2>\u003ca href=\"https://www.kqed.org/news/11732637/literary-icon-lawrence-ferlinghetti-marks-his-100th-birthday-with-new-work\" rel=\"noopener noreferrer\" target=\"_blank\">Literary Icon Lawrence Ferlinghetti Marks His 100th Birthday With New Work\u003c/a>\u003c/h2>\n\u003cp>Poet and publisher Lawrence Ferlinghetti helped change the face of literary culture when he founded City Lights Bookstore and publishing house in San Francisco in the early 1950s. From getting arrested for publishing Allen Ginsberg's \"Howl\" to publishing his own memoir-ish poetic novel \"Little Boy\" this month, he continues to be unstoppable. He's turning 100 on March 24. But as KQED’s Chloe Veltman tells us, in many ways, Ferlinghetti's always been a mischievous little boy.\u003c/p>\n\u003ch2>The Real Valley Girls of SoCal Spotlighted in New Art Show\u003c/h2>\n\u003cp>Frank Zappa’s surprise hit from 1982 introduced the world to the image of the “Valley Girl,” a skinny, slang-talking, suburban white girl, obsessed with stuff like boys, shoes and toenail polish. But a new art exhibit in Glendale is like, totally giving that stereotype a makeover. It’s called “Valley Girl Redefined,” and it brings together a diverse group of more than two dozen women artists challenging what it really means to be female and from the San Fernando Valley. We sent reporter Steven Cuevas to meet some of them.\u003c/p>\n\u003ch2>\u003ca href=\"https://www.kqed.org/arts/13852729/charles-schulzs-letter-about-democracy-discovered-50-years-later\" rel=\"noopener noreferrer\" target=\"_blank\">Charles Schulz’s Letter About Democracy, Discovered 50 Years Later\u003c/a>\u003c/h2>\n\u003cp>Back in 1970, 10-year-old Joel Lipton’s fifth grade class in Beverly Hills got an assignment: Write a letter to someone you admire and ask them, “What makes a good citizen?” Joel decided to write to Charles Schulz, the creator of the Peanuts comic strip. Nearly 50 years later, Lipton and his wife were recently cleaning out a closet and rediscovered the letter young Joel received from Schulz. What Schulz wrote in 1970 has resonance today. Gabe Meline, KQED’s senior Arts joins host Sasha Khokha to shed some light on this bit of timeless correspondence.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "Literary Icon Lawrence Ferlinghetti Marks His 100th Birthday With New Work",
"title": "Literary Icon Lawrence Ferlinghetti Marks His 100th Birthday With New Work",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>\u003cem>\u003ca href=\"http://itunes.apple.com/us/podcast/the-california-report-magazine/id1314750545?mt=2\" target=\"_blank\" rel=\"noopener\">Listen to this and more in-depth storytelling by subscribing to The California Report Magazine podcast.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>[dropcap]U[/dropcap]ntil recently, Lawrence Ferlinghetti was vacationing in Mexico, popping into \u003ca href=\"http://www.citylights.com/\" target=\"_blank\" rel=\"noopener\">City Lights\u003c/a> — the trailblazing bookstore and publishing house he founded in San Francisco in the early 1950s — and working on his paintings and poetry. But the last couple years have been tough on the literary icon's body as he approaches his 100th birthday on March 24. Ferlinghetti is nearly blind, spends a lot of time resting and no longer does in-person interviews.\u003c/p>\n\u003cp>\"There's an echo in my phone,\" he says when his aide, writer and curator Mauro Aprile Zanetti, connects our call. \"I'm not getting your voice very clearly.\"\u003c/p>\n\u003cp>But as soon as the connection clears up, Ferlinghetti is like a Formula One driver. He leaves me in the dust.\u003c/p>\n\u003cp>\"I have an engine that doesn't run on petroleum!\" he says, with a wheezing chuckle. \"It runs on pure energy.\"\u003c/p>\n\u003cp>The poet, publisher and activist wants to start a revolution. But he says America isn't ready for it yet.\u003c/p>\n\u003cp>\"It would take a whole new generation not devoted to the glorification of the capitalist system,\" he says. \"A generation not trapped in the me, me, me.\"\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The author's new autobiographical novel, “\u003ca href=\"https://www.penguinrandomhouse.com/books/602500/little-boy-by-lawrence-ferlinghetti/9780385544788/\" target=\"_blank\" rel=\"noopener\">Little Boy\u003c/a>,” is coming out next week, too. And various San Francisco organizations have been planning \u003ca href=\"http://www.citylights.com/ferlinghetti/\" target=\"_blank\" rel=\"noopener\">monthlong celebrations\u003c/a> in his honor.\u003c/p>\n\u003cp>There are readings of his poetry, exhibitions of his paintings, parties, an olive tree planting and more. The San Francisco Mayor's Office is scheduled to announce an annual Lawrence Ferlinghetti Day on his birthday, March 24.\u003c/p>\n\u003cp>The fuss is not unfounded. Ferlinghetti helped to change the face of literary culture in the United States when he co-founded City Lights in 1953 with Peter Martin.\u003c/p>\n\u003cfigure id=\"attachment_11732815\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11732815\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/03/Outside-City-Lights-800x600.jpg\" alt=\"A view outside City Lights.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/03/Outside-City-Lights-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/Outside-City-Lights-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/Outside-City-Lights-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/Outside-City-Lights-1200x900.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/Outside-City-Lights-1920x1440.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/Outside-City-Lights.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A view outside City Lights. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The bookstore and publisher became an institution, attracting and influencing literary figures across generations, from “On the Road” author Jack Kerouac to bestselling San Francisco writer and publisher Dave Eggers.\u003c/p>\n\u003cp>\"Everything we did was sort of influenced by City Lights,\" Eggers says. \"We were trying to stand on their shoulders.\"\u003c/p>\n\u003cfigure id=\"attachment_11732813\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11732813\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/03/Ferlinghetti-office-800x600.jpg\" alt=\"Inside Ferlinghetti's office at City Lights.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/03/Ferlinghetti-office-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/Ferlinghetti-office-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/Ferlinghetti-office-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/Ferlinghetti-office-1200x900.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/Ferlinghetti-office-1920x1440.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/Ferlinghetti-office.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Inside Ferlinghetti's office at City Lights. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Born in Yonkers, New York in 1919, Ferlinghetti came to California in the early 1950s, drawn to it as a place where people could start over. It was what he called this country’s \"last frontier.\"\u003c/p>\n\u003cp>Ferlinghetti's mission for City Lights was aligned with his socialist politics: to break poetry out of its stuffy academic cage and make it accessible to all.\u003c/p>\n\u003cp>It was a massive risk.\u003c/p>\n\u003cp>\"We were young and foolish,\" he says. \"And we had no money.\"\u003c/p>\n\u003cp>\u003cem>In 2015, KQED spent time with Ferlinghetti, just before he turned 95.\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=dr3G1Agw0xY\u003c/p>\n\u003cp>Unlike other bookstores around the country, City Lights was open seven days a week and late into the night. He wanted to create a sense of community — a place for people to toss around ideas.\u003c/p>\n\u003cp>Plus, the business was originally focused on selling paperback books at a time when the literary establishment only cared about hardbacks.\u003c/p>\n\u003cp>\"Paperbacks weren't considered as real books,\" says Ferlinghetti. \"The only paperback books were murder mysteries and some science fiction books.\"\u003c/p>\n\u003cp>But Ferlinghetti was all about democratizing literature.\u003c/p>\n\u003cfigure id=\"attachment_11732811\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11732811\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/03/Ferlinghetti-books-800x600.jpg\" alt=\"Volumes of poetry by Lawrence Ferlinghetti.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/03/Ferlinghetti-books-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/Ferlinghetti-books-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/Ferlinghetti-books-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/Ferlinghetti-books-1200x900.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/Ferlinghetti-books-1920x1440.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/Ferlinghetti-books.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Volumes of poetry by Lawrence Ferlinghetti. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>City Lights weathered its fair share of ups and downs over the years, like financial woes, and Ferlinghetti’s arrest in 1957 on obscenity charges for publishing Allen Ginsberg’s groundbreaking, epic poem “Howl.” The charges were dropped, setting an important precedent for reduced censorship in the publishing world.\u003c/p>\n\u003cp>City Lights’ current publisher and director Elaine Katzenberger says the business continues to draw customers from all over the globe, despite the challenges facing today's publishing industry.\u003c/p>\n\u003cp>\"We don't have bestsellers, and we're not publishing bestsellers,\" Katzenberger says of cleaving to the founder's anti-commercial leanings.\u003c/p>\n\u003cp>\"Staying true to those ideals and maintaining them, that's the hardest thing. And on the other hand, it's the most important thing.\"\u003c/p>\n\u003cp>\u003cem>Many thanks to Mauro Aprile Zanetti for his help with this story.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003ca href=\"http://itunes.apple.com/us/podcast/the-california-report-magazine/id1314750545?mt=2\" target=\"_blank\" rel=\"noopener\">Listen to this and more in-depth storytelling by subscribing to The California Report Magazine podcast.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">U\u003c/span>\u003c/p>\u003cp>ntil recently, Lawrence Ferlinghetti was vacationing in Mexico, popping into \u003ca href=\"http://www.citylights.com/\" target=\"_blank\" rel=\"noopener\">City Lights\u003c/a> — the trailblazing bookstore and publishing house he founded in San Francisco in the early 1950s — and working on his paintings and poetry. But the last couple years have been tough on the literary icon's body as he approaches his 100th birthday on March 24. Ferlinghetti is nearly blind, spends a lot of time resting and no longer does in-person interviews.\u003c/p>\n\u003cp>\"There's an echo in my phone,\" he says when his aide, writer and curator Mauro Aprile Zanetti, connects our call. \"I'm not getting your voice very clearly.\"\u003c/p>\n\u003cp>But as soon as the connection clears up, Ferlinghetti is like a Formula One driver. He leaves me in the dust.\u003c/p>\n\u003cp>\"I have an engine that doesn't run on petroleum!\" he says, with a wheezing chuckle. \"It runs on pure energy.\"\u003c/p>\n\u003cp>The poet, publisher and activist wants to start a revolution. But he says America isn't ready for it yet.\u003c/p>\n\u003cp>\"It would take a whole new generation not devoted to the glorification of the capitalist system,\" he says. \"A generation not trapped in the me, me, me.\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The author's new autobiographical novel, “\u003ca href=\"https://www.penguinrandomhouse.com/books/602500/little-boy-by-lawrence-ferlinghetti/9780385544788/\" target=\"_blank\" rel=\"noopener\">Little Boy\u003c/a>,” is coming out next week, too. And various San Francisco organizations have been planning \u003ca href=\"http://www.citylights.com/ferlinghetti/\" target=\"_blank\" rel=\"noopener\">monthlong celebrations\u003c/a> in his honor.\u003c/p>\n\u003cp>There are readings of his poetry, exhibitions of his paintings, parties, an olive tree planting and more. The San Francisco Mayor's Office is scheduled to announce an annual Lawrence Ferlinghetti Day on his birthday, March 24.\u003c/p>\n\u003cp>The fuss is not unfounded. Ferlinghetti helped to change the face of literary culture in the United States when he co-founded City Lights in 1953 with Peter Martin.\u003c/p>\n\u003cfigure id=\"attachment_11732815\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11732815\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/03/Outside-City-Lights-800x600.jpg\" alt=\"A view outside City Lights.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/03/Outside-City-Lights-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/Outside-City-Lights-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/Outside-City-Lights-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/Outside-City-Lights-1200x900.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/Outside-City-Lights-1920x1440.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/Outside-City-Lights.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A view outside City Lights. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The bookstore and publisher became an institution, attracting and influencing literary figures across generations, from “On the Road” author Jack Kerouac to bestselling San Francisco writer and publisher Dave Eggers.\u003c/p>\n\u003cp>\"Everything we did was sort of influenced by City Lights,\" Eggers says. \"We were trying to stand on their shoulders.\"\u003c/p>\n\u003cfigure id=\"attachment_11732813\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11732813\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/03/Ferlinghetti-office-800x600.jpg\" alt=\"Inside Ferlinghetti's office at City Lights.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/03/Ferlinghetti-office-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/Ferlinghetti-office-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/Ferlinghetti-office-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/Ferlinghetti-office-1200x900.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/Ferlinghetti-office-1920x1440.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/Ferlinghetti-office.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Inside Ferlinghetti's office at City Lights. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Born in Yonkers, New York in 1919, Ferlinghetti came to California in the early 1950s, drawn to it as a place where people could start over. It was what he called this country’s \"last frontier.\"\u003c/p>\n\u003cp>Ferlinghetti's mission for City Lights was aligned with his socialist politics: to break poetry out of its stuffy academic cage and make it accessible to all.\u003c/p>\n\u003cp>It was a massive risk.\u003c/p>\n\u003cp>\"We were young and foolish,\" he says. \"And we had no money.\"\u003c/p>\n\u003cp>\u003cem>In 2015, KQED spent time with Ferlinghetti, just before he turned 95.\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/dr3G1Agw0xY'\n title='//www.youtube.com/embed/dr3G1Agw0xY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Unlike other bookstores around the country, City Lights was open seven days a week and late into the night. He wanted to create a sense of community — a place for people to toss around ideas.\u003c/p>\n\u003cp>Plus, the business was originally focused on selling paperback books at a time when the literary establishment only cared about hardbacks.\u003c/p>\n\u003cp>\"Paperbacks weren't considered as real books,\" says Ferlinghetti. \"The only paperback books were murder mysteries and some science fiction books.\"\u003c/p>\n\u003cp>But Ferlinghetti was all about democratizing literature.\u003c/p>\n\u003cfigure id=\"attachment_11732811\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11732811\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/03/Ferlinghetti-books-800x600.jpg\" alt=\"Volumes of poetry by Lawrence Ferlinghetti.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/03/Ferlinghetti-books-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/Ferlinghetti-books-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/Ferlinghetti-books-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/Ferlinghetti-books-1200x900.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/Ferlinghetti-books-1920x1440.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/Ferlinghetti-books.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Volumes of poetry by Lawrence Ferlinghetti. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>City Lights weathered its fair share of ups and downs over the years, like financial woes, and Ferlinghetti’s arrest in 1957 on obscenity charges for publishing Allen Ginsberg’s groundbreaking, epic poem “Howl.” The charges were dropped, setting an important precedent for reduced censorship in the publishing world.\u003c/p>\n\u003cp>City Lights’ current publisher and director Elaine Katzenberger says the business continues to draw customers from all over the globe, despite the challenges facing today's publishing industry.\u003c/p>\n\u003cp>\"We don't have bestsellers, and we're not publishing bestsellers,\" Katzenberger says of cleaving to the founder's anti-commercial leanings.\u003c/p>\n\u003cp>\"Staying true to those ideals and maintaining them, that's the hardest thing. And on the other hand, it's the most important thing.\"\u003c/p>\n\u003cp>\u003cem>Many thanks to Mauro Aprile Zanetti for his help with this story.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"marketplace": {
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"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.",
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},
"mindshift": {
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"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>",
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"order": 12
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
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"onourwatch": {
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"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?",
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"on-the-media": {
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"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",
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},
"pbs-newshour": {
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},
"perspectives": {
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"order": 14
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"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.",
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"politicalbreakdown": {
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"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",
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"order": 5
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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