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"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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"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>\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",
"title": "New 'Valley Girl Redefined' Art Show Shatters Gender and Socioeconomic Archetypes",
"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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"excerpt": "The exhibition allows artists to deconstruct and give new meaning to the classic dim-witted suburban 'Valley Girl.'",
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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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"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>\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",
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"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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"content": "\u003cp>Apple — with revenue of $265.6 billion in 2018 — \u003ca href=\"http://bit.ly/fioreartistsapple\" target=\"_blank\" rel=\"noopener\">isn't paying artists who perform at its stores\u003c/a>.\u003c/p>\n\u003cp>Instead of cash, the company with the world's highest market capitalization is paying artists who perform at in-store \"Today At Apple\" events in merchandise.\u003c/p>\n\u003cp>Maybe I'm being too cynical, but something tells me there are more than a few artists in the Bay Area who would rather get some rent money than an iWatch or an extra pair of \u003cdel>earphones\u003c/del> AirPods to stuff in their ears.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Apple — with revenue of $265.6 billion in 2018 — \u003ca href=\"http://bit.ly/fioreartistsapple\" target=\"_blank\" rel=\"noopener\">isn't paying artists who perform at its stores\u003c/a>.\u003c/p>\n\u003cp>Instead of cash, the company with the world's highest market capitalization is paying artists who perform at in-store \"Today At Apple\" events in merchandise.\u003c/p>\n\u003cp>Maybe I'm being too cynical, but something tells me there are more than a few artists in the Bay Area who would rather get some rent money than an iWatch or an extra pair of \u003cdel>earphones\u003c/del> AirPods to stuff in their ears.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "How Bill Graham's Nazi Escape Might Explain His Fillmore Apples",
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"content": "\u003cp>To see a show put on by Bill Graham at San Francisco’s Fillmore Auditorium in the late 1960s was to see a new kind of concert experience.\u003cbr>\n[baycuriouspodcastinfo]\u003cbr>\nIt started with the musicians. Graham cultivated many of the rock and roll acts that created a new kind of music, and provided the soundtrack for the counterculture revolution. Acts like the Grateful Dead, Janis Joplin, Jimi Hendrix and Santana were regulars at the Fillmore.\u003c/p>\n\u003cp>“He used to book very unusual opening acts,” said Bonnie Simmons, executive director of the Bill Graham Memorial Foundation. “You might be coming to see the Jefferson Airplane, but the opening act would be Andrei Voznesensky, the Russian poet.”\u003c/p>\n\u003cfigure id=\"attachment_11731738\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-medium wp-image-11731738\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/03/RS35731_alt_835-800x1067.jpg\" alt=\"The apples are such an iconic part of the Fillmore that the theater's marquee includes one.\" width=\"800\" height=\"1067\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS35731_alt_835-800x1067.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS35731_alt_835-160x213.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS35731_alt_835-1020x1360.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS35731_alt_835-900x1200.jpg 900w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS35731_alt_835-1920x2560.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS35731_alt_835.jpg 1536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The apples are such an iconic part of the Fillmore that the theater’s marquee includes one. \u003ccite>(Ryan Levi/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But maybe the oddest aspect of Graham’s Fillmore shows had nothing to do with the performances at all. At every show, concertgoers were greeted by a barrel of Red Delicious apples, free for the taking.\u003c/p>\n\u003cp>Simmons remembers seeing the apples when she went to concerts at the Fillmore in the 1960s. When the venue in the city’s Western Addition reopened under new management in the mid-1990s, the apple tradition continued.\u003c/p>\n\u003cp>“Of all the shows that I’ve been to and all the different venues, it’s the only place that hands out fruit,” said Sandra Julien, who’s been going to shows at the Fillmore since she moved to the Bay Area eight years ago.\u003c/p>\n\u003cp>Julien wanted to know more, and asked \u003ca href=\"https://www.kqed.org/news/series/baycurious\" target=\"_blank\" rel=\"noopener\">Bay Curious\u003c/a>: \u003cstrong>Why does the Fillmore hand out free apples?\u003c/strong>\u003c/p>\n\u003cp>Graham, who was killed in a helicopter crash in 1991, never explained his reasoning behind the apples, leaving others to guess at his motivation.\u003c/p>\n\u003cp>Some say that he wanted to give the broke hippies who came to his shows something nutritious to eat. Many believe that it was an extension of his famous hospitality, which he learned working as a waiter in the Catskills.\u003cbr>\n[ad fullwidth]\u003cbr>\n“To my mind the barrel of apples was Bill’s attempt to welcome people to his house,” said Bob Greenfield, who co-wrote Graham’s autobiography.\u003c/p>\n\u003cp>But about a decade ago, Bonnie Simmons stumbled on another possible explanation that dates back to Graham’s experience fleeing Nazi Germany as a child.\u003c/p>\n\u003ch3>Fleeing the Holocaust\u003c/h3>\n\u003cp>Graham was born Wolfgang Grajonca to a Jewish family in Berlin in 1931. After Nazis brutally attacked Jewish synagogues, homes and businesses in a 1938 event that came to be known as \u003ca href=\"https://www.history.com/topics/holocaust/kristallnacht\" target=\"_blank\" rel=\"noopener\">Kristallnacht\u003c/a>, or the Night of Broken Glass, Graham’s single mother put him and one of his sisters in a German orphanage to protect them from the government.\u003c/p>\n\u003cp>The following year, they were sent to an orphanage in France. It was the beginning of an arduous journey through Europe and Africa that would kill his sister and eventually ended with young Graham in 1939 getting on a boat bound for the United States, where he was adopted by a family in New York.\u003c/p>\n\u003cp>Also on that journey was a boy named Ralph Moratz, who became friends with Graham when they met at the German orphanage.\u003c/p>\n\u003cfigure id=\"attachment_11732886\" class=\"wp-caption alignright\" style=\"max-width: 450px\">\u003cimg decoding=\"async\" loading=\"lazy\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/03/RS35805_Bill_Graham-qut.jpg\" alt=\"Bill Graham, circa 1990.\" width=\"450\" height=\"309\" class=\"size-full wp-image-11732886\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS35805_Bill_Graham-qut.jpg 450w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS35805_Bill_Graham-qut-160x110.jpg 160w\" sizes=\"(max-width: 450px) 100vw, 450px\">\u003cfigcaption class=\"wp-caption-text\">Bill Graham, circa 1990. \u003ccite>(Photo by Mark Sarfati via Wikimedia Commons)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We became best friends sharing, for the next few years, the hardships imposed by the German invasion of its surrounding countries,” Moratz wrote in his \u003ca href=\"https://ralphm1935.wordpress.com/\" target=\"_blank\" rel=\"noopener\">chronicles\u003c/a> of their friendship and journey.\u003c/p>\n\u003cp>One of the kids’ early stops was a chateau in Quincy-sous-Sénart in northern France. The neighborhood was filled with German soldiers, and the kids were stuck inside with little to eat.\u003c/p>\n\u003cp>“For breakfast we got a cup of watery porridge and a thin stale slice of bread. No lunch. Dinner consisted of half a cup of rice from the one bag still stored in the cellar,” Moratz wrote. “We spent most of our time trying to sleep. Only with sleep could we get some relief from the constant hunger pangs.”\u003c/p>\n\u003cp>\u003ca href=\"https://ralphm1935.wordpress.com/2014/12/02/chapter-6-bill-graham-presents-and-the-famous-apple-barrel/\" target=\"_blank\" rel=\"noopener\">According to Moratz\u003c/a>, a few of the older boys decided to organize the kids into groups to sneak out and forage for apples from the many orchards in town. Groups of four boys would be lowered out a window in the chateau 6 feet down to the ground. They carried empty rice bags, which could fit 15 to 20 apples.\u003c/p>\n\u003cp>Younger boys, like Moratz and Graham, were sent out most often, under the assumption that they would attract less attention from German patrols. The older boys liked to vary who went out to try to avoid detection, but Moratz said Graham found a way to be a part of the raiding party more often than not.\u003c/p>\n\u003cp>“Would it surprise you to find out that Wolfgang [Graham] volunteered to go out and forage every day?” Moratz wrote.\u003c/p>\n\u003ch3>No Way to Know for Sure\u003c/h3>\n\u003cfigure id=\"attachment_11731763\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-medium wp-image-11731763\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/03/RS35733_Filmore-Apples-qut-800x600.jpg\" alt=\"Since Bill Graham first started putting on shows at the Fillmore Auditorium in the late 1960s, the venue has put out a barrel of free apples for guests.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS35733_Filmore-Apples-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS35733_Filmore-Apples-qut-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS35733_Filmore-Apples-qut-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS35733_Filmore-Apples-qut-1200x900.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS35733_Filmore-Apples-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Since Bill Graham first started putting on shows at the Fillmore Auditorium in the late 1960s, the venue has put out a barrel of free apples for guests. \u003ccite>(Ryan Levi/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Graham never spoke publicly about this experience, and he rarely talked about his time during the Holocaust at all, telling people that he remembered very little of his life before making it to the United States. But that hasn’t stopped people from latching onto Moratz’s story.\u003c/p>\n\u003cp>“Many of us now believe [giving away apples] was some kind of hidden impulse to share the life preserving fruit, which saved us from certain starvation, with the public as a form of thanksgiving,” Moratz wrote.\u003c/p>\n\u003cp>Bob Greenfield, Graham’s biographer, is not convinced.\u003c/p>\n\u003cp>“He’s making a link that I don’t think Bill ever made even unconsciously,” he said of Moratz, who died in 2016. “Bill always lived in the moment. He wasn’t someone who was possessed by or living in the past.”\u003c/p>\n\u003cp>With Graham gone, we will never know for sure why the apples became a Fillmore staple. But question asker Sandra Julien said hearing about Graham’s escape from Europe makes the Fillmore even more meaningful to her.\u003c/p>\n\u003cp>“Now when I go to the Fillmore, I’m always going to think of this,” she said.\u003c/p>\n\u003cfigure id=\"attachment_11732715\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-11732715 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/03/RS35334__DSC6258-qut-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS35334__DSC6258-qut-800x534.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS35334__DSC6258-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS35334__DSC6258-qut-1020x681.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS35334__DSC6258-qut-1200x801.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS35334__DSC6258-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A concertgoer who identified himself only as Sean enjoys his first Fillmore apple while he waits for a concert to begin. \u003ccite>(Stephanie Lister/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[baycuriousquestion]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>To see a show put on by Bill Graham at San Francisco’s Fillmore Auditorium in the late 1960s was to see a new kind of concert experience.\u003cbr>\n\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>\u003cbr>\nIt started with the musicians. Graham cultivated many of the rock and roll acts that created a new kind of music, and provided the soundtrack for the counterculture revolution. Acts like the Grateful Dead, Janis Joplin, Jimi Hendrix and Santana were regulars at the Fillmore.\u003c/p>\n\u003cp>“He used to book very unusual opening acts,” said Bonnie Simmons, executive director of the Bill Graham Memorial Foundation. “You might be coming to see the Jefferson Airplane, but the opening act would be Andrei Voznesensky, the Russian poet.”\u003c/p>\n\u003cfigure id=\"attachment_11731738\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-medium wp-image-11731738\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/03/RS35731_alt_835-800x1067.jpg\" alt=\"The apples are such an iconic part of the Fillmore that the theater's marquee includes one.\" width=\"800\" height=\"1067\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS35731_alt_835-800x1067.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS35731_alt_835-160x213.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS35731_alt_835-1020x1360.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS35731_alt_835-900x1200.jpg 900w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS35731_alt_835-1920x2560.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS35731_alt_835.jpg 1536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The apples are such an iconic part of the Fillmore that the theater’s marquee includes one. \u003ccite>(Ryan Levi/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But maybe the oddest aspect of Graham’s Fillmore shows had nothing to do with the performances at all. At every show, concertgoers were greeted by a barrel of Red Delicious apples, free for the taking.\u003c/p>\n\u003cp>Simmons remembers seeing the apples when she went to concerts at the Fillmore in the 1960s. When the venue in the city’s Western Addition reopened under new management in the mid-1990s, the apple tradition continued.\u003c/p>\n\u003cp>“Of all the shows that I’ve been to and all the different venues, it’s the only place that hands out fruit,” said Sandra Julien, who’s been going to shows at the Fillmore since she moved to the Bay Area eight years ago.\u003c/p>\n\u003cp>Julien wanted to know more, and asked \u003ca href=\"https://www.kqed.org/news/series/baycurious\" target=\"_blank\" rel=\"noopener\">Bay Curious\u003c/a>: \u003cstrong>Why does the Fillmore hand out free apples?\u003c/strong>\u003c/p>\n\u003cp>Graham, who was killed in a helicopter crash in 1991, never explained his reasoning behind the apples, leaving others to guess at his motivation.\u003c/p>\n\u003cp>Some say that he wanted to give the broke hippies who came to his shows something nutritious to eat. Many believe that it was an extension of his famous hospitality, which he learned working as a waiter in the Catskills.\u003cbr>\n\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cbr>\n“To my mind the barrel of apples was Bill’s attempt to welcome people to his house,” said Bob Greenfield, who co-wrote Graham’s autobiography.\u003c/p>\n\u003cp>But about a decade ago, Bonnie Simmons stumbled on another possible explanation that dates back to Graham’s experience fleeing Nazi Germany as a child.\u003c/p>\n\u003ch3>Fleeing the Holocaust\u003c/h3>\n\u003cp>Graham was born Wolfgang Grajonca to a Jewish family in Berlin in 1931. After Nazis brutally attacked Jewish synagogues, homes and businesses in a 1938 event that came to be known as \u003ca href=\"https://www.history.com/topics/holocaust/kristallnacht\" target=\"_blank\" rel=\"noopener\">Kristallnacht\u003c/a>, or the Night of Broken Glass, Graham’s single mother put him and one of his sisters in a German orphanage to protect them from the government.\u003c/p>\n\u003cp>The following year, they were sent to an orphanage in France. It was the beginning of an arduous journey through Europe and Africa that would kill his sister and eventually ended with young Graham in 1939 getting on a boat bound for the United States, where he was adopted by a family in New York.\u003c/p>\n\u003cp>Also on that journey was a boy named Ralph Moratz, who became friends with Graham when they met at the German orphanage.\u003c/p>\n\u003cfigure id=\"attachment_11732886\" class=\"wp-caption alignright\" style=\"max-width: 450px\">\u003cimg decoding=\"async\" loading=\"lazy\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/03/RS35805_Bill_Graham-qut.jpg\" alt=\"Bill Graham, circa 1990.\" width=\"450\" height=\"309\" class=\"size-full wp-image-11732886\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS35805_Bill_Graham-qut.jpg 450w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS35805_Bill_Graham-qut-160x110.jpg 160w\" sizes=\"(max-width: 450px) 100vw, 450px\">\u003cfigcaption class=\"wp-caption-text\">Bill Graham, circa 1990. \u003ccite>(Photo by Mark Sarfati via Wikimedia Commons)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We became best friends sharing, for the next few years, the hardships imposed by the German invasion of its surrounding countries,” Moratz wrote in his \u003ca href=\"https://ralphm1935.wordpress.com/\" target=\"_blank\" rel=\"noopener\">chronicles\u003c/a> of their friendship and journey.\u003c/p>\n\u003cp>One of the kids’ early stops was a chateau in Quincy-sous-Sénart in northern France. The neighborhood was filled with German soldiers, and the kids were stuck inside with little to eat.\u003c/p>\n\u003cp>“For breakfast we got a cup of watery porridge and a thin stale slice of bread. No lunch. Dinner consisted of half a cup of rice from the one bag still stored in the cellar,” Moratz wrote. “We spent most of our time trying to sleep. Only with sleep could we get some relief from the constant hunger pangs.”\u003c/p>\n\u003cp>\u003ca href=\"https://ralphm1935.wordpress.com/2014/12/02/chapter-6-bill-graham-presents-and-the-famous-apple-barrel/\" target=\"_blank\" rel=\"noopener\">According to Moratz\u003c/a>, a few of the older boys decided to organize the kids into groups to sneak out and forage for apples from the many orchards in town. Groups of four boys would be lowered out a window in the chateau 6 feet down to the ground. They carried empty rice bags, which could fit 15 to 20 apples.\u003c/p>\n\u003cp>Younger boys, like Moratz and Graham, were sent out most often, under the assumption that they would attract less attention from German patrols. The older boys liked to vary who went out to try to avoid detection, but Moratz said Graham found a way to be a part of the raiding party more often than not.\u003c/p>\n\u003cp>“Would it surprise you to find out that Wolfgang [Graham] volunteered to go out and forage every day?” Moratz wrote.\u003c/p>\n\u003ch3>No Way to Know for Sure\u003c/h3>\n\u003cfigure id=\"attachment_11731763\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-medium wp-image-11731763\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/03/RS35733_Filmore-Apples-qut-800x600.jpg\" alt=\"Since Bill Graham first started putting on shows at the Fillmore Auditorium in the late 1960s, the venue has put out a barrel of free apples for guests.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS35733_Filmore-Apples-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS35733_Filmore-Apples-qut-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS35733_Filmore-Apples-qut-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS35733_Filmore-Apples-qut-1200x900.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS35733_Filmore-Apples-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Since Bill Graham first started putting on shows at the Fillmore Auditorium in the late 1960s, the venue has put out a barrel of free apples for guests. \u003ccite>(Ryan Levi/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Graham never spoke publicly about this experience, and he rarely talked about his time during the Holocaust at all, telling people that he remembered very little of his life before making it to the United States. But that hasn’t stopped people from latching onto Moratz’s story.\u003c/p>\n\u003cp>“Many of us now believe [giving away apples] was some kind of hidden impulse to share the life preserving fruit, which saved us from certain starvation, with the public as a form of thanksgiving,” Moratz wrote.\u003c/p>\n\u003cp>Bob Greenfield, Graham’s biographer, is not convinced.\u003c/p>\n\u003cp>“He’s making a link that I don’t think Bill ever made even unconsciously,” he said of Moratz, who died in 2016. “Bill always lived in the moment. He wasn’t someone who was possessed by or living in the past.”\u003c/p>\n\u003cp>With Graham gone, we will never know for sure why the apples became a Fillmore staple. But question asker Sandra Julien said hearing about Graham’s escape from Europe makes the Fillmore even more meaningful to her.\u003c/p>\n\u003cp>“Now when I go to the Fillmore, I’m always going to think of this,” she said.\u003c/p>\n\u003cfigure id=\"attachment_11732715\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-11732715 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/03/RS35334__DSC6258-qut-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS35334__DSC6258-qut-800x534.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS35334__DSC6258-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS35334__DSC6258-qut-1020x681.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS35334__DSC6258-qut-1200x801.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS35334__DSC6258-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A concertgoer who identified himself only as Sean enjoys his first Fillmore apple while he waits for a concert to begin. \u003ccite>(Stephanie Lister/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "'One of a Kind': Remembering Jeanie Patterson, Owner of Mill Valley's Sweetwater",
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"content": "\u003cp>If you walked into the Sweetwater in downtown Mill Valley on a Friday night during the 1980s or '90s, the tiny music venue would be packed. Patrons had to get there early to get a seat at one of the tables clustered close together next to walls plastered in photos and posters.\u003c/p>\n\u003cp>It could only hold about 100 people, but big names including Bob Weir, Elvis Costello, Huey Lewis, Sammy Hagar and Carlos Santana were known to stop by.\u003c/p>\n\u003cp>\"You never knew who was going to come by and sit in. It wasn't announced. It was just there because it was the Sweetwater,\" said Roy Rogers, a blues guitarist who used to play and hang out at Sweetwater.\u003c/p>\n\u003cfigure id=\"attachment_11732115\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11732115 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/03/Sweetwater-800x642.jpg\" alt=\"\" width=\"800\" height=\"642\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/03/Sweetwater-800x642.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/Sweetwater-160x128.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/Sweetwater-1020x819.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/Sweetwater-1200x964.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/Sweetwater-1920x1542.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/Sweetwater.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L-R) Sweetwater owner Jeanie Patterson, local record store owner John Goddard, blues signer and guitarist Bonnie Raitt, and folk and blues singer Maria Muldar stand in front of one of the many walls in the Sweetwater plastered in photos and posters. \u003ccite>(Courtesy of John Goddard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The woman who turned this tiny club into a magnet for top musicians was its longtime owner, Jeanie Patterson, who ran the club from 1979 to 1998 and died of cardiac arrest at the age of 75 in late February.\u003c/p>\n\u003cp>\"It was a one-of-a-kind club that was run by one-of-a-kind person,\" said John Goddard, a friend of Patterson's who owned a well-known record store in Mill Valley.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The original Sweetwater shut its doors in 2007, and a group of investors, including the Grateful Dead's Bob Weir, reopened the club at a nearby location in 2012.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ew_FRsurUNI\u003c/p>\n\u003cp>Patterson's sister, Mary Tatter, says her charisma brought so many famous musicians into the tiny venue.\u003c/p>\n\u003cp>\"I think they all felt that from her,\" Tatter said, \"that she really cared about them, and she really cared about music and she was naive and they wanted to help her. And they fell in love with her like everyone has.\"\u003c/p>\n\u003cp>But, according to Tatter, it never went to her head.\u003c/p>\n\u003cp>\"She was very special and very modest and didn't talk about all the people that she knew and had met,\" Tatter said.\u003c/p>\n\u003cp>A lot of those musicians lived in or around Mill Valley, so word about Sweetwater spread. Patterson became friends with Weir, Bill Graham and many others.\u003c/p>\n\u003cfigure id=\"attachment_11732116\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11732116 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/03/Sweetwater-3-800x643.jpg\" alt=\"\" width=\"800\" height=\"643\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/03/Sweetwater-3-800x643.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/Sweetwater-3-160x129.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/Sweetwater-3-1020x820.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/Sweetwater-3-1200x965.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/Sweetwater-3-1920x1544.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/Sweetwater-3.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L-R) Blues musician Champion Jack Dupree, keyboardist Austin Delone and Sweetwater owner Jeanie Patterson hang out at the downtown Mill Valley music club. \u003ccite>(Courtesy of John Goddard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"Everybody knew about it. It was just one of those clubs,\" Rogers said. \"You always knew the quality of the music would be great.\"\u003c/p>\n\u003cp>The Sweetwater became even more well-known and attracted even more talent when Patterson and Goddard, who owned Village Records in Mill Valley, teamed up to throw private parties at the club.\u003c/p>\n\u003cp>Goddard said the idea was sparked one day when the two were going over a list of Patterson's favorite musicians, and she wondered if she could get Ry Cooder to play a club as small as the Sweetwater. Goddard suggested that maybe he'd play at a private party.\u003c/p>\n\u003cp>Goddard and Patterson threw the party, and Cooder played.\u003c/p>\n\u003cp>\"And from then on we just we just took off,\" Goddard said.\u003c/p>\n\u003cp>Elvis Costello told the \u003ca href=\"https://www.marinij.com/2006/10/12/paul-liberatore-marins-delone-and-costello-together-again/\" target=\"_blank\" rel=\"noopener\">Marin Independent Journal in 2006\u003c/a>, the Sweetwater was the first venue he played in the United States.\u003c/p>\n\u003cfigure id=\"attachment_11732117\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11732117 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/03/Sweetwater-2-800x566.jpg\" alt=\"\" width=\"800\" height=\"566\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/03/Sweetwater-2-800x566.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/Sweetwater-2-160x113.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/Sweetwater-2-1020x722.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/Sweetwater-2-1200x849.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/Sweetwater-2-1920x1359.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/Sweetwater-2.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Grateful Dead lead singer Jerry Garcia (L) plays at the Sweetwater with Elvis Costello (R). \u003ccite>(Courtesy of John Goddard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"It built the local music scene,\" Goddard said. \"It turned Mill Valley from a place to live to a place to hang out.\"\u003c/p>\n\u003cp>After nearly 20 years of running the Sweetwater, Patterson sold it to local entrepreneur \u003ca href=\"https://www.sfgate.com/entertainment/article/11th-Hour-Reprieve-for-Sweetwater-2969723.php\" target=\"_blank\" rel=\"noopener\">Thomas Steere\u003c/a>. Both her sons died suddenly within in a couple years of each other around that time, and she left Mill Valley.\u003c/p>\n\u003cp>Goddards says the Sweetwater wasn't the same after that. He says Patterson's loving personality and the fact that she lived in the community gave the club a homey feel that most places in Mill Valley just don't have anymore.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\"It was certainly a representation of what Mill Valley was in the '60s, '70s and '80s,\" Goddard said. \"There was a small town character that to me isn't there anymore ... Music was an integral part of our lives. And I think music has turned into the background now.\"\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you walked into the Sweetwater in downtown Mill Valley on a Friday night during the 1980s or '90s, the tiny music venue would be packed. Patrons had to get there early to get a seat at one of the tables clustered close together next to walls plastered in photos and posters.\u003c/p>\n\u003cp>It could only hold about 100 people, but big names including Bob Weir, Elvis Costello, Huey Lewis, Sammy Hagar and Carlos Santana were known to stop by.\u003c/p>\n\u003cp>\"You never knew who was going to come by and sit in. It wasn't announced. It was just there because it was the Sweetwater,\" said Roy Rogers, a blues guitarist who used to play and hang out at Sweetwater.\u003c/p>\n\u003cfigure id=\"attachment_11732115\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11732115 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/03/Sweetwater-800x642.jpg\" alt=\"\" width=\"800\" height=\"642\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/03/Sweetwater-800x642.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/Sweetwater-160x128.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/Sweetwater-1020x819.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/Sweetwater-1200x964.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/Sweetwater-1920x1542.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/Sweetwater.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L-R) Sweetwater owner Jeanie Patterson, local record store owner John Goddard, blues signer and guitarist Bonnie Raitt, and folk and blues singer Maria Muldar stand in front of one of the many walls in the Sweetwater plastered in photos and posters. \u003ccite>(Courtesy of John Goddard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The woman who turned this tiny club into a magnet for top musicians was its longtime owner, Jeanie Patterson, who ran the club from 1979 to 1998 and died of cardiac arrest at the age of 75 in late February.\u003c/p>\n\u003cp>\"It was a one-of-a-kind club that was run by one-of-a-kind person,\" said John Goddard, a friend of Patterson's who owned a well-known record store in Mill Valley.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The original Sweetwater shut its doors in 2007, and a group of investors, including the Grateful Dead's Bob Weir, reopened the club at a nearby location in 2012.\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/ew_FRsurUNI'\n title='//www.youtube.com/embed/ew_FRsurUNI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Patterson's sister, Mary Tatter, says her charisma brought so many famous musicians into the tiny venue.\u003c/p>\n\u003cp>\"I think they all felt that from her,\" Tatter said, \"that she really cared about them, and she really cared about music and she was naive and they wanted to help her. And they fell in love with her like everyone has.\"\u003c/p>\n\u003cp>But, according to Tatter, it never went to her head.\u003c/p>\n\u003cp>\"She was very special and very modest and didn't talk about all the people that she knew and had met,\" Tatter said.\u003c/p>\n\u003cp>A lot of those musicians lived in or around Mill Valley, so word about Sweetwater spread. Patterson became friends with Weir, Bill Graham and many others.\u003c/p>\n\u003cfigure id=\"attachment_11732116\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11732116 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/03/Sweetwater-3-800x643.jpg\" alt=\"\" width=\"800\" height=\"643\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/03/Sweetwater-3-800x643.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/Sweetwater-3-160x129.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/Sweetwater-3-1020x820.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/Sweetwater-3-1200x965.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/Sweetwater-3-1920x1544.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/Sweetwater-3.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L-R) Blues musician Champion Jack Dupree, keyboardist Austin Delone and Sweetwater owner Jeanie Patterson hang out at the downtown Mill Valley music club. \u003ccite>(Courtesy of John Goddard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"Everybody knew about it. It was just one of those clubs,\" Rogers said. \"You always knew the quality of the music would be great.\"\u003c/p>\n\u003cp>The Sweetwater became even more well-known and attracted even more talent when Patterson and Goddard, who owned Village Records in Mill Valley, teamed up to throw private parties at the club.\u003c/p>\n\u003cp>Goddard said the idea was sparked one day when the two were going over a list of Patterson's favorite musicians, and she wondered if she could get Ry Cooder to play a club as small as the Sweetwater. Goddard suggested that maybe he'd play at a private party.\u003c/p>\n\u003cp>Goddard and Patterson threw the party, and Cooder played.\u003c/p>\n\u003cp>\"And from then on we just we just took off,\" Goddard said.\u003c/p>\n\u003cp>Elvis Costello told the \u003ca href=\"https://www.marinij.com/2006/10/12/paul-liberatore-marins-delone-and-costello-together-again/\" target=\"_blank\" rel=\"noopener\">Marin Independent Journal in 2006\u003c/a>, the Sweetwater was the first venue he played in the United States.\u003c/p>\n\u003cfigure id=\"attachment_11732117\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11732117 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/03/Sweetwater-2-800x566.jpg\" alt=\"\" width=\"800\" height=\"566\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/03/Sweetwater-2-800x566.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/Sweetwater-2-160x113.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/Sweetwater-2-1020x722.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/Sweetwater-2-1200x849.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/Sweetwater-2-1920x1359.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/Sweetwater-2.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Grateful Dead lead singer Jerry Garcia (L) plays at the Sweetwater with Elvis Costello (R). \u003ccite>(Courtesy of John Goddard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"It built the local music scene,\" Goddard said. \"It turned Mill Valley from a place to live to a place to hang out.\"\u003c/p>\n\u003cp>After nearly 20 years of running the Sweetwater, Patterson sold it to local entrepreneur \u003ca href=\"https://www.sfgate.com/entertainment/article/11th-Hour-Reprieve-for-Sweetwater-2969723.php\" target=\"_blank\" rel=\"noopener\">Thomas Steere\u003c/a>. Both her sons died suddenly within in a couple years of each other around that time, and she left Mill Valley.\u003c/p>\n\u003cp>Goddards says the Sweetwater wasn't the same after that. He says Patterson's loving personality and the fact that she lived in the community gave the club a homey feel that most places in Mill Valley just don't have anymore.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\"It was certainly a representation of what Mill Valley was in the '60s, '70s and '80s,\" Goddard said. \"There was a small town character that to me isn't there anymore ... Music was an integral part of our lives. And I think music has turned into the background now.\"\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cb>Congressman Ro Khanna\u003cbr>\n\u003c/b>\u003cspan style=\"font-weight: 400\">This week, the House Judiciary Committee sent 81 letters requesting documents from agencies and individuals tied to President Trump as it investigates possible obstruction and corruption. Another House committee asked the Trump administration to turn over documents concerning the security clearances of the president’s closest advisers, including his son-in-law, Jared Kushner. Meanwhile, just days after a U.S.-North Korea summit in Vietnam abruptly ended, new evidence emerged showing North Korea is ramping up its missile program.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">We hear from Bay Area Rep. Ro Khanna, a member of the House Committee on Oversight and Reform and the Armed Services Committee, who is co-sponsoring a resolution to declare an end to the Korean War. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Guest: \u003c/b>\u003cspan style=\"font-weight: 400\">U.S. Rep. Ro Khanna (D-CA)\u003c/span>\u003c/p>\n\u003cp>\u003cb>Facebook’s New Privacy Focus and the IPO Race\u003cbr>\n\u003c/b>\u003cspan style=\"font-weight: 400\">The world’s most profitable and popular social media platform may be getting a major reboot that could usher in a fundamental shift in how social media is shared and consumed. On Wednesday, Facebook CEO Mark Zuckerberg announced his vision of a privacy-focused platform where smaller groups of people would use encrypted and private channels of communication to share messages and other content with other users they know. Last year, Zuckerberg testified before Congress in the wake of a massive data breach affecting millions of its users, highlighting the tension Facebook has with protecting privacy while pursuing profits through targeted ads. Meanwhile, ride-service company Lyft recently filed the first round of documents with the SEC to go public ahead of its bigger rival, Uber, which is also expected to go public later this year. Other Bay Area startups expected to file IPOs soon include Airbnb, Slack and Pinterest. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Guests:\u003c/b>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/p>\n\u003cul>\n\u003cli style=\"font-weight: 400\">\u003cspan style=\"font-weight: 400\"> Mike Isaac, technology reporter, The New York Times\u003c/span>\u003c/li>\n\u003cli style=\"font-weight: 400\">\u003cspan style=\"font-weight: 400\"> Jeremy C. Owens, San Francisco bureau chief, MarketWatch \u003c/span>\u003c/li>\n\u003c/ul>\n\u003cp>\u003cb>That Lady Thing\u003cbr>\n\u003c/b>\u003cspan style=\"font-weight: 400\">In San Francisco, a team of creative women is honoring International Women’s Day on Friday with a three-day art pop-up experience that celebrates women and the struggles they face, from wage inequality to harassment. It’s called That Lady Thing, but it’s not your typical art gallery or museum. Visitors to the event can explore what toxic masculinity smells like or try scaling a corporate climbing wall or grabbing fake bills to remind us of the gender wage gap. Last year, when the event was first held, only adults 21 and older could attend. This year, organizers are opening the doors on Sunday, the last day of the event, to teens 14 and older after they received requests from teens, parents and college students to share That Lady Thing’s blend of satire and visual whimsy to bring feminist statements to a younger audience. \u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Guests:\u003c/b>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/p>\n\u003cul>\n\u003cli style=\"font-weight: 400\">\u003cspan style=\"font-weight: 400\">Jamie Shaw, creative director, That Lady Thing\u003c/span>\u003c/li>\n\u003cli style=\"font-weight: 400\">\u003cspan style=\"font-weight: 400\">Sophie Foster, high school student\u003c/span>\u003c/li>\n\u003c/ul>\n\n",
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"content": "\u003cp>Oakland-born and Hayward-raised Mahershala Ali took home his second Oscar in three years on Sunday night, one of several winners with Bay Area connections.\u003c/p>\n\u003cp>Ali won the award for Best Actor in a Supporting Role for his portrayal of world-class pianist Don Shirley in Best Picture winner “Green Book.” In 2017, Ali became the first Muslim actor to win an Oscar when he won in the same category for his role in “Moonlight.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=RQhIGLHCt24\u003c/p>\n\u003cp>“I want to dedicate this to my grandmother who has been in my ear my entire life telling me if at first I don’t succeed, try, try again,” Ali said in his acceptance speech. “That I could do anything I put my mind to, always, always pushing me to think positively, and I know that I would not be here without her.”\u003c/p>\n\u003cp>Ali beat out two fellow Northern California products to win the award. Sam Rockwell, who was born in Daly City and grew up in San Francisco, was nominated for his role as former President George W. Bush in “Vice,” and Sacramento’s Sam Elliott earned a nomination for his part in “A Star is Born.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Emeryville-based Pixar failed to follow up last year’s Best Animated Feature winner “Coco” with another win for the superhero film “Incredibles 2,” but it did take home the award for Best Animated Short for “Bao,” a story about a mom, a son and a dumpling that comes to life.\u003c/p>\n\u003cfigure id=\"attachment_11728708\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/02/RS35448_GettyImages-1131923943-qut-800x557.jpg\" alt='Becky Neiman-Cobb (L) and Domee Shi, winners of Best Animated Short Film for \"Bao,\" pose in the press room during the 91st Annual Academy Awards at Hollywood and Highland on February 24, 2019 in Hollywood, California.' width=\"800\" height=\"557\" class=\"size-medium wp-image-11728708\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35448_GettyImages-1131923943-qut-800x557.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35448_GettyImages-1131923943-qut-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35448_GettyImages-1131923943-qut-1020x710.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35448_GettyImages-1131923943-qut-1200x836.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35448_GettyImages-1131923943-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Becky Neiman-Cobb (L) and Domee Shi, winners of Best Animated Short Film for “Bao,” pose in the press room during the 91st Annual Academy Awards at Hollywood and Highland on February 24, 2019 in Hollywood, California. \u003ccite>(Frazer Harrison/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>John Ottman called out his experiences as a kid making movies in his parents’ garage in San Jose during his victory speech after winning the Oscar for film editing for “Bohemian Rhapsody.” But some on social media \u003ca href=\"https://popculture.com/movies/2019/02/25/oscars-2019-bohemian-rhapsody-editor-john-ottman-speech-social-media/\" rel=\"noopener\" target=\"_blank\">called Ottman out\u003c/a> for not using the speech to denounce the film’s director, Bryan Singer, who left the project midway through and has \u003ca href=\"https://www.theatlantic.com/magazine/archive/2019/03/bryan-singers-accusers-speak-out/580462/\" rel=\"noopener\" target=\"_blank\">repeatedly\u003c/a> been accused of sexual assault.\u003c/p>\n\u003cp>“Black Panther,” which was directed by Oakland’s Ryan Coogler and included several scenes in The Town, did not win Best Picture, but it still took home three out of the seven awards it was nominated for. \u003ca href=\"https://www.npr.org/2019/02/22/696687965/she-designed-wakanda-and-might-win-an-oscar-for-it\" rel=\"noopener\" target=\"_blank\">Hannah Beachler\u003c/a> and Jay Hart won for production design, \u003ca href=\"https://www.npr.org/2018/02/16/586513016/black-panther-costume-designer-draws-on-the-sacred-geometry-of-africa\" rel=\"noopener\" target=\"_blank\">Ruth Carter\u003c/a> won for costume design and \u003ca href=\"https://www.npr.org/2019/02/23/697124438/how-ludwig-g-ransson-helped-orchestrate-americas-conversation-on-race-in-2018\" rel=\"noopener\" target=\"_blank\">Ludwig Göransson\u003c/a> won for best original score.\u003c/p>\n\u003cp>The film’s sound editing and mixing teams — including \u003ca href=\"https://abc7news.com/entertainment/3-bay-area-men-up-for-sound-mixing-editing-oscars/5149485/\" rel=\"noopener\" target=\"_blank\">Bay Area products\u003c/a> Steve Boeddeker, Brandon Proctor and Benjamin A. Burtt — lost out in both categories to “Bohemian Rhapsody,” and “All the Stars” by Kendrick Lamar, SZA, Mark “Sounwave” Spears and Anthony “Top Dawg” Tiffith failed to upset Lady Gaga’s “Shallow” from “A Star is Born” for Best Original Song.\u003c/p>\n\u003cp>“Free Solo,” a documentary about Alex Honnold, the Sacramento man who became the first person to successfully scale Yosemite’s El Capitan without ropes or harnesses, won for Best Documentary Feature.\u003c/p>\n\u003cp>You can see the full list of winners \u003ca href=\"https://www.npr.org/2019/02/24/697170356/oscars-2019-the-winners\" rel=\"noopener\" target=\"_blank\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This post has been updated.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Oakland-born and Hayward-raised Mahershala Ali took home his second Oscar in three years on Sunday night, one of several winners with Bay Area connections.\u003c/p>\n\u003cp>Ali won the award for Best Actor in a Supporting Role for his portrayal of world-class pianist Don Shirley in Best Picture winner “Green Book.” In 2017, Ali became the first Muslim actor to win an Oscar when he won in the same category for his role in “Moonlight.”\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/RQhIGLHCt24'\n title='//www.youtube.com/embed/RQhIGLHCt24'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“I want to dedicate this to my grandmother who has been in my ear my entire life telling me if at first I don’t succeed, try, try again,” Ali said in his acceptance speech. “That I could do anything I put my mind to, always, always pushing me to think positively, and I know that I would not be here without her.”\u003c/p>\n\u003cp>Ali beat out two fellow Northern California products to win the award. Sam Rockwell, who was born in Daly City and grew up in San Francisco, was nominated for his role as former President George W. Bush in “Vice,” and Sacramento’s Sam Elliott earned a nomination for his part in “A Star is Born.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Emeryville-based Pixar failed to follow up last year’s Best Animated Feature winner “Coco” with another win for the superhero film “Incredibles 2,” but it did take home the award for Best Animated Short for “Bao,” a story about a mom, a son and a dumpling that comes to life.\u003c/p>\n\u003cfigure id=\"attachment_11728708\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/02/RS35448_GettyImages-1131923943-qut-800x557.jpg\" alt='Becky Neiman-Cobb (L) and Domee Shi, winners of Best Animated Short Film for \"Bao,\" pose in the press room during the 91st Annual Academy Awards at Hollywood and Highland on February 24, 2019 in Hollywood, California.' width=\"800\" height=\"557\" class=\"size-medium wp-image-11728708\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35448_GettyImages-1131923943-qut-800x557.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35448_GettyImages-1131923943-qut-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35448_GettyImages-1131923943-qut-1020x710.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35448_GettyImages-1131923943-qut-1200x836.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35448_GettyImages-1131923943-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Becky Neiman-Cobb (L) and Domee Shi, winners of Best Animated Short Film for “Bao,” pose in the press room during the 91st Annual Academy Awards at Hollywood and Highland on February 24, 2019 in Hollywood, California. \u003ccite>(Frazer Harrison/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>John Ottman called out his experiences as a kid making movies in his parents’ garage in San Jose during his victory speech after winning the Oscar for film editing for “Bohemian Rhapsody.” But some on social media \u003ca href=\"https://popculture.com/movies/2019/02/25/oscars-2019-bohemian-rhapsody-editor-john-ottman-speech-social-media/\" rel=\"noopener\" target=\"_blank\">called Ottman out\u003c/a> for not using the speech to denounce the film’s director, Bryan Singer, who left the project midway through and has \u003ca href=\"https://www.theatlantic.com/magazine/archive/2019/03/bryan-singers-accusers-speak-out/580462/\" rel=\"noopener\" target=\"_blank\">repeatedly\u003c/a> been accused of sexual assault.\u003c/p>\n\u003cp>“Black Panther,” which was directed by Oakland’s Ryan Coogler and included several scenes in The Town, did not win Best Picture, but it still took home three out of the seven awards it was nominated for. \u003ca href=\"https://www.npr.org/2019/02/22/696687965/she-designed-wakanda-and-might-win-an-oscar-for-it\" rel=\"noopener\" target=\"_blank\">Hannah Beachler\u003c/a> and Jay Hart won for production design, \u003ca href=\"https://www.npr.org/2018/02/16/586513016/black-panther-costume-designer-draws-on-the-sacred-geometry-of-africa\" rel=\"noopener\" target=\"_blank\">Ruth Carter\u003c/a> won for costume design and \u003ca href=\"https://www.npr.org/2019/02/23/697124438/how-ludwig-g-ransson-helped-orchestrate-americas-conversation-on-race-in-2018\" rel=\"noopener\" target=\"_blank\">Ludwig Göransson\u003c/a> won for best original score.\u003c/p>\n\u003cp>The film’s sound editing and mixing teams — including \u003ca href=\"https://abc7news.com/entertainment/3-bay-area-men-up-for-sound-mixing-editing-oscars/5149485/\" rel=\"noopener\" target=\"_blank\">Bay Area products\u003c/a> Steve Boeddeker, Brandon Proctor and Benjamin A. Burtt — lost out in both categories to “Bohemian Rhapsody,” and “All the Stars” by Kendrick Lamar, SZA, Mark “Sounwave” Spears and Anthony “Top Dawg” Tiffith failed to upset Lady Gaga’s “Shallow” from “A Star is Born” for Best Original Song.\u003c/p>\n\u003cp>“Free Solo,” a documentary about Alex Honnold, the Sacramento man who became the first person to successfully scale Yosemite’s El Capitan without ropes or harnesses, won for Best Documentary Feature.\u003c/p>\n\u003cp>You can see the full list of winners \u003ca href=\"https://www.npr.org/2019/02/24/697170356/oscars-2019-the-winners\" rel=\"noopener\" target=\"_blank\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This post has been updated.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
"airtime": "SUN 9pm-10pm",
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"meta": {
"site": "radio",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"id": "here-and-now",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
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"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"rss": "https://feeds.npr.org/510313/podcast.xml"
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
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"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
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