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"content": "\u003cp>\u003cem>\u003cstrong>This was originally published Jan. 23, 2018.\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>Fifty years ago this month, Johnny Cash performed at Folsom Prison to an audience of 1,000 convicts. The recording of the show, \u003ca href=\"https://www.rollingstone.com/music/lists/50-greatest-live-albums-of-all-time-20150429/johnny-cash-at-folsom-prison-1968-20150427\" target=\"_blank\" rel=\"noopener\">“Live at Folsom Prison,”\u003c/a> went on to become a landmark album.\u003c/p>\n\u003cp>It solidified Cash’s image as a champion of the downtrodden, revitalized his career and forever linked him with those behind bars.\u003c/p>\n\u003cp>But the singer’s connection with Folsom went far beyond a triple platinum release. It was there that he met a jailhouse songwriter and career criminal named \u003ca href=\"https://en.wikipedia.org/wiki/Glen_Sherley\" target=\"_blank\" rel=\"noopener\">Glen Sherley\u003c/a>. Their friendship would have a profound effect on both men.\u003c/p>\n\u003cp>It all begins on the morning of Jan. 18, 1968. Johnny Cash is onstage under the raw fluorescent lights in mess hall #2 at Folsom Prison. Cash is giving the convicts what they want, running through numbers like “Folsom Prison Blues”, “Dark As a Dungeon,” “I Still Miss Someone,” “Send a Picture of Mother.”\u003c/p>\n\u003cfigure id=\"attachment_11643192\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11643192\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/01/greystone-chapel.jpg\" alt=\"Greystone Chapel at Folsom Prison. The granite building was the inspiration for Glen Sherley’s song of the same title.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/greystone-chapel.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/greystone-chapel-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/greystone-chapel-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/greystone-chapel-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/greystone-chapel-520x293.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Greystone Chapel at Folsom Prison. The granite building was the inspiration for Glen Sherley’s song of the same title. \u003ccite>(Kristina Khokhobashvili/California Department of Corrections)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Standing tall up there, dressed in black, sweat rolling down his cheek, Cash squints through the choking haze of cigarette smoke at a prisoner in the front row with a chiseled face, a high pompadour, and a Pall Mall dangling from his mouth.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This is Glen Sherley, California state convict A-59795C, a repeat offender doing a life sentence for armed robbery. He has no idea what’s about to happen, no idea his life is about to change forever.\u003c/p>\n\u003cp>From the stage, Cash pauses to introduce the next and final song.\u003c/p>\n\u003cp>“This next song was written by a man right here in Folsom Prison, and last night was the first time I’ve ever sung this song. Anyway, this song was written by our friend Glen Sherley.”\u003c/p>\n\u003cp>The room erupts, Sherley’s inmate brothers clapping, whistling and hooting for their man as he beams in shock and wonder. Cash kicks the band into “Greystone Chapel.”\u003c/p>\n\u003cp>\u003cem> Inside the walls of prison, my body may be\u003c/em>\u003cbr>\n\u003cem> But my Lord has set my heart free\u003c/em>\u003cbr>\n\u003cem> There’s a grey stone chapel here at Folsom\u003c/em>\u003cbr>\n\u003cem> A house of worship in this den of sin\u003c/em>\u003cbr>\n\u003cem> You wouldn’t think that God had a place here at Folsom\u003c/em>\u003cbr>\n\u003cem> But He’s saved the soul of many lost men\u003c/em>\u003c/p>\n\u003cp>Cash played two sets at Folsom that day and closed both with Sherley’s raw anthem to the small, sacred building.\u003c/p>\n\u003cp>“If you took the Glen Sherley component out of that record there would be a big hole,” says country musician Marty Stuart. He played with Cash in the ‘80s, and Johnny introduced him to Sherley many years ago. “To me that was kind of the heart of that record. That was a great gesture, but it was also a great song and a deserving song.”\u003c/p>\n\u003cp>So how did this guy who’d spent most of his adult life buried in the toughest prisons California had to offer — Chino, Soledad, San Quentin and Folsom — write a song that ended up on one of the most revered and powerful albums ever?\u003c/p>\n\u003cp>It all began with a behind-bars demo.\u003c/p>\n\u003cp>Sherley was friendly with the prison DJ, convicted killer Earl Green. Green loved Johnny Cash, and convinced Glen to write something in Cash’s style. Thus was born “Greystone Chapel.” Green recorded Sherley’s song, and — by all accounts without his knowledge — gave the tape to the Rev. Floyd Gressett, a traveling chaplain who brought the Good Word to the incarcerated. He also had a church in Ventura where Cash, who lived in nearby Casitas Springs, was known to darken the door on Sunday mornings.\u003c/p>\n\u003cp>The evening before the Folsom show, Cash was rehearsing in a Sacramento hotel when the Rev. Floyd dropped by with that tape straight from the big house. Cash loved what he heard, and performed the song the next morning onstage at the prison.\u003c/p>\n\u003cp>Sherley’s song was a crowd pleaser. It put the spotlight on a humble prisoner, and would be a savvy promo for the release.\u003c/p>\n\u003cp>Most artists would have left it at that and moved on.\u003c/p>\n\u003cp>But Johnny Cash was not most artists.\u003c/p>\n\u003cp>By 1968, he was getting a handle on his years of drug and alcohol abuse, resurrecting his career, and renewing his deep faith in the Lord. When he met Glen Sherley, Cash was meeting a kindred spirit, a darker version of himself, had he made slightly different life choices.\u003c/p>\n\u003cp>“Oh, I think it was just a country boy thing, just a Southern boy thing,” says Marty Stuart. “You see a buddy down in the ditch, you stick out your hand. They helped each other, I think they shored each other up. I think it was the best of intentions.”\u003c/p>\n\u003cp>Nashville pedal steel master Lloyd Green, who recorded with both Sherley and Cash, has a slightly different take on the relationship.\u003c/p>\n\u003cp>“It was that messianic complex thing kicking into high gear,” he says. “’I’m going to save this guy, and in the process save myself.’ [Cash] looked at it like, I’ve been redeemed because I was special. He really felt he was a special man. And he said it, you know, more than once. He might have been.”\u003c/p>\n\u003cp>Cash was finding salvation. Now, with the help of God and Nashville, he was going to save Glen Sherley, too.\u003c/p>\n\u003cp>But what brought Sherley to this point?\u003c/p>\n\u003cp>“I was born in state of Oklahoma in ’36. I think it was the latter part of ’38 when the whole family moved to California,” he said in a 1971 interview with CBS News. “If you read Steinbeck’s book the ‘Grapes of Wrath’ it kind of fits that, you know? Mattresses on the car, buckets on the side, stopping getting water. Got to California, I started school.”\u003c/p>\n\u003cp>School didn’t go so well. In his teens, Sherley started getting in trouble with the law. Over the years, he developed lifelong drug and alcohol addictions. Despite having a dedicated wife and two young children, by 1960 he would be in and out of prison for most of the next decade. So, what went wrong?\u003c/p>\n\u003cfigure id=\"attachment_11643066\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11643066\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/01/RS28919_Ronda.Tank-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28919_Ronda.Tank-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28919_Ronda.Tank-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28919_Ronda.Tank-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28919_Ronda.Tank-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28919_Ronda.Tank-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28919_Ronda.Tank-qut-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28919_Ronda.Tank-qut-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28919_Ronda.Tank-qut-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28919_Ronda.Tank-qut-520x390.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Retired Tennessee State Trooper Ronda Sherley, daughter of Glen Sherley, at home in Nashville with her dog, Tank. \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’ve asked myself that a lot of times,” says his daughter, Ronda Sherley, a retired Tennessee state trooper living in Nashville. “Because if you knew my grandmother and his brothers and sisters, they were all hardworking people, they were all very responsible, very honest people. But I guess that’s something you don’t really figure out. That was just something in him.”\u003c/p>\n\u003cp>In that 1971 interview, Sherley shed some light on his criminal motivation.\u003c/p>\n\u003cp>“What turned me to committing robberies, I think, well, the hardest thing for me to admit about five years ago to myself was the fact that I was in prison because I wanted to be in prison. …You’re fed and you’re housed and you’re clothed and you don’t have to worry about where your next meal is coming from. There’s no responsibility there.”\u003c/p>\n\u003cp>Sherley was not a criminal mastermind. He’d get loaded and impulsive, and once robbed a Burbank ice cream company of $28 using a toy gun.\u003c/p>\n\u003cp>In his brief moments of civilian life, he’d listen to the radio — George Jones was a favorite — and strum a few chords on a beat-up six string.\u003c/p>\n\u003cp>“I can remember him playing guitar and singing in the living room when we were going to bed,” says Ronda. “But he would be in and out, in and out [of prison] so I don’t have a whole lot of memories as a child of him being there.”\u003c/p>\n\u003cp>“You got to do something in prison or go insane,” said Glen in ‘71. “You can do it gambling, you can do it hustling, you can do it shooting narcotics or taking pills, but you’ve got to have something going to let you face that next day.”\u003c/p>\n\u003cfigure id=\"attachment_11643187\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11643187\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/01/cash3.jpg\" alt=\"Folsom Prison’s imposing gatehouse. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/cash3.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/cash3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/cash3-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/cash3-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/cash3-520x346.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Folsom Prison’s imposing gatehouse. \u003ccite>(Kristina Khokhobashvili/California Department of Corrections)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What Sherley did was write songs.\u003c/p>\n\u003cp>After the Folsom performance, the “\u003ca href=\"https://en.wikipedia.org/wiki/Man_in_Black_(song)\" target=\"_blank\" rel=\"noopener\">Man In Black\u003c/a>” was on a mission to set Sherley free. He stepped in with connections that included Gov. Ronald Reagan and the Rev. Billy Graham, and got Sherley transferred to the minimum-security prison at Vacaville. Cash also landed him a record deal.\u003c/p>\n\u003cp>Lloyd Green was one of the session players imported from Tennessee to back up Sherley on his self-named album, recorded live in Vacaville while he was still doing time.\u003c/p>\n\u003cp>“Glen was the most humble, nicest guy in the world,” recalls Green. “He was just so grateful, you know? It was a major day, as it turned out, it was a major event in his life.\u003c/p>\n\u003cp>“Glen was treated as the hero by his friends in prison and it was a wonderful thing to see,” Green continues. “It was a very emotional thing for me because I just I got caught up in it, too. and I thought, ‘Wow, this is terrible this man spent a large portion of his adult life in prison.’ ”\u003c/p>\n\u003cp>In March 1971 Glen Sherley was paroled. His record was released a few weeks later and climbed up the Billboard country charts to #63 — not a hit, but nothing to be ashamed of. Cash moved him to Nashville, gave him a spot on his road show and signed him to a publishing deal.\u003c/p>\n\u003cfigure id=\"attachment_11643065\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11643065\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/01/RS28921_Glen.kids-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28921_Glen.kids-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28921_Glen.kids-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28921_Glen.kids-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28921_Glen.kids-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28921_Glen.kids-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28921_Glen.kids-qut-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28921_Glen.kids-qut-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28921_Glen.kids-qut-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28921_Glen.kids-qut-520x390.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Former inmate and songwriter Glen Sherley after being released from prison in 1971 with his children Ronda and Bruce in Nashville. \u003ccite>(Courtesy Ronda Sherley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But after about a year and a half of traveling and performing with Cash, including a gig at the Los Angeles Forum in front of a crowd of 17,000 people, things started going south for Sherley.\u003c/p>\n\u003cp>“This is a big statement, but to get turned out of the California penal system and to be put into the world of hillbilly show business, good ol’ boy show business, there ain’t a hell of a lot of difference in a lot of ways,” says Marty Stuart. “You just swapping jailhouses.”\u003c/p>\n\u003cp>“He knew how to be in prison,” Ronda says. “He knew how to be someone in prison. He didn’t know how to be Glen Sherley out here.”\u003c/p>\n\u003cp>Ultimately, he couldn’t play the Nashville game, couldn’t adjust to life beyond a cell. Sherley’s addictions kicked in, his behavior became unpredictable and dangerous, and when he threatened a band member, that was the last straw.\u003c/p>\n\u003cp>Though it crushed him, Cash finally had to cut his friend loose.\u003c/p>\n\u003cp>For the next several years, Sherley drifted and drugged. His only goal was to stay out of prison. By 1978 — just six years after his album was released — he was living in the cab of a truck on a cattle farm near Salinas. In May of that year, he took his own life at the age of 42.\u003c/p>\n\u003cp>“I’ve heard a lot of people say, ‘Well, do you think John [Cash] should have taken more responsibility?’ ” says Ronda Sherley. “He did his job. He gave him a job, he gave him a home. He was his friend. He gave him advice, but Dad was a grown man and chose to take it or not. So it was never John’s job to guide my father through life.”\u003c/p>\n\u003cp>She still listens to her father’s music, a long gone voice that continues to speak to her.\u003c/p>\n\u003cp>“The words, the way he writes … you think of somebody who’s in prison, you think, oh he’s a bad person,” says Ronda. “But somebody who’s a bad person couldn’t put those words together. They couldn’t feel what it takes to put those words together.”\u003c/p>\n\u003cp>In the last five decades, the Johnny Cash “Live at Folsom Prison” album has sold more than 3 million copies, and Johnny Cash is still probably the most recognized name in country music.\u003c/p>\n\u003cp>And Glen Sherley? Now you know who he is, too.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>More of Peter Gilstrap’s reporting on Glen Sherley will be featured as part of a music documentary series, presented by \u003ca href=\"https://www.kcrw.com/\" target=\"_blank\" rel=\"noopener\">KCRW\u003c/a>, this spring.\u003c/em>\u003c/p>\n\n",
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"title": "Songwriter in a Cage: Meet Glen Sherley, Johnny Cash’s Friend in Folsom | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>This was originally published Jan. 23, 2018.\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>Fifty years ago this month, Johnny Cash performed at Folsom Prison to an audience of 1,000 convicts. The recording of the show, \u003ca href=\"https://www.rollingstone.com/music/lists/50-greatest-live-albums-of-all-time-20150429/johnny-cash-at-folsom-prison-1968-20150427\" target=\"_blank\" rel=\"noopener\">“Live at Folsom Prison,”\u003c/a> went on to become a landmark album.\u003c/p>\n\u003cp>It solidified Cash’s image as a champion of the downtrodden, revitalized his career and forever linked him with those behind bars.\u003c/p>\n\u003cp>But the singer’s connection with Folsom went far beyond a triple platinum release. It was there that he met a jailhouse songwriter and career criminal named \u003ca href=\"https://en.wikipedia.org/wiki/Glen_Sherley\" target=\"_blank\" rel=\"noopener\">Glen Sherley\u003c/a>. Their friendship would have a profound effect on both men.\u003c/p>\n\u003cp>It all begins on the morning of Jan. 18, 1968. Johnny Cash is onstage under the raw fluorescent lights in mess hall #2 at Folsom Prison. Cash is giving the convicts what they want, running through numbers like “Folsom Prison Blues”, “Dark As a Dungeon,” “I Still Miss Someone,” “Send a Picture of Mother.”\u003c/p>\n\u003cfigure id=\"attachment_11643192\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11643192\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/01/greystone-chapel.jpg\" alt=\"Greystone Chapel at Folsom Prison. The granite building was the inspiration for Glen Sherley’s song of the same title.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/greystone-chapel.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/greystone-chapel-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/greystone-chapel-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/greystone-chapel-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/greystone-chapel-520x293.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Greystone Chapel at Folsom Prison. The granite building was the inspiration for Glen Sherley’s song of the same title. \u003ccite>(Kristina Khokhobashvili/California Department of Corrections)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Standing tall up there, dressed in black, sweat rolling down his cheek, Cash squints through the choking haze of cigarette smoke at a prisoner in the front row with a chiseled face, a high pompadour, and a Pall Mall dangling from his mouth.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This is Glen Sherley, California state convict A-59795C, a repeat offender doing a life sentence for armed robbery. He has no idea what’s about to happen, no idea his life is about to change forever.\u003c/p>\n\u003cp>From the stage, Cash pauses to introduce the next and final song.\u003c/p>\n\u003cp>“This next song was written by a man right here in Folsom Prison, and last night was the first time I’ve ever sung this song. Anyway, this song was written by our friend Glen Sherley.”\u003c/p>\n\u003cp>The room erupts, Sherley’s inmate brothers clapping, whistling and hooting for their man as he beams in shock and wonder. Cash kicks the band into “Greystone Chapel.”\u003c/p>\n\u003cp>\u003cem> Inside the walls of prison, my body may be\u003c/em>\u003cbr>\n\u003cem> But my Lord has set my heart free\u003c/em>\u003cbr>\n\u003cem> There’s a grey stone chapel here at Folsom\u003c/em>\u003cbr>\n\u003cem> A house of worship in this den of sin\u003c/em>\u003cbr>\n\u003cem> You wouldn’t think that God had a place here at Folsom\u003c/em>\u003cbr>\n\u003cem> But He’s saved the soul of many lost men\u003c/em>\u003c/p>\n\u003cp>Cash played two sets at Folsom that day and closed both with Sherley’s raw anthem to the small, sacred building.\u003c/p>\n\u003cp>“If you took the Glen Sherley component out of that record there would be a big hole,” says country musician Marty Stuart. He played with Cash in the ‘80s, and Johnny introduced him to Sherley many years ago. “To me that was kind of the heart of that record. That was a great gesture, but it was also a great song and a deserving song.”\u003c/p>\n\u003cp>So how did this guy who’d spent most of his adult life buried in the toughest prisons California had to offer — Chino, Soledad, San Quentin and Folsom — write a song that ended up on one of the most revered and powerful albums ever?\u003c/p>\n\u003cp>It all began with a behind-bars demo.\u003c/p>\n\u003cp>Sherley was friendly with the prison DJ, convicted killer Earl Green. Green loved Johnny Cash, and convinced Glen to write something in Cash’s style. Thus was born “Greystone Chapel.” Green recorded Sherley’s song, and — by all accounts without his knowledge — gave the tape to the Rev. Floyd Gressett, a traveling chaplain who brought the Good Word to the incarcerated. He also had a church in Ventura where Cash, who lived in nearby Casitas Springs, was known to darken the door on Sunday mornings.\u003c/p>\n\u003cp>The evening before the Folsom show, Cash was rehearsing in a Sacramento hotel when the Rev. Floyd dropped by with that tape straight from the big house. Cash loved what he heard, and performed the song the next morning onstage at the prison.\u003c/p>\n\u003cp>Sherley’s song was a crowd pleaser. It put the spotlight on a humble prisoner, and would be a savvy promo for the release.\u003c/p>\n\u003cp>Most artists would have left it at that and moved on.\u003c/p>\n\u003cp>But Johnny Cash was not most artists.\u003c/p>\n\u003cp>By 1968, he was getting a handle on his years of drug and alcohol abuse, resurrecting his career, and renewing his deep faith in the Lord. When he met Glen Sherley, Cash was meeting a kindred spirit, a darker version of himself, had he made slightly different life choices.\u003c/p>\n\u003cp>“Oh, I think it was just a country boy thing, just a Southern boy thing,” says Marty Stuart. “You see a buddy down in the ditch, you stick out your hand. They helped each other, I think they shored each other up. I think it was the best of intentions.”\u003c/p>\n\u003cp>Nashville pedal steel master Lloyd Green, who recorded with both Sherley and Cash, has a slightly different take on the relationship.\u003c/p>\n\u003cp>“It was that messianic complex thing kicking into high gear,” he says. “’I’m going to save this guy, and in the process save myself.’ [Cash] looked at it like, I’ve been redeemed because I was special. He really felt he was a special man. And he said it, you know, more than once. He might have been.”\u003c/p>\n\u003cp>Cash was finding salvation. Now, with the help of God and Nashville, he was going to save Glen Sherley, too.\u003c/p>\n\u003cp>But what brought Sherley to this point?\u003c/p>\n\u003cp>“I was born in state of Oklahoma in ’36. I think it was the latter part of ’38 when the whole family moved to California,” he said in a 1971 interview with CBS News. “If you read Steinbeck’s book the ‘Grapes of Wrath’ it kind of fits that, you know? Mattresses on the car, buckets on the side, stopping getting water. Got to California, I started school.”\u003c/p>\n\u003cp>School didn’t go so well. In his teens, Sherley started getting in trouble with the law. Over the years, he developed lifelong drug and alcohol addictions. Despite having a dedicated wife and two young children, by 1960 he would be in and out of prison for most of the next decade. So, what went wrong?\u003c/p>\n\u003cfigure id=\"attachment_11643066\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11643066\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/01/RS28919_Ronda.Tank-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28919_Ronda.Tank-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28919_Ronda.Tank-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28919_Ronda.Tank-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28919_Ronda.Tank-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28919_Ronda.Tank-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28919_Ronda.Tank-qut-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28919_Ronda.Tank-qut-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28919_Ronda.Tank-qut-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28919_Ronda.Tank-qut-520x390.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Retired Tennessee State Trooper Ronda Sherley, daughter of Glen Sherley, at home in Nashville with her dog, Tank. \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’ve asked myself that a lot of times,” says his daughter, Ronda Sherley, a retired Tennessee state trooper living in Nashville. “Because if you knew my grandmother and his brothers and sisters, they were all hardworking people, they were all very responsible, very honest people. But I guess that’s something you don’t really figure out. That was just something in him.”\u003c/p>\n\u003cp>In that 1971 interview, Sherley shed some light on his criminal motivation.\u003c/p>\n\u003cp>“What turned me to committing robberies, I think, well, the hardest thing for me to admit about five years ago to myself was the fact that I was in prison because I wanted to be in prison. …You’re fed and you’re housed and you’re clothed and you don’t have to worry about where your next meal is coming from. There’s no responsibility there.”\u003c/p>\n\u003cp>Sherley was not a criminal mastermind. He’d get loaded and impulsive, and once robbed a Burbank ice cream company of $28 using a toy gun.\u003c/p>\n\u003cp>In his brief moments of civilian life, he’d listen to the radio — George Jones was a favorite — and strum a few chords on a beat-up six string.\u003c/p>\n\u003cp>“I can remember him playing guitar and singing in the living room when we were going to bed,” says Ronda. “But he would be in and out, in and out [of prison] so I don’t have a whole lot of memories as a child of him being there.”\u003c/p>\n\u003cp>“You got to do something in prison or go insane,” said Glen in ‘71. “You can do it gambling, you can do it hustling, you can do it shooting narcotics or taking pills, but you’ve got to have something going to let you face that next day.”\u003c/p>\n\u003cfigure id=\"attachment_11643187\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11643187\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/01/cash3.jpg\" alt=\"Folsom Prison’s imposing gatehouse. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/cash3.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/cash3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/cash3-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/cash3-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/cash3-520x346.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Folsom Prison’s imposing gatehouse. \u003ccite>(Kristina Khokhobashvili/California Department of Corrections)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What Sherley did was write songs.\u003c/p>\n\u003cp>After the Folsom performance, the “\u003ca href=\"https://en.wikipedia.org/wiki/Man_in_Black_(song)\" target=\"_blank\" rel=\"noopener\">Man In Black\u003c/a>” was on a mission to set Sherley free. He stepped in with connections that included Gov. Ronald Reagan and the Rev. Billy Graham, and got Sherley transferred to the minimum-security prison at Vacaville. Cash also landed him a record deal.\u003c/p>\n\u003cp>Lloyd Green was one of the session players imported from Tennessee to back up Sherley on his self-named album, recorded live in Vacaville while he was still doing time.\u003c/p>\n\u003cp>“Glen was the most humble, nicest guy in the world,” recalls Green. “He was just so grateful, you know? It was a major day, as it turned out, it was a major event in his life.\u003c/p>\n\u003cp>“Glen was treated as the hero by his friends in prison and it was a wonderful thing to see,” Green continues. “It was a very emotional thing for me because I just I got caught up in it, too. and I thought, ‘Wow, this is terrible this man spent a large portion of his adult life in prison.’ ”\u003c/p>\n\u003cp>In March 1971 Glen Sherley was paroled. His record was released a few weeks later and climbed up the Billboard country charts to #63 — not a hit, but nothing to be ashamed of. Cash moved him to Nashville, gave him a spot on his road show and signed him to a publishing deal.\u003c/p>\n\u003cfigure id=\"attachment_11643065\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11643065\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/01/RS28921_Glen.kids-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28921_Glen.kids-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28921_Glen.kids-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28921_Glen.kids-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28921_Glen.kids-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28921_Glen.kids-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28921_Glen.kids-qut-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28921_Glen.kids-qut-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28921_Glen.kids-qut-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28921_Glen.kids-qut-520x390.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Former inmate and songwriter Glen Sherley after being released from prison in 1971 with his children Ronda and Bruce in Nashville. \u003ccite>(Courtesy Ronda Sherley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But after about a year and a half of traveling and performing with Cash, including a gig at the Los Angeles Forum in front of a crowd of 17,000 people, things started going south for Sherley.\u003c/p>\n\u003cp>“This is a big statement, but to get turned out of the California penal system and to be put into the world of hillbilly show business, good ol’ boy show business, there ain’t a hell of a lot of difference in a lot of ways,” says Marty Stuart. “You just swapping jailhouses.”\u003c/p>\n\u003cp>“He knew how to be in prison,” Ronda says. “He knew how to be someone in prison. He didn’t know how to be Glen Sherley out here.”\u003c/p>\n\u003cp>Ultimately, he couldn’t play the Nashville game, couldn’t adjust to life beyond a cell. Sherley’s addictions kicked in, his behavior became unpredictable and dangerous, and when he threatened a band member, that was the last straw.\u003c/p>\n\u003cp>Though it crushed him, Cash finally had to cut his friend loose.\u003c/p>\n\u003cp>For the next several years, Sherley drifted and drugged. His only goal was to stay out of prison. By 1978 — just six years after his album was released — he was living in the cab of a truck on a cattle farm near Salinas. In May of that year, he took his own life at the age of 42.\u003c/p>\n\u003cp>“I’ve heard a lot of people say, ‘Well, do you think John [Cash] should have taken more responsibility?’ ” says Ronda Sherley. “He did his job. He gave him a job, he gave him a home. He was his friend. He gave him advice, but Dad was a grown man and chose to take it or not. So it was never John’s job to guide my father through life.”\u003c/p>\n\u003cp>She still listens to her father’s music, a long gone voice that continues to speak to her.\u003c/p>\n\u003cp>“The words, the way he writes … you think of somebody who’s in prison, you think, oh he’s a bad person,” says Ronda. “But somebody who’s a bad person couldn’t put those words together. They couldn’t feel what it takes to put those words together.”\u003c/p>\n\u003cp>In the last five decades, the Johnny Cash “Live at Folsom Prison” album has sold more than 3 million copies, and Johnny Cash is still probably the most recognized name in country music.\u003c/p>\n\u003cp>And Glen Sherley? Now you know who he is, too.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>More of Peter Gilstrap’s reporting on Glen Sherley will be featured as part of a music documentary series, presented by \u003ca href=\"https://www.kcrw.com/\" target=\"_blank\" rel=\"noopener\">KCRW\u003c/a>, this spring.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "WATCH: Gov. Jerry Brown, Paula Poundstone, Year in Review",
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"headTitle": "WATCH: Gov. Jerry Brown, Paula Poundstone, Year in Review | KQED",
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"content": "\u003cp>\u003ca href=\"https://www.kqed.org/news/program/kqed-newsroom/\">\u003cspan style=\"font-weight: 400\">KQED Newsroom\u003c/span>\u003c/a>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Friday, Dec. 21, 2018\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">7 p.m. on Channel 9\u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Gov. Jerry Brown\u003c/b>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Jerry Brown is wrapping up his third and final term as governor of California. He successfully reversed the state’s fiscal woes and leaves office with a projected budget surplus of $30 billion in state coffers. Brown oversaw a broad overhaul of the state’s criminal justice system and fought for policies to combat climate change while facing challenges from the Trump administration. KQED California Politics and Government Senior Editor Scott Shafer sits down with the outgoing governor to reflect on his legacy.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cb>2018 in Review\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">We look back at some of the top stories of 2018. In politics, California played a key role in the midterm election’s “blue wave,” where Democrats won congressional seats long held by Republicans in the Central Valley and Southern California. Meanwhile, refugees became the focus of a bitter political debate as the Trump administration separated families at the border and civil rights advocates went to court. We also reflect on the tragic Butte County Camp Fire as displaced residents decide whether to rebuild or move on. And in the tech industry, it’s been a year filled with troubling revelations about how companies like Facebook, Google and Twitter handle user data.\u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Guests: \u003c/span>\u003c/p>\n\u003cul>\n\u003cli style=\"font-weight: 400\">\u003cb>Lily Jamali,\u003c/b>\u003cspan style=\"font-weight: 400\"> KQED The California Report co-host\u003c/span>\u003c/li>\n\u003cli style=\"font-weight: 400\">\u003cb>Marisa Lagos, \u003c/b>\u003cspan style=\"font-weight: 400\">KQED California Politics and Government reporter\u003c/span>\u003c/li>\n\u003cli style=\"font-weight: 400\">\u003cb>Tonya Mosley\u003c/b>\u003cspan style=\"font-weight: 400\">, KQED Silicon Valley bureau chief\u003c/span>\u003c/li>\n\u003c/ul>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Comedian Paula Poundstone\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Comedian Paula Poundstone is a star panelist on the NPR quiz show, “Wait Wait, Don’t Tell Me!”, where she’s known for her off-the-cuff humor. She has had an HBO special and her own variety show, and is on her second podcast, called “Nobody Listens to Paula Poundstone.” She’s also the author of two books, including “The Totally Unscientific Study of the Search for Human Happiness.” Poundstone started her career and refined her stand-up act at tiny clubs and open mic nights in San Francisco in the 1980s. She returns to the Bay Area to talk with us ahead of her New Year’s Eve show at the Nourse Theater, now renamed the Sydney Goldstein Theater.\u003c/span>\u003c/p>\n\n",
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"title": "WATCH: Gov. Jerry Brown, Paula Poundstone, Year in Review | KQED",
"description": "KQED Newsroom Friday, Dec. 21, 2018 7 p.m. on Channel 9 Gov. Jerry Brown Jerry Brown is wrapping up his third and final term as governor of California. He successfully reversed the state’s fiscal woes and leaves office with a projected budget surplus of $30 billion in state coffers. Brown oversaw a broad overhaul of the state’s criminal justice system and fought for policies to combat climate change while facing challenges from the Trump administration. KQED California Politics and Government Senior Editor Scott Shafer sits down with the outgoing governor to reflect on his legacy. 2018 in Review We",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.kqed.org/news/program/kqed-newsroom/\">\u003cspan style=\"font-weight: 400\">KQED Newsroom\u003c/span>\u003c/a>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Friday, Dec. 21, 2018\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">7 p.m. on Channel 9\u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Gov. Jerry Brown\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Jerry Brown is wrapping up his third and final term as governor of California. He successfully reversed the state’s fiscal woes and leaves office with a projected budget surplus of $30 billion in state coffers. Brown oversaw a broad overhaul of the state’s criminal justice system and fought for policies to combat climate change while facing challenges from the Trump administration. KQED California Politics and Government Senior Editor Scott Shafer sits down with the outgoing governor to reflect on his legacy.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cb>2018 in Review\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">We look back at some of the top stories of 2018. In politics, California played a key role in the midterm election’s “blue wave,” where Democrats won congressional seats long held by Republicans in the Central Valley and Southern California. Meanwhile, refugees became the focus of a bitter political debate as the Trump administration separated families at the border and civil rights advocates went to court. We also reflect on the tragic Butte County Camp Fire as displaced residents decide whether to rebuild or move on. And in the tech industry, it’s been a year filled with troubling revelations about how companies like Facebook, Google and Twitter handle user data.\u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Guests: \u003c/span>\u003c/p>\n\u003cul>\n\u003cli style=\"font-weight: 400\">\u003cb>Lily Jamali,\u003c/b>\u003cspan style=\"font-weight: 400\"> KQED The California Report co-host\u003c/span>\u003c/li>\n\u003cli style=\"font-weight: 400\">\u003cb>Marisa Lagos, \u003c/b>\u003cspan style=\"font-weight: 400\">KQED California Politics and Government reporter\u003c/span>\u003c/li>\n\u003cli style=\"font-weight: 400\">\u003cb>Tonya Mosley\u003c/b>\u003cspan style=\"font-weight: 400\">, KQED Silicon Valley bureau chief\u003c/span>\u003c/li>\n\u003c/ul>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Comedian Paula Poundstone\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Comedian Paula Poundstone is a star panelist on the NPR quiz show, “Wait Wait, Don’t Tell Me!”, where she’s known for her off-the-cuff humor. She has had an HBO special and her own variety show, and is on her second podcast, called “Nobody Listens to Paula Poundstone.” She’s also the author of two books, including “The Totally Unscientific Study of the Search for Human Happiness.” Poundstone started her career and refined her stand-up act at tiny clubs and open mic nights in San Francisco in the 1980s. She returns to the Bay Area to talk with us ahead of her New Year’s Eve show at the Nourse Theater, now renamed the Sydney Goldstein Theater.\u003c/span>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>This week, we’re giving your ears a break from holiday tunes and taking you on another kind of musical journey—with California-grown musicians and artists forging their own sounds.\u003c/p>\n\u003ch2>\u003ca href=\"https://www.kqed.org/news/11713869/spinning-norteno-and-hip-hop-fighting-gender-and-cultural-barriers-with-vinyl\" target=\"_blank\" rel=\"noopener noreferrer\">Female DJs Find Empowerment Behind the Turntables in Oakland\u003c/a>\u003c/h2>\n\u003cp>On a dance floor in downtown Oakland, a group of women move from norteño to hip-hop to soul. There’s no dress code, no cover, no lines and zero-tolerance for harassment. The California Report’s Marisol Medina-Cadena takes us to meet an all women of color DJ crew that plays strictly vinyl—and is creating an empowering dance space, one record at time.\u003c/p>\n\u003ch2>\u003ca href=\"https://www.kqed.org/news/11684469/dave-alvin-and-jimmie-dale-gilmore-intertwine-their-musical-roots-on-downey-to-lubbock\" target=\"_blank\" rel=\"noopener noreferrer\">Dave Alvin and Jimmie Dale Gilmore Intertwine Their Musical Roots on 'Downey to Lubbock'\u003c/a>\u003c/h2>\n\u003cp>Dave Alvin has written many odes to California in his long career playing punk, folk and rock-and-roll. Now in his 60s, he's teaming up with 73-year-old Jimmie Dale Gilmore from Lubbock, Texas. Their album, \"Downey to Lubbock,\" celebrates both of their roots: California and Texas. This summer, we invited them into the California Report's studio. The interview originally aired in August, but it was one of our favorite music stories from 2018, so we wanted to bring it to you again.\u003c/p>\n\u003ch2>New Book Celebrates the Work of Los Lobos’ Songsmith Louie Perez\u003c/h2>\n\u003cp>The band Los Lobos has been around for more than 40 years. Back when they were just starting out, they were nicknamed “Just Another Band from East L.A.” By the mid 1980s, though, they’d shared stages with everyone from X to the Grateful Dead. Yet, east L.A. was never far away. That’s largely thanks to band co-founder and chief lyricist Louie Perez. His songs are romantic, bittersweet and hard-charging. They’re more like short stories. As The California Report's Steven Cuevas tells us, Perez’s lyrics and artwork have now been collected in a new book.\u003c/p>\n\u003ch2>\u003ca href=\"https://www.kqed.org/news/11713213/bakersfields-the-soul-chance-goes-analog-to-capture-retro-reggae-sound\" target=\"_blank\" rel=\"noopener noreferrer\">Bakersfield’s ‘The Soul Chance’ Goes Analog to Capture Retro Reggae Sound\u003c/a>\u003c/h2>\n\u003cp>Meet some musicians from Bakersfield—a place known for some of California's best country and honky-tonk music. But this band definitely does not play country. They’re called The Soul Chance and the play early reggae soul. When listeners first hear their singles on vinyl, some have a hard time believing they’re from this decade. How do they get that retro sound? They record with good old-fashioned reel-to-reel tape.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This week, we’re giving your ears a break from holiday tunes and taking you on another kind of musical journey—with California-grown musicians and artists forging their own sounds.\u003c/p>\n\u003ch2>\u003ca href=\"https://www.kqed.org/news/11713869/spinning-norteno-and-hip-hop-fighting-gender-and-cultural-barriers-with-vinyl\" target=\"_blank\" rel=\"noopener noreferrer\">Female DJs Find Empowerment Behind the Turntables in Oakland\u003c/a>\u003c/h2>\n\u003cp>On a dance floor in downtown Oakland, a group of women move from norteño to hip-hop to soul. There’s no dress code, no cover, no lines and zero-tolerance for harassment. The California Report’s Marisol Medina-Cadena takes us to meet an all women of color DJ crew that plays strictly vinyl—and is creating an empowering dance space, one record at time.\u003c/p>\n\u003ch2>\u003ca href=\"https://www.kqed.org/news/11684469/dave-alvin-and-jimmie-dale-gilmore-intertwine-their-musical-roots-on-downey-to-lubbock\" target=\"_blank\" rel=\"noopener noreferrer\">Dave Alvin and Jimmie Dale Gilmore Intertwine Their Musical Roots on 'Downey to Lubbock'\u003c/a>\u003c/h2>\n\u003cp>Dave Alvin has written many odes to California in his long career playing punk, folk and rock-and-roll. Now in his 60s, he's teaming up with 73-year-old Jimmie Dale Gilmore from Lubbock, Texas. Their album, \"Downey to Lubbock,\" celebrates both of their roots: California and Texas. This summer, we invited them into the California Report's studio. The interview originally aired in August, but it was one of our favorite music stories from 2018, so we wanted to bring it to you again.\u003c/p>\n\u003ch2>New Book Celebrates the Work of Los Lobos’ Songsmith Louie Perez\u003c/h2>\n\u003cp>The band Los Lobos has been around for more than 40 years. Back when they were just starting out, they were nicknamed “Just Another Band from East L.A.” By the mid 1980s, though, they’d shared stages with everyone from X to the Grateful Dead. Yet, east L.A. was never far away. That’s largely thanks to band co-founder and chief lyricist Louie Perez. His songs are romantic, bittersweet and hard-charging. They’re more like short stories. As The California Report's Steven Cuevas tells us, Perez’s lyrics and artwork have now been collected in a new book.\u003c/p>\n\u003ch2>\u003ca href=\"https://www.kqed.org/news/11713213/bakersfields-the-soul-chance-goes-analog-to-capture-retro-reggae-sound\" target=\"_blank\" rel=\"noopener noreferrer\">Bakersfield’s ‘The Soul Chance’ Goes Analog to Capture Retro Reggae Sound\u003c/a>\u003c/h2>\n\u003cp>Meet some musicians from Bakersfield—a place known for some of California's best country and honky-tonk music. But this band definitely does not play country. They’re called The Soul Chance and the play early reggae soul. When listeners first hear their singles on vinyl, some have a hard time believing they’re from this decade. How do they get that retro sound? They record with good old-fashioned reel-to-reel tape.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Bakersfield is a legendary country and honky-tonk music spot, and the birthplace of the \"Bakersfield sound,\" defined by artists like Merle Haggard and Buck Owens. But the Central Valley city is also home to a reggae soul band called \u003ca href=\"http://smarturl.it/clmn160\" target=\"_blank\" rel=\"noopener\">The Soul Chance\u003c/a>. When record collectors first hear their music on vinyl, some assume the band is straight out of the 1960s, but The Soul Chance was formed in 2017. They capture that retro sound by recording with old-fashioned reel-to-reel tape.\u003c/p>\n\u003cp>The following is an excerpt from an interview with band members A.J. Brewer and Nico Collins. They talk about replicating early reggae and working as a couple.\u003c/p>\n\u003cfigure id=\"attachment_11713224\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11713224 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/12/RS34489_soul-chance-pic3-qut-800x1000.jpg\" alt=\"\" width=\"800\" height=\"1000\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/12/RS34489_soul-chance-pic3-qut-800x1000.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/12/RS34489_soul-chance-pic3-qut-160x200.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/12/RS34489_soul-chance-pic3-qut-1020x1275.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/12/RS34489_soul-chance-pic3-qut-960x1200.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/12/RS34489_soul-chance-pic3-qut.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nico Collins and A.J. Brewer of the Bakersfield group \"The Soul Chance\" recently released their latest 45 on Colemine Records. \u003ccite>(Courtesy of The Soul Chance)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On being from Bakersfield:\u003c/strong>\u003c/p>\n\u003cp>A.J. Brewer: Where the I-5 is it's all fields and agriculture, so people are like, ‘Oh, that must be a little farm town.’ Bakersfield is not a small town. Nobody's walking around with a straw hat and a piece of straw hanging out of their mouth.\u003c/p>\n\u003cp>\u003cstrong>On what makes them different from mainstream reggae groups:\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Nico Collins: When [a lot of people] think of reggae music, Bob Marley comes to mind. But a lot of people don't know that Bob Marley did ska. So the genre of music that we do is something that Bob Marley did himself and it’s the style of early reggae.\u003c/p>\n\u003cp>\u003cstrong>On capturing the sound of early reggae:\u003c/strong>\u003c/p>\n\u003cp>A.J. Brewer: The Soul Chance basically mimics the old sounds by recording on analog equipment such as reel-to-reel tape. The singing has a lot to do with capturing the styles of the older artists.\u003c/p>\n\u003cp>https://www.instagram.com/p/Bqp1I--gwN6/?utm_source=ig_web_copy_link\u003c/p>\n\u003cp>Nico Collins: There's something to be said about stepping back and just actually holding a note out without having to do all these runs. Each member of The Soul Chance has a different strength that we bring to the table, to pay respect to the traditional reggae style.\u003c/p>\n\u003cp>\u003cstrong>On rewriting Billy Stewart’s classic “Sitting in the Park”: \u003c/strong>\u003c/p>\n\u003cp>Nico Collins: In Billy Stewart's version, he's waiting on his love. In our version, the woman sees him sitting in the park and doesn't appreciate that he's trying to paint the picture that he's the victim. He is messing around and she knows it. So she left him waiting in the park.\u003c/p>\n\u003cfigure id=\"attachment_11713231\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11713231\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/12/RS34490_Soul-Chance_Pic-qut-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/12/RS34490_Soul-Chance_Pic-qut-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/12/RS34490_Soul-Chance_Pic-qut-160x160.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/12/RS34490_Soul-Chance_Pic-qut-240x240.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/12/RS34490_Soul-Chance_Pic-qut-375x375.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/12/RS34490_Soul-Chance_Pic-qut-520x520.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2018/12/RS34490_Soul-Chance_Pic-qut-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2018/12/RS34490_Soul-Chance_Pic-qut-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/10/2018/12/RS34490_Soul-Chance_Pic-qut-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2018/12/RS34490_Soul-Chance_Pic-qut-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2018/12/RS34490_Soul-Chance_Pic-qut-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2018/12/RS34490_Soul-Chance_Pic-qut-150x150.jpg 150w, https://ww2.kqed.org/app/uploads/sites/10/2018/12/RS34490_Soul-Chance_Pic-qut.jpg 862w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bakersfield natives A.J. Brewer (left) and Nico Collins (right) produce soul and reggae music in their hometown known for country music. \u003ccite>(Courtesy of The Soul Chance)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On making music as a couple:\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Nico Collins: It's just another perk to our awesome relationship and it's great to be able to do things that you enjoy with someone that you love.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Bakersfield is a legendary country and honky-tonk music spot, and the birthplace of the \"Bakersfield sound,\" defined by artists like Merle Haggard and Buck Owens. But the Central Valley city is also home to a reggae soul band called \u003ca href=\"http://smarturl.it/clmn160\" target=\"_blank\" rel=\"noopener\">The Soul Chance\u003c/a>. When record collectors first hear their music on vinyl, some assume the band is straight out of the 1960s, but The Soul Chance was formed in 2017. They capture that retro sound by recording with old-fashioned reel-to-reel tape.\u003c/p>\n\u003cp>The following is an excerpt from an interview with band members A.J. Brewer and Nico Collins. They talk about replicating early reggae and working as a couple.\u003c/p>\n\u003cfigure id=\"attachment_11713224\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11713224 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/12/RS34489_soul-chance-pic3-qut-800x1000.jpg\" alt=\"\" width=\"800\" height=\"1000\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/12/RS34489_soul-chance-pic3-qut-800x1000.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/12/RS34489_soul-chance-pic3-qut-160x200.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/12/RS34489_soul-chance-pic3-qut-1020x1275.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/12/RS34489_soul-chance-pic3-qut-960x1200.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/12/RS34489_soul-chance-pic3-qut.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nico Collins and A.J. Brewer of the Bakersfield group \"The Soul Chance\" recently released their latest 45 on Colemine Records. \u003ccite>(Courtesy of The Soul Chance)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On being from Bakersfield:\u003c/strong>\u003c/p>\n\u003cp>A.J. Brewer: Where the I-5 is it's all fields and agriculture, so people are like, ‘Oh, that must be a little farm town.’ Bakersfield is not a small town. Nobody's walking around with a straw hat and a piece of straw hanging out of their mouth.\u003c/p>\n\u003cp>\u003cstrong>On what makes them different from mainstream reggae groups:\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Nico Collins: When [a lot of people] think of reggae music, Bob Marley comes to mind. But a lot of people don't know that Bob Marley did ska. So the genre of music that we do is something that Bob Marley did himself and it’s the style of early reggae.\u003c/p>\n\u003cp>\u003cstrong>On capturing the sound of early reggae:\u003c/strong>\u003c/p>\n\u003cp>A.J. Brewer: The Soul Chance basically mimics the old sounds by recording on analog equipment such as reel-to-reel tape. The singing has a lot to do with capturing the styles of the older artists.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Nico Collins: There's something to be said about stepping back and just actually holding a note out without having to do all these runs. Each member of The Soul Chance has a different strength that we bring to the table, to pay respect to the traditional reggae style.\u003c/p>\n\u003cp>\u003cstrong>On rewriting Billy Stewart’s classic “Sitting in the Park”: \u003c/strong>\u003c/p>\n\u003cp>Nico Collins: In Billy Stewart's version, he's waiting on his love. In our version, the woman sees him sitting in the park and doesn't appreciate that he's trying to paint the picture that he's the victim. He is messing around and she knows it. So she left him waiting in the park.\u003c/p>\n\u003cfigure id=\"attachment_11713231\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11713231\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/12/RS34490_Soul-Chance_Pic-qut-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/12/RS34490_Soul-Chance_Pic-qut-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/12/RS34490_Soul-Chance_Pic-qut-160x160.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/12/RS34490_Soul-Chance_Pic-qut-240x240.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/12/RS34490_Soul-Chance_Pic-qut-375x375.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/12/RS34490_Soul-Chance_Pic-qut-520x520.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2018/12/RS34490_Soul-Chance_Pic-qut-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2018/12/RS34490_Soul-Chance_Pic-qut-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/10/2018/12/RS34490_Soul-Chance_Pic-qut-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2018/12/RS34490_Soul-Chance_Pic-qut-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2018/12/RS34490_Soul-Chance_Pic-qut-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2018/12/RS34490_Soul-Chance_Pic-qut-150x150.jpg 150w, https://ww2.kqed.org/app/uploads/sites/10/2018/12/RS34490_Soul-Chance_Pic-qut.jpg 862w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bakersfield natives A.J. Brewer (left) and Nico Collins (right) produce soul and reggae music in their hometown known for country music. \u003ccite>(Courtesy of The Soul Chance)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On making music as a couple:\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Nico Collins: It's just another perk to our awesome relationship and it's great to be able to do things that you enjoy with someone that you love.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>As the needle drops on an LP by Los Tigres del Norte, a group of female DJs in Oakland let out their \u003cem>gritos\u003c/em> on the dance floor. It’s their rallying cry, telling the crowd these women are here to combat gender and cultural barriers — one record at a time.\u003c/p>\n\u003cp>“I come from, like, a Mexican household where I was not allowed to go out,” says Mar Velez, who goes by the name DJ Marvelouz. Compared to her brothers, she says, she felt really restricted growing up.\u003c/p>\n\u003cp>Now, DJ Marvelouz is center stage with her arms in the air, hyping up the crowd with Kendrick Lamar’s “Loyalty.”\u003c/p>\n\u003cp>This switch from norteño to hip-hop fazes no one. Everyone continues with their best two-step. Then things start to get real sweaty. “\u003ca href=\"https://www.youtube.com/watch?v=HTXWlrkLI6g\">Quiero Bailar,\u003c/a>” by the diva of reggaeton, Ivy Queen, booms from the speakers, while the disco ball reflects off the gold hoop earrings worn by many in the crowd.\u003c/p>\n\u003cp>For people of color who feel excluded from Oakland’s changing culture, this night on the dance floor at downtown’s \u003ca href=\"https://legionnairesaloon.com/\">Legionnaire Saloon \u003c/a>gives them a space to be unapologetically themselves.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Big shoutout to all the black and brown bodies in this building! Celebrate yourself, celebrate your worth!” shouts one DJ through the speakers.\u003c/p>\n\u003cp>There’s no dress code, no cover, no lines and zero tolerance for harassment as this collective of vinyl-loving women spins their jams: new wave, cumbia, house, soul.\u003c/p>\n\u003cp>It’s a dance party set to a bilingual soundtrack that reminds me of my childhood: chores on Saturday mornings, cruising to oldies, and dancing at quinceañera parties. As a teenager, I was embarrassed that my family only listened to funk, oldies and music in Spanish. But on tonight’s dance floor, I feel seen among other Latinx millennials who grew up like me.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>A version of this story originally aired on \u003ca href=\"https://www.kalw.org/post/crushing-gender-and-cultural-barriers-chulita-vinyl-club#stream/0\">KALW\u003c/a>\u003c/em>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As the needle drops on an LP by Los Tigres del Norte, a group of female DJs in Oakland let out their \u003cem>gritos\u003c/em> on the dance floor. It’s their rallying cry, telling the crowd these women are here to combat gender and cultural barriers — one record at a time.\u003c/p>\n\u003cp>“I come from, like, a Mexican household where I was not allowed to go out,” says Mar Velez, who goes by the name DJ Marvelouz. Compared to her brothers, she says, she felt really restricted growing up.\u003c/p>\n\u003cp>Now, DJ Marvelouz is center stage with her arms in the air, hyping up the crowd with Kendrick Lamar’s “Loyalty.”\u003c/p>\n\u003cp>This switch from norteño to hip-hop fazes no one. Everyone continues with their best two-step. Then things start to get real sweaty. “\u003ca href=\"https://www.youtube.com/watch?v=HTXWlrkLI6g\">Quiero Bailar,\u003c/a>” by the diva of reggaeton, Ivy Queen, booms from the speakers, while the disco ball reflects off the gold hoop earrings worn by many in the crowd.\u003c/p>\n\u003cp>For people of color who feel excluded from Oakland’s changing culture, this night on the dance floor at downtown’s \u003ca href=\"https://legionnairesaloon.com/\">Legionnaire Saloon \u003c/a>gives them a space to be unapologetically themselves.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Big shoutout to all the black and brown bodies in this building! Celebrate yourself, celebrate your worth!” shouts one DJ through the speakers.\u003c/p>\n\u003cp>There’s no dress code, no cover, no lines and zero tolerance for harassment as this collective of vinyl-loving women spins their jams: new wave, cumbia, house, soul.\u003c/p>\n\u003cp>It’s a dance party set to a bilingual soundtrack that reminds me of my childhood: chores on Saturday mornings, cruising to oldies, and dancing at quinceañera parties. As a teenager, I was embarrassed that my family only listened to funk, oldies and music in Spanish. But on tonight’s dance floor, I feel seen among other Latinx millennials who grew up like me.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>A version of this story originally aired on \u003ca href=\"https://www.kalw.org/post/crushing-gender-and-cultural-barriers-chulita-vinyl-club#stream/0\">KALW\u003c/a>\u003c/em>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Dave Alvin and Jimmie Dale Gilmore Intertwine Their Musical Roots on 'Downey to Lubbock'",
"title": "Dave Alvin and Jimmie Dale Gilmore Intertwine Their Musical Roots on 'Downey to Lubbock'",
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"content": "\u003cp>\u003cem>This story originally ran on Aug. 3, 2018. We are re-airing it as one of our favorite music stories of the year.\u003c/em>\u003c/p>\n\u003cp>More than 1,100 miles separate Downey, California and Lubbock, Texas. But for songwriters Dave Alvin and Jimmie Dale Gilmore, their hometowns have a lot in common -- culturally and geographically.\u003c/p>\n\u003cp>“They’re both flat,” Alvin says. “With big sky,” adds Gilmore.\u003c/p>\n\u003cp>\u003cimg class=\"alignleft wp-image-11684511\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/08/RS32184__images_uploads_album_DaveAlvinAndJimmieDaleGilmore_DowneyToLubbock_COVER-qut-800x800.jpg\" alt=\"\" width=\"304\" height=\"304\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/08/RS32184__images_uploads_album_DaveAlvinAndJimmieDaleGilmore_DowneyToLubbock_COVER-qut-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/08/RS32184__images_uploads_album_DaveAlvinAndJimmieDaleGilmore_DowneyToLubbock_COVER-qut-160x160.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/08/RS32184__images_uploads_album_DaveAlvinAndJimmieDaleGilmore_DowneyToLubbock_COVER-qut-1020x1020.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/08/RS32184__images_uploads_album_DaveAlvinAndJimmieDaleGilmore_DowneyToLubbock_COVER-qut-1200x1200.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2018/08/RS32184__images_uploads_album_DaveAlvinAndJimmieDaleGilmore_DowneyToLubbock_COVER-qut-1180x1180.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/08/RS32184__images_uploads_album_DaveAlvinAndJimmieDaleGilmore_DowneyToLubbock_COVER-qut-960x960.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/08/RS32184__images_uploads_album_DaveAlvinAndJimmieDaleGilmore_DowneyToLubbock_COVER-qut-240x240.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/08/RS32184__images_uploads_album_DaveAlvinAndJimmieDaleGilmore_DowneyToLubbock_COVER-qut-375x375.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/08/RS32184__images_uploads_album_DaveAlvinAndJimmieDaleGilmore_DowneyToLubbock_COVER-qut-520x520.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2018/08/RS32184__images_uploads_album_DaveAlvinAndJimmieDaleGilmore_DowneyToLubbock_COVER-qut-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2018/08/RS32184__images_uploads_album_DaveAlvinAndJimmieDaleGilmore_DowneyToLubbock_COVER-qut-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/10/2018/08/RS32184__images_uploads_album_DaveAlvinAndJimmieDaleGilmore_DowneyToLubbock_COVER-qut-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2018/08/RS32184__images_uploads_album_DaveAlvinAndJimmieDaleGilmore_DowneyToLubbock_COVER-qut-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2018/08/RS32184__images_uploads_album_DaveAlvinAndJimmieDaleGilmore_DowneyToLubbock_COVER-qut-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2018/08/RS32184__images_uploads_album_DaveAlvinAndJimmieDaleGilmore_DowneyToLubbock_COVER-qut-150x150.jpg 150w, https://ww2.kqed.org/app/uploads/sites/10/2018/08/RS32184__images_uploads_album_DaveAlvinAndJimmieDaleGilmore_DowneyToLubbock_COVER-qut.jpg 1500w\" sizes=\"(max-width: 304px) 100vw, 304px\">Alvin, the baritone-voiced guitar slinger, was part of the early L.A. punk scene with \u003ca href=\"http://www.theblasters.com/\" target=\"_blank\" rel=\"noopener\">the Blasters\u003c/a>, the band he formed with his older brother Phil. He's got more than a dozen albums of his own. Gilmore has garnered three Grammy nominations in folk categories, and is a founder of country pioneers \u003ca href=\"http://www.theflatlanders.com/\" target=\"_blank\" rel=\"noopener\">The Flatlanders\u003c/a> (with Joe Ely and Butch Hancock). The longtime friends have teamed up on \"Downey to Lubbock,\" a collaborative album featuring a mix of original songs and covers.\u003c/p>\n\u003cp>The California Report Magazine's host Sasha Khokha talked to Alvin and Gilmore about their new record, working together and growing up around the legendary Southern California club, the Ash Grove.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>\u003cem>This conversation has been edited for clarity and length.\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>SASHA KHOKHA: You guys aren't the most obvious pairing. We’ve got California meets Texas, two musicians from two different generations and different musical traditions.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>JIMMIE DALE GILMORE:\u003c/strong> We’ve been very good friends for a very, very long time, but we never played music together until last year. So looking back, it’s kind of odd to me that we never thought of it before.\u003c/p>\n\u003cp>\u003cstrong>DAVE ALVIN:\u003c/strong> People say, “What an odd pairing!” Not to us, it’s completely natural. I mean an odd pairing would have been maybe me, Jimmie Dale and Bjork. Even that could have worked!\u003c/p>\n\u003cp>\u003cstrong>KHOKHA: So you guys have been touring this summer with your new album \"Downey To Lubbock.\" How did the idea of doing an album together happen?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>ALVIN:\u003c/strong>We did a series of acoustic shows and it was really the first night, when we did the Youngbloods’ song “\u003ca href=\"https://youtu.be/7xGxQXmu7Os\">Get Together\u003c/a>.” Jimmie didn't tell me what song it was, he just said, “It's in G.” And I was like, “Okay, what are we playing? Here we go.” And he sang the first line and I was like “Well, we've got to make a record of this.”\u003c/p>\n\u003cp>https://youtu.be/TDPth7-Mz8g\u003c/p>\n\u003cp>\u003cstrong>GILMORE:\u003c/strong> And during these gigs, just right away we discovered we had a whole trove of shared musical background -- stuff that we both loved when we were young and learning how to play. Because we were playing acoustic, it brought up the old folk singer and folk blues side of what I had done early on that I hadn't really touched in a really long time.\u003c/p>\n\u003cp>\u003cstrong>KHOKHA: Tell me about the title song, \"Downey To Lubbock.\" It's basically your origin stories: Blues blaster meets old flatlander.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>ALVIN:\u003c/strong> It's semi-autobiographical and metaphorical and you can dance to it. I had the idea that we should have a defining song for the record.\u003c/p>\n\u003cp>https://youtu.be/n9N3IbU4Dq4\u003c/p>\n\u003cp>\u003cstrong>KHOKHA: It’s like the story of your two road trips through life converging on one highway\u003c/strong>.\u003c/p>\n\u003cp>\u003cstrong>ALVIN:\u003c/strong> Downey, California and Lubbock, Texas are not that different in some ways. I remember the first time I was ever in Lubbock was around 1982, and just being struck by how similar they looked to each other and culturally, there are a lot of similarities. My hometown was in the southeast corner of Los Angeles County, which was the land of the diasporas. You had people from Texas and Louisiana, African-American and white and Hispanic. And so for me it was really easy when I was a kid to find the music that interested me because everybody that came to California brought their music with them, whether it was blues or country or whatever. So those areas were always sort of mythical promised lands to me.\u003c/p>\n\u003cp>\u003cstrong>GILMORE:\u003c/strong> Neither one of us had realized that I had been in California when I was probably 19 or 20 and I spent some time in L.A. I used to go to the Ash Grove. It turned out that Dave and [his brother] Phil were hanging out there at the same time. They were quite a bit younger than me but we were listening to the very same music and we had that in common to draw on.\u003c/p>\n\u003cp>\u003cstrong>ALVIN:\u003c/strong> I was 10 years younger and I came up to Jimmie’s hip. Who knew that we crossed paths at the Ash Grove and then 40 years later we'd make an album together?\u003c/p>\n\u003cp>\u003cstrong>KHOKHA: How did you guys decide what songs you wanted to cover?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>ALVIN:\u003c/strong> We would start each show with a song that the audience knew and we'd end the show on a song that the audience knew. But in between were just flights of fancy. And so our shows would cover everything from Lightnin’ Hopkins to Merle Haggard to Sam Cooke. And so each night was different. And so it’s sort of culled from that touring experience but it's also songs that struck some kind of emotional chord with us.\u003c/p>\n\u003cp>\u003cstrong>KHOKHA: You do the \u003ca href=\"https://www.kqed.org/news/11512311/immortalized-by-woody-guthrie-deportees-who-died-in-plane-crash-are-nameless-no-longer\">Woody Guthrie song \"Deportee\"\u003c/a> about that plane wreck in Los Gatos Canyon near Fresno [that killed 28 Mexican workers in the process of being deported]. It's like a piece of history that so many Californians have forgotten. What inspired you to revive it now\u003c/strong>?\u003c/p>\n\u003cp>\u003cstrong>GILMORE:\u003c/strong> \"Deportee\" is a beautiful piece of work. It’s so poignant and so well done. Dave has been saying that it's one of these songs that is unfortunately, both timeless and timely.\u003c/p>\n\u003cp>\u003cstrong>ALVIN:\u003c/strong> I'm really proud of that one the way it came out. The night before we recorded I stayed up late listening to about 125 versions of \"Deportee\" because I was like, “OK we have to make it different from all of these.” And then once Jimmie Dale started singing it, I was like, “Wow, I didn't need to stay up all night listening to eight million versions of 'Deportee.'” Jimmie's got the kind of voice that says, “Here here's a new song,” even if it's 60 years old.\u003c/p>\n\u003cp>\u003cstrong>KHOKHA: You guys are both solo artists. What was the most surprising thing about working and collaborating with each other? Was there anything unexpected?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>GILMORE:\u003c/strong> All of it, in a way, for me. We were fans of each other, but we hadn't actually played together, so discovering how much we had in common in our backgrounds was a giant surprise to me. I've been sort of typecast in one world as a country folk-y. I don't know what the word is.\u003c/p>\n\u003cp>\u003cstrong> ALVIN:\u003c/strong> Don't say Americana.\u003c/p>\n\u003cp>\u003cstrong>GILMORE:\u003c/strong> And Dave is so associated with punk with the Blasters and both of us have a lot more wide-ranging taste than people would expect of us.\u003c/p>\n\u003cp>\u003cstrong>ALVIN:\u003c/strong> It's just been an absolute joy. There are no problems, there are no issues and we tend to see everything the same which makes life easy.\u003c/p>\n\u003cp>\u003cstrong>GILMORE: \u003c/strong>Dave is not only a very great guitarist and singer although he denies it; he's a very good singer. But he's also strangely enough, a very good organizer and he’s a good boss.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>ALVIN:\u003c/strong> When I was in the Blasters, we all grew up together. We liked to fight, that was our deal. And then one day I got sick of it and decided I'm going to work with people who I don't fight with. So that's my organizing principle.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This story originally ran on Aug. 3, 2018. We are re-airing it as one of our favorite music stories of the year.\u003c/em>\u003c/p>\n\u003cp>More than 1,100 miles separate Downey, California and Lubbock, Texas. But for songwriters Dave Alvin and Jimmie Dale Gilmore, their hometowns have a lot in common -- culturally and geographically.\u003c/p>\n\u003cp>“They’re both flat,” Alvin says. “With big sky,” adds Gilmore.\u003c/p>\n\u003cp>\u003cimg class=\"alignleft wp-image-11684511\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/08/RS32184__images_uploads_album_DaveAlvinAndJimmieDaleGilmore_DowneyToLubbock_COVER-qut-800x800.jpg\" alt=\"\" width=\"304\" height=\"304\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/08/RS32184__images_uploads_album_DaveAlvinAndJimmieDaleGilmore_DowneyToLubbock_COVER-qut-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/08/RS32184__images_uploads_album_DaveAlvinAndJimmieDaleGilmore_DowneyToLubbock_COVER-qut-160x160.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/08/RS32184__images_uploads_album_DaveAlvinAndJimmieDaleGilmore_DowneyToLubbock_COVER-qut-1020x1020.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/08/RS32184__images_uploads_album_DaveAlvinAndJimmieDaleGilmore_DowneyToLubbock_COVER-qut-1200x1200.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2018/08/RS32184__images_uploads_album_DaveAlvinAndJimmieDaleGilmore_DowneyToLubbock_COVER-qut-1180x1180.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/08/RS32184__images_uploads_album_DaveAlvinAndJimmieDaleGilmore_DowneyToLubbock_COVER-qut-960x960.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/08/RS32184__images_uploads_album_DaveAlvinAndJimmieDaleGilmore_DowneyToLubbock_COVER-qut-240x240.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/08/RS32184__images_uploads_album_DaveAlvinAndJimmieDaleGilmore_DowneyToLubbock_COVER-qut-375x375.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/08/RS32184__images_uploads_album_DaveAlvinAndJimmieDaleGilmore_DowneyToLubbock_COVER-qut-520x520.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2018/08/RS32184__images_uploads_album_DaveAlvinAndJimmieDaleGilmore_DowneyToLubbock_COVER-qut-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2018/08/RS32184__images_uploads_album_DaveAlvinAndJimmieDaleGilmore_DowneyToLubbock_COVER-qut-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/10/2018/08/RS32184__images_uploads_album_DaveAlvinAndJimmieDaleGilmore_DowneyToLubbock_COVER-qut-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2018/08/RS32184__images_uploads_album_DaveAlvinAndJimmieDaleGilmore_DowneyToLubbock_COVER-qut-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2018/08/RS32184__images_uploads_album_DaveAlvinAndJimmieDaleGilmore_DowneyToLubbock_COVER-qut-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2018/08/RS32184__images_uploads_album_DaveAlvinAndJimmieDaleGilmore_DowneyToLubbock_COVER-qut-150x150.jpg 150w, https://ww2.kqed.org/app/uploads/sites/10/2018/08/RS32184__images_uploads_album_DaveAlvinAndJimmieDaleGilmore_DowneyToLubbock_COVER-qut.jpg 1500w\" sizes=\"(max-width: 304px) 100vw, 304px\">Alvin, the baritone-voiced guitar slinger, was part of the early L.A. punk scene with \u003ca href=\"http://www.theblasters.com/\" target=\"_blank\" rel=\"noopener\">the Blasters\u003c/a>, the band he formed with his older brother Phil. He's got more than a dozen albums of his own. Gilmore has garnered three Grammy nominations in folk categories, and is a founder of country pioneers \u003ca href=\"http://www.theflatlanders.com/\" target=\"_blank\" rel=\"noopener\">The Flatlanders\u003c/a> (with Joe Ely and Butch Hancock). The longtime friends have teamed up on \"Downey to Lubbock,\" a collaborative album featuring a mix of original songs and covers.\u003c/p>\n\u003cp>The California Report Magazine's host Sasha Khokha talked to Alvin and Gilmore about their new record, working together and growing up around the legendary Southern California club, the Ash Grove.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>This conversation has been edited for clarity and length.\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>SASHA KHOKHA: You guys aren't the most obvious pairing. We’ve got California meets Texas, two musicians from two different generations and different musical traditions.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>JIMMIE DALE GILMORE:\u003c/strong> We’ve been very good friends for a very, very long time, but we never played music together until last year. So looking back, it’s kind of odd to me that we never thought of it before.\u003c/p>\n\u003cp>\u003cstrong>DAVE ALVIN:\u003c/strong> People say, “What an odd pairing!” Not to us, it’s completely natural. I mean an odd pairing would have been maybe me, Jimmie Dale and Bjork. Even that could have worked!\u003c/p>\n\u003cp>\u003cstrong>KHOKHA: So you guys have been touring this summer with your new album \"Downey To Lubbock.\" How did the idea of doing an album together happen?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>ALVIN:\u003c/strong>We did a series of acoustic shows and it was really the first night, when we did the Youngbloods’ song “\u003ca href=\"https://youtu.be/7xGxQXmu7Os\">Get Together\u003c/a>.” Jimmie didn't tell me what song it was, he just said, “It's in G.” And I was like, “Okay, what are we playing? Here we go.” And he sang the first line and I was like “Well, we've got to make a record of this.”\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/TDPth7-Mz8g'\n title='//www.youtube.com/embed/TDPth7-Mz8g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>GILMORE:\u003c/strong> And during these gigs, just right away we discovered we had a whole trove of shared musical background -- stuff that we both loved when we were young and learning how to play. Because we were playing acoustic, it brought up the old folk singer and folk blues side of what I had done early on that I hadn't really touched in a really long time.\u003c/p>\n\u003cp>\u003cstrong>KHOKHA: Tell me about the title song, \"Downey To Lubbock.\" It's basically your origin stories: Blues blaster meets old flatlander.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>ALVIN:\u003c/strong> It's semi-autobiographical and metaphorical and you can dance to it. I had the idea that we should have a defining song for the record.\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/n9N3IbU4Dq4'\n title='//www.youtube.com/embed/n9N3IbU4Dq4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>KHOKHA: It’s like the story of your two road trips through life converging on one highway\u003c/strong>.\u003c/p>\n\u003cp>\u003cstrong>ALVIN:\u003c/strong> Downey, California and Lubbock, Texas are not that different in some ways. I remember the first time I was ever in Lubbock was around 1982, and just being struck by how similar they looked to each other and culturally, there are a lot of similarities. My hometown was in the southeast corner of Los Angeles County, which was the land of the diasporas. You had people from Texas and Louisiana, African-American and white and Hispanic. And so for me it was really easy when I was a kid to find the music that interested me because everybody that came to California brought their music with them, whether it was blues or country or whatever. So those areas were always sort of mythical promised lands to me.\u003c/p>\n\u003cp>\u003cstrong>GILMORE:\u003c/strong> Neither one of us had realized that I had been in California when I was probably 19 or 20 and I spent some time in L.A. I used to go to the Ash Grove. It turned out that Dave and [his brother] Phil were hanging out there at the same time. They were quite a bit younger than me but we were listening to the very same music and we had that in common to draw on.\u003c/p>\n\u003cp>\u003cstrong>ALVIN:\u003c/strong> I was 10 years younger and I came up to Jimmie’s hip. Who knew that we crossed paths at the Ash Grove and then 40 years later we'd make an album together?\u003c/p>\n\u003cp>\u003cstrong>KHOKHA: How did you guys decide what songs you wanted to cover?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>ALVIN:\u003c/strong> We would start each show with a song that the audience knew and we'd end the show on a song that the audience knew. But in between were just flights of fancy. And so our shows would cover everything from Lightnin’ Hopkins to Merle Haggard to Sam Cooke. And so each night was different. And so it’s sort of culled from that touring experience but it's also songs that struck some kind of emotional chord with us.\u003c/p>\n\u003cp>\u003cstrong>KHOKHA: You do the \u003ca href=\"https://www.kqed.org/news/11512311/immortalized-by-woody-guthrie-deportees-who-died-in-plane-crash-are-nameless-no-longer\">Woody Guthrie song \"Deportee\"\u003c/a> about that plane wreck in Los Gatos Canyon near Fresno [that killed 28 Mexican workers in the process of being deported]. It's like a piece of history that so many Californians have forgotten. What inspired you to revive it now\u003c/strong>?\u003c/p>\n\u003cp>\u003cstrong>GILMORE:\u003c/strong> \"Deportee\" is a beautiful piece of work. It’s so poignant and so well done. Dave has been saying that it's one of these songs that is unfortunately, both timeless and timely.\u003c/p>\n\u003cp>\u003cstrong>ALVIN:\u003c/strong> I'm really proud of that one the way it came out. The night before we recorded I stayed up late listening to about 125 versions of \"Deportee\" because I was like, “OK we have to make it different from all of these.” And then once Jimmie Dale started singing it, I was like, “Wow, I didn't need to stay up all night listening to eight million versions of 'Deportee.'” Jimmie's got the kind of voice that says, “Here here's a new song,” even if it's 60 years old.\u003c/p>\n\u003cp>\u003cstrong>KHOKHA: You guys are both solo artists. What was the most surprising thing about working and collaborating with each other? Was there anything unexpected?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>GILMORE:\u003c/strong> All of it, in a way, for me. We were fans of each other, but we hadn't actually played together, so discovering how much we had in common in our backgrounds was a giant surprise to me. I've been sort of typecast in one world as a country folk-y. I don't know what the word is.\u003c/p>\n\u003cp>\u003cstrong> ALVIN:\u003c/strong> Don't say Americana.\u003c/p>\n\u003cp>\u003cstrong>GILMORE:\u003c/strong> And Dave is so associated with punk with the Blasters and both of us have a lot more wide-ranging taste than people would expect of us.\u003c/p>\n\u003cp>\u003cstrong>ALVIN:\u003c/strong> It's just been an absolute joy. There are no problems, there are no issues and we tend to see everything the same which makes life easy.\u003c/p>\n\u003cp>\u003cstrong>GILMORE: \u003c/strong>Dave is not only a very great guitarist and singer although he denies it; he's a very good singer. But he's also strangely enough, a very good organizer and he’s a good boss.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>ALVIN:\u003c/strong> When I was in the Blasters, we all grew up together. We liked to fight, that was our deal. And then one day I got sick of it and decided I'm going to work with people who I don't fight with. So that's my organizing principle.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "As National Spotlight Turns Away From Camp Fire, Public Radio Station Rallies for Its Community",
"title": "As National Spotlight Turns Away From Camp Fire, Public Radio Station Rallies for Its Community",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>It’s been six weeks to the day since the \u003ca href=\"https://www.kqed.org/news/11705243/california-wildfires-what-you-need-to-know\" target=\"_blank\" rel=\"noopener\">Camp Fire\u003c/a> ignited and roared through the Butte County community of Paradise, killing 86 people and destroying nearly 14,000 single residences on its way to becoming the deadliest and most destructive wildfire in modern California history.\u003c/p>\n\u003cp>On Thursday night, \"\u003ca href=\"https://www.mynspr.org/programs/after-paradise#stream/0\" target=\"_blank\" rel=\"noopener\">After Paradise\u003c/a>\" — the show \u003ca href=\"https://www.mynspr.org/\" target=\"_blank\" rel=\"noopener\">North State Public Radio\u003c/a> launched to cover the fallout of the Camp Fire — will switch from daily to weekly broadcasts. But there's more than enough to keep talking about.\u003c/p>\n\u003cp>Public radio host Tess Vigeland was between jobs when she spotted a Facebook post from NSPR’s general manager, Phil Wilke, saying, “Look, we have a teeny tiny staff. It’s been the most horrendous, tough couple weeks of our careers and we need help!”\u003c/p>\n\u003cp>Vigeland then spent three weeks helping to launch \"After Paradise\" as a volunteer host, producer, reporter and editor. She saw the story evolve over that short time.\u003c/p>\n\u003cp>\"This is going to be a very long recovery process for the entire community, here in Chico and Paradise and beyond, and we’re here for that,\" she said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\"After Paradise\" features interviews with government officials, insurance experts, psychotherapists and others living through the aftermath of one of the worst disasters in California history. At a time when most national reporters have decamped to cover new headlines, Butte County locals still need a place to talk about what's going on for them.\u003c/p>\n\u003cfigure id=\"attachment_11713663\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"https://www.mynspr.org/programs/after-paradise#stream/0\">\u003cimg class=\"size-medium wp-image-11713663\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/12/After-Paradise-Logo-Color-Horizontal-R2-1_7-800x384.jpg\" alt='\"After Paradise,\" a production of North State Public Radio, broadcasts weekly on Thursday nights.' width=\"800\" height=\"384\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/12/After-Paradise-Logo-Color-Horizontal-R2-1_7.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/12/After-Paradise-Logo-Color-Horizontal-R2-1_7-160x77.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/12/After-Paradise-Logo-Color-Horizontal-R2-1_7-240x115.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/12/After-Paradise-Logo-Color-Horizontal-R2-1_7-375x180.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/12/After-Paradise-Logo-Color-Horizontal-R2-1_7-520x250.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\"After Paradise,\" a production of North State Public Radio, broadcasts weekly on Thursday nights. \u003ccite>(Courtesy of NSPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That said, you don’t need to live near Chico to hear more about the awful day the fire struck, from folks like the Rev. Ron Zimmer of \u003ca href=\"http://eastavechurch.org\" target=\"_blank\" rel=\"noopener\">East Avenue Church\u003c/a> in Chico, who provided shelter for many fleeing in the early days.\u003c/p>\n\u003cp>\"After Paradise\" also serves up forward-looking conversations with people like \u003ca href=\"https://www.townofparadise.com/index.php/our-government/town-council\" target=\"_blank\" rel=\"noopener\">Mayor Jody Jones\u003c/a>.\u003c/p>\n\u003cp>\"We have an opportunity to do things better. To look at some of our streets so that we have better evacuation routes. To look at our building so we have more fireproof structures in town. Those sorts of things,\" Jones said on a recent show.\u003c/p>\n\u003cp>Vigeland added, \"We are at the crossroads of human suffering and human resilience, and it is a fascinating place at which to stand and watch how people get through something like this.\"\u003c/p>\n\u003cp>Wilke was general manager at NSPR for less than three months before the Camp Fire broke out Nov. 8. He wrote in the public media industry publication \u003ca href=\"https://current.org/2018/12/with-generous-help-from-volunteers-overextended-california-station-creates-local-show-about-wildfire-recovery/\" target=\"_blank\" rel=\"noopener\">\u003cem>Current\u003c/em>\u003c/a>, \"I really hate to say this, but the experience of covering the Camp Fire has prepared us to respond to the next emergency. We know how to deploy reporters, board ops, volunteers and interns. We have a playbook — though it’s one you don’t want to use because it means your listeners and your community are in trouble.\"\u003c/p>\n\u003cp>Vigeland headed home to Portland. She'll be helping out remotely, but she's leaving the show in the capable hands of the station's two-person newsroom, consisting of Marc Albert and Sarah Bohannon.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>New volunteers are welcome to join the effort.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s been six weeks to the day since the \u003ca href=\"https://www.kqed.org/news/11705243/california-wildfires-what-you-need-to-know\" target=\"_blank\" rel=\"noopener\">Camp Fire\u003c/a> ignited and roared through the Butte County community of Paradise, killing 86 people and destroying nearly 14,000 single residences on its way to becoming the deadliest and most destructive wildfire in modern California history.\u003c/p>\n\u003cp>On Thursday night, \"\u003ca href=\"https://www.mynspr.org/programs/after-paradise#stream/0\" target=\"_blank\" rel=\"noopener\">After Paradise\u003c/a>\" — the show \u003ca href=\"https://www.mynspr.org/\" target=\"_blank\" rel=\"noopener\">North State Public Radio\u003c/a> launched to cover the fallout of the Camp Fire — will switch from daily to weekly broadcasts. But there's more than enough to keep talking about.\u003c/p>\n\u003cp>Public radio host Tess Vigeland was between jobs when she spotted a Facebook post from NSPR’s general manager, Phil Wilke, saying, “Look, we have a teeny tiny staff. It’s been the most horrendous, tough couple weeks of our careers and we need help!”\u003c/p>\n\u003cp>Vigeland then spent three weeks helping to launch \"After Paradise\" as a volunteer host, producer, reporter and editor. She saw the story evolve over that short time.\u003c/p>\n\u003cp>\"This is going to be a very long recovery process for the entire community, here in Chico and Paradise and beyond, and we’re here for that,\" she said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\"After Paradise\" features interviews with government officials, insurance experts, psychotherapists and others living through the aftermath of one of the worst disasters in California history. At a time when most national reporters have decamped to cover new headlines, Butte County locals still need a place to talk about what's going on for them.\u003c/p>\n\u003cfigure id=\"attachment_11713663\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"https://www.mynspr.org/programs/after-paradise#stream/0\">\u003cimg class=\"size-medium wp-image-11713663\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/12/After-Paradise-Logo-Color-Horizontal-R2-1_7-800x384.jpg\" alt='\"After Paradise,\" a production of North State Public Radio, broadcasts weekly on Thursday nights.' width=\"800\" height=\"384\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/12/After-Paradise-Logo-Color-Horizontal-R2-1_7.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/12/After-Paradise-Logo-Color-Horizontal-R2-1_7-160x77.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/12/After-Paradise-Logo-Color-Horizontal-R2-1_7-240x115.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/12/After-Paradise-Logo-Color-Horizontal-R2-1_7-375x180.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/12/After-Paradise-Logo-Color-Horizontal-R2-1_7-520x250.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\"After Paradise,\" a production of North State Public Radio, broadcasts weekly on Thursday nights. \u003ccite>(Courtesy of NSPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That said, you don’t need to live near Chico to hear more about the awful day the fire struck, from folks like the Rev. Ron Zimmer of \u003ca href=\"http://eastavechurch.org\" target=\"_blank\" rel=\"noopener\">East Avenue Church\u003c/a> in Chico, who provided shelter for many fleeing in the early days.\u003c/p>\n\u003cp>\"After Paradise\" also serves up forward-looking conversations with people like \u003ca href=\"https://www.townofparadise.com/index.php/our-government/town-council\" target=\"_blank\" rel=\"noopener\">Mayor Jody Jones\u003c/a>.\u003c/p>\n\u003cp>\"We have an opportunity to do things better. To look at some of our streets so that we have better evacuation routes. To look at our building so we have more fireproof structures in town. Those sorts of things,\" Jones said on a recent show.\u003c/p>\n\u003cp>Vigeland added, \"We are at the crossroads of human suffering and human resilience, and it is a fascinating place at which to stand and watch how people get through something like this.\"\u003c/p>\n\u003cp>Wilke was general manager at NSPR for less than three months before the Camp Fire broke out Nov. 8. He wrote in the public media industry publication \u003ca href=\"https://current.org/2018/12/with-generous-help-from-volunteers-overextended-california-station-creates-local-show-about-wildfire-recovery/\" target=\"_blank\" rel=\"noopener\">\u003cem>Current\u003c/em>\u003c/a>, \"I really hate to say this, but the experience of covering the Camp Fire has prepared us to respond to the next emergency. We know how to deploy reporters, board ops, volunteers and interns. We have a playbook — though it’s one you don’t want to use because it means your listeners and your community are in trouble.\"\u003c/p>\n\u003cp>Vigeland headed home to Portland. She'll be helping out remotely, but she's leaving the show in the capable hands of the station's two-person newsroom, consisting of Marc Albert and Sarah Bohannon.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>New volunteers are welcome to join the effort.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "revitalizing-a-masters-hidden-pottery-enclave-deep-in-the-sonoma-redwoods",
"title": "Revitalizing a Master’s Hidden Pottery Enclave, Deep in the Sonoma Redwoods",
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"content": "\u003cp>[dropcap]T[/dropcap]here’s a small, wood-shingled structure at \u003ca href=\"https://www.stewardscr.org/pond-farm-pottery.html\" target=\"_blank\" rel=\"noopener\">Pond Farm\u003c/a> near Guerneville — the former home, studio and school of renowned potter Marguerite Wildenhain — that’s so run-down, the insides are off-limits.\u003c/p>\n\u003cp>As I stand on the creaky exterior porch squinting through the grimy windows, I figure the ceramicist probably fired her pots in the cobwebby shack.\u003c/p>\n\u003cp>But it’s not Wildenhain’s kiln. It’s her house.\u003c/p>\n\u003cp>“This was her kitchen, her dining room and her bedroom,” said potter \u003ca href=\"http://www.valleyofthemoonpottery.com/ValleyoftheMoonPottery/Welcome.html\" target=\"_blank\" rel=\"noopener\">Caryn Fried\u003c/a>, setting me straight. “This world-class artist lived this very humble existence right here.”\u003c/p>\n\u003cp>Once, people from all over the world traveled deep into the heart of the Sonoma County redwoods to study at Pond Farm with Wildenhain. She may not be a well-known name outside of the rarefied world of ceramic art. But an unlikely debate has arisen over the future of Pond Farm and Wildenhain’s legacy.\u003c/p>\n\u003cp>“She was just really a very powerful person,” said Fried, who studied with Wildenhain at Pond Farm in the 1970s, along with her husband. “The vibration that she put out.”\u003c/p>\n\u003cfigure id=\"attachment_11712120\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11712120\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/12/MW-at-Wheel-Photo-taken-by-Otto-Hagel-Permission-by-Stewards-of-the-Coast-and-Redwoods-800x1165.jpg\" alt=\"Marguerite Wildenhain at her wheel.\" width=\"800\" height=\"1165\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/12/MW-at-Wheel-Photo-taken-by-Otto-Hagel-Permission-by-Stewards-of-the-Coast-and-Redwoods-800x1165.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/12/MW-at-Wheel-Photo-taken-by-Otto-Hagel-Permission-by-Stewards-of-the-Coast-and-Redwoods-160x233.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/12/MW-at-Wheel-Photo-taken-by-Otto-Hagel-Permission-by-Stewards-of-the-Coast-and-Redwoods-824x1200.jpg 824w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/12/MW-at-Wheel-Photo-taken-by-Otto-Hagel-Permission-by-Stewards-of-the-Coast-and-Redwoods.jpg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Marguerite Wildenhain at her wheel. \u003ccite>(Otto Hagel Courtesy of Stewards of the Coast and Redwoods)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lately Fried, as well as some other Wildenhain students and collectors, have been concerned about those vibrations; that they might grow weak or entirely disappear, now that plans are in motion to develop the bucolic and remote site where Wildenhain lived and worked for more than 40 years.\u003c/p>\n\u003cfigure id=\"attachment_11712121\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11712121\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/12/Caryn-Fried-800x600.jpg\" alt=\"Potter and former Wildenhain student Caryn Fried.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/12/Caryn-Fried-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/12/Caryn-Fried-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/12/Caryn-Fried-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/12/Caryn-Fried-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/12/Caryn-Fried-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Potter and former Wildenhain student Caryn Fried standing outside Marguerite Wildenhain’s former cottage. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“If it becomes like this art center, you no longer have Marguerite’s energy there, which is what made Pond Farm,” Fried said. \u003c/p>\n\u003cp>“You have all these other people’s energy, which most likely is not going to be the energy that Marguerite had.”\u003c/p>\n\u003cp>Wildenhain came to Pond Farm in the early 1940s at the invitation of the landowner, Gordon Herr, who wanted to start an artist’s commune there.\u003c/p>\n\u003cp>Her dynamic, earthy ceramics could be found in high-end stores and museum collections. But the French-born artist’s story begins long before she first set eyes on the Sonoma Redwoods.\u003c/p>\n\u003cp>Wildenhain studied at the Bauhaus — the influential arts and crafts school that emerged in 1920s Germany. Her classmates included painters Paul Klee and Wassily Kandinsky.\u003c/p>\n\u003cfigure id=\"attachment_11712124\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11712124\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/12/wildenhain-pot-800x600.jpg\" alt=\"A Marguerite Wildenhain jug from the collection of Caryn Fried and Wayne Reynolds.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/12/wildenhain-pot-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/12/wildenhain-pot-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/12/wildenhain-pot-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/12/wildenhain-pot-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/12/wildenhain-pot-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A Marguerite Wildenhain jug from the collection of Caryn Fried and Wayne Reynolds. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She became Germany’s first female “Master Potter.” Then the Nazis came along. Wildenhain, who was Jewish, fled to New York, and eventually moved to the West Coast.\u003c/p>\n\u003cp>She was in demand as a teacher. Droves of students came to study pottery at Pond Farm, where Wildenhain taught them to think beyond the mechanics of throwing pots.\u003c/p>\n\u003cp>“I don’t admire technique as such,” she said in a documentary (see below) about her life and work shot at Pond Farm in the 1970s. “I admire if you have something to say with that technique: human, aesthetic, religious, or whatever you want to call it.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=pSuGNz5Uiko\u003c/p>\n\u003cp>Despite Wildenhain’s powerful legacy, Pond Farm fell into disrepair after her death in 1985 when she was 88.\u003c/p>\n\u003cp>In recent years, the nonprofit \u003ca href=\"https://www.stewardscr.org\" target=\"_blank\" rel=\"noopener\">Stewards of the Coast and Redwoods\u003c/a> has been working with \u003ca href=\"https://www.parks.ca.gov/\" target=\"_blank\" rel=\"noopener\">California State Parks\u003c/a> and other partners to resuscitate the site.\u003c/p>\n\u003cp>“We want to bring people to the site so there can be almost living history happening there again,” said Michele Luna, the Stewards’ executive director.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>They’ve stabilized the Pond Farm buildings and are offering monthly tours of the site. \u003c/p>\n\u003cp>Their bid to get the site designated as a “\u003ca href=\"https://www.nps.gov/orgs/1582/index.htm\" target=\"_blank\" rel=\"noopener\">National Historic Landmark\u003c/a>” is in progress, as is a plan to open Pond Farm to resident artists starting early next year.\u003c/p>\n\u003cfigure id=\"attachment_11712125\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11712125\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/12/Michele-Luna-800x600.jpg\" alt=\"Michele Luna, executive director of Stewards of the Coast and Redwoods.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/12/Michele-Luna-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/12/Michele-Luna-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/12/Michele-Luna-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/12/Michele-Luna-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/12/Michele-Luna-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michele Luna, executive director of Stewards of the Coast and Redwoods. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Luna said they’re accepting applications from all kinds of creatives. Except, bizarrely, from potters.\u003c/p>\n\u003cp>“We don’t have facilities for ceramicists,” Luna said.\u003c/p>\n\u003cp>Luna said state parks would have to undertake a public review process before deciding whether the dozen or so historic Pond Farm pottery wheels, which line the sides of the old barn where Wildenhain coached her students, can ever be used again.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=pOyCMSo7ibU\u003c/p>\n\u003cp>This is fine by former students like Fried, who shiver at the thought of anyone but Wildenhain setting up shop there.\u003c/p>\n\u003cp>“Especially if they were to have people teaching pottery there,” she said. “That would be disastrous.”\u003c/p>\n\u003cp>Fried isn’t totally opposed to the idea of developing Pond Farm. But she’d like to take a quieter and more reverential approach.\u003c/p>\n\u003cp>“I would love to have something down in the parking lot — a little museum with her work there, her books there,” she said. \u003c/p>\n\u003cp>“Then people who are really interested in learning more about Pond Farm could walk up the hill, go through the wooden gates, and feel the vibration of the place for themselves.”\u003c/p>\n\u003cp>\u003c/p>\n",
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"excerpt": "Renowned Bauhaus master potter Marguerite Wildenhain may not be a household name. But an unlikely debate has arisen over the future of her former home in the Sonoma redwoods.",
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"title": "Revitalizing a Master’s Hidden Pottery Enclave, Deep in the Sonoma Redwoods | KQED",
"description": "Renowned Bauhaus master potter Marguerite Wildenhain may not be a household name. But an unlikely debate has arisen over the future of her former home in the Sonoma redwoods.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">T\u003c/span>\u003c/p>\u003cp>here’s a small, wood-shingled structure at \u003ca href=\"https://www.stewardscr.org/pond-farm-pottery.html\" target=\"_blank\" rel=\"noopener\">Pond Farm\u003c/a> near Guerneville — the former home, studio and school of renowned potter Marguerite Wildenhain — that’s so run-down, the insides are off-limits.\u003c/p>\n\u003cp>As I stand on the creaky exterior porch squinting through the grimy windows, I figure the ceramicist probably fired her pots in the cobwebby shack.\u003c/p>\n\u003cp>But it’s not Wildenhain’s kiln. It’s her house.\u003c/p>\n\u003cp>“This was her kitchen, her dining room and her bedroom,” said potter \u003ca href=\"http://www.valleyofthemoonpottery.com/ValleyoftheMoonPottery/Welcome.html\" target=\"_blank\" rel=\"noopener\">Caryn Fried\u003c/a>, setting me straight. “This world-class artist lived this very humble existence right here.”\u003c/p>\n\u003cp>Once, people from all over the world traveled deep into the heart of the Sonoma County redwoods to study at Pond Farm with Wildenhain. She may not be a well-known name outside of the rarefied world of ceramic art. But an unlikely debate has arisen over the future of Pond Farm and Wildenhain’s legacy.\u003c/p>\n\u003cp>“She was just really a very powerful person,” said Fried, who studied with Wildenhain at Pond Farm in the 1970s, along with her husband. “The vibration that she put out.”\u003c/p>\n\u003cfigure id=\"attachment_11712120\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11712120\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/12/MW-at-Wheel-Photo-taken-by-Otto-Hagel-Permission-by-Stewards-of-the-Coast-and-Redwoods-800x1165.jpg\" alt=\"Marguerite Wildenhain at her wheel.\" width=\"800\" height=\"1165\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/12/MW-at-Wheel-Photo-taken-by-Otto-Hagel-Permission-by-Stewards-of-the-Coast-and-Redwoods-800x1165.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/12/MW-at-Wheel-Photo-taken-by-Otto-Hagel-Permission-by-Stewards-of-the-Coast-and-Redwoods-160x233.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/12/MW-at-Wheel-Photo-taken-by-Otto-Hagel-Permission-by-Stewards-of-the-Coast-and-Redwoods-824x1200.jpg 824w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/12/MW-at-Wheel-Photo-taken-by-Otto-Hagel-Permission-by-Stewards-of-the-Coast-and-Redwoods.jpg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Marguerite Wildenhain at her wheel. \u003ccite>(Otto Hagel Courtesy of Stewards of the Coast and Redwoods)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lately Fried, as well as some other Wildenhain students and collectors, have been concerned about those vibrations; that they might grow weak or entirely disappear, now that plans are in motion to develop the bucolic and remote site where Wildenhain lived and worked for more than 40 years.\u003c/p>\n\u003cfigure id=\"attachment_11712121\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11712121\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/12/Caryn-Fried-800x600.jpg\" alt=\"Potter and former Wildenhain student Caryn Fried.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/12/Caryn-Fried-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/12/Caryn-Fried-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/12/Caryn-Fried-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/12/Caryn-Fried-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/12/Caryn-Fried-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Potter and former Wildenhain student Caryn Fried standing outside Marguerite Wildenhain’s former cottage. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“If it becomes like this art center, you no longer have Marguerite’s energy there, which is what made Pond Farm,” Fried said. \u003c/p>\n\u003cp>“You have all these other people’s energy, which most likely is not going to be the energy that Marguerite had.”\u003c/p>\n\u003cp>Wildenhain came to Pond Farm in the early 1940s at the invitation of the landowner, Gordon Herr, who wanted to start an artist’s commune there.\u003c/p>\n\u003cp>Her dynamic, earthy ceramics could be found in high-end stores and museum collections. But the French-born artist’s story begins long before she first set eyes on the Sonoma Redwoods.\u003c/p>\n\u003cp>Wildenhain studied at the Bauhaus — the influential arts and crafts school that emerged in 1920s Germany. Her classmates included painters Paul Klee and Wassily Kandinsky.\u003c/p>\n\u003cfigure id=\"attachment_11712124\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11712124\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/12/wildenhain-pot-800x600.jpg\" alt=\"A Marguerite Wildenhain jug from the collection of Caryn Fried and Wayne Reynolds.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/12/wildenhain-pot-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/12/wildenhain-pot-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/12/wildenhain-pot-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/12/wildenhain-pot-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/12/wildenhain-pot-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A Marguerite Wildenhain jug from the collection of Caryn Fried and Wayne Reynolds. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She became Germany’s first female “Master Potter.” Then the Nazis came along. Wildenhain, who was Jewish, fled to New York, and eventually moved to the West Coast.\u003c/p>\n\u003cp>She was in demand as a teacher. Droves of students came to study pottery at Pond Farm, where Wildenhain taught them to think beyond the mechanics of throwing pots.\u003c/p>\n\u003cp>“I don’t admire technique as such,” she said in a documentary (see below) about her life and work shot at Pond Farm in the 1970s. “I admire if you have something to say with that technique: human, aesthetic, religious, or whatever you want to call it.”\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/pSuGNz5Uiko'\n title='//www.youtube.com/embed/pSuGNz5Uiko'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Despite Wildenhain’s powerful legacy, Pond Farm fell into disrepair after her death in 1985 when she was 88.\u003c/p>\n\u003cp>In recent years, the nonprofit \u003ca href=\"https://www.stewardscr.org\" target=\"_blank\" rel=\"noopener\">Stewards of the Coast and Redwoods\u003c/a> has been working with \u003ca href=\"https://www.parks.ca.gov/\" target=\"_blank\" rel=\"noopener\">California State Parks\u003c/a> and other partners to resuscitate the site.\u003c/p>\n\u003cp>“We want to bring people to the site so there can be almost living history happening there again,” said Michele Luna, the Stewards’ executive director.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>They’ve stabilized the Pond Farm buildings and are offering monthly tours of the site. \u003c/p>\n\u003cp>Their bid to get the site designated as a “\u003ca href=\"https://www.nps.gov/orgs/1582/index.htm\" target=\"_blank\" rel=\"noopener\">National Historic Landmark\u003c/a>” is in progress, as is a plan to open Pond Farm to resident artists starting early next year.\u003c/p>\n\u003cfigure id=\"attachment_11712125\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11712125\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/12/Michele-Luna-800x600.jpg\" alt=\"Michele Luna, executive director of Stewards of the Coast and Redwoods.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/12/Michele-Luna-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/12/Michele-Luna-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/12/Michele-Luna-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/12/Michele-Luna-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/12/Michele-Luna-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michele Luna, executive director of Stewards of the Coast and Redwoods. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Luna said they’re accepting applications from all kinds of creatives. Except, bizarrely, from potters.\u003c/p>\n\u003cp>“We don’t have facilities for ceramicists,” Luna said.\u003c/p>\n\u003cp>Luna said state parks would have to undertake a public review process before deciding whether the dozen or so historic Pond Farm pottery wheels, which line the sides of the old barn where Wildenhain coached her students, can ever be used again.\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/pOyCMSo7ibU'\n title='//www.youtube.com/embed/pOyCMSo7ibU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This is fine by former students like Fried, who shiver at the thought of anyone but Wildenhain setting up shop there.\u003c/p>\n\u003cp>“Especially if they were to have people teaching pottery there,” she said. “That would be disastrous.”\u003c/p>\n\u003cp>Fried isn’t totally opposed to the idea of developing Pond Farm. But she’d like to take a quieter and more reverential approach.\u003c/p>\n\u003cp>“I would love to have something down in the parking lot — a little museum with her work there, her books there,” she said. \u003c/p>\n\u003cp>“Then people who are really interested in learning more about Pond Farm could walk up the hill, go through the wooden gates, and feel the vibration of the place for themselves.”\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"title": "Honoring Oscar Grant Gets Political at BART Meeting",
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"headTitle": "Honoring Oscar Grant Gets Political at BART Meeting | KQED",
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"content": "\u003cp>It’s almost been 10 years since Oscar Grant was shot and killed on the BART platform at Oakland’s Fruitvale Station in the early hours of New Year’s Day in 2009.\u003c/p>\n\u003cp>Grant’s shooting was caught on cellphone videos and shared on social media. The footage of the 22-year-old — lying on his stomach restrained when a BART police officer raised his gun and shot him in the back while another officer pinned him down — ricocheted across the country and the world.\u003c/p>\n\u003cp>It was one of the first times\u003ca href=\"https://www.youtube.com/watch?v=Q2LDw5l_yMI\"> video of an officer-involved shooting of a young black man was shared on the internet\u003c/a>, and it sparked protests, some of them violent. The officer, Johannes Mehserle, claimed he mistook his gun for his taser. He was later convicted of \u003ca href=\"https://www.sfgate.com/bayarea/article/Mehserle-convicted-of-involuntary-manslaughter-3181861.php\">involuntary manslaughter.\u003c/a>\u003c/p>\n\u003cp>Now, as the decade anniversary of Grant’s death approaches, his family has been working with BART to honor his life and mark his death. A mural is being planned near Fruitvale Station, and in early December his family officially filed paperwork requesting that the station where he died be renamed in his honor.\u003c/p>\n\u003cp>They want the station to be called Fruitvale-Grant Station, and they are requesting a plaque near the place where he died. There is still a knick in the concrete platform, from the bullet that killed Grant.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It will give us a sense of peace and closure to really know that BART is working not only with the community, but with the family, to say that they do not want this to ever happen again,” said Wanda Johnson, Oscar Grant’s mother.\u003c/p>\n\u003ch2>Social Media Comments Generate Anger\u003c/h2>\n\u003cp>Recently, Grant’s family accused a BART director of stoking racial tensions around their work to honor Grant.\u003c/p>\n\u003cp>The same powerful tool of social media that amplified the story of his death, they said, was now being used to vilify the plans to memorialize his life.\u003c/p>\n\u003cp>After a \u003ca href=\"https://www.sfchronicle.com/bayarea/article/Oscar-Grant-mural-at-BART-s-Fruitvale-Station-13435806.php\">San Francisco Chronicle article\u003c/a> reported on the family’s work with BART to create a memorial, BART Director Debora Allen posed a question on Facebook last week. “BART is placing a permanent art mural at the Fruitvale station honoring Oscar Grant,” she wrote in the now-deleted post. Allen’s Facebook post continued, “It did not appear on a Board agenda. The family also wants the station and a street named after him. Should BART ever memorialize or name stations after individuals? Your thoughts?”\u003c/p>\n\u003cp>The responses that came in included racist remarks about Grant. At a BART board meeting on Dec. 6, Johnson spoke to Allen directly.\u003c/p>\n\u003cp>“You knew, without a shadow of a doubt,” that the post “would cause racial comments to be put there,” Johnson said pointedly. “You have hurt my family tremendously,” she said, her voice shaking. “For my 13-year-old granddaughter to see all the rude posts. What you have incited is absolutely unacceptable.”\u003c/p>\n\u003cp>Minister Keith Muhammad, who has supported the family since Grant’s death, said that while the social media post may appear innocuous, “quite frankly it was a dog whistle.” Especially, he added, “if you just consider the community that director represents.” Allen represents East Bay suburbs, including Walnut Creek and Danville, where many residents are wealthier and less diverse than in some of the other territory BART covers.\u003c/p>\n\u003cp>At the meeting, Allen responded directly to the family. “My intent was to talk about policy with this post,” she said. “There was no other hidden motive to divide people, to attack people, or to get people to attack people.”\u003c/p>\n\u003cp>“Over a few days’ time, the comments on that post became really a very unhealthy debate with people attacking each and calling each other racist,” Allen said, adding that is why she deleted the post.\u003c/p>\n\u003cp>“I believe my original question was, and still is, a valid public policy question,” she said, acknowledging that the context was mistaken. “I offer you my sincerest apology for the outcome of that post, and for any harm or grief that I’ve caused any of you to feel.”\u003c/p>\n\u003cp>But Cephus Johnson, Grant’s uncle, known to many as Uncle Bobby, said that an apology with an excuse did not feel like a true apology. “Mehserle offered excuses for why he murdered Oscar, too,” he said.\u003c/p>\n\u003cp>Another BART director, \u003ca href=\"https://www.bart.gov/about/bod/bodMembersDetail_09\">Bevan Dufty\u003c/a> spoke strongly against Allen’s post, calling it a “terrible mistake.”\u003c/p>\n\u003cp>“All of us who run for office, we know the hate that exists in this country, and to open up a poll and blanket people about a subject like this?” Dufty asked. “If you want to ask people if they want more straphangers in a rail car, I think that’s dandy.”\u003c/p>\n\u003cp>“But to ask this question, really begged a terrible thing,” Dufty added.\u003c/p>\n\u003ch2>Next Steps for the Project\u003c/h2>\n\u003cp>While the design of the mural is not yet finalized, a contract has been signed with Oakland native and artist Senay Dennis, also known as Refa One.\u003c/p>\n\u003cp>Dufty said it was part of the responsibility of BART officials to acknowledge what happened 10 years ago. He said he feels the need to “recognize how important it is to have a station named for somebody, somebody who will be recognized 100 years from now, as Rosa Parks was remembered,” he said. “Someone whose life was taken from them unjustly.”\u003c/p>\n\u003cp>BART Director \u003ca href=\"https://www.kalw.org/post/she-ran-bart-director-because-oscar-grant-now-lateefah-simon-must-confront-another-killing\">Lateefah Simon\u003c/a> has also supported the Grant family’s wishes to remember Oscar. Simon ran for the BART board, in part, because of Grant’s death.\u003c/p>\n\u003cp>The full board has not publicly discussed or signed off on the mural or other possible memorials. That is in part because the full board does not need to sign off on projects under $150,000. The mural project is expected to cost $30,000.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The proposal to rename the station and to place a commemorative plaque are not yet on any BART board agenda.\u003c/p>\n\n",
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"excerpt": "Mural is being planned near site where 22-year-old was killed almost 10 years ago, and family has asked that Fruitvale Station be renamed for him.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s almost been 10 years since Oscar Grant was shot and killed on the BART platform at Oakland’s Fruitvale Station in the early hours of New Year’s Day in 2009.\u003c/p>\n\u003cp>Grant’s shooting was caught on cellphone videos and shared on social media. The footage of the 22-year-old — lying on his stomach restrained when a BART police officer raised his gun and shot him in the back while another officer pinned him down — ricocheted across the country and the world.\u003c/p>\n\u003cp>It was one of the first times\u003ca href=\"https://www.youtube.com/watch?v=Q2LDw5l_yMI\"> video of an officer-involved shooting of a young black man was shared on the internet\u003c/a>, and it sparked protests, some of them violent. The officer, Johannes Mehserle, claimed he mistook his gun for his taser. He was later convicted of \u003ca href=\"https://www.sfgate.com/bayarea/article/Mehserle-convicted-of-involuntary-manslaughter-3181861.php\">involuntary manslaughter.\u003c/a>\u003c/p>\n\u003cp>Now, as the decade anniversary of Grant’s death approaches, his family has been working with BART to honor his life and mark his death. A mural is being planned near Fruitvale Station, and in early December his family officially filed paperwork requesting that the station where he died be renamed in his honor.\u003c/p>\n\u003cp>They want the station to be called Fruitvale-Grant Station, and they are requesting a plaque near the place where he died. There is still a knick in the concrete platform, from the bullet that killed Grant.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It will give us a sense of peace and closure to really know that BART is working not only with the community, but with the family, to say that they do not want this to ever happen again,” said Wanda Johnson, Oscar Grant’s mother.\u003c/p>\n\u003ch2>Social Media Comments Generate Anger\u003c/h2>\n\u003cp>Recently, Grant’s family accused a BART director of stoking racial tensions around their work to honor Grant.\u003c/p>\n\u003cp>The same powerful tool of social media that amplified the story of his death, they said, was now being used to vilify the plans to memorialize his life.\u003c/p>\n\u003cp>After a \u003ca href=\"https://www.sfchronicle.com/bayarea/article/Oscar-Grant-mural-at-BART-s-Fruitvale-Station-13435806.php\">San Francisco Chronicle article\u003c/a> reported on the family’s work with BART to create a memorial, BART Director Debora Allen posed a question on Facebook last week. “BART is placing a permanent art mural at the Fruitvale station honoring Oscar Grant,” she wrote in the now-deleted post. Allen’s Facebook post continued, “It did not appear on a Board agenda. The family also wants the station and a street named after him. Should BART ever memorialize or name stations after individuals? Your thoughts?”\u003c/p>\n\u003cp>The responses that came in included racist remarks about Grant. At a BART board meeting on Dec. 6, Johnson spoke to Allen directly.\u003c/p>\n\u003cp>“You knew, without a shadow of a doubt,” that the post “would cause racial comments to be put there,” Johnson said pointedly. “You have hurt my family tremendously,” she said, her voice shaking. “For my 13-year-old granddaughter to see all the rude posts. What you have incited is absolutely unacceptable.”\u003c/p>\n\u003cp>Minister Keith Muhammad, who has supported the family since Grant’s death, said that while the social media post may appear innocuous, “quite frankly it was a dog whistle.” Especially, he added, “if you just consider the community that director represents.” Allen represents East Bay suburbs, including Walnut Creek and Danville, where many residents are wealthier and less diverse than in some of the other territory BART covers.\u003c/p>\n\u003cp>At the meeting, Allen responded directly to the family. “My intent was to talk about policy with this post,” she said. “There was no other hidden motive to divide people, to attack people, or to get people to attack people.”\u003c/p>\n\u003cp>“Over a few days’ time, the comments on that post became really a very unhealthy debate with people attacking each and calling each other racist,” Allen said, adding that is why she deleted the post.\u003c/p>\n\u003cp>“I believe my original question was, and still is, a valid public policy question,” she said, acknowledging that the context was mistaken. “I offer you my sincerest apology for the outcome of that post, and for any harm or grief that I’ve caused any of you to feel.”\u003c/p>\n\u003cp>But Cephus Johnson, Grant’s uncle, known to many as Uncle Bobby, said that an apology with an excuse did not feel like a true apology. “Mehserle offered excuses for why he murdered Oscar, too,” he said.\u003c/p>\n\u003cp>Another BART director, \u003ca href=\"https://www.bart.gov/about/bod/bodMembersDetail_09\">Bevan Dufty\u003c/a> spoke strongly against Allen’s post, calling it a “terrible mistake.”\u003c/p>\n\u003cp>“All of us who run for office, we know the hate that exists in this country, and to open up a poll and blanket people about a subject like this?” Dufty asked. “If you want to ask people if they want more straphangers in a rail car, I think that’s dandy.”\u003c/p>\n\u003cp>“But to ask this question, really begged a terrible thing,” Dufty added.\u003c/p>\n\u003ch2>Next Steps for the Project\u003c/h2>\n\u003cp>While the design of the mural is not yet finalized, a contract has been signed with Oakland native and artist Senay Dennis, also known as Refa One.\u003c/p>\n\u003cp>Dufty said it was part of the responsibility of BART officials to acknowledge what happened 10 years ago. He said he feels the need to “recognize how important it is to have a station named for somebody, somebody who will be recognized 100 years from now, as Rosa Parks was remembered,” he said. “Someone whose life was taken from them unjustly.”\u003c/p>\n\u003cp>BART Director \u003ca href=\"https://www.kalw.org/post/she-ran-bart-director-because-oscar-grant-now-lateefah-simon-must-confront-another-killing\">Lateefah Simon\u003c/a> has also supported the Grant family’s wishes to remember Oscar. Simon ran for the BART board, in part, because of Grant’s death.\u003c/p>\n\u003cp>The full board has not publicly discussed or signed off on the mural or other possible memorials. That is in part because the full board does not need to sign off on projects under $150,000. The mural project is expected to cost $30,000.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The proposal to rename the station and to place a commemorative plaque are not yet on any BART board agenda.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "KOIT Ditches, Then Brings Back ‘Baby it’s Cold Outside’",
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"content": "\u003cp>This holiday season, local radio station KOIT 96.5 found itself in the national spotlight when it took the tune \"Baby It's Cold Outside\" out of its holiday song rotation in the wake of receiving over 100 complaints about the song's undertones of date-rape.\u003c/p>\n\u003cp>But then came the backlash to the backlash, and as of yesterday morning, the song is back on-air.\u003c/p>\n\u003cp>After KOIT program director Brian Figula decided to pull the plug on the song last week, the story was picked up by \u003ca href=\"https://abc7news.com/society/classic-christmas-tune-banned-from-sf-airwaves-amid-metoo/4824667/\">Channel 7 news\u003c/a>, and the radio station received a tidal wave of comments requesting the song's return to the airwaves.\u003c/p>\n\u003cp>Figula decided to create a poll on the KOIT website.\u003c/p>\n\u003cp>\"We looked at it as an opportunity to have a discussion,\" he said. \"We let our listeners talk about it and choose for themselves if they want to hear it.\"\u003c/p>\n\u003cp>Over 22,000 people weighed in. The results? 77 percent of its listeners supported the song.\u003c/p>\n\u003cblockquote class=\"twitter-tweet\">\n\u003cp dir=\"ltr\" lang=\"en\">I voted. Thank you for thinking of the listeners and our opinions on it. You guys are great.\u003c/p>\n\u003cp>— Cesar Abella (@CesarAbella16) \u003ca href=\"https://twitter.com/CesarAbella16/status/1070212409141354496?ref_src=twsrc%5Etfw\">December 5, 2018\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cp>Some listeners avidly supported silencing the ditty.\u003c/p>\n\u003cblockquote class=\"twitter-tweet\">\n\u003cp dir=\"ltr\" lang=\"en\">Please do not play it. Promoting rape culture is not beneficial to our society. The song's message is not worth the nostalgic feelings.\u003c/p>\n\u003cp>— Marjan Mohyee (@mmohyee) \u003ca href=\"https://twitter.com/mmohyee/status/1070219465621561344?ref_src=twsrc%5Etfw\">December 5, 2018\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cp>And some listeners felt the intense scrutiny of the song was unnecessary.\u003c/p>\n\u003cblockquote class=\"twitter-tweet\">\n\u003cp dir=\"ltr\" lang=\"en\">This is the most RIDICULOUS ban ever! I’m in full support of the \u003ca href=\"https://twitter.com/hashtag/MeToo?src=hash&ref_src=twsrc%5Etfw\">#MeToo\u003c/a> movement and changing our country’s culture, but we need to STOP dissecting everything from the past and work on changing present behaviors.\u003c/p>\n\u003cp>— Gina Marie Urizar (@belle_lumiere18) \u003ca href=\"https://twitter.com/belle_lumiere18/status/1070430401598910465?ref_src=twsrc%5Etfw\">December 5, 2018\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cp>Considering the year it was written and the social mores that women \u003ca href=\"https://www.bustle.com/p/a-tumblr-post-about-baby-its-cold-outside-historical-context-explains-that-the-song-may-have-entirely-different-meaning-6617625\">were expected to follow\u003c/a> in the '40s — the song can be interpreted as either a coy dance among enamored adults or a red-flag-riddled date-rape scene. Yet other music lovers say the song has feminist underpinnings.\u003c/p>\n\u003cp>\"Baby It's Cold Outside\" \u003ca href=\"https://www.youtube.com/watch?v=7MFJ7ie_yGU\">appears in the 1949 Esther Williams film\u003c/a> \"Neptune's Daughter\" and won the Academy Award for Best Song the very same year. The controversial duet depicts a man trying to convince a woman to stay with him despite her hesitations.\u003cbr>\n(Interestingly enough, the film features the song twice; its second appearance features Betty Garrett and Red Skelton where the woman aggressively tries to seduce the man.)\u003c/p>\n\u003cp>Conversations around consent have shifted dramatically over the past decades; at the time when the song was written, women were discouraged and shamed from being sexually forward. \"Baby It's Cold Outside\" is, in many ways, an illustration of the nuances that women must navigate to be able to say \"yes\" or \"no\" without judgement, according to an anonymous Tumblr \u003ca href=\"http://bigbutterandeggman.tumblr.com/post/154013148291/teachingwithcoffee-its-time-to-bring-an-end-to\">post written by a former English teacher\u003c/a> that went viral.\u003c/p>\n\u003cfigure id=\"attachment_11711487\" class=\"wp-caption alignleft\" style=\"max-width: 401px\">\u003cimg class=\"wp-image-11711487\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/12/babytwo.png\" alt=\"\" width=\"401\" height=\"288\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/12/babytwo.png 485w, https://ww2.kqed.org/app/uploads/sites/10/2018/12/babytwo-160x115.png 160w\" sizes=\"(max-width: 401px) 100vw, 401px\">\u003cfigcaption class=\"wp-caption-text\">Betty Garrett makes her move on on Red Skelton. Photo courtesy of YouTube\u003c/figcaption>\u003c/figure>\n\u003cp>Figula recognizes that he has waded into a political discussion beyond the ken of his chart-topper radio station which started this year's Christmas song playlist on November 16. \"Let's face it, there's a political agenda to all this,\" he said. \"Our radio station is a music station. We don't have a political agenda. Our goal is to play the biggest hits in the United States.\"\u003c/p>\n\u003cp>Other radio stations who have \u003ca href=\"https://www.npr.org/2018/12/05/673770902/baby-it-s-cold-outside-seen-as-sexist-frozen-out-by-radio-stations\">received backlash\u003c/a> for banning the duet include Cleveland's WDOK and Denver's KOSI.\u003c/p>\n\u003cp>Figula said it has been a difficult decision. \"We've replied to literally every email that's come into the radio station. That's well over 1,000 emails over the last week,\" he said. \"Women have contacted me [who] have been raped or sexually harassed. Women with teenage daughters have said they don't want their kids to hear the lyrics. They find it offensive and I can respect that, though the majority disagrees.\"\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For now, the song will survive another Christmas season on KOIT.\u003c/p>\n\u003cp>\"Majority rules,\" Figula said, who put the song back on rotation yesterday. \"Our goal is to say, 'power to the people.' If people think we should play it, we'll play it.\"\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This holiday season, local radio station KOIT 96.5 found itself in the national spotlight when it took the tune \"Baby It's Cold Outside\" out of its holiday song rotation in the wake of receiving over 100 complaints about the song's undertones of date-rape.\u003c/p>\n\u003cp>But then came the backlash to the backlash, and as of yesterday morning, the song is back on-air.\u003c/p>\n\u003cp>After KOIT program director Brian Figula decided to pull the plug on the song last week, the story was picked up by \u003ca href=\"https://abc7news.com/society/classic-christmas-tune-banned-from-sf-airwaves-amid-metoo/4824667/\">Channel 7 news\u003c/a>, and the radio station received a tidal wave of comments requesting the song's return to the airwaves.\u003c/p>\n\u003cp>Figula decided to create a poll on the KOIT website.\u003c/p>\n\u003cp>\"We looked at it as an opportunity to have a discussion,\" he said. \"We let our listeners talk about it and choose for themselves if they want to hear it.\"\u003c/p>\n\u003cp>Over 22,000 people weighed in. The results? 77 percent of its listeners supported the song.\u003c/p>\n\u003cblockquote class=\"twitter-tweet\">\n\u003cp dir=\"ltr\" lang=\"en\">I voted. Thank you for thinking of the listeners and our opinions on it. You guys are great.\u003c/p>\n\u003cp>— Cesar Abella (@CesarAbella16) \u003ca href=\"https://twitter.com/CesarAbella16/status/1070212409141354496?ref_src=twsrc%5Etfw\">December 5, 2018\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cp>Some listeners avidly supported silencing the ditty.\u003c/p>\n\u003cblockquote class=\"twitter-tweet\">\n\u003cp dir=\"ltr\" lang=\"en\">Please do not play it. Promoting rape culture is not beneficial to our society. The song's message is not worth the nostalgic feelings.\u003c/p>\n\u003cp>— Marjan Mohyee (@mmohyee) \u003ca href=\"https://twitter.com/mmohyee/status/1070219465621561344?ref_src=twsrc%5Etfw\">December 5, 2018\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cp>And some listeners felt the intense scrutiny of the song was unnecessary.\u003c/p>\n\u003cblockquote class=\"twitter-tweet\">\n\u003cp dir=\"ltr\" lang=\"en\">This is the most RIDICULOUS ban ever! I’m in full support of the \u003ca href=\"https://twitter.com/hashtag/MeToo?src=hash&ref_src=twsrc%5Etfw\">#MeToo\u003c/a> movement and changing our country’s culture, but we need to STOP dissecting everything from the past and work on changing present behaviors.\u003c/p>\n\u003cp>— Gina Marie Urizar (@belle_lumiere18) \u003ca href=\"https://twitter.com/belle_lumiere18/status/1070430401598910465?ref_src=twsrc%5Etfw\">December 5, 2018\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cp>Considering the year it was written and the social mores that women \u003ca href=\"https://www.bustle.com/p/a-tumblr-post-about-baby-its-cold-outside-historical-context-explains-that-the-song-may-have-entirely-different-meaning-6617625\">were expected to follow\u003c/a> in the '40s — the song can be interpreted as either a coy dance among enamored adults or a red-flag-riddled date-rape scene. Yet other music lovers say the song has feminist underpinnings.\u003c/p>\n\u003cp>\"Baby It's Cold Outside\" \u003ca href=\"https://www.youtube.com/watch?v=7MFJ7ie_yGU\">appears in the 1949 Esther Williams film\u003c/a> \"Neptune's Daughter\" and won the Academy Award for Best Song the very same year. The controversial duet depicts a man trying to convince a woman to stay with him despite her hesitations.\u003cbr>\n(Interestingly enough, the film features the song twice; its second appearance features Betty Garrett and Red Skelton where the woman aggressively tries to seduce the man.)\u003c/p>\n\u003cp>Conversations around consent have shifted dramatically over the past decades; at the time when the song was written, women were discouraged and shamed from being sexually forward. \"Baby It's Cold Outside\" is, in many ways, an illustration of the nuances that women must navigate to be able to say \"yes\" or \"no\" without judgement, according to an anonymous Tumblr \u003ca href=\"http://bigbutterandeggman.tumblr.com/post/154013148291/teachingwithcoffee-its-time-to-bring-an-end-to\">post written by a former English teacher\u003c/a> that went viral.\u003c/p>\n\u003cfigure id=\"attachment_11711487\" class=\"wp-caption alignleft\" style=\"max-width: 401px\">\u003cimg class=\"wp-image-11711487\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/12/babytwo.png\" alt=\"\" width=\"401\" height=\"288\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/12/babytwo.png 485w, https://ww2.kqed.org/app/uploads/sites/10/2018/12/babytwo-160x115.png 160w\" sizes=\"(max-width: 401px) 100vw, 401px\">\u003cfigcaption class=\"wp-caption-text\">Betty Garrett makes her move on on Red Skelton. Photo courtesy of YouTube\u003c/figcaption>\u003c/figure>\n\u003cp>Figula recognizes that he has waded into a political discussion beyond the ken of his chart-topper radio station which started this year's Christmas song playlist on November 16. \"Let's face it, there's a political agenda to all this,\" he said. \"Our radio station is a music station. We don't have a political agenda. Our goal is to play the biggest hits in the United States.\"\u003c/p>\n\u003cp>Other radio stations who have \u003ca href=\"https://www.npr.org/2018/12/05/673770902/baby-it-s-cold-outside-seen-as-sexist-frozen-out-by-radio-stations\">received backlash\u003c/a> for banning the duet include Cleveland's WDOK and Denver's KOSI.\u003c/p>\n\u003cp>Figula said it has been a difficult decision. \"We've replied to literally every email that's come into the radio station. That's well over 1,000 emails over the last week,\" he said. \"Women have contacted me [who] have been raped or sexually harassed. Women with teenage daughters have said they don't want their kids to hear the lyrics. They find it offensive and I can respect that, though the majority disagrees.\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For now, the song will survive another Christmas season on KOIT.\u003c/p>\n\u003cp>\"Majority rules,\" Figula said, who put the song back on rotation yesterday. \"Our goal is to say, 'power to the people.' If people think we should play it, we'll play it.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>At the Diego Rivera Theatre at City College of San Francisco, city officials gathered with students and faculty to celebrate the unveiling of Frida Kahlo Way on Friday.\u003c/p>\n\u003cp>The street — formerly Phelan Avenue — was named after James Phelan, an Irish immigrant who amassed his fortune in the city during the Gold Rush. But it’s the politics of Phelan’s son — former United States senator and San Francisco Mayor James D. Phelan — that inspired the name change. \u003c/p>\n\u003cp>During his time in office as mayor from 1897 to 1902, James D. Phelan supported the Chinese Exclusion Act of 1882. After leaving the Senate in 1921, he remained active in anti-immigrant movements and supported the Immigration Act of 1924. He also ran a campaign to “Keep California White.”\u003c/p>\n\u003cfigure id=\"attachment_11710967\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/12/RS34376_IMG_0169-qut.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11710967\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/12/RS34376_IMG_0169-qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/12/RS34376_IMG_0169-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/12/RS34376_IMG_0169-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/12/RS34376_IMG_0169-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/12/RS34376_IMG_0169-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/12/RS34376_IMG_0169-qut-1200x800.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Supervisor Norman Yee says changing the name of the street is particularly important to him as a 3rd-generation San Franciscan and Chinese-American. \u003ccite>(Michelle Wiley/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>District 7 Supervisor Norman Yee said that even though the street is not directly named after the former mayor, the family association is enough to warrant the change.\u003c/p>\n\u003cp>“My family came over in the 1800s,” said Yee. “So they actually had to feel this type of racism that people had to go through around that time, and it did impact my family. So for me to be able to rectify what was the wrong thing to do means a lot to me personally.”\u003c/p>\n\u003cp>The San Francisco Board of Supervisors unanimously voted to approve the name change in June.\u003c/p>\n\u003cp>It’s one of the latest steps taken by the city to rename streets and other public spaces with historically racist origins. In September, officials \u003ca href=\"https://www.kqed.org/arts/13840748/early-days-statue-in-sf-deemed-racist-will-be-removed-following-re-vote\" rel=\"noopener\" target=\"_blank\">removed the “Early Days” statue\u003c/a> from the Civic Center due to its disparaging depiction of Native Americans.\u003c/p>\n\u003cp>Chancellor of City College of San Francisco Mark Rocha said the renaming of the street “… is not so much about the past, but about the future. About the community empowering itself to cast a beacon to the future about who we are of the San Francisco of today, which is a great city of immigrants.”\u003c/p>\n\u003cfigure id=\"attachment_11710970\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11710970\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/12/RS34380_IMG_0186-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/12/RS34380_IMG_0186-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/12/RS34380_IMG_0186-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/12/RS34380_IMG_0186-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/12/RS34380_IMG_0186-qut-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/12/RS34380_IMG_0186-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Of the five names shortlisted for the change, artist Frida Kahlo received the highest number of votes. \u003ccite>(Michelle Wiley/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The street now bears the name of renowned Mexican artist Frida Kahlo, who lived in San Francisco in the early 1930s with her husband, muralist Diego Rivera.\u003c/p>\n\u003cp>“She’s a powerful, queer woman of color at a time in Mexico where there weren’t really big female names in the art scene,” said Associated Student Council Vice President Angelica Campos, of Kahlo. “It’s a really powerful statement at this time … where women are under attack in many ways.”\u003c/p>\n\u003cfigure id=\"attachment_11710966\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11710966\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/12/RS34377_IMG_0172-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/12/RS34377_IMG_0172-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/12/RS34377_IMG_0172-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/12/RS34377_IMG_0172-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/12/RS34377_IMG_0172-qut-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/12/RS34377_IMG_0172-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Associated Student Council Vice President Angelica Campos (left) and Board of Trustees member Shanell Williams (right) celebrate the name change. \u003ccite>(Michelle Wiley/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The San Francisco Foundation, which had a visual arts award named after James D. Phelan, made the decision to remove his name from the award in July.\u003c/p>\n\u003cp>In a statement, a spokesperson for the foundation said the decision is in line with the organization’s mission. \u003c/p>\n\u003cp>“As a community foundation focused on racial equity and economic inclusion in the Bay Area, we work with many partners, including our generous donor community. We adhere to donor intent; and in making the decision regarding the aforementioned award names, we have kept our commitment on how the funds are to be used. We have yet to make a final decision on the new names of the awards.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At the Diego Rivera Theatre at City College of San Francisco, city officials gathered with students and faculty to celebrate the unveiling of Frida Kahlo Way on Friday.\u003c/p>\n\u003cp>The street — formerly Phelan Avenue — was named after James Phelan, an Irish immigrant who amassed his fortune in the city during the Gold Rush. But it’s the politics of Phelan’s son — former United States senator and San Francisco Mayor James D. Phelan — that inspired the name change. \u003c/p>\n\u003cp>During his time in office as mayor from 1897 to 1902, James D. Phelan supported the Chinese Exclusion Act of 1882. After leaving the Senate in 1921, he remained active in anti-immigrant movements and supported the Immigration Act of 1924. He also ran a campaign to “Keep California White.”\u003c/p>\n\u003cfigure id=\"attachment_11710967\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/12/RS34376_IMG_0169-qut.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11710967\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/12/RS34376_IMG_0169-qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/12/RS34376_IMG_0169-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/12/RS34376_IMG_0169-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/12/RS34376_IMG_0169-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/12/RS34376_IMG_0169-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/12/RS34376_IMG_0169-qut-1200x800.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Supervisor Norman Yee says changing the name of the street is particularly important to him as a 3rd-generation San Franciscan and Chinese-American. \u003ccite>(Michelle Wiley/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>District 7 Supervisor Norman Yee said that even though the street is not directly named after the former mayor, the family association is enough to warrant the change.\u003c/p>\n\u003cp>“My family came over in the 1800s,” said Yee. “So they actually had to feel this type of racism that people had to go through around that time, and it did impact my family. So for me to be able to rectify what was the wrong thing to do means a lot to me personally.”\u003c/p>\n\u003cp>The San Francisco Board of Supervisors unanimously voted to approve the name change in June.\u003c/p>\n\u003cp>It’s one of the latest steps taken by the city to rename streets and other public spaces with historically racist origins. In September, officials \u003ca href=\"https://www.kqed.org/arts/13840748/early-days-statue-in-sf-deemed-racist-will-be-removed-following-re-vote\" rel=\"noopener\" target=\"_blank\">removed the “Early Days” statue\u003c/a> from the Civic Center due to its disparaging depiction of Native Americans.\u003c/p>\n\u003cp>Chancellor of City College of San Francisco Mark Rocha said the renaming of the street “… is not so much about the past, but about the future. About the community empowering itself to cast a beacon to the future about who we are of the San Francisco of today, which is a great city of immigrants.”\u003c/p>\n\u003cfigure id=\"attachment_11710970\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11710970\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/12/RS34380_IMG_0186-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/12/RS34380_IMG_0186-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/12/RS34380_IMG_0186-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/12/RS34380_IMG_0186-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/12/RS34380_IMG_0186-qut-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/12/RS34380_IMG_0186-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Of the five names shortlisted for the change, artist Frida Kahlo received the highest number of votes. \u003ccite>(Michelle Wiley/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The street now bears the name of renowned Mexican artist Frida Kahlo, who lived in San Francisco in the early 1930s with her husband, muralist Diego Rivera.\u003c/p>\n\u003cp>“She’s a powerful, queer woman of color at a time in Mexico where there weren’t really big female names in the art scene,” said Associated Student Council Vice President Angelica Campos, of Kahlo. “It’s a really powerful statement at this time … where women are under attack in many ways.”\u003c/p>\n\u003cfigure id=\"attachment_11710966\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11710966\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/12/RS34377_IMG_0172-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/12/RS34377_IMG_0172-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/12/RS34377_IMG_0172-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/12/RS34377_IMG_0172-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/12/RS34377_IMG_0172-qut-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/12/RS34377_IMG_0172-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Associated Student Council Vice President Angelica Campos (left) and Board of Trustees member Shanell Williams (right) celebrate the name change. \u003ccite>(Michelle Wiley/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The San Francisco Foundation, which had a visual arts award named after James D. Phelan, made the decision to remove his name from the award in July.\u003c/p>\n\u003cp>In a statement, a spokesperson for the foundation said the decision is in line with the organization’s mission. \u003c/p>\n\u003cp>“As a community foundation focused on racial equity and economic inclusion in the Bay Area, we work with many partners, including our generous donor community. We adhere to donor intent; and in making the decision regarding the aforementioned award names, we have kept our commitment on how the funds are to be used. We have yet to make a final decision on the new names of the awards.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"politicalbreakdown": {
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
},
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