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"slug": "golden-state-plate-the-story-of-the-martini-straight-up-with-a-twist",
"title": "Golden State Plate: The Story of the Martini, Straight Up, With a Twist",
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"content": "\u003cp>The martini is iconic. Not just because of James Bond, but the glass it’s served in, those neon signs in front of old school bars … it even has its own emoji.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=OUUq5mRCimo\u003c/p>\n\u003cp>The martini is also the first cocktail Tamir Ben-Shalom learned how to make.\u003c/p>\n\u003cp>Ben-Shalom is bar manager at the \u003ca href=\"http://www.bullvalleyroadhouse.com/\" target=\"_blank\" rel=\"noopener\">Bull Valley Roadhouse\u003c/a> in the tiny East Bay town of Port Costa. He makes a mean martini: two parts of Old Tom Gin, one part Turino vermouth blend, and orange bitters.\u003c/p>\n\u003cfigure id=\"attachment_11703176\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11703176\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/11/RS33552_IMG_4072-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/RS33552_IMG_4072-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/RS33552_IMG_4072-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/RS33552_IMG_4072-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/RS33552_IMG_4072-qut-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/RS33552_IMG_4072-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/RS33552_IMG_4072-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/RS33552_IMG_4072-qut-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/RS33552_IMG_4072-qut-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/RS33552_IMG_4072-qut-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/RS33552_IMG_4072-qut-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tamir Ben-Shalom is the Bar Manager at Bull Valley Road House in Port Costa, a tiny town in the East Bay. \u003ccite>(Bianca Taylor/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11703175\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11703175\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/11/RS33512_IMG_4071-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/RS33512_IMG_4071-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/RS33512_IMG_4071-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/RS33512_IMG_4071-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/RS33512_IMG_4071-qut-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/RS33512_IMG_4071-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/RS33512_IMG_4071-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/RS33512_IMG_4071-qut-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/RS33512_IMG_4071-qut-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/RS33512_IMG_4071-qut-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/RS33512_IMG_4071-qut-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lemon, gin and vermouth go into the martini at the Bull Valley Roadhouse. \u003ccite>(Bianca Taylor/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But he tells me that if I want to get to the bottom of the martini mystery, I really need to drive 20 minutes to Martinez. So, I get in my car until I hit the intersection of Masonic and Alhambra Streets. It’s an unassuming parking lot, except for a plaque on a giant boulder that claims \u003cem>this\u003c/em> is the site of the martini’s invention.\u003c/p>\n\u003cfigure id=\"attachment_11703173\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11703173 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/11/RS33511_alt_797-800x1067.jpg\" alt=\"In the middle of a parking lot in Martinez, there is a plaque that claims it is the site of the invention of the martini.\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/RS33511_alt_797-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/RS33511_alt_797-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/RS33511_alt_797-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/RS33511_alt_797-900x1200.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/RS33511_alt_797-1920x2560.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/RS33511_alt_797-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/RS33511_alt_797-960x1280.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/RS33511_alt_797-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/RS33511_alt_797-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/RS33511_alt_797-520x693.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In the middle of a parking lot in Martinez, there is a plaque that claims it is the site of the invention of the martini. \u003ccite>(Bianca Taylor/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The plaque reads: “On this site in 1874, Julio Richelieu, bartender, served up the first martini when a miner came into his saloon with a fistful of nuggets and asked for something special. He was served a Martinez Special. After three or four drinks, however, the Z would get very much in the way. The drink consisted of two thirds gin, one third vermouth, a dash of orange bitters, poured over crushed ice and served with an olive.”\u003c/p>\n\u003cp>Not only does Martinez lay claim to the drink with a plaque, it throws an \u003ca href=\"http://www.martinezchamber.com/martinis-on-the-plaza-gala\" target=\"_blank\" rel=\"noopener\">annual Martini’s on the Plaza Gaza\u003c/a>, and the drink’s origin story is on the \u003ca href=\"http://www.cityofmartinez.org/our_city/martini.asp\" target=\"_blank\" rel=\"noopener\">city’s official website.\u003c/a>\u003c/p>\n\u003cp>But Gabriel Clothes, a San Francisco bartender who collects and studies old cocktail recipes, says there’s actually a lot of controversy about where — and who — invented the martini.\u003c/p>\n\u003cp>“These origins are so murky. Especially a drink, it’s not entered into the public record,” he says.\u003c/p>\n\u003cfigure id=\"attachment_11703179\" class=\"wp-caption alignleft\" style=\"max-width: 347px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11703179 \" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/11/RS33514_JerryThomas01-qut.jpg\" alt=\"\" width=\"347\" height=\"310\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/RS33514_JerryThomas01-qut.jpg 294w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/RS33514_JerryThomas01-qut-160x143.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/RS33514_JerryThomas01-qut-240x215.jpg 240w\" sizes=\"(max-width: 347px) 100vw, 347px\">\u003cfigcaption class=\"wp-caption-text\">An 1862 engraving of Jerry Thomas. His ‘Bartenders Guide’ is a seminal cocktail recipe book. \u003ccite>(Wikimedia Commons: Museum of the American Cocktail)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But Clothes tells me a really similar origin story — it also takes place during the 1870s, but this time it happens in San Francisco.\u003c/p>\n\u003cp>It starts with a miner with a sack of gold who went into the bar at the \u003ca href=\"https://en.wikipedia.org/wiki/Occidental_Hotel\" target=\"_blank\" rel=\"noopener\">Occidental Hotel\u003c/a> hoping to trade it for a bottle of whiskey.\u003c/p>\n\u003cp>Bartender \u003ca href=\"https://en.wikipedia.org/wiki/Jerry_Thomas_(bartender)\" target=\"_blank\" rel=\"noopener\">Jerry Thomas\u003c/a> gave him the whiskey AND a special drink he invented off the cuff — the Martinez.\u003c/p>\n\u003cp>In 1887, the recipe for the Martinez was documented for the first time, in Jerry Thomas’ Bartender’s Guide.\u003c/p>\n\u003cp>And his recipe looks a lot like the classic martini : one part Old Tom gin, and two parts vermouth.\u003c/p>\n\u003cfigure id=\"attachment_11703178\" class=\"wp-caption alignright\" style=\"max-width: 292px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-11703178\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/11/RS33515_bartenders-guide-qut.jpg\" alt=\"\" width=\"292\" height=\"440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/RS33515_bartenders-guide-qut.jpg 199w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/RS33515_bartenders-guide-qut-160x241.jpg 160w\" sizes=\"(max-width: 292px) 100vw, 292px\">\u003cfigcaption class=\"wp-caption-text\">Jerry Thomas’ Bartenders Guide (first published in 1862) was reprinted in 1887 with a recipe for the Martinez. \u003ccite>(Courtesy of Jennifer Colliau)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To try to clarify the Martinez-Martini confusion, I consult with Jennifer Colliau, an an award-winning bartender and self-proclaimed cocktail nerd.\u003c/p>\n\u003cp>“I love that there’s this air of mystery to it,” she says of the cocktail. “[American writer] H.L. Mencken called the martini ‘the only American invention as perfect as the sonnet.'”\u003c/p>\n\u003cp>She loves the martini so much, she’s created a spreadsheet of all the different variations she’s found over the years. It has whopping 469 entries.\u003c/p>\n\u003cp>Some of the drinks she’s documented are made with exact same recipe but different names: the Chris Racquet Club, the Duey, the Dry Martini, the Marguerite and the Nutting.\u003c/p>\n\u003cfigure id=\"attachment_11703180\" class=\"wp-caption alignnone\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11703180 size-full\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/11/RS33516_JENNIFER-colliau-qut.jpg\" alt=\"\" width=\"640\" height=\"415\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/RS33516_JENNIFER-colliau-qut.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/RS33516_JENNIFER-colliau-qut-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/RS33516_JENNIFER-colliau-qut-240x156.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/RS33516_JENNIFER-colliau-qut-375x243.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/RS33516_JENNIFER-colliau-qut-520x337.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Jennifer Colliau is founder of Small Hand Foods, and an award-winning bartender. \u003ccite>(Courtesy of Jennifer Colliau)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>All of those drinks are made with the same ingredients: 1 to 1 gin and dry vermouth with orange bitters. So which one is one?\u003c/p>\n\u003cp>Colliau says I’m asking the wrong question: “There is nothing empirical here. There are people writing other people’s recipes. There are people naming drinks after themselves or after the bars they work in.”\u003c/p>\n\u003cp>This explains why it’s \u003cem>so\u003c/em> hard to nail down the difference between a Martinez and a martini, let alone where it was invented. But regardless of what it was called…it’s obvious that a martini-type gin drink was very popular at the turn of the century.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“People always drank whatever they had around and you know when America was being settled, there was a lot of gin here,” says Colliau.\u003c/p>\n\u003cp>And that wasn’t an accident. Gin’s popularity can really be traced back to \u003ca href=\"https://en.wikipedia.org/wiki/Prohibition_in_the_United_States\" target=\"_blank\" rel=\"noopener\">Prohibition\u003c/a>.\u003c/p>\n\u003cp>When the manufacturing and selling of alcohol became illegal in 1920, people got…creative. Ever heard of bathtub gin? That was literally gin made in a bathtub. It was cheap and easy, and there was a lot of it.\u003c/p>\n\u003cfigure id=\"attachment_11703181\" class=\"wp-caption alignnone\" style=\"max-width: 472px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11703181\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/11/RS33553_prohibition-qut.jpg\" alt=\"\" width=\"472\" height=\"372\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/RS33553_prohibition-qut.jpg 472w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/RS33553_prohibition-qut-160x126.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/RS33553_prohibition-qut-240x189.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/RS33553_prohibition-qut-375x296.jpg 375w\" sizes=\"(max-width: 472px) 100vw, 472px\">\u003cfigcaption class=\"wp-caption-text\">Prohibition agents destroying barrels of alcohol. \u003ccite>(Wikimedia Commons: Chicago Daily News negatives collection, Chicago Historical Society.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And the martini profile got a boost when President Roosevelt repealed Prohibition thirteen years later. According to Gabriel Clothes, Roosevelt even toasted the end of Prohibition with — a martini.\u003c/p>\n\u003cp>Colliau considers the martini the “granddaddy of cocktails”.\u003c/p>\n\u003cp>And this granddaddy came from here — the San Francisco Bay Area. Well it PROBABLY came from here…\u003c/p>\n\u003cp>According to the \u003ca href=\"https://www.mercurynews.com/2015/11/27/move-over-san-francisco-the-martini-has-a-home-in-contra-costa-county-seat/\" target=\"_blank\" rel=\"noopener\">San Jose Mercury News\u003c/a>, in 1983, the San Francisco Court of Historical Review — a group with no actual legal authority — held a mock trial over the origin of the martini, determining that their city was the cocktail’s rightful birthplace.\u003c/p>\n\u003cfigure id=\"attachment_11703182\" class=\"wp-caption alignleft\" style=\"max-width: 287px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11703182\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/11/RS33508_alt_798-1-800x1067.jpg\" alt=\"\" width=\"287\" height=\"383\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/RS33508_alt_798-1-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/RS33508_alt_798-1-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/RS33508_alt_798-1-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/RS33508_alt_798-1-900x1200.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/RS33508_alt_798-1-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/RS33508_alt_798-1-960x1280.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/RS33508_alt_798-1-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/RS33508_alt_798-1-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/RS33508_alt_798-1-520x693.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/RS33508_alt_798-1.jpg 1512w\" sizes=\"(max-width: 287px) 100vw, 287px\">\u003cfigcaption class=\"wp-caption-text\">A martini with a twist. \u003ccite>(Bianca Taylor/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But not to be outdone, a mock court in Martinez overturned the ruling shortly after.\u003c/p>\n\u003cp>When I press Jennifer Colliau, Tamir Ben-Shalom, and Gabriel Clothes on the martini was invented, no one is willing to say anything definitively.\u003c/p>\n\u003cp>Finally, when I ask Colliau if she thinks it’s important that people know where the martini comes from, she gives it to me straight:\u003c/p>\n\u003cp>“Oh god no no no. No one needs to know any of this,” she says laughing. Then she adds, “I mean if you’re enjoying yourself at my bar that’s really all that I care about.”\u003c/p>\n\u003cp>Cheers to that!\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "The drink was originally concocted in the Bay Area. But where exactly the cocktail was invented, how it got its name, and what it's made of — that's where it gets muddled.",
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"title": "Golden State Plate: The Story of the Martini, Straight Up, With a Twist | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The martini is iconic. Not just because of James Bond, but the glass it’s served in, those neon signs in front of old school bars … it even has its own emoji.\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/OUUq5mRCimo'\n title='//www.youtube.com/embed/OUUq5mRCimo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The martini is also the first cocktail Tamir Ben-Shalom learned how to make.\u003c/p>\n\u003cp>Ben-Shalom is bar manager at the \u003ca href=\"http://www.bullvalleyroadhouse.com/\" target=\"_blank\" rel=\"noopener\">Bull Valley Roadhouse\u003c/a> in the tiny East Bay town of Port Costa. He makes a mean martini: two parts of Old Tom Gin, one part Turino vermouth blend, and orange bitters.\u003c/p>\n\u003cfigure id=\"attachment_11703176\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11703176\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/11/RS33552_IMG_4072-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/RS33552_IMG_4072-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/RS33552_IMG_4072-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/RS33552_IMG_4072-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/RS33552_IMG_4072-qut-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/RS33552_IMG_4072-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/RS33552_IMG_4072-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/RS33552_IMG_4072-qut-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/RS33552_IMG_4072-qut-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/RS33552_IMG_4072-qut-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/RS33552_IMG_4072-qut-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tamir Ben-Shalom is the Bar Manager at Bull Valley Road House in Port Costa, a tiny town in the East Bay. \u003ccite>(Bianca Taylor/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11703175\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11703175\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/11/RS33512_IMG_4071-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/RS33512_IMG_4071-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/RS33512_IMG_4071-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/RS33512_IMG_4071-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/RS33512_IMG_4071-qut-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/RS33512_IMG_4071-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/RS33512_IMG_4071-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/RS33512_IMG_4071-qut-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/RS33512_IMG_4071-qut-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/RS33512_IMG_4071-qut-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/RS33512_IMG_4071-qut-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lemon, gin and vermouth go into the martini at the Bull Valley Roadhouse. \u003ccite>(Bianca Taylor/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But he tells me that if I want to get to the bottom of the martini mystery, I really need to drive 20 minutes to Martinez. So, I get in my car until I hit the intersection of Masonic and Alhambra Streets. It’s an unassuming parking lot, except for a plaque on a giant boulder that claims \u003cem>this\u003c/em> is the site of the martini’s invention.\u003c/p>\n\u003cfigure id=\"attachment_11703173\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11703173 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/11/RS33511_alt_797-800x1067.jpg\" alt=\"In the middle of a parking lot in Martinez, there is a plaque that claims it is the site of the invention of the martini.\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/RS33511_alt_797-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/RS33511_alt_797-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/RS33511_alt_797-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/RS33511_alt_797-900x1200.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/RS33511_alt_797-1920x2560.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/RS33511_alt_797-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/RS33511_alt_797-960x1280.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/RS33511_alt_797-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/RS33511_alt_797-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/RS33511_alt_797-520x693.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In the middle of a parking lot in Martinez, there is a plaque that claims it is the site of the invention of the martini. \u003ccite>(Bianca Taylor/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The plaque reads: “On this site in 1874, Julio Richelieu, bartender, served up the first martini when a miner came into his saloon with a fistful of nuggets and asked for something special. He was served a Martinez Special. After three or four drinks, however, the Z would get very much in the way. The drink consisted of two thirds gin, one third vermouth, a dash of orange bitters, poured over crushed ice and served with an olive.”\u003c/p>\n\u003cp>Not only does Martinez lay claim to the drink with a plaque, it throws an \u003ca href=\"http://www.martinezchamber.com/martinis-on-the-plaza-gala\" target=\"_blank\" rel=\"noopener\">annual Martini’s on the Plaza Gaza\u003c/a>, and the drink’s origin story is on the \u003ca href=\"http://www.cityofmartinez.org/our_city/martini.asp\" target=\"_blank\" rel=\"noopener\">city’s official website.\u003c/a>\u003c/p>\n\u003cp>But Gabriel Clothes, a San Francisco bartender who collects and studies old cocktail recipes, says there’s actually a lot of controversy about where — and who — invented the martini.\u003c/p>\n\u003cp>“These origins are so murky. Especially a drink, it’s not entered into the public record,” he says.\u003c/p>\n\u003cfigure id=\"attachment_11703179\" class=\"wp-caption alignleft\" style=\"max-width: 347px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11703179 \" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/11/RS33514_JerryThomas01-qut.jpg\" alt=\"\" width=\"347\" height=\"310\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/RS33514_JerryThomas01-qut.jpg 294w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/RS33514_JerryThomas01-qut-160x143.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/RS33514_JerryThomas01-qut-240x215.jpg 240w\" sizes=\"(max-width: 347px) 100vw, 347px\">\u003cfigcaption class=\"wp-caption-text\">An 1862 engraving of Jerry Thomas. His ‘Bartenders Guide’ is a seminal cocktail recipe book. \u003ccite>(Wikimedia Commons: Museum of the American Cocktail)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But Clothes tells me a really similar origin story — it also takes place during the 1870s, but this time it happens in San Francisco.\u003c/p>\n\u003cp>It starts with a miner with a sack of gold who went into the bar at the \u003ca href=\"https://en.wikipedia.org/wiki/Occidental_Hotel\" target=\"_blank\" rel=\"noopener\">Occidental Hotel\u003c/a> hoping to trade it for a bottle of whiskey.\u003c/p>\n\u003cp>Bartender \u003ca href=\"https://en.wikipedia.org/wiki/Jerry_Thomas_(bartender)\" target=\"_blank\" rel=\"noopener\">Jerry Thomas\u003c/a> gave him the whiskey AND a special drink he invented off the cuff — the Martinez.\u003c/p>\n\u003cp>In 1887, the recipe for the Martinez was documented for the first time, in Jerry Thomas’ Bartender’s Guide.\u003c/p>\n\u003cp>And his recipe looks a lot like the classic martini : one part Old Tom gin, and two parts vermouth.\u003c/p>\n\u003cfigure id=\"attachment_11703178\" class=\"wp-caption alignright\" style=\"max-width: 292px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-11703178\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/11/RS33515_bartenders-guide-qut.jpg\" alt=\"\" width=\"292\" height=\"440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/RS33515_bartenders-guide-qut.jpg 199w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/RS33515_bartenders-guide-qut-160x241.jpg 160w\" sizes=\"(max-width: 292px) 100vw, 292px\">\u003cfigcaption class=\"wp-caption-text\">Jerry Thomas’ Bartenders Guide (first published in 1862) was reprinted in 1887 with a recipe for the Martinez. \u003ccite>(Courtesy of Jennifer Colliau)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To try to clarify the Martinez-Martini confusion, I consult with Jennifer Colliau, an an award-winning bartender and self-proclaimed cocktail nerd.\u003c/p>\n\u003cp>“I love that there’s this air of mystery to it,” she says of the cocktail. “[American writer] H.L. Mencken called the martini ‘the only American invention as perfect as the sonnet.'”\u003c/p>\n\u003cp>She loves the martini so much, she’s created a spreadsheet of all the different variations she’s found over the years. It has whopping 469 entries.\u003c/p>\n\u003cp>Some of the drinks she’s documented are made with exact same recipe but different names: the Chris Racquet Club, the Duey, the Dry Martini, the Marguerite and the Nutting.\u003c/p>\n\u003cfigure id=\"attachment_11703180\" class=\"wp-caption alignnone\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11703180 size-full\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/11/RS33516_JENNIFER-colliau-qut.jpg\" alt=\"\" width=\"640\" height=\"415\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/RS33516_JENNIFER-colliau-qut.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/RS33516_JENNIFER-colliau-qut-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/RS33516_JENNIFER-colliau-qut-240x156.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/RS33516_JENNIFER-colliau-qut-375x243.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/RS33516_JENNIFER-colliau-qut-520x337.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Jennifer Colliau is founder of Small Hand Foods, and an award-winning bartender. \u003ccite>(Courtesy of Jennifer Colliau)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>All of those drinks are made with the same ingredients: 1 to 1 gin and dry vermouth with orange bitters. So which one is one?\u003c/p>\n\u003cp>Colliau says I’m asking the wrong question: “There is nothing empirical here. There are people writing other people’s recipes. There are people naming drinks after themselves or after the bars they work in.”\u003c/p>\n\u003cp>This explains why it’s \u003cem>so\u003c/em> hard to nail down the difference between a Martinez and a martini, let alone where it was invented. But regardless of what it was called…it’s obvious that a martini-type gin drink was very popular at the turn of the century.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“People always drank whatever they had around and you know when America was being settled, there was a lot of gin here,” says Colliau.\u003c/p>\n\u003cp>And that wasn’t an accident. Gin’s popularity can really be traced back to \u003ca href=\"https://en.wikipedia.org/wiki/Prohibition_in_the_United_States\" target=\"_blank\" rel=\"noopener\">Prohibition\u003c/a>.\u003c/p>\n\u003cp>When the manufacturing and selling of alcohol became illegal in 1920, people got…creative. Ever heard of bathtub gin? That was literally gin made in a bathtub. It was cheap and easy, and there was a lot of it.\u003c/p>\n\u003cfigure id=\"attachment_11703181\" class=\"wp-caption alignnone\" style=\"max-width: 472px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11703181\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/11/RS33553_prohibition-qut.jpg\" alt=\"\" width=\"472\" height=\"372\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/RS33553_prohibition-qut.jpg 472w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/RS33553_prohibition-qut-160x126.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/RS33553_prohibition-qut-240x189.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/RS33553_prohibition-qut-375x296.jpg 375w\" sizes=\"(max-width: 472px) 100vw, 472px\">\u003cfigcaption class=\"wp-caption-text\">Prohibition agents destroying barrels of alcohol. \u003ccite>(Wikimedia Commons: Chicago Daily News negatives collection, Chicago Historical Society.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And the martini profile got a boost when President Roosevelt repealed Prohibition thirteen years later. According to Gabriel Clothes, Roosevelt even toasted the end of Prohibition with — a martini.\u003c/p>\n\u003cp>Colliau considers the martini the “granddaddy of cocktails”.\u003c/p>\n\u003cp>And this granddaddy came from here — the San Francisco Bay Area. Well it PROBABLY came from here…\u003c/p>\n\u003cp>According to the \u003ca href=\"https://www.mercurynews.com/2015/11/27/move-over-san-francisco-the-martini-has-a-home-in-contra-costa-county-seat/\" target=\"_blank\" rel=\"noopener\">San Jose Mercury News\u003c/a>, in 1983, the San Francisco Court of Historical Review — a group with no actual legal authority — held a mock trial over the origin of the martini, determining that their city was the cocktail’s rightful birthplace.\u003c/p>\n\u003cfigure id=\"attachment_11703182\" class=\"wp-caption alignleft\" style=\"max-width: 287px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11703182\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/11/RS33508_alt_798-1-800x1067.jpg\" alt=\"\" width=\"287\" height=\"383\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/RS33508_alt_798-1-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/RS33508_alt_798-1-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/RS33508_alt_798-1-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/RS33508_alt_798-1-900x1200.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/RS33508_alt_798-1-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/RS33508_alt_798-1-960x1280.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/RS33508_alt_798-1-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/RS33508_alt_798-1-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/RS33508_alt_798-1-520x693.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/RS33508_alt_798-1.jpg 1512w\" sizes=\"(max-width: 287px) 100vw, 287px\">\u003cfigcaption class=\"wp-caption-text\">A martini with a twist. \u003ccite>(Bianca Taylor/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But not to be outdone, a mock court in Martinez overturned the ruling shortly after.\u003c/p>\n\u003cp>When I press Jennifer Colliau, Tamir Ben-Shalom, and Gabriel Clothes on the martini was invented, no one is willing to say anything definitively.\u003c/p>\n\u003cp>Finally, when I ask Colliau if she thinks it’s important that people know where the martini comes from, she gives it to me straight:\u003c/p>\n\u003cp>“Oh god no no no. No one needs to know any of this,” she says laughing. Then she adds, “I mean if you’re enjoying yourself at my bar that’s really all that I care about.”\u003c/p>\n\u003cp>Cheers to that!\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>A North Korean artist who used to churn out propaganda posters celebrating the Pyongyang government is now exhibiting art in San Francisco that does the exact reverse.\u003c/p>\n\u003cp>North Korean leader Kim Jong Un figures prominently in the 34 bold acrylic paintings that make up Song Byeok’s \u003ca href=\"http://minnesotastreetproject.com/exhibitions/1275-minnesota-st/song-byeok-longing-freedom\" target=\"_blank\" rel=\"noopener\">“Longing for Freedom,”\u003c/a> an exhibition that opened Thursday at the \u003ca href=\"http://minnesotastreetproject.com/exhibitions/1275-minnesota-st\" target=\"_blank\" rel=\"noopener\">Minnesota Street Project\u003c/a>.\u003c/p>\n\u003cp>Kim Jong Un’s face sports a Hitler mustache in several pieces. In another, “Show of Dictator,” he grins atop the body of a rhinestone Elvis.\u003c/p>\n\u003cfigure id=\"attachment_11703041\" class=\"wp-caption aligncenter\" style=\"max-width: 737px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11703041\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/11/Show-of-Dictator_120cmx160cm_Acryl-on-canvas_2018.jpeg\" alt=\"'Show of Dictator' by Song Byeok.\" width=\"737\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/Show-of-Dictator_120cmx160cm_Acryl-on-canvas_2018.jpeg 737w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/Show-of-Dictator_120cmx160cm_Acryl-on-canvas_2018-160x208.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/Show-of-Dictator_120cmx160cm_Acryl-on-canvas_2018-240x313.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/Show-of-Dictator_120cmx160cm_Acryl-on-canvas_2018-375x488.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/Show-of-Dictator_120cmx160cm_Acryl-on-canvas_2018-520x677.jpeg 520w\" sizes=\"(max-width: 737px) 100vw, 737px\">\u003cfigcaption class=\"wp-caption-text\">‘Show of Dictator’ by Song Byeok. Acrylic on canvas. \u003ccite>(Courtesy of Song Byeok)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Elvis was revered for his musical talent and his performance, and he was very respected,” Song told KQED through an interpreter a few hours before the show opened. “Kim Jong Un, on the other hand, is a horrible dictator that kills his own people.”\u003c/p>\n\u003cp>Song, who currently lives in Germany, doesn’t need to convince most Americans of this point of view. Still, exhibition curator Holly Baxter said it’s important for people here to see this work.\u003c/p>\n\u003cp>“We wanted to make sure that [Song’s] message of freedom and democracy was made visible and that we provided him with a platform,” Baxter said.\u003c/p>\n\u003cfigure id=\"attachment_11703312\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11703312\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/11/SongGallery-800x763.jpg\" alt=\"Song Byeok poses at Minnesota Street Project.\" width=\"800\" height=\"763\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/SongGallery-800x763.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/SongGallery-160x153.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/SongGallery-1020x973.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/SongGallery-1200x1145.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/SongGallery.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/SongGallery-1180x1126.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/SongGallery-960x916.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/SongGallery-240x229.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/SongGallery-375x358.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/SongGallery-520x496.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/SongGallery-32x32.jpg 32w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Song Byeok poses at Minnesota Street Project. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We are honored to exhibit the work of Song Byeok, an innovative artist whose work plays on the humorless propaganda of the Kim regime,” Baxter writes in a statement on the gallery’s website. “Song has transformed his insider knowledge into an incisive critique of government repression, infused with absurdity and references to pop culture.”\u003c/p>\n\u003cp>For Song himself — who fled from North to South Korea in 2002 after being released from prison, where he’d been tortured and incarcerated for attempting to escape to China to find food during a famine — it is more important for his work to reach North Koreans than Americans.\u003c/p>\n\u003cp>“I want to deliver a message to North Korean people,” the 47-year-old artist said. “I want to let Kim Jong Un know that he should allow freedom of art and freedom of religion to his people.”\u003c/p>\n\u003cp>That’s not an easy proposition.\u003c/p>\n\u003cp>There are few, if any, North Koreans in the Bay Area. And it’s not like those back home have easy access to the internet or social media.\u003c/p>\n\u003cp>The \u003ca href=\"https://hrf.org/\" target=\"_blank\" rel=\"noopener\">Human Rights Foundation\u003c/a>, the nonprofit organization behind exhibiting Song’s show at the Minnesota Street Project, is also showcasing an interactive installation called “\u003ca href=\"https://flashdrivesforfreedom.org/\" target=\"_blank\" rel=\"noopener\">Flash Drives for Freedom\u003c/a>,” a collaborative project to send USB flash drives packed with content from outside North Korea into the country, using drones and other methods.\u003c/p>\n\u003cfigure id=\"attachment_11703104\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11703104\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/11/flashdrives-for-freedom-800x398.png\" alt=\"Flashdrives for Freedom logo\" width=\"800\" height=\"398\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/flashdrives-for-freedom-800x398.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/flashdrives-for-freedom-160x80.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/flashdrives-for-freedom-1020x508.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/flashdrives-for-freedom-1200x597.png 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/flashdrives-for-freedom-1180x587.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/flashdrives-for-freedom-960x478.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/flashdrives-for-freedom-240x119.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/flashdrives-for-freedom-375x187.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/flashdrives-for-freedom-520x259.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/flashdrives-for-freedom.png 1238w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Flash Drives for Freedom” logo \u003ccite>(Courtesy of Human Rights Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Content on the flash drives includes South Korean soap operas, Hollywood movies, Korean-language versions of Wikipedia and interviews with North Korean defectors.\u003c/p>\n\u003cp>The North Korean government strictly prohibits access to foreign information and media.\u003c/p>\n\u003cp>The organizers haven’t yet included digital images of Song’s work in the mix, but they are considering it.\u003c/p>\n\u003cp>While airdropping contraband materials into North Korea might not incur great risk for the sender, possessing a USB flash drive loaded with this content comes with serious repercussions.\u003c/p>\n\u003cp>“People need to have full knowledge of what’s on the USBs so they can evaluate for themselves if they risk taking one,” said Martyn Williams, an expert on North Korean media with the \u003ca href=\"https://www.stimson.org/\" target=\"_blank\" rel=\"noopener\">Stimson Center\u003c/a>, a nonprofit think tank.\u003c/p>\n\u003cp>“I’ve heard that in some places people won’t pick up USBs dropped by the roadside because they can’t risk getting caught with them. I also worry about the regime’s efforts to install trackers on the USBs and eventually figure out every computer or phone that has been near them.”\u003c/p>\n\u003cfigure id=\"attachment_11703039\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11703039\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/11/Dictator-Kim-Jung-Eun_70cmx50cm_Acryl-on-canvas_2017-800x1111.jpg\" alt=\"Kim Jong-un as Hitler in a painting by Song Byeok.\" width=\"800\" height=\"1111\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/Dictator-Kim-Jung-Eun_70cmx50cm_Acryl-on-canvas_2017-800x1111.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/Dictator-Kim-Jung-Eun_70cmx50cm_Acryl-on-canvas_2017-160x222.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/Dictator-Kim-Jung-Eun_70cmx50cm_Acryl-on-canvas_2017-1020x1417.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/Dictator-Kim-Jung-Eun_70cmx50cm_Acryl-on-canvas_2017-864x1200.jpg 864w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/Dictator-Kim-Jung-Eun_70cmx50cm_Acryl-on-canvas_2017-1920x2667.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/Dictator-Kim-Jung-Eun_70cmx50cm_Acryl-on-canvas_2017-1180x1639.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/Dictator-Kim-Jung-Eun_70cmx50cm_Acryl-on-canvas_2017-960x1333.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/Dictator-Kim-Jung-Eun_70cmx50cm_Acryl-on-canvas_2017-240x333.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/Dictator-Kim-Jung-Eun_70cmx50cm_Acryl-on-canvas_2017-375x521.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/Dictator-Kim-Jung-Eun_70cmx50cm_Acryl-on-canvas_2017-520x722.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kim Jong Un as Hitler in a painting by Song Byeok. \u003ccite>(Courtesy of Song Byeok)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For his part, Song said he hopes to get his message across to North Korean nationals permitted to work in places outside North Korea, like China.\u003c/p>\n\u003cp>He said these people have internet access, so they could view his work online. But so far he hasn’t had any art shows in China.\u003c/p>\n\u003cp>Before coming to San Francisco, “Longing for Freedom” was previously exhibited in Los Angeles, and plans are currently being developed to take it to other cities.\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"http://minnesotastreetproject.com/exhibitions/1275-minnesota-st/song-byeok-longing-freedom\" target=\"_blank\" rel=\"noopener\">Song Byeok’s “Longing for Freedom” runs through Nov. 30 at Minnesota Street Project in San Francisco.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A North Korean artist who used to churn out propaganda posters celebrating the Pyongyang government is now exhibiting art in San Francisco that does the exact reverse.\u003c/p>\n\u003cp>North Korean leader Kim Jong Un figures prominently in the 34 bold acrylic paintings that make up Song Byeok’s \u003ca href=\"http://minnesotastreetproject.com/exhibitions/1275-minnesota-st/song-byeok-longing-freedom\" target=\"_blank\" rel=\"noopener\">“Longing for Freedom,”\u003c/a> an exhibition that opened Thursday at the \u003ca href=\"http://minnesotastreetproject.com/exhibitions/1275-minnesota-st\" target=\"_blank\" rel=\"noopener\">Minnesota Street Project\u003c/a>.\u003c/p>\n\u003cp>Kim Jong Un’s face sports a Hitler mustache in several pieces. In another, “Show of Dictator,” he grins atop the body of a rhinestone Elvis.\u003c/p>\n\u003cfigure id=\"attachment_11703041\" class=\"wp-caption aligncenter\" style=\"max-width: 737px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11703041\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/11/Show-of-Dictator_120cmx160cm_Acryl-on-canvas_2018.jpeg\" alt=\"'Show of Dictator' by Song Byeok.\" width=\"737\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/Show-of-Dictator_120cmx160cm_Acryl-on-canvas_2018.jpeg 737w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/Show-of-Dictator_120cmx160cm_Acryl-on-canvas_2018-160x208.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/Show-of-Dictator_120cmx160cm_Acryl-on-canvas_2018-240x313.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/Show-of-Dictator_120cmx160cm_Acryl-on-canvas_2018-375x488.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/Show-of-Dictator_120cmx160cm_Acryl-on-canvas_2018-520x677.jpeg 520w\" sizes=\"(max-width: 737px) 100vw, 737px\">\u003cfigcaption class=\"wp-caption-text\">‘Show of Dictator’ by Song Byeok. Acrylic on canvas. \u003ccite>(Courtesy of Song Byeok)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Elvis was revered for his musical talent and his performance, and he was very respected,” Song told KQED through an interpreter a few hours before the show opened. “Kim Jong Un, on the other hand, is a horrible dictator that kills his own people.”\u003c/p>\n\u003cp>Song, who currently lives in Germany, doesn’t need to convince most Americans of this point of view. Still, exhibition curator Holly Baxter said it’s important for people here to see this work.\u003c/p>\n\u003cp>“We wanted to make sure that [Song’s] message of freedom and democracy was made visible and that we provided him with a platform,” Baxter said.\u003c/p>\n\u003cfigure id=\"attachment_11703312\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11703312\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/11/SongGallery-800x763.jpg\" alt=\"Song Byeok poses at Minnesota Street Project.\" width=\"800\" height=\"763\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/SongGallery-800x763.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/SongGallery-160x153.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/SongGallery-1020x973.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/SongGallery-1200x1145.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/SongGallery.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/SongGallery-1180x1126.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/SongGallery-960x916.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/SongGallery-240x229.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/SongGallery-375x358.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/SongGallery-520x496.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/SongGallery-32x32.jpg 32w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Song Byeok poses at Minnesota Street Project. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We are honored to exhibit the work of Song Byeok, an innovative artist whose work plays on the humorless propaganda of the Kim regime,” Baxter writes in a statement on the gallery’s website. “Song has transformed his insider knowledge into an incisive critique of government repression, infused with absurdity and references to pop culture.”\u003c/p>\n\u003cp>For Song himself — who fled from North to South Korea in 2002 after being released from prison, where he’d been tortured and incarcerated for attempting to escape to China to find food during a famine — it is more important for his work to reach North Koreans than Americans.\u003c/p>\n\u003cp>“I want to deliver a message to North Korean people,” the 47-year-old artist said. “I want to let Kim Jong Un know that he should allow freedom of art and freedom of religion to his people.”\u003c/p>\n\u003cp>That’s not an easy proposition.\u003c/p>\n\u003cp>There are few, if any, North Koreans in the Bay Area. And it’s not like those back home have easy access to the internet or social media.\u003c/p>\n\u003cp>The \u003ca href=\"https://hrf.org/\" target=\"_blank\" rel=\"noopener\">Human Rights Foundation\u003c/a>, the nonprofit organization behind exhibiting Song’s show at the Minnesota Street Project, is also showcasing an interactive installation called “\u003ca href=\"https://flashdrivesforfreedom.org/\" target=\"_blank\" rel=\"noopener\">Flash Drives for Freedom\u003c/a>,” a collaborative project to send USB flash drives packed with content from outside North Korea into the country, using drones and other methods.\u003c/p>\n\u003cfigure id=\"attachment_11703104\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11703104\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/11/flashdrives-for-freedom-800x398.png\" alt=\"Flashdrives for Freedom logo\" width=\"800\" height=\"398\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/flashdrives-for-freedom-800x398.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/flashdrives-for-freedom-160x80.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/flashdrives-for-freedom-1020x508.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/flashdrives-for-freedom-1200x597.png 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/flashdrives-for-freedom-1180x587.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/flashdrives-for-freedom-960x478.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/flashdrives-for-freedom-240x119.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/flashdrives-for-freedom-375x187.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/flashdrives-for-freedom-520x259.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/flashdrives-for-freedom.png 1238w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Flash Drives for Freedom” logo \u003ccite>(Courtesy of Human Rights Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Content on the flash drives includes South Korean soap operas, Hollywood movies, Korean-language versions of Wikipedia and interviews with North Korean defectors.\u003c/p>\n\u003cp>The North Korean government strictly prohibits access to foreign information and media.\u003c/p>\n\u003cp>The organizers haven’t yet included digital images of Song’s work in the mix, but they are considering it.\u003c/p>\n\u003cp>While airdropping contraband materials into North Korea might not incur great risk for the sender, possessing a USB flash drive loaded with this content comes with serious repercussions.\u003c/p>\n\u003cp>“People need to have full knowledge of what’s on the USBs so they can evaluate for themselves if they risk taking one,” said Martyn Williams, an expert on North Korean media with the \u003ca href=\"https://www.stimson.org/\" target=\"_blank\" rel=\"noopener\">Stimson Center\u003c/a>, a nonprofit think tank.\u003c/p>\n\u003cp>“I’ve heard that in some places people won’t pick up USBs dropped by the roadside because they can’t risk getting caught with them. I also worry about the regime’s efforts to install trackers on the USBs and eventually figure out every computer or phone that has been near them.”\u003c/p>\n\u003cfigure id=\"attachment_11703039\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11703039\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/11/Dictator-Kim-Jung-Eun_70cmx50cm_Acryl-on-canvas_2017-800x1111.jpg\" alt=\"Kim Jong-un as Hitler in a painting by Song Byeok.\" width=\"800\" height=\"1111\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/Dictator-Kim-Jung-Eun_70cmx50cm_Acryl-on-canvas_2017-800x1111.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/Dictator-Kim-Jung-Eun_70cmx50cm_Acryl-on-canvas_2017-160x222.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/Dictator-Kim-Jung-Eun_70cmx50cm_Acryl-on-canvas_2017-1020x1417.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/Dictator-Kim-Jung-Eun_70cmx50cm_Acryl-on-canvas_2017-864x1200.jpg 864w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/Dictator-Kim-Jung-Eun_70cmx50cm_Acryl-on-canvas_2017-1920x2667.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/Dictator-Kim-Jung-Eun_70cmx50cm_Acryl-on-canvas_2017-1180x1639.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/Dictator-Kim-Jung-Eun_70cmx50cm_Acryl-on-canvas_2017-960x1333.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/Dictator-Kim-Jung-Eun_70cmx50cm_Acryl-on-canvas_2017-240x333.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/Dictator-Kim-Jung-Eun_70cmx50cm_Acryl-on-canvas_2017-375x521.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/Dictator-Kim-Jung-Eun_70cmx50cm_Acryl-on-canvas_2017-520x722.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kim Jong Un as Hitler in a painting by Song Byeok. \u003ccite>(Courtesy of Song Byeok)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For his part, Song said he hopes to get his message across to North Korean nationals permitted to work in places outside North Korea, like China.\u003c/p>\n\u003cp>He said these people have internet access, so they could view his work online. But so far he hasn’t had any art shows in China.\u003c/p>\n\u003cp>Before coming to San Francisco, “Longing for Freedom” was previously exhibited in Los Angeles, and plans are currently being developed to take it to other cities.\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"http://minnesotastreetproject.com/exhibitions/1275-minnesota-st/song-byeok-longing-freedom\" target=\"_blank\" rel=\"noopener\">Song Byeok’s “Longing for Freedom” runs through Nov. 30 at Minnesota Street Project in San Francisco.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "Galería de la Raza Gets Nod of Support From S.F. Mayor Breed",
"title": "Galería de la Raza Gets Nod of Support From S.F. Mayor Breed",
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"content": "\u003cp>The uncertain future of one of the Bay Area's leading Latino art galleries got a boost Monday when San Francisco Mayor London Breed weighed in on stalled lease negotiations. The landlords of the Mission district icon Galería de la Raza had proposed doubling the rent.\u003c/p>\n\u003cp>“Galería de la Raza is a staple in the Mission community and an invaluable cultural resource,” Breed said in a statement Monday afternoon.\u003c/p>\n\u003cp>The mayor said she would direct the Office of Economic and Workforce Development and the San Francisco Arts Commission to “explore and exhaust every option” to help the Galería obtain a fair and reasonable lease.\u003c/p>\n\u003cp>The art space has operated under month-to-month agreements for the 46 years it has been at its location on the corner of 24th and Bryant streets. The two-year lease under consideration would have given the cultural center time to find a permanent home elsewhere in the Mission.\u003c/p>\n\u003cp>“Just imagine the sense of uncertainty that lies at not knowing if you’ll be able to stay and build,” said Executive Director Ani Rivera. “How are you expected to plan? How?”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This summer, Galería’s landlord proposed doubling the $3,127 rent for the approximately 5,000-square-foot space. The property is owned by the Lily Ng Trust and managed by GBA Realty.\u003c/p>\n\u003cp>The nonprofit countered, asking for a slower scale-up in cost or to rent a quarter of the space instead at the same price. It would still be a sacrifice, said Rivera.\u003c/p>\n\u003cp>“This would be like your landlord saying, ‘OK, I’m going to continue to charge you the same rent, but you only get to keep your bathroom and your closet,' ” she said.\u003c/p>\n\u003cp>Two weeks ago, when the landlord served the gallery with a three-day pay-or-vacate notice, San Francisco Supervisor Hillary Ronen got involved, hoping to bring the two sides to an agreement.\u003c/p>\n\u003cp>But according to Ronen, talks broke down when the Galería refused to take on liability for accessibility improvements. These liabilities could cost millions of dollars, said Ronen.\u003c/p>\n\u003cp>“What’s been happening at this negotiation is that Galería has been compromising and compromising,” Ronen said.\u003c/p>\n\u003cp>Quan Phan of GBA Realty said both sides have been looking for compromise. “The owner group has been diligently trying to seek out a common ground as well,” he said. “We want them to be here.”\u003c/p>\n\u003cp>Phan said that the owners he represents had not asked for significant rent increases in the many years that the Galería has been in the space.\u003c/p>\n\u003cp>“They have been compromising for many years,” Phan said of the owners. “They feel that they’ve contributed a lot to the community by not asking a lot from the Galería.”\u003c/p>\n\u003cp>Now, however, Phan said the landlord is asking for a rent increase because the cost of maintaining sidewalks, sewer lines and trees has skyrocketed in San Francisco.\u003c/p>\n\u003cp>“With all this cost piling up, the only option is to ask the Galería to help out with the improvement costs,” he said.\u003c/p>\n\u003cp>As a show of friendliness, Phan said the owners recently withdrew the three-day pay-or-vacate notice.\u003c/p>\n\u003cfigure id=\"attachment_11702345\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11702345 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/10/RS33481_20181029_104513-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/10/RS33481_20181029_104513-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/RS33481_20181029_104513-qut-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/RS33481_20181029_104513-qut-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/RS33481_20181029_104513-qut-1200x900.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/RS33481_20181029_104513-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/RS33481_20181029_104513-qut-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/RS33481_20181029_104513-qut-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/RS33481_20181029_104513-qut-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/RS33481_20181029_104513-qut-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/RS33481_20181029_104513-qut-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Galería de la Raza is located at 2857 24th St. in San Francisco’s Mission district. \u003ccite>(Marissa Shieh)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>No matter how the situation shakes out, Ronen pointed out that the building is part of the Calle 24 Special Use District. If Galería is evicted, she said, the landlords will have to get permission from the city’s Planning Commission before another business can move into the space.\u003c/p>\n\u003cp>“They’re going to have a hard time, quite frankly, finding a new renter for this space and they need to realize that,” she said.\u003c/p>\n\u003cp>As for the board of Galería de la Raza, they’re considering their future elsewhere in the Mission.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“While we very much understand that we occupy a historical site and grasp that place matters to us, we also know that our community, our place, our vision is much more than a building,” Rivera said. “Whatever happens, Galería will not go away. It will not be silenced. We will rebuild. We will shine.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The uncertain future of one of the Bay Area's leading Latino art galleries got a boost Monday when San Francisco Mayor London Breed weighed in on stalled lease negotiations. The landlords of the Mission district icon Galería de la Raza had proposed doubling the rent.\u003c/p>\n\u003cp>“Galería de la Raza is a staple in the Mission community and an invaluable cultural resource,” Breed said in a statement Monday afternoon.\u003c/p>\n\u003cp>The mayor said she would direct the Office of Economic and Workforce Development and the San Francisco Arts Commission to “explore and exhaust every option” to help the Galería obtain a fair and reasonable lease.\u003c/p>\n\u003cp>The art space has operated under month-to-month agreements for the 46 years it has been at its location on the corner of 24th and Bryant streets. The two-year lease under consideration would have given the cultural center time to find a permanent home elsewhere in the Mission.\u003c/p>\n\u003cp>“Just imagine the sense of uncertainty that lies at not knowing if you’ll be able to stay and build,” said Executive Director Ani Rivera. “How are you expected to plan? How?”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This summer, Galería’s landlord proposed doubling the $3,127 rent for the approximately 5,000-square-foot space. The property is owned by the Lily Ng Trust and managed by GBA Realty.\u003c/p>\n\u003cp>The nonprofit countered, asking for a slower scale-up in cost or to rent a quarter of the space instead at the same price. It would still be a sacrifice, said Rivera.\u003c/p>\n\u003cp>“This would be like your landlord saying, ‘OK, I’m going to continue to charge you the same rent, but you only get to keep your bathroom and your closet,' ” she said.\u003c/p>\n\u003cp>Two weeks ago, when the landlord served the gallery with a three-day pay-or-vacate notice, San Francisco Supervisor Hillary Ronen got involved, hoping to bring the two sides to an agreement.\u003c/p>\n\u003cp>But according to Ronen, talks broke down when the Galería refused to take on liability for accessibility improvements. These liabilities could cost millions of dollars, said Ronen.\u003c/p>\n\u003cp>“What’s been happening at this negotiation is that Galería has been compromising and compromising,” Ronen said.\u003c/p>\n\u003cp>Quan Phan of GBA Realty said both sides have been looking for compromise. “The owner group has been diligently trying to seek out a common ground as well,” he said. “We want them to be here.”\u003c/p>\n\u003cp>Phan said that the owners he represents had not asked for significant rent increases in the many years that the Galería has been in the space.\u003c/p>\n\u003cp>“They have been compromising for many years,” Phan said of the owners. “They feel that they’ve contributed a lot to the community by not asking a lot from the Galería.”\u003c/p>\n\u003cp>Now, however, Phan said the landlord is asking for a rent increase because the cost of maintaining sidewalks, sewer lines and trees has skyrocketed in San Francisco.\u003c/p>\n\u003cp>“With all this cost piling up, the only option is to ask the Galería to help out with the improvement costs,” he said.\u003c/p>\n\u003cp>As a show of friendliness, Phan said the owners recently withdrew the three-day pay-or-vacate notice.\u003c/p>\n\u003cfigure id=\"attachment_11702345\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11702345 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/10/RS33481_20181029_104513-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/10/RS33481_20181029_104513-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/RS33481_20181029_104513-qut-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/RS33481_20181029_104513-qut-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/RS33481_20181029_104513-qut-1200x900.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/RS33481_20181029_104513-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/RS33481_20181029_104513-qut-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/RS33481_20181029_104513-qut-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/RS33481_20181029_104513-qut-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/RS33481_20181029_104513-qut-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/RS33481_20181029_104513-qut-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Galería de la Raza is located at 2857 24th St. in San Francisco’s Mission district. \u003ccite>(Marissa Shieh)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>No matter how the situation shakes out, Ronen pointed out that the building is part of the Calle 24 Special Use District. If Galería is evicted, she said, the landlords will have to get permission from the city’s Planning Commission before another business can move into the space.\u003c/p>\n\u003cp>“They’re going to have a hard time, quite frankly, finding a new renter for this space and they need to realize that,” she said.\u003c/p>\n\u003cp>As for the board of Galería de la Raza, they’re considering their future elsewhere in the Mission.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“While we very much understand that we occupy a historical site and grasp that place matters to us, we also know that our community, our place, our vision is much more than a building,” Rivera said. “Whatever happens, Galería will not go away. It will not be silenced. We will rebuild. We will shine.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Golden State Plate: The Fishy Origins of Cioppino",
"headTitle": "Golden State Plate: The Fishy Origins of Cioppino | KQED",
"content": "\u003cp>\u003cem>\u003ca href=\"http://itunes.apple.com/us/podcast/the-california-report-magazine/id1314750545?mt=2\" target=\"_blank\" rel=\"noopener\">Listen to this and more in-depth storytelling by subscribing to The California Report Magazine podcast.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>I grew up eating my Italian grandmother Mimi’s homemade cioppino. She served the delicious seafood stew (with a huge loaf of garlic bread) whenever a group of us gathered at her house for dinner. All it took was one pot to stuff us to the brim.\u003c/p>\n\u003cp>But even though I have lived in the Bay Area now for over a decade, I had no idea that cioppino was invented on \u003ca href=\"http://www.fishermanswharf.org/\" target=\"_blank\" rel=\"noopener\">San Francisco’s Fisherman’s Wharf.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11698109\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11698109\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/10/RS32776_FishermansWharf2009-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS32776_FishermansWharf2009-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS32776_FishermansWharf2009-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS32776_FishermansWharf2009-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS32776_FishermansWharf2009-qut-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS32776_FishermansWharf2009-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS32776_FishermansWharf2009-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS32776_FishermansWharf2009-qut-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS32776_FishermansWharf2009-qut-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS32776_FishermansWharf2009-qut-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS32776_FishermansWharf2009-qut-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco’s Fisherman’s Wharf is the birthplace of cioppino. \u003ccite>(Wikimedia: Nicholas A. Chadwick)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So I started my quest for the stew’s truth at a restaurant aptly named Cioppino’s, located right on Fisherman’s Wharf. There I met Mia Harriman, Cioppino’s general manager.\u003c/p>\n\u003cfigure id=\"attachment_11698107\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11698107 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/10/RS32403_IMG_3875-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS32403_IMG_3875-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS32403_IMG_3875-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS32403_IMG_3875-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS32403_IMG_3875-qut-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS32403_IMG_3875-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS32403_IMG_3875-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS32403_IMG_3875-qut-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS32403_IMG_3875-qut-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS32403_IMG_3875-qut-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS32403_IMG_3875-qut-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mia Harriman is the general manager at Cioppino’s, an Italian restaurant on Fisherman’s Wharf in San Francisco. \u003ccite>(Bianca Taylor/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She tells me cioppino is one of those dishes that has no \u003cem>exact \u003c/em>recipe — something that I actually did know from watching Mimi in the kitchen. As long as you start with a tomato-based broth, you can throw in any kind of seafood you like: snapper, crab legs, mussels, crabs, shrimp, calamari … you name it, you can add it.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Considering San Francisco is surrounded by fishable waters, it makes sense that the city was the birthplace of this iconic seafood stew.\u003c/p>\n\u003cp>As we look out her office window onto the bay, Harriman explains that the origin of cioppino — and its name — derive from the Italian fishermen in the early 1900s, when Fisherman’s Wharf was still called \u003ca href=\"https://en.wikipedia.org/wiki/Meiggs_Wharf\" target=\"_blank\" rel=\"noopener\">Meiggs’ Wharf\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11698118\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11698118\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/10/RS32405_IMG_3877-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS32405_IMG_3877-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS32405_IMG_3877-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS32405_IMG_3877-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS32405_IMG_3877-qut-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS32405_IMG_3877-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS32405_IMG_3877-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS32405_IMG_3877-qut-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS32405_IMG_3877-qut-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS32405_IMG_3877-qut-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS32405_IMG_3877-qut-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The view of the bay and Hyde Street Pier from Mia Harriman’s office window. \u003ccite>(Bianca Taylor/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Picture San Francisco more than 100 years ago: Meiggs’ Wharf jutted into the water near Powell Street and extended nearly 2,000 feet offshore. It was destroyed in the 1906 earthquake, but until then, it was where Italian immigrants — mainly from \u003ca href=\"https://goo.gl/maps/x9r24RFZCbH2\" target=\"_blank\" rel=\"noopener\">Genoa\u003c/a> — made their livelihoods as fishermen.\u003c/p>\n\u003cfigure id=\"attachment_11698108\" class=\"wp-caption alignnone\" style=\"max-width: 799px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11698108\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/10/RS32775_800px-Photograph_of_Fishermans_Wharf_in_San_Francisco_California_ca._1891_-_ca._1891_-_NARA_-_513106-qut-1.jpg\" alt=\"\" width=\"799\" height=\"469\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS32775_800px-Photograph_of_Fishermans_Wharf_in_San_Francisco_California_ca._1891_-_ca._1891_-_NARA_-_513106-qut-1.jpg 799w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS32775_800px-Photograph_of_Fishermans_Wharf_in_San_Francisco_California_ca._1891_-_ca._1891_-_NARA_-_513106-qut-1-160x94.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS32775_800px-Photograph_of_Fishermans_Wharf_in_San_Francisco_California_ca._1891_-_ca._1891_-_NARA_-_513106-qut-1-240x141.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS32775_800px-Photograph_of_Fishermans_Wharf_in_San_Francisco_California_ca._1891_-_ca._1891_-_NARA_-_513106-qut-1-375x220.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS32775_800px-Photograph_of_Fishermans_Wharf_in_San_Francisco_California_ca._1891_-_ca._1891_-_NARA_-_513106-qut-1-520x305.jpg 520w\" sizes=\"(max-width: 799px) 100vw, 799px\">\u003cfigcaption class=\"wp-caption-text\">A photograph of San Francisco’s wharf, circa 1891. \u003ccite>(Wikimedia Commons: U.S. National Archives and Records Administration)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Harriman says it was \u003ci>these \u003c/i>fishermen who invented what we know now as cioppino sometime between 1850 and 1880.\u003c/p>\n\u003cfigure id=\"attachment_11698110\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11698110\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/10/RS32779_Photograph_of_Italian_Fishermen_on_a_Wharf_in_San_Francisco_California_ca._1891_-_ca._1891_-_NARA_-_513107-qut-800x466.jpg\" alt=\"\" width=\"800\" height=\"466\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS32779_Photograph_of_Italian_Fishermen_on_a_Wharf_in_San_Francisco_California_ca._1891_-_ca._1891_-_NARA_-_513107-qut-800x466.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS32779_Photograph_of_Italian_Fishermen_on_a_Wharf_in_San_Francisco_California_ca._1891_-_ca._1891_-_NARA_-_513107-qut-160x93.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS32779_Photograph_of_Italian_Fishermen_on_a_Wharf_in_San_Francisco_California_ca._1891_-_ca._1891_-_NARA_-_513107-qut-1020x594.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS32779_Photograph_of_Italian_Fishermen_on_a_Wharf_in_San_Francisco_California_ca._1891_-_ca._1891_-_NARA_-_513107-qut-1200x699.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS32779_Photograph_of_Italian_Fishermen_on_a_Wharf_in_San_Francisco_California_ca._1891_-_ca._1891_-_NARA_-_513107-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS32779_Photograph_of_Italian_Fishermen_on_a_Wharf_in_San_Francisco_California_ca._1891_-_ca._1891_-_NARA_-_513107-qut-1180x688.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS32779_Photograph_of_Italian_Fishermen_on_a_Wharf_in_San_Francisco_California_ca._1891_-_ca._1891_-_NARA_-_513107-qut-960x560.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS32779_Photograph_of_Italian_Fishermen_on_a_Wharf_in_San_Francisco_California_ca._1891_-_ca._1891_-_NARA_-_513107-qut-240x140.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS32779_Photograph_of_Italian_Fishermen_on_a_Wharf_in_San_Francisco_California_ca._1891_-_ca._1891_-_NARA_-_513107-qut-375x219.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS32779_Photograph_of_Italian_Fishermen_on_a_Wharf_in_San_Francisco_California_ca._1891_-_ca._1891_-_NARA_-_513107-qut-520x303.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Photograph of Italian fishermen on a wharf in San Francisco, California, circa 1891. \u003ccite>(Wikimedia: U.S. National Archives and Records Administration)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“One fisherman would toss a nice fat fish into the bucket, and another would drop in a succulent Dungeness crab, and others some herbs and vegetables,” Harriman says of how the soup first started.\u003c/p>\n\u003cp>And as for its name?\u003c/p>\n\u003cp>“The cry that prompted each contribution was ‘Chip In! Chip In!’ But coming from an Italian throat, this American slang had to end in a vowel, so ‘cioppino’ was born.”\u003c/p>\n\u003cp>Cute, right? I was all in on this “cioppino, chip in” story … until I spoke to Erica Peters, director of the \u003ca href=\"https://www.chonc.com/\" target=\"_blank\" rel=\"noopener\">Culinary Historians of Northern California\u003c/a> and author of the book “\u003ca href=\"https://rowman.com/ISBN/9780759121515/San-Francisco-A-Food-Biography\" target=\"_blank\" rel=\"noopener\">San Francisco: A Food Biography\u003c/a>“.\u003c/p>\n\u003cp>When I meet with Peters at her home, one of the first things she tells me is: “There’s a lot of fake lore in food history.”\u003c/p>\n\u003cp>She admits “cioppino, chip in” is a nice story, but adds, “Linguistically, it makes much more sense to think of it as coming from the Northern Italian dialect ‘ciuppin,’ which obviously does not mean ‘chip in.’ It refers to making a soup from fish.”\u003c/p>\n\u003cp>She notes that while Italians had been making ciuppin for quite some time, it was the San Francisco fishermen’s addition of spicy chili peppers that makes cioppino uniquely Californian.\u003c/p>\n\u003cfigure id=\"attachment_11698112\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11698112\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/10/San_Francisco_Call_Newspaper_ad_1911-800x1240.jpg\" alt=\"\" width=\"800\" height=\"1240\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/San_Francisco_Call_Newspaper_ad_1911-800x1240.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/San_Francisco_Call_Newspaper_ad_1911-160x248.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/San_Francisco_Call_Newspaper_ad_1911-1020x1581.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/San_Francisco_Call_Newspaper_ad_1911-774x1200.jpg 774w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/San_Francisco_Call_Newspaper_ad_1911-960x1488.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/San_Francisco_Call_Newspaper_ad_1911-240x372.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/San_Francisco_Call_Newspaper_ad_1911-375x581.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/San_Francisco_Call_Newspaper_ad_1911-520x806.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/San_Francisco_Call_Newspaper_ad_1911.jpg 1041w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A newspaper ad for the San Francisco Call, circa 1911. \u003ccite>(Wikimedia: The Cooper Collection of California History)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While reporting this story, I talked to several other foodies and restaurateurs, and people argue for both stories. The “chip in” theory may be fake, but it’s lasted as long as the dish itself.\u003c/p>\n\u003cp>What’s not up for debate is that Italian fishermen in San Francisco definitely invented cioppino. While doing research for her book, Peters found an article from 1901 by a journalist with the San Francisco Call who went out on a fishing boat with a bunch of fishermen.\u003c/p>\n\u003cp>The article reads:\u003c/p>\n\u003cp>\u003cem>If you go out on a fishing boat, if you have the good fortune not to be sick, you should insist on having a dish of chespini… This is how you make it: Put into kettle half glass of sweet oil, one clove garlic, two large tomatoes, two chili peppers, one glass of white wine, prepared fresh fish cut into small squares. Drop into the sauce and cook three minutes. Serve hot. It really tastes much better than it sounds.”\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_11698114\" class=\"wp-caption alignleft\" style=\"max-width: 391px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11698114\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/10/RS32777_Screen-Shot-2018-09-12-at-1.55.28-PM-qut-1.jpg\" alt=\"\" width=\"391\" height=\"619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS32777_Screen-Shot-2018-09-12-at-1.55.28-PM-qut-1.jpg 391w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS32777_Screen-Shot-2018-09-12-at-1.55.28-PM-qut-1-160x253.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS32777_Screen-Shot-2018-09-12-at-1.55.28-PM-qut-1-240x380.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS32777_Screen-Shot-2018-09-12-at-1.55.28-PM-qut-1-375x594.jpg 375w\" sizes=\"(max-width: 391px) 100vw, 391px\">\u003cfigcaption class=\"wp-caption-text\">The Refugees’ Cookbook was a fundraising effort after the 1906 earthquake. \u003ccite>(Courtesy of Erica Peters)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Peters calls this article “the moment of invention” because of the last line.\u003c/p>\n\u003cp>“I love that line because it means she thinks the readers of the San Francisco Call won’t know what she’s talking about; this is a new dish to them. Of course the fisherman had been doing it for months or years, but this is the moment when Anglo-Americans, people who were not Italian fishermen, got to hear what cioppino is,” she says.\u003c/p>\n\u003cp>And it wasn’t that much longer until Americans could make the dish themselves. After the 1906 earthquake, there was a fundraising effort for San Franciscans displaced by the disaster.\u003c/p>\n\u003cp>One of the things they did to raise money was to put out a cookbook called “The Refugees’ Cookbook” … and one of the recipes included was cioppino.\u003c/p>\n\u003cp>“And I think that is the first time that San Franciscans could buy a cookbook that had cioppino in it as an official recipe that they should be making at home,” says Peters.\u003c/p>\n\u003cfigure id=\"attachment_11698115\" class=\"wp-caption alignnone\" style=\"max-width: 788px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11698115\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/10/RS32778_Screen-Shot-2018-09-12-at-1.55.06-PM-qut-1.jpg\" alt=\"\" width=\"788\" height=\"617\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS32778_Screen-Shot-2018-09-12-at-1.55.06-PM-qut-1.jpg 788w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS32778_Screen-Shot-2018-09-12-at-1.55.06-PM-qut-1-160x125.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS32778_Screen-Shot-2018-09-12-at-1.55.06-PM-qut-1-240x188.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS32778_Screen-Shot-2018-09-12-at-1.55.06-PM-qut-1-375x294.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS32778_Screen-Shot-2018-09-12-at-1.55.06-PM-qut-1-520x407.jpg 520w\" sizes=\"(max-width: 788px) 100vw, 788px\">\u003cfigcaption class=\"wp-caption-text\">The first written recipe for cioppino (misspelled as “chippine”) appeared in the Refugees’ Cookbook. \u003ccite>(Courtesy of Erica Peters)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Today you can get cioppino at Italian restaurants across the United States. But it’s extra special to try it at Fisherman’s Wharf, where you can still hear the boats clanging, smell the salty ocean air, and taste a little bit of history.\u003c/p>\n\u003cfigure id=\"attachment_11698117\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11698117\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/10/RS32398_IMG_3868-qut-800x758.jpg\" alt=\"\" width=\"800\" height=\"758\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS32398_IMG_3868-qut-800x758.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS32398_IMG_3868-qut-160x152.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS32398_IMG_3868-qut-1020x966.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS32398_IMG_3868-qut-1200x1137.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS32398_IMG_3868-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS32398_IMG_3868-qut-1180x1118.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS32398_IMG_3868-qut-960x910.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS32398_IMG_3868-qut-240x227.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS32398_IMG_3868-qut-375x355.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS32398_IMG_3868-qut-520x493.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The reporter enjoying a bowl of cioppino on Fisherman’s Wharf. \u003ccite>(Mia Harriman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"excerpt": "There's no question Italian immigrant fishermen invented the hearty, tomato-based seafood stew in San Francisco's wharf. How it got its name? That's up for debate.",
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"title": "Golden State Plate: The Fishy Origins of Cioppino | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003ca href=\"http://itunes.apple.com/us/podcast/the-california-report-magazine/id1314750545?mt=2\" target=\"_blank\" rel=\"noopener\">Listen to this and more in-depth storytelling by subscribing to The California Report Magazine podcast.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>I grew up eating my Italian grandmother Mimi’s homemade cioppino. She served the delicious seafood stew (with a huge loaf of garlic bread) whenever a group of us gathered at her house for dinner. All it took was one pot to stuff us to the brim.\u003c/p>\n\u003cp>But even though I have lived in the Bay Area now for over a decade, I had no idea that cioppino was invented on \u003ca href=\"http://www.fishermanswharf.org/\" target=\"_blank\" rel=\"noopener\">San Francisco’s Fisherman’s Wharf.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11698109\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11698109\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/10/RS32776_FishermansWharf2009-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS32776_FishermansWharf2009-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS32776_FishermansWharf2009-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS32776_FishermansWharf2009-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS32776_FishermansWharf2009-qut-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS32776_FishermansWharf2009-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS32776_FishermansWharf2009-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS32776_FishermansWharf2009-qut-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS32776_FishermansWharf2009-qut-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS32776_FishermansWharf2009-qut-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS32776_FishermansWharf2009-qut-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco’s Fisherman’s Wharf is the birthplace of cioppino. \u003ccite>(Wikimedia: Nicholas A. Chadwick)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So I started my quest for the stew’s truth at a restaurant aptly named Cioppino’s, located right on Fisherman’s Wharf. There I met Mia Harriman, Cioppino’s general manager.\u003c/p>\n\u003cfigure id=\"attachment_11698107\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11698107 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/10/RS32403_IMG_3875-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS32403_IMG_3875-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS32403_IMG_3875-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS32403_IMG_3875-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS32403_IMG_3875-qut-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS32403_IMG_3875-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS32403_IMG_3875-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS32403_IMG_3875-qut-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS32403_IMG_3875-qut-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS32403_IMG_3875-qut-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS32403_IMG_3875-qut-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mia Harriman is the general manager at Cioppino’s, an Italian restaurant on Fisherman’s Wharf in San Francisco. \u003ccite>(Bianca Taylor/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She tells me cioppino is one of those dishes that has no \u003cem>exact \u003c/em>recipe — something that I actually did know from watching Mimi in the kitchen. As long as you start with a tomato-based broth, you can throw in any kind of seafood you like: snapper, crab legs, mussels, crabs, shrimp, calamari … you name it, you can add it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Considering San Francisco is surrounded by fishable waters, it makes sense that the city was the birthplace of this iconic seafood stew.\u003c/p>\n\u003cp>As we look out her office window onto the bay, Harriman explains that the origin of cioppino — and its name — derive from the Italian fishermen in the early 1900s, when Fisherman’s Wharf was still called \u003ca href=\"https://en.wikipedia.org/wiki/Meiggs_Wharf\" target=\"_blank\" rel=\"noopener\">Meiggs’ Wharf\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11698118\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11698118\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/10/RS32405_IMG_3877-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS32405_IMG_3877-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS32405_IMG_3877-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS32405_IMG_3877-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS32405_IMG_3877-qut-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS32405_IMG_3877-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS32405_IMG_3877-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS32405_IMG_3877-qut-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS32405_IMG_3877-qut-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS32405_IMG_3877-qut-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS32405_IMG_3877-qut-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The view of the bay and Hyde Street Pier from Mia Harriman’s office window. \u003ccite>(Bianca Taylor/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Picture San Francisco more than 100 years ago: Meiggs’ Wharf jutted into the water near Powell Street and extended nearly 2,000 feet offshore. It was destroyed in the 1906 earthquake, but until then, it was where Italian immigrants — mainly from \u003ca href=\"https://goo.gl/maps/x9r24RFZCbH2\" target=\"_blank\" rel=\"noopener\">Genoa\u003c/a> — made their livelihoods as fishermen.\u003c/p>\n\u003cfigure id=\"attachment_11698108\" class=\"wp-caption alignnone\" style=\"max-width: 799px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11698108\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/10/RS32775_800px-Photograph_of_Fishermans_Wharf_in_San_Francisco_California_ca._1891_-_ca._1891_-_NARA_-_513106-qut-1.jpg\" alt=\"\" width=\"799\" height=\"469\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS32775_800px-Photograph_of_Fishermans_Wharf_in_San_Francisco_California_ca._1891_-_ca._1891_-_NARA_-_513106-qut-1.jpg 799w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS32775_800px-Photograph_of_Fishermans_Wharf_in_San_Francisco_California_ca._1891_-_ca._1891_-_NARA_-_513106-qut-1-160x94.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS32775_800px-Photograph_of_Fishermans_Wharf_in_San_Francisco_California_ca._1891_-_ca._1891_-_NARA_-_513106-qut-1-240x141.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS32775_800px-Photograph_of_Fishermans_Wharf_in_San_Francisco_California_ca._1891_-_ca._1891_-_NARA_-_513106-qut-1-375x220.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS32775_800px-Photograph_of_Fishermans_Wharf_in_San_Francisco_California_ca._1891_-_ca._1891_-_NARA_-_513106-qut-1-520x305.jpg 520w\" sizes=\"(max-width: 799px) 100vw, 799px\">\u003cfigcaption class=\"wp-caption-text\">A photograph of San Francisco’s wharf, circa 1891. \u003ccite>(Wikimedia Commons: U.S. National Archives and Records Administration)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Harriman says it was \u003ci>these \u003c/i>fishermen who invented what we know now as cioppino sometime between 1850 and 1880.\u003c/p>\n\u003cfigure id=\"attachment_11698110\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11698110\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/10/RS32779_Photograph_of_Italian_Fishermen_on_a_Wharf_in_San_Francisco_California_ca._1891_-_ca._1891_-_NARA_-_513107-qut-800x466.jpg\" alt=\"\" width=\"800\" height=\"466\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS32779_Photograph_of_Italian_Fishermen_on_a_Wharf_in_San_Francisco_California_ca._1891_-_ca._1891_-_NARA_-_513107-qut-800x466.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS32779_Photograph_of_Italian_Fishermen_on_a_Wharf_in_San_Francisco_California_ca._1891_-_ca._1891_-_NARA_-_513107-qut-160x93.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS32779_Photograph_of_Italian_Fishermen_on_a_Wharf_in_San_Francisco_California_ca._1891_-_ca._1891_-_NARA_-_513107-qut-1020x594.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS32779_Photograph_of_Italian_Fishermen_on_a_Wharf_in_San_Francisco_California_ca._1891_-_ca._1891_-_NARA_-_513107-qut-1200x699.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS32779_Photograph_of_Italian_Fishermen_on_a_Wharf_in_San_Francisco_California_ca._1891_-_ca._1891_-_NARA_-_513107-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS32779_Photograph_of_Italian_Fishermen_on_a_Wharf_in_San_Francisco_California_ca._1891_-_ca._1891_-_NARA_-_513107-qut-1180x688.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS32779_Photograph_of_Italian_Fishermen_on_a_Wharf_in_San_Francisco_California_ca._1891_-_ca._1891_-_NARA_-_513107-qut-960x560.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS32779_Photograph_of_Italian_Fishermen_on_a_Wharf_in_San_Francisco_California_ca._1891_-_ca._1891_-_NARA_-_513107-qut-240x140.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS32779_Photograph_of_Italian_Fishermen_on_a_Wharf_in_San_Francisco_California_ca._1891_-_ca._1891_-_NARA_-_513107-qut-375x219.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS32779_Photograph_of_Italian_Fishermen_on_a_Wharf_in_San_Francisco_California_ca._1891_-_ca._1891_-_NARA_-_513107-qut-520x303.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Photograph of Italian fishermen on a wharf in San Francisco, California, circa 1891. \u003ccite>(Wikimedia: U.S. National Archives and Records Administration)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“One fisherman would toss a nice fat fish into the bucket, and another would drop in a succulent Dungeness crab, and others some herbs and vegetables,” Harriman says of how the soup first started.\u003c/p>\n\u003cp>And as for its name?\u003c/p>\n\u003cp>“The cry that prompted each contribution was ‘Chip In! Chip In!’ But coming from an Italian throat, this American slang had to end in a vowel, so ‘cioppino’ was born.”\u003c/p>\n\u003cp>Cute, right? I was all in on this “cioppino, chip in” story … until I spoke to Erica Peters, director of the \u003ca href=\"https://www.chonc.com/\" target=\"_blank\" rel=\"noopener\">Culinary Historians of Northern California\u003c/a> and author of the book “\u003ca href=\"https://rowman.com/ISBN/9780759121515/San-Francisco-A-Food-Biography\" target=\"_blank\" rel=\"noopener\">San Francisco: A Food Biography\u003c/a>“.\u003c/p>\n\u003cp>When I meet with Peters at her home, one of the first things she tells me is: “There’s a lot of fake lore in food history.”\u003c/p>\n\u003cp>She admits “cioppino, chip in” is a nice story, but adds, “Linguistically, it makes much more sense to think of it as coming from the Northern Italian dialect ‘ciuppin,’ which obviously does not mean ‘chip in.’ It refers to making a soup from fish.”\u003c/p>\n\u003cp>She notes that while Italians had been making ciuppin for quite some time, it was the San Francisco fishermen’s addition of spicy chili peppers that makes cioppino uniquely Californian.\u003c/p>\n\u003cfigure id=\"attachment_11698112\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11698112\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/10/San_Francisco_Call_Newspaper_ad_1911-800x1240.jpg\" alt=\"\" width=\"800\" height=\"1240\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/San_Francisco_Call_Newspaper_ad_1911-800x1240.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/San_Francisco_Call_Newspaper_ad_1911-160x248.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/San_Francisco_Call_Newspaper_ad_1911-1020x1581.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/San_Francisco_Call_Newspaper_ad_1911-774x1200.jpg 774w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/San_Francisco_Call_Newspaper_ad_1911-960x1488.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/San_Francisco_Call_Newspaper_ad_1911-240x372.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/San_Francisco_Call_Newspaper_ad_1911-375x581.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/San_Francisco_Call_Newspaper_ad_1911-520x806.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/San_Francisco_Call_Newspaper_ad_1911.jpg 1041w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A newspaper ad for the San Francisco Call, circa 1911. \u003ccite>(Wikimedia: The Cooper Collection of California History)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While reporting this story, I talked to several other foodies and restaurateurs, and people argue for both stories. The “chip in” theory may be fake, but it’s lasted as long as the dish itself.\u003c/p>\n\u003cp>What’s not up for debate is that Italian fishermen in San Francisco definitely invented cioppino. While doing research for her book, Peters found an article from 1901 by a journalist with the San Francisco Call who went out on a fishing boat with a bunch of fishermen.\u003c/p>\n\u003cp>The article reads:\u003c/p>\n\u003cp>\u003cem>If you go out on a fishing boat, if you have the good fortune not to be sick, you should insist on having a dish of chespini… This is how you make it: Put into kettle half glass of sweet oil, one clove garlic, two large tomatoes, two chili peppers, one glass of white wine, prepared fresh fish cut into small squares. Drop into the sauce and cook three minutes. Serve hot. It really tastes much better than it sounds.”\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_11698114\" class=\"wp-caption alignleft\" style=\"max-width: 391px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11698114\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/10/RS32777_Screen-Shot-2018-09-12-at-1.55.28-PM-qut-1.jpg\" alt=\"\" width=\"391\" height=\"619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS32777_Screen-Shot-2018-09-12-at-1.55.28-PM-qut-1.jpg 391w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS32777_Screen-Shot-2018-09-12-at-1.55.28-PM-qut-1-160x253.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS32777_Screen-Shot-2018-09-12-at-1.55.28-PM-qut-1-240x380.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS32777_Screen-Shot-2018-09-12-at-1.55.28-PM-qut-1-375x594.jpg 375w\" sizes=\"(max-width: 391px) 100vw, 391px\">\u003cfigcaption class=\"wp-caption-text\">The Refugees’ Cookbook was a fundraising effort after the 1906 earthquake. \u003ccite>(Courtesy of Erica Peters)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Peters calls this article “the moment of invention” because of the last line.\u003c/p>\n\u003cp>“I love that line because it means she thinks the readers of the San Francisco Call won’t know what she’s talking about; this is a new dish to them. Of course the fisherman had been doing it for months or years, but this is the moment when Anglo-Americans, people who were not Italian fishermen, got to hear what cioppino is,” she says.\u003c/p>\n\u003cp>And it wasn’t that much longer until Americans could make the dish themselves. After the 1906 earthquake, there was a fundraising effort for San Franciscans displaced by the disaster.\u003c/p>\n\u003cp>One of the things they did to raise money was to put out a cookbook called “The Refugees’ Cookbook” … and one of the recipes included was cioppino.\u003c/p>\n\u003cp>“And I think that is the first time that San Franciscans could buy a cookbook that had cioppino in it as an official recipe that they should be making at home,” says Peters.\u003c/p>\n\u003cfigure id=\"attachment_11698115\" class=\"wp-caption alignnone\" style=\"max-width: 788px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11698115\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/10/RS32778_Screen-Shot-2018-09-12-at-1.55.06-PM-qut-1.jpg\" alt=\"\" width=\"788\" height=\"617\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS32778_Screen-Shot-2018-09-12-at-1.55.06-PM-qut-1.jpg 788w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS32778_Screen-Shot-2018-09-12-at-1.55.06-PM-qut-1-160x125.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS32778_Screen-Shot-2018-09-12-at-1.55.06-PM-qut-1-240x188.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS32778_Screen-Shot-2018-09-12-at-1.55.06-PM-qut-1-375x294.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS32778_Screen-Shot-2018-09-12-at-1.55.06-PM-qut-1-520x407.jpg 520w\" sizes=\"(max-width: 788px) 100vw, 788px\">\u003cfigcaption class=\"wp-caption-text\">The first written recipe for cioppino (misspelled as “chippine”) appeared in the Refugees’ Cookbook. \u003ccite>(Courtesy of Erica Peters)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Today you can get cioppino at Italian restaurants across the United States. But it’s extra special to try it at Fisherman’s Wharf, where you can still hear the boats clanging, smell the salty ocean air, and taste a little bit of history.\u003c/p>\n\u003cfigure id=\"attachment_11698117\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11698117\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/10/RS32398_IMG_3868-qut-800x758.jpg\" alt=\"\" width=\"800\" height=\"758\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS32398_IMG_3868-qut-800x758.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS32398_IMG_3868-qut-160x152.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS32398_IMG_3868-qut-1020x966.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS32398_IMG_3868-qut-1200x1137.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS32398_IMG_3868-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS32398_IMG_3868-qut-1180x1118.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS32398_IMG_3868-qut-960x910.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS32398_IMG_3868-qut-240x227.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS32398_IMG_3868-qut-375x355.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS32398_IMG_3868-qut-520x493.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The reporter enjoying a bowl of cioppino on Fisherman’s Wharf. \u003ccite>(Mia Harriman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>\u003ca href=\"http://itunes.apple.com/us/podcast/the-california-report-magazine/id1314750545?mt=2\" rel=\"noopener\" target=\"_blank\">Listen to this and more in-depth storytelling by subscribing to The California Report Magazine podcast.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>The view from Point Sur Lighthouse is breathtaking. It’s perched up on a huge rock and surrounded by water on three sides. Shimmering views of the Pacific. Sea lions echoing up from the rocks below. Sea otters basking in the kelp beds. It’s utterly isolated, far away from the road on a craggy stretch of coastline just north of Big Sur.\u003c/p>\n\u003cfigure id=\"attachment_11701342\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11701342 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/10/RS33425_84AD42F7-6D7C-4746-919E-8EE605106069-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33425_84AD42F7-6D7C-4746-919E-8EE605106069-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33425_84AD42F7-6D7C-4746-919E-8EE605106069-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33425_84AD42F7-6D7C-4746-919E-8EE605106069-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33425_84AD42F7-6D7C-4746-919E-8EE605106069-qut-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33425_84AD42F7-6D7C-4746-919E-8EE605106069-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33425_84AD42F7-6D7C-4746-919E-8EE605106069-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33425_84AD42F7-6D7C-4746-919E-8EE605106069-qut-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33425_84AD42F7-6D7C-4746-919E-8EE605106069-qut-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33425_84AD42F7-6D7C-4746-919E-8EE605106069-qut-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33425_84AD42F7-6D7C-4746-919E-8EE605106069-qut-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Point Sur Lighthouse has been operating since 1889. It’s one of California’s oldest and most remote light stations. \u003ccite>(Sasha Khokha/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s one of the oldest and most remote lighthouses in California, a beacon for ships navigating some of the most treacherous waters of the California coast. More than a dozen shipwrecks have happened nearby. This section of coast was also the site where the airship called the USS Macon (a precursor to the blimp) crashed in 1935.\u003c/p>\n\u003cfigure id=\"attachment_11701349\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11701349 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/10/RS33429_40F59023-19F7-4E51-9EAC-AA0954521870-qut-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33429_40F59023-19F7-4E51-9EAC-AA0954521870-qut-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33429_40F59023-19F7-4E51-9EAC-AA0954521870-qut-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33429_40F59023-19F7-4E51-9EAC-AA0954521870-qut-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33429_40F59023-19F7-4E51-9EAC-AA0954521870-qut-900x1200.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33429_40F59023-19F7-4E51-9EAC-AA0954521870-qut-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33429_40F59023-19F7-4E51-9EAC-AA0954521870-qut-960x1280.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33429_40F59023-19F7-4E51-9EAC-AA0954521870-qut-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33429_40F59023-19F7-4E51-9EAC-AA0954521870-qut-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33429_40F59023-19F7-4E51-9EAC-AA0954521870-qut-520x693.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33429_40F59023-19F7-4E51-9EAC-AA0954521870-qut.jpg 1536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The lighthouse features an exhibit of newspaper articles about shipwrecks and crashes, including the USS Macon airship, which crashed off the coast of Point Sur in 1935. \u003ccite>(Sasha Khokha/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The lighthouse was built in 1889, and the keepers and their families who lived next to it could get supplies only by ship. A doctor was a four-hour horseback ride away in Monterey. To leave this lighthouse in the early years, residents had to climb down nearly 400 stairs and trek several miles to a county road. Highway 1 wasn’t completed from Carmel to San Simeon until 1937.\u003c/p>\n\u003cp>Even though lighthouse life was lonely for the kids who grew up here, the lighthouse keepers and their wives often fell in love with these breathtaking ocean views. The head lightkeeper’s house, which has been restored, has an ocean-view window in every room, including the closets and bathrooms. Imagine watching whales spout and breach while brushing your teeth!\u003c/p>\n\u003cfigure id=\"attachment_11701343\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11701343 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/10/RS33426_D3FBCCC5-07F3-491E-9906-9F26648E192C-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33426_D3FBCCC5-07F3-491E-9906-9F26648E192C-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33426_D3FBCCC5-07F3-491E-9906-9F26648E192C-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33426_D3FBCCC5-07F3-491E-9906-9F26648E192C-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33426_D3FBCCC5-07F3-491E-9906-9F26648E192C-qut-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33426_D3FBCCC5-07F3-491E-9906-9F26648E192C-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33426_D3FBCCC5-07F3-491E-9906-9F26648E192C-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33426_D3FBCCC5-07F3-491E-9906-9F26648E192C-qut-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33426_D3FBCCC5-07F3-491E-9906-9F26648E192C-qut-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33426_D3FBCCC5-07F3-491E-9906-9F26648E192C-qut-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33426_D3FBCCC5-07F3-491E-9906-9F26648E192C-qut-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The craggy coastline between Carmel and Big Sur is home to some of California’s most treacherous waters. Many ships have wrecked near Point Sur Lighthouse. \u003ccite>(Sasha Khokha/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The lighthouse is now a \u003ca href=\"http://pointsur.org/\">state historic park\u003c/a>. It offers limited visiting hours and tours, often led by docents like Julie Nunes. She drives two hours each way from San Jose to volunteer here.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“This is my Shangri-La,” she says. “It’s just so utterly beautiful and peaceful. There’s something about this place that’s so calming.”\u003c/p>\n\u003cfigure id=\"attachment_11701444\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11701444 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/10/RS33406_julie-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33406_julie-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33406_julie-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33406_julie-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33406_julie-qut-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33406_julie-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33406_julie-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33406_julie-qut-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33406_julie-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33406_julie-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33406_julie-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Point Sur Lighthouse volunteer Julie Nunes is not afraid of ghosts. \u003ccite>(Sasha Khokha/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So it makes sense, she says, that the families who once lived here have come back. As ghosts.\u003c/p>\n\u003cfigure id=\"attachment_11701350\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11701350\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/10/RS33416_AD272639-CD22-4B3F-9368-E85B330ECAFE-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33416_AD272639-CD22-4B3F-9368-E85B330ECAFE-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33416_AD272639-CD22-4B3F-9368-E85B330ECAFE-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33416_AD272639-CD22-4B3F-9368-E85B330ECAFE-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33416_AD272639-CD22-4B3F-9368-E85B330ECAFE-qut-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33416_AD272639-CD22-4B3F-9368-E85B330ECAFE-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33416_AD272639-CD22-4B3F-9368-E85B330ECAFE-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33416_AD272639-CD22-4B3F-9368-E85B330ECAFE-qut-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33416_AD272639-CD22-4B3F-9368-E85B330ECAFE-qut-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33416_AD272639-CD22-4B3F-9368-E85B330ECAFE-qut-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33416_AD272639-CD22-4B3F-9368-E85B330ECAFE-qut-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Julie Nunes’ license plate proclaims her fascination with the supernatural. \u003ccite>(Sasha Khokha/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nunes is not scared of ghosts. She’s intrigued by them. She brings her tape recorder when she volunteers here and says she often picks up the sounds of ghosts.\u003c/p>\n\u003cp>She plays me one of an eerie female voice whispering “Now she wants you to go home.” In another, a woman says, “Pokey, go to bed.” \u003cem>(Listen to the radio version of this story if you want to hear them.) \u003c/em>\u003c/p>\n\u003cp>Nunes says that last recording captured the voice of Catherine Ingersoll, a Danish immigrant who was married to a lighthouse keeper. She’s apparently telling her daughter, nicknamed Pokey, to go up to bed. You can hear the faint sound of a little girl’s voice responding.\u003c/p>\n\u003cp>The lighthouse was automated by the U.S. Coast Guard in 1972, and the last lighthouse keeper left here in 1974. So these days, when you come to visit this rock, it feels very empty, even if you join one of their \u003ca href=\"http://ptsur.org\">regular tours\u003c/a>. You can’t see another house anywhere, and the winding path down to Highway 1 seems miles long.\u003c/p>\n\u003cfigure id=\"attachment_11701479\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11701479 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/10/RS33400_140132183-qut-1-800x555.jpg\" alt=\"\" width=\"800\" height=\"555\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33400_140132183-qut-1-800x555.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33400_140132183-qut-1-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33400_140132183-qut-1-1020x707.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33400_140132183-qut-1-1200x832.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33400_140132183-qut-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33400_140132183-qut-1-1180x818.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33400_140132183-qut-1-960x666.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33400_140132183-qut-1-240x166.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33400_140132183-qut-1-375x260.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33400_140132183-qut-1-520x360.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Children of lighthouse keepers who lived at the base of the Point Sur rock, circa 1913. \u003ccite>(Courtesy of Central Coast Lighthouse Keepers )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Many families lived here over the course of nearly a century, and Nunes always knocks to ask permission to come in, in case any of their spirits are still around.\u003c/p>\n\u003cp>“Hello, it’s Julie!” she chirps to the empty house. “Hi Ruth! Can we come in to visit?”\u003c/p>\n\u003cp>She’s talking to the ghost of a resident she says used to live in this house. Nunes says Ruth’s spirit still hangs out in the kitchen, because she liked to cook. Nunes says Ruth’s ghosts often closes the doors in the kitchen, which has been restored to look like it did in the 1950s.\u003c/p>\n\u003cfigure id=\"attachment_11701445\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11701445 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/10/RS33407_kitchen-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33407_kitchen-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33407_kitchen-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33407_kitchen-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33407_kitchen-qut-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33407_kitchen-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33407_kitchen-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33407_kitchen-qut-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33407_kitchen-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33407_kitchen-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33407_kitchen-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nunes believes a ghost of a former resident hangs out in the lighthouse kitchen. \u003ccite>(Sasha Khokha/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She’s hoping we’ll get to hear Ruth talking to us through a ghost-hunting device called an Ovilus, used by paranormal investigators. It has a dictionary of about 3,000 words, and supposedly each word has a different sound frequency that ghosts can use to “talk” to humans.\u003c/p>\n\u003cp>“Is anybody else here with us right now that we can’t see?” Nunes asks the empty kitchen. “Pokey, are you here? Can you come say hi?”\u003c/p>\n\u003cp>We don’t hear anything but the wind rattling the windows. The wind here can be strong, up to 50 mph. Nunes says at one point a lighthouse keeper’s dog got blown off a cliff. The dog survived.\u003c/p>\n\u003cfigure id=\"attachment_11701446\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11701446\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/10/RS33403_halloween-2-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33403_halloween-2-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33403_halloween-2-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33403_halloween-2-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33403_halloween-2-qut-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33403_halloween-2-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33403_halloween-2-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33403_halloween-2-qut-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33403_halloween-2-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33403_halloween-2-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33403_halloween-2-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Volunteers decorated lighthouse quarters for Halloween. \u003ccite>(Sasha Khokha/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s getting a little bit creepy. It’s hard to tell if this is a hokey trick for Halloween, because docents have decorated rooms with fake skeletons and witches’ hats. But Nunes seems really convinced.\u003c/p>\n\u003cp>“Nothing evil or malevolent ever happened here,” says Nunes. “These are nice ghosts.”\u003c/p>\n\u003cp>She puts the Ovilus down on the kitchen table next to a pair of plastic skeleton arms, and asks any ghosts to tap the black box, so it can sense a vibration.\u003c/p>\n\u003cp>https://youtu.be/jbwq0RjmZyI\u003c/p>\n\u003cp>Look closely at the skeleton hand to the left, near the coffee mug. It begins to twitch. Just a tiny bit, but it’s definitely moving. I am utterly freaked out at this point.\u003c/p>\n\u003cp>Nunes asks the spirits to make the skeleton hands move again. No luck, but we do start to hear a weird static buzz through our headphones as we’re recording our interview with Nunes. The buzzing doesn’t go away until we leave the building. Weird, right?\u003c/p>\n\u003cp>You’re probably thinking all of this is a gimmick to try to get people to visit this remote lighthouse. After all, Julie Nunes does a \u003ca href=\"http://ptsur.org\">ghost-hunting tour\u003c/a> to help raise money for lighthouse restoration on the weekends before Halloween. Even some of the other docents who volunteer regularly here don’t believe Julie’s ghost tales.\u003c/p>\n\u003cp>But one volunteer named Sheila Fraser says she used to be a skeptic, until she had her own encounter. The other docents call her “the level-headed Canadian.”\u003c/p>\n\u003cp>Fraser volunteers to clean the head lighthouse keeper’s house every Thursday. Usually she’s the only one in the building at that time. One morning, she was putting away the vacuum when she heard something downstairs. She looked down at the stairway landing, and says she saw a woman who looked very real.\u003c/p>\n\u003cfigure id=\"attachment_11701450\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11701450\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/10/RS33435_archival-qut-800x585.jpg\" alt=\"\" width=\"800\" height=\"585\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33435_archival-qut-800x585.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33435_archival-qut-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33435_archival-qut-1020x746.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33435_archival-qut-1200x878.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33435_archival-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33435_archival-qut-1180x863.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33435_archival-qut-960x703.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33435_archival-qut-240x176.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33435_archival-qut-375x274.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33435_archival-qut-520x381.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Family who lived at the lighthouse quarters. \u003ccite>(Central Coast Lighthouse Keepers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“She was turn of the century. Had her hair up, maybe in her late 30s, early 40s… long sleeves, poofy, long skirt,” says Fraser. “She turned and looked up at me and she was gone.”\u003c/p>\n\u003cfigure id=\"attachment_11701473\" class=\"wp-caption alignright\" style=\"max-width: 210px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11701473 size-thumbnail\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/10/RS33428_alt_792-160x213.jpg\" alt=\"\" width=\"210\" height=\"263\">\u003cfigcaption class=\"wp-caption-text\">Stairway where volunteer Sheila Fraser claims she saw a ghost. \u003ccite>(Sasha Khokha/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fraser says she also had an encounter with a male ghost looking in at her through the living room window of the lighthouse keeper’s house.\u003c/p>\n\u003cp>It all sounds a little far-fetched. Even Nunes’ ghost-sensing Ovilus isn’t picking up any words or vibrations from ghosts.\u003c/p>\n\u003cp>But the minute we walk into a different building, the former blacksmith shop, the Ovilus starts squawking.\u003c/p>\n\u003cp>“Who’s here with us right now?” asks Nunes. “Walter,” answers the Ovilus, which is programmed to sense words and articulate them in a robotic voice.\u003c/p>\n\u003cp>At this point we are thoroughly freaked out.\u003c/p>\n\u003cfigure id=\"attachment_11701477\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11701477 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/10/RS33436_alt_794-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33436_alt_794-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33436_alt_794-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33436_alt_794-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33436_alt_794-900x1200.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33436_alt_794-1920x2560.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33436_alt_794-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33436_alt_794-960x1280.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33436_alt_794-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33436_alt_794-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33436_alt_794-520x693.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ghost-hunting device called an Ovilus, used by paranormal investigators, including volunteer Julie Nunes. \u003ccite>(Sasha Khoka/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“They’re doing a radio show and they’d like to interview you, Walter,” Nunes says, like it’s the most normal thing in the world. “Would you like to be on the radio, Walter?”\u003c/p>\n\u003cp>Walter and any of the other ghosts don’t say much more. The machine stops talking. But it does spell out a few words that make it seem like the ghosts know who we are: PRESS. REPORT. INVESTIGATE. STATEMENT. THANK.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>I am a level-headed Californian myself, and I don’t usually go for the supernatural. But as the sun starts to set, I’m pretty relieved to be getting back to Highway 1. I’m not sure I could handle walking through the spooky Point Sur Lighthouse at night.\u003c/p>\n\n",
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"excerpt": "Point Sur Lighthouse in Monterey County is one of the state's oldest and most remote lighthouses. And it's said to be haunted by its former residents. ",
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"title": "A Lighthouse So Beautiful, Ghosts Come Back to Haunt It | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003ca href=\"http://itunes.apple.com/us/podcast/the-california-report-magazine/id1314750545?mt=2\" rel=\"noopener\" target=\"_blank\">Listen to this and more in-depth storytelling by subscribing to The California Report Magazine podcast.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>The view from Point Sur Lighthouse is breathtaking. It’s perched up on a huge rock and surrounded by water on three sides. Shimmering views of the Pacific. Sea lions echoing up from the rocks below. Sea otters basking in the kelp beds. It’s utterly isolated, far away from the road on a craggy stretch of coastline just north of Big Sur.\u003c/p>\n\u003cfigure id=\"attachment_11701342\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11701342 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/10/RS33425_84AD42F7-6D7C-4746-919E-8EE605106069-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33425_84AD42F7-6D7C-4746-919E-8EE605106069-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33425_84AD42F7-6D7C-4746-919E-8EE605106069-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33425_84AD42F7-6D7C-4746-919E-8EE605106069-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33425_84AD42F7-6D7C-4746-919E-8EE605106069-qut-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33425_84AD42F7-6D7C-4746-919E-8EE605106069-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33425_84AD42F7-6D7C-4746-919E-8EE605106069-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33425_84AD42F7-6D7C-4746-919E-8EE605106069-qut-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33425_84AD42F7-6D7C-4746-919E-8EE605106069-qut-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33425_84AD42F7-6D7C-4746-919E-8EE605106069-qut-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33425_84AD42F7-6D7C-4746-919E-8EE605106069-qut-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Point Sur Lighthouse has been operating since 1889. It’s one of California’s oldest and most remote light stations. \u003ccite>(Sasha Khokha/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s one of the oldest and most remote lighthouses in California, a beacon for ships navigating some of the most treacherous waters of the California coast. More than a dozen shipwrecks have happened nearby. This section of coast was also the site where the airship called the USS Macon (a precursor to the blimp) crashed in 1935.\u003c/p>\n\u003cfigure id=\"attachment_11701349\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11701349 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/10/RS33429_40F59023-19F7-4E51-9EAC-AA0954521870-qut-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33429_40F59023-19F7-4E51-9EAC-AA0954521870-qut-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33429_40F59023-19F7-4E51-9EAC-AA0954521870-qut-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33429_40F59023-19F7-4E51-9EAC-AA0954521870-qut-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33429_40F59023-19F7-4E51-9EAC-AA0954521870-qut-900x1200.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33429_40F59023-19F7-4E51-9EAC-AA0954521870-qut-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33429_40F59023-19F7-4E51-9EAC-AA0954521870-qut-960x1280.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33429_40F59023-19F7-4E51-9EAC-AA0954521870-qut-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33429_40F59023-19F7-4E51-9EAC-AA0954521870-qut-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33429_40F59023-19F7-4E51-9EAC-AA0954521870-qut-520x693.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33429_40F59023-19F7-4E51-9EAC-AA0954521870-qut.jpg 1536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The lighthouse features an exhibit of newspaper articles about shipwrecks and crashes, including the USS Macon airship, which crashed off the coast of Point Sur in 1935. \u003ccite>(Sasha Khokha/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The lighthouse was built in 1889, and the keepers and their families who lived next to it could get supplies only by ship. A doctor was a four-hour horseback ride away in Monterey. To leave this lighthouse in the early years, residents had to climb down nearly 400 stairs and trek several miles to a county road. Highway 1 wasn’t completed from Carmel to San Simeon until 1937.\u003c/p>\n\u003cp>Even though lighthouse life was lonely for the kids who grew up here, the lighthouse keepers and their wives often fell in love with these breathtaking ocean views. The head lightkeeper’s house, which has been restored, has an ocean-view window in every room, including the closets and bathrooms. Imagine watching whales spout and breach while brushing your teeth!\u003c/p>\n\u003cfigure id=\"attachment_11701343\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11701343 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/10/RS33426_D3FBCCC5-07F3-491E-9906-9F26648E192C-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33426_D3FBCCC5-07F3-491E-9906-9F26648E192C-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33426_D3FBCCC5-07F3-491E-9906-9F26648E192C-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33426_D3FBCCC5-07F3-491E-9906-9F26648E192C-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33426_D3FBCCC5-07F3-491E-9906-9F26648E192C-qut-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33426_D3FBCCC5-07F3-491E-9906-9F26648E192C-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33426_D3FBCCC5-07F3-491E-9906-9F26648E192C-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33426_D3FBCCC5-07F3-491E-9906-9F26648E192C-qut-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33426_D3FBCCC5-07F3-491E-9906-9F26648E192C-qut-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33426_D3FBCCC5-07F3-491E-9906-9F26648E192C-qut-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33426_D3FBCCC5-07F3-491E-9906-9F26648E192C-qut-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The craggy coastline between Carmel and Big Sur is home to some of California’s most treacherous waters. Many ships have wrecked near Point Sur Lighthouse. \u003ccite>(Sasha Khokha/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The lighthouse is now a \u003ca href=\"http://pointsur.org/\">state historic park\u003c/a>. It offers limited visiting hours and tours, often led by docents like Julie Nunes. She drives two hours each way from San Jose to volunteer here.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“This is my Shangri-La,” she says. “It’s just so utterly beautiful and peaceful. There’s something about this place that’s so calming.”\u003c/p>\n\u003cfigure id=\"attachment_11701444\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11701444 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/10/RS33406_julie-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33406_julie-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33406_julie-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33406_julie-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33406_julie-qut-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33406_julie-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33406_julie-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33406_julie-qut-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33406_julie-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33406_julie-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33406_julie-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Point Sur Lighthouse volunteer Julie Nunes is not afraid of ghosts. \u003ccite>(Sasha Khokha/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So it makes sense, she says, that the families who once lived here have come back. As ghosts.\u003c/p>\n\u003cfigure id=\"attachment_11701350\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11701350\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/10/RS33416_AD272639-CD22-4B3F-9368-E85B330ECAFE-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33416_AD272639-CD22-4B3F-9368-E85B330ECAFE-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33416_AD272639-CD22-4B3F-9368-E85B330ECAFE-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33416_AD272639-CD22-4B3F-9368-E85B330ECAFE-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33416_AD272639-CD22-4B3F-9368-E85B330ECAFE-qut-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33416_AD272639-CD22-4B3F-9368-E85B330ECAFE-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33416_AD272639-CD22-4B3F-9368-E85B330ECAFE-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33416_AD272639-CD22-4B3F-9368-E85B330ECAFE-qut-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33416_AD272639-CD22-4B3F-9368-E85B330ECAFE-qut-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33416_AD272639-CD22-4B3F-9368-E85B330ECAFE-qut-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33416_AD272639-CD22-4B3F-9368-E85B330ECAFE-qut-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Julie Nunes’ license plate proclaims her fascination with the supernatural. \u003ccite>(Sasha Khokha/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nunes is not scared of ghosts. She’s intrigued by them. She brings her tape recorder when she volunteers here and says she often picks up the sounds of ghosts.\u003c/p>\n\u003cp>She plays me one of an eerie female voice whispering “Now she wants you to go home.” In another, a woman says, “Pokey, go to bed.” \u003cem>(Listen to the radio version of this story if you want to hear them.) \u003c/em>\u003c/p>\n\u003cp>Nunes says that last recording captured the voice of Catherine Ingersoll, a Danish immigrant who was married to a lighthouse keeper. She’s apparently telling her daughter, nicknamed Pokey, to go up to bed. You can hear the faint sound of a little girl’s voice responding.\u003c/p>\n\u003cp>The lighthouse was automated by the U.S. Coast Guard in 1972, and the last lighthouse keeper left here in 1974. So these days, when you come to visit this rock, it feels very empty, even if you join one of their \u003ca href=\"http://ptsur.org\">regular tours\u003c/a>. You can’t see another house anywhere, and the winding path down to Highway 1 seems miles long.\u003c/p>\n\u003cfigure id=\"attachment_11701479\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11701479 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/10/RS33400_140132183-qut-1-800x555.jpg\" alt=\"\" width=\"800\" height=\"555\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33400_140132183-qut-1-800x555.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33400_140132183-qut-1-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33400_140132183-qut-1-1020x707.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33400_140132183-qut-1-1200x832.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33400_140132183-qut-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33400_140132183-qut-1-1180x818.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33400_140132183-qut-1-960x666.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33400_140132183-qut-1-240x166.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33400_140132183-qut-1-375x260.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33400_140132183-qut-1-520x360.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Children of lighthouse keepers who lived at the base of the Point Sur rock, circa 1913. \u003ccite>(Courtesy of Central Coast Lighthouse Keepers )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Many families lived here over the course of nearly a century, and Nunes always knocks to ask permission to come in, in case any of their spirits are still around.\u003c/p>\n\u003cp>“Hello, it’s Julie!” she chirps to the empty house. “Hi Ruth! Can we come in to visit?”\u003c/p>\n\u003cp>She’s talking to the ghost of a resident she says used to live in this house. Nunes says Ruth’s spirit still hangs out in the kitchen, because she liked to cook. Nunes says Ruth’s ghosts often closes the doors in the kitchen, which has been restored to look like it did in the 1950s.\u003c/p>\n\u003cfigure id=\"attachment_11701445\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11701445 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/10/RS33407_kitchen-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33407_kitchen-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33407_kitchen-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33407_kitchen-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33407_kitchen-qut-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33407_kitchen-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33407_kitchen-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33407_kitchen-qut-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33407_kitchen-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33407_kitchen-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33407_kitchen-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nunes believes a ghost of a former resident hangs out in the lighthouse kitchen. \u003ccite>(Sasha Khokha/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She’s hoping we’ll get to hear Ruth talking to us through a ghost-hunting device called an Ovilus, used by paranormal investigators. It has a dictionary of about 3,000 words, and supposedly each word has a different sound frequency that ghosts can use to “talk” to humans.\u003c/p>\n\u003cp>“Is anybody else here with us right now that we can’t see?” Nunes asks the empty kitchen. “Pokey, are you here? Can you come say hi?”\u003c/p>\n\u003cp>We don’t hear anything but the wind rattling the windows. The wind here can be strong, up to 50 mph. Nunes says at one point a lighthouse keeper’s dog got blown off a cliff. The dog survived.\u003c/p>\n\u003cfigure id=\"attachment_11701446\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11701446\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/10/RS33403_halloween-2-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33403_halloween-2-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33403_halloween-2-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33403_halloween-2-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33403_halloween-2-qut-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33403_halloween-2-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33403_halloween-2-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33403_halloween-2-qut-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33403_halloween-2-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33403_halloween-2-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33403_halloween-2-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Volunteers decorated lighthouse quarters for Halloween. \u003ccite>(Sasha Khokha/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s getting a little bit creepy. It’s hard to tell if this is a hokey trick for Halloween, because docents have decorated rooms with fake skeletons and witches’ hats. But Nunes seems really convinced.\u003c/p>\n\u003cp>“Nothing evil or malevolent ever happened here,” says Nunes. “These are nice ghosts.”\u003c/p>\n\u003cp>She puts the Ovilus down on the kitchen table next to a pair of plastic skeleton arms, and asks any ghosts to tap the black box, so it can sense a vibration.\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/jbwq0RjmZyI'\n title='//www.youtube.com/embed/jbwq0RjmZyI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Look closely at the skeleton hand to the left, near the coffee mug. It begins to twitch. Just a tiny bit, but it’s definitely moving. I am utterly freaked out at this point.\u003c/p>\n\u003cp>Nunes asks the spirits to make the skeleton hands move again. No luck, but we do start to hear a weird static buzz through our headphones as we’re recording our interview with Nunes. The buzzing doesn’t go away until we leave the building. Weird, right?\u003c/p>\n\u003cp>You’re probably thinking all of this is a gimmick to try to get people to visit this remote lighthouse. After all, Julie Nunes does a \u003ca href=\"http://ptsur.org\">ghost-hunting tour\u003c/a> to help raise money for lighthouse restoration on the weekends before Halloween. Even some of the other docents who volunteer regularly here don’t believe Julie’s ghost tales.\u003c/p>\n\u003cp>But one volunteer named Sheila Fraser says she used to be a skeptic, until she had her own encounter. The other docents call her “the level-headed Canadian.”\u003c/p>\n\u003cp>Fraser volunteers to clean the head lighthouse keeper’s house every Thursday. Usually she’s the only one in the building at that time. One morning, she was putting away the vacuum when she heard something downstairs. She looked down at the stairway landing, and says she saw a woman who looked very real.\u003c/p>\n\u003cfigure id=\"attachment_11701450\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11701450\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/10/RS33435_archival-qut-800x585.jpg\" alt=\"\" width=\"800\" height=\"585\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33435_archival-qut-800x585.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33435_archival-qut-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33435_archival-qut-1020x746.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33435_archival-qut-1200x878.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33435_archival-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33435_archival-qut-1180x863.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33435_archival-qut-960x703.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33435_archival-qut-240x176.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33435_archival-qut-375x274.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33435_archival-qut-520x381.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Family who lived at the lighthouse quarters. \u003ccite>(Central Coast Lighthouse Keepers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“She was turn of the century. Had her hair up, maybe in her late 30s, early 40s… long sleeves, poofy, long skirt,” says Fraser. “She turned and looked up at me and she was gone.”\u003c/p>\n\u003cfigure id=\"attachment_11701473\" class=\"wp-caption alignright\" style=\"max-width: 210px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11701473 size-thumbnail\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/10/RS33428_alt_792-160x213.jpg\" alt=\"\" width=\"210\" height=\"263\">\u003cfigcaption class=\"wp-caption-text\">Stairway where volunteer Sheila Fraser claims she saw a ghost. \u003ccite>(Sasha Khokha/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fraser says she also had an encounter with a male ghost looking in at her through the living room window of the lighthouse keeper’s house.\u003c/p>\n\u003cp>It all sounds a little far-fetched. Even Nunes’ ghost-sensing Ovilus isn’t picking up any words or vibrations from ghosts.\u003c/p>\n\u003cp>But the minute we walk into a different building, the former blacksmith shop, the Ovilus starts squawking.\u003c/p>\n\u003cp>“Who’s here with us right now?” asks Nunes. “Walter,” answers the Ovilus, which is programmed to sense words and articulate them in a robotic voice.\u003c/p>\n\u003cp>At this point we are thoroughly freaked out.\u003c/p>\n\u003cfigure id=\"attachment_11701477\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11701477 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/10/RS33436_alt_794-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33436_alt_794-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33436_alt_794-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33436_alt_794-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33436_alt_794-900x1200.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33436_alt_794-1920x2560.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33436_alt_794-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33436_alt_794-960x1280.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33436_alt_794-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33436_alt_794-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33436_alt_794-520x693.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ghost-hunting device called an Ovilus, used by paranormal investigators, including volunteer Julie Nunes. \u003ccite>(Sasha Khoka/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“They’re doing a radio show and they’d like to interview you, Walter,” Nunes says, like it’s the most normal thing in the world. “Would you like to be on the radio, Walter?”\u003c/p>\n\u003cp>Walter and any of the other ghosts don’t say much more. The machine stops talking. But it does spell out a few words that make it seem like the ghosts know who we are: PRESS. REPORT. INVESTIGATE. STATEMENT. THANK.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I am a level-headed Californian myself, and I don’t usually go for the supernatural. But as the sun starts to set, I’m pretty relieved to be getting back to Highway 1. I’m not sure I could handle walking through the spooky Point Sur Lighthouse at night.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>This \u003ca href=\"https://www.kqed.org/news/11670259/her-double-life\">story first aired on The Leap\u003c/a>, a podcast about people making dramatic, risky changes.”\u003c/em>\u003c/p>\n\u003cp>For decades, My-Linh Le has been lying to her parents about who she really is. Most of us have lied to our parents. But My-Linh is lying a lot, about major things. When she’s with them, she gives them the daughter they want, and she keeps the truth about who she is to herself. But then one night, My Linh has a strange dream and wakes up wondering, at 31 years old, is it finally time to own up to all the lies she's been living since high school? April Dembosky hosts this special edition of the California Report Magazine, and brings us the story of a woman from San Jose who says her whole life is about being two people at the same time.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This \u003ca href=\"https://www.kqed.org/news/11670259/her-double-life\">story first aired on The Leap\u003c/a>, a podcast about people making dramatic, risky changes.”\u003c/em>\u003c/p>\n\u003cp>For decades, My-Linh Le has been lying to her parents about who she really is. Most of us have lied to our parents. But My-Linh is lying a lot, about major things. When she’s with them, she gives them the daughter they want, and she keeps the truth about who she is to herself. But then one night, My Linh has a strange dream and wakes up wondering, at 31 years old, is it finally time to own up to all the lies she's been living since high school? April Dembosky hosts this special edition of the California Report Magazine, and brings us the story of a woman from San Jose who says her whole life is about being two people at the same time.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Before anyone took a knee on a football field, two athletes from San Jose State University (SJSU) raised their fists in the air. It was 50 years ago this week.\u003c/p>\n\u003cp>It’s one of the most iconic images in sports history: Tommie Smith and John Carlos, two African-American track and field medal winners from SJSU, standing shoeless on an awards platform in Mexico City with their heads bowed and their fists in the air.\u003c/p>\n\u003cp>This week, San Jose State University celebrated the major anniversary of that moment with a \u003ca href=\"https://www.sjsuwordstoaction.com/50th-anniversary-of-the-defining-moment-in-sports-social-activism-the-voices-of-1968-head-to-san-jose-state-university-for-historic-town-hall/\" target=\"_blank\" rel=\"noopener\">town hall\u003c/a> that drew a large, enthusiastic crowd of students and a few people old enough to remember the original moment.\u003c/p>\n\u003cfigure id=\"attachment_11699652\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11699652\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/10/EPE0062-800x533.jpg\" alt=\"Tommie Smith at his alma mater, San Jose State University on October 17, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/EPE0062-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/EPE0062-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/EPE0062-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/EPE0062-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/EPE0062-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/EPE0062-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/EPE0062-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/EPE0062-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/EPE0062-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/EPE0062.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tommie Smith at his alma mater, San Jose State University on October 17, 2018. \u003ccite>(Photo: Courtesy of Josie Lepe/San Jose State University )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>His hair now grey, 74-year-old Smith has no regrets. “Find something to be responsible for. Get up in the morning, look in the mirror, and say to yourself, you have a responsibility. Then you’ve got to answer that. What is it?”\u003c/p>\n\u003cp>As a young university student, Smith was thinking along these lines before he qualified for the 1968 Olympics in Mexico City. In 1967, as the Mexico City Olympics approached, another athlete and activist on campus by the name of \u003ca href=\"https://www.sjsuwordstoaction.com/category/dr-harry-edwards/\" target=\"_blank\" rel=\"noopener\">Harry Edwards\u003c/a> formed the Olympic Project for Human Rights.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The group called for an athlete boycott of the games, to highlight the inequities African-American athletes faced. They wanted more black coaches. They wanted Olympic officials to restore Muhammad Ali’s heavyweight title, to disinvite South Africa and Rhodesia (now Zimbabwe) from the Olympics, and to remove Avery Brundage, the controversial International Olympic Committee president, from power.\u003c/p>\n\u003cp>The boycott failed to gain traction, but in the political moment of 1968, after two major assassinations, rolling riots and protests throughout the country, Smith and Carlos were not alone in feeling the charged political atmosphere back home demanded some kind of response, some action to capitalize on the platform they would enjoy with the world’s attention on them for the games.\u003c/p>\n\u003cp>A number of athletes wore black items of clothing during the Olympics as silent, subtle protests, but Smith and Carlos had something bigger in mind. After they won the gold and bronze, respectively, for their performances in the 200-meter dash, they walked up to receive their medals wearing black scarves to symbolize lynching, as well as black socks with no shoes to symbolize poverty. As the crowd cheered, they each raised a gloved fist to the sky.\u003c/p>\n\u003cp>\u003cem>Watch the men’s 200-meter race at the 1968 Mexico City Games, and the awards ceremony that follows. The relevant action begins at 29:45.\u003c/em>\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=pVsQYRZgb10]\u003c/p>\n\u003cp>The response was immediate and vitriolic. The International Olympic Committee called the protest of black suffering in America “outrageous,” and sent the two men\u003ca href=\"https://diva.sfsu.edu/collections/sfbatv/bundles/206374\" target=\"_blank\" rel=\"noopener\"> back to San Jose\u003c/a> the next day. Smith and Carlos received death threats, and the FBI monitored them with the label “rabble rousers.”\u003c/p>\n\u003cp>“The action … was an insult to the Mexican hosts and a disgrace to the United States,” Avery Brundage, the International Olympic Committee president, wrote in a letter months later.\u003c/p>\n\u003cp>The superstars from “Speed City,” as San Jose State was called at the time, were banned from international track and field competitions. In 1968, Tommie Smith was one of the fastest men on the planet. He set 13 world records, including the one on Oct. 16, 1968.\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=yV4zvaxeI94]\u003c/p>\n\u003cp>Over the years, attitudes towards what the men did began to change. In 1984, Smith and Carlos became emissaries for the Summer Olympics in Los Angeles. They were inducted into the U.S. Track and Field Hall of Fame. And in 2005, the Associated Students of San Jose State University unveiled, in the heart of the campus, a 23-foot-tall sculpture of the two athletes.\u003c/p>\n\u003cp>Carlos told the gathering, “W\u003cb>\u003c/b>e had to do something that would be prestigious, respectable, pungent, shocking. We didn’t give the finger. We didn’t wrap the flag around our head or tie it up like a diaper. We didn’t stand there with disrespect. We stood there to say, ‘Hey man, I’m America. I’m your son and I’m wounded. I’m not wounded for me, because I’m one of your heroes. I’m in the Olympics. But I’m wounded for the race.’ […] That’s why we went to Mexico City.”\u003c/p>\n\u003cfigure id=\"attachment_11699653\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11699653\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/10/RS33278_TommieCarlos_Sculpture_EPE0461-qut-800x533.jpg\" alt=\"John Carlos and Tommie Smith stand in front of the statue memorializing their iconic Olympic moment on the San Jose State University campus.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33278_TommieCarlos_Sculpture_EPE0461-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33278_TommieCarlos_Sculpture_EPE0461-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33278_TommieCarlos_Sculpture_EPE0461-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33278_TommieCarlos_Sculpture_EPE0461-qut-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33278_TommieCarlos_Sculpture_EPE0461-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33278_TommieCarlos_Sculpture_EPE0461-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33278_TommieCarlos_Sculpture_EPE0461-qut-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33278_TommieCarlos_Sculpture_EPE0461-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33278_TommieCarlos_Sculpture_EPE0461-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33278_TommieCarlos_Sculpture_EPE0461-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">John Carlos and Tommie Smith stand in front of the statue memorializing their iconic Olympic moment on the San Jose State University campus. \u003ccite>(Photo: Courtesy of Josie Lepe/San Jose State University )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He added, “I didn’t choose to be the guy in Mexico City. God chose me to be there. But God left it up to us as to how we were going to respond when we got there. ”\u003c/p>\n\u003cp>Also in attendance that day: Australian Olympian Peter Norman, the white, silver medal winner who stood with Smith and Carlos in sympathy back in 1968.\u003c/p>\n\u003cp>Just a year before he died in 2006, Norman had this to say. “Two men made a statement that reverberated around the world. It was like a pebble into the middle of a small pond. The reverberations of the ripple are still rippling. It’s a very big pond. It’s the entire world.”\u003c/p>\n\u003cfigure id=\"attachment_11699655\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11699655\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/10/EPE0033-800x533.jpg\" alt=\"Dr. Harry Edwards, now Professor Emeritus at UC Berkeley, addresses a celebration at San Jose State University.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/EPE0033-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/EPE0033-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/EPE0033-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/EPE0033-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/EPE0033-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/EPE0033-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/EPE0033-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/EPE0033-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/EPE0033-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/EPE0033.jpg 1738w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dr. Harry Edwards, now Professor Emeritus at UC Berkeley, addresses a celebration at San Jose State University. \u003ccite>(Photo: Courtesy of Josie Lepe/San Jose State University )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Edwards calls what happened in Mexico City part of the third wave of athletic political activism. The first wave, he explains, includes people like Jack Johnson and Joe Lewis who established the fact of black athletic talent.\u003c/p>\n\u003cp>The second wave includes people like Jackie Robinson and Bill Willis who struggled to establish access to the fields of play, to end segregation of professional sports after World War II.\u003c/p>\n\u003cp>The third wave includes Muhammed Ali, as well as Smith and Carlos.\u003cbr>\n[ad floatright]\u003cbr>\n“Dignity and respect. Not only did they want to be on the field and on the courts, in the boxing ring. They wanted to be respected as human beings outside of the arena. That’s why it was the Olympic project for human rights, not the Olympic project for civil rights,” Edwards says.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/news/tag/colin-kaepernick\" target=\"_blank\" rel=\"noopener\">Colin Kaepernick\u003c/a>, the quarterback who lost his NFL position after kneeling during the national anthem to protest racial and social injustice? Edwards says Kaepernick is part of the fourth wave, which he sees as play for power. “Today, we’re in a position where we can exercise power. Here’s what we want to talk about.”\u003c/p>\n\u003cp>Edwards sees a fifth wave coming: women claiming more of a leadership role in professional sports.\u003c/p>\n\u003cp>“We’re not going anywhere where women don’t lead,” he says.\u003c/p>\n\u003cdiv style=\"width:100%\">\n\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://uploads.knightlab.com/storymapjs/52f6ac29a40773d4b276d006a9cc5ce8/politics-at-the-olympics/index.html\" width=\"100%\" height=\"800\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\n\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Before anyone took a knee on a football field, two athletes from San Jose State University (SJSU) raised their fists in the air. It was 50 years ago this week.\u003c/p>\n\u003cp>It’s one of the most iconic images in sports history: Tommie Smith and John Carlos, two African-American track and field medal winners from SJSU, standing shoeless on an awards platform in Mexico City with their heads bowed and their fists in the air.\u003c/p>\n\u003cp>This week, San Jose State University celebrated the major anniversary of that moment with a \u003ca href=\"https://www.sjsuwordstoaction.com/50th-anniversary-of-the-defining-moment-in-sports-social-activism-the-voices-of-1968-head-to-san-jose-state-university-for-historic-town-hall/\" target=\"_blank\" rel=\"noopener\">town hall\u003c/a> that drew a large, enthusiastic crowd of students and a few people old enough to remember the original moment.\u003c/p>\n\u003cfigure id=\"attachment_11699652\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11699652\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/10/EPE0062-800x533.jpg\" alt=\"Tommie Smith at his alma mater, San Jose State University on October 17, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/EPE0062-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/EPE0062-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/EPE0062-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/EPE0062-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/EPE0062-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/EPE0062-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/EPE0062-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/EPE0062-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/EPE0062-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/EPE0062.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tommie Smith at his alma mater, San Jose State University on October 17, 2018. \u003ccite>(Photo: Courtesy of Josie Lepe/San Jose State University )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>His hair now grey, 74-year-old Smith has no regrets. “Find something to be responsible for. Get up in the morning, look in the mirror, and say to yourself, you have a responsibility. Then you’ve got to answer that. What is it?”\u003c/p>\n\u003cp>As a young university student, Smith was thinking along these lines before he qualified for the 1968 Olympics in Mexico City. In 1967, as the Mexico City Olympics approached, another athlete and activist on campus by the name of \u003ca href=\"https://www.sjsuwordstoaction.com/category/dr-harry-edwards/\" target=\"_blank\" rel=\"noopener\">Harry Edwards\u003c/a> formed the Olympic Project for Human Rights.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The group called for an athlete boycott of the games, to highlight the inequities African-American athletes faced. They wanted more black coaches. They wanted Olympic officials to restore Muhammad Ali’s heavyweight title, to disinvite South Africa and Rhodesia (now Zimbabwe) from the Olympics, and to remove Avery Brundage, the controversial International Olympic Committee president, from power.\u003c/p>\n\u003cp>The boycott failed to gain traction, but in the political moment of 1968, after two major assassinations, rolling riots and protests throughout the country, Smith and Carlos were not alone in feeling the charged political atmosphere back home demanded some kind of response, some action to capitalize on the platform they would enjoy with the world’s attention on them for the games.\u003c/p>\n\u003cp>A number of athletes wore black items of clothing during the Olympics as silent, subtle protests, but Smith and Carlos had something bigger in mind. After they won the gold and bronze, respectively, for their performances in the 200-meter dash, they walked up to receive their medals wearing black scarves to symbolize lynching, as well as black socks with no shoes to symbolize poverty. As the crowd cheered, they each raised a gloved fist to the sky.\u003c/p>\n\u003cp>\u003cem>Watch the men’s 200-meter race at the 1968 Mexico City Games, and the awards ceremony that follows. The relevant action begins at 29:45.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/pVsQYRZgb10'\n title='//www.youtube.com/embed/pVsQYRZgb10'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The response was immediate and vitriolic. The International Olympic Committee called the protest of black suffering in America “outrageous,” and sent the two men\u003ca href=\"https://diva.sfsu.edu/collections/sfbatv/bundles/206374\" target=\"_blank\" rel=\"noopener\"> back to San Jose\u003c/a> the next day. Smith and Carlos received death threats, and the FBI monitored them with the label “rabble rousers.”\u003c/p>\n\u003cp>“The action … was an insult to the Mexican hosts and a disgrace to the United States,” Avery Brundage, the International Olympic Committee president, wrote in a letter months later.\u003c/p>\n\u003cp>The superstars from “Speed City,” as San Jose State was called at the time, were banned from international track and field competitions. In 1968, Tommie Smith was one of the fastest men on the planet. He set 13 world records, including the one on Oct. 16, 1968.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/yV4zvaxeI94'\n title='//www.youtube.com/embed/yV4zvaxeI94'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Over the years, attitudes towards what the men did began to change. In 1984, Smith and Carlos became emissaries for the Summer Olympics in Los Angeles. They were inducted into the U.S. Track and Field Hall of Fame. And in 2005, the Associated Students of San Jose State University unveiled, in the heart of the campus, a 23-foot-tall sculpture of the two athletes.\u003c/p>\n\u003cp>Carlos told the gathering, “W\u003cb>\u003c/b>e had to do something that would be prestigious, respectable, pungent, shocking. We didn’t give the finger. We didn’t wrap the flag around our head or tie it up like a diaper. We didn’t stand there with disrespect. We stood there to say, ‘Hey man, I’m America. I’m your son and I’m wounded. I’m not wounded for me, because I’m one of your heroes. I’m in the Olympics. But I’m wounded for the race.’ […] That’s why we went to Mexico City.”\u003c/p>\n\u003cfigure id=\"attachment_11699653\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11699653\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/10/RS33278_TommieCarlos_Sculpture_EPE0461-qut-800x533.jpg\" alt=\"John Carlos and Tommie Smith stand in front of the statue memorializing their iconic Olympic moment on the San Jose State University campus.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33278_TommieCarlos_Sculpture_EPE0461-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33278_TommieCarlos_Sculpture_EPE0461-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33278_TommieCarlos_Sculpture_EPE0461-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33278_TommieCarlos_Sculpture_EPE0461-qut-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33278_TommieCarlos_Sculpture_EPE0461-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33278_TommieCarlos_Sculpture_EPE0461-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33278_TommieCarlos_Sculpture_EPE0461-qut-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33278_TommieCarlos_Sculpture_EPE0461-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33278_TommieCarlos_Sculpture_EPE0461-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33278_TommieCarlos_Sculpture_EPE0461-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">John Carlos and Tommie Smith stand in front of the statue memorializing their iconic Olympic moment on the San Jose State University campus. \u003ccite>(Photo: Courtesy of Josie Lepe/San Jose State University )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He added, “I didn’t choose to be the guy in Mexico City. God chose me to be there. But God left it up to us as to how we were going to respond when we got there. ”\u003c/p>\n\u003cp>Also in attendance that day: Australian Olympian Peter Norman, the white, silver medal winner who stood with Smith and Carlos in sympathy back in 1968.\u003c/p>\n\u003cp>Just a year before he died in 2006, Norman had this to say. “Two men made a statement that reverberated around the world. It was like a pebble into the middle of a small pond. The reverberations of the ripple are still rippling. It’s a very big pond. It’s the entire world.”\u003c/p>\n\u003cfigure id=\"attachment_11699655\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11699655\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/10/EPE0033-800x533.jpg\" alt=\"Dr. Harry Edwards, now Professor Emeritus at UC Berkeley, addresses a celebration at San Jose State University.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/EPE0033-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/EPE0033-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/EPE0033-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/EPE0033-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/EPE0033-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/EPE0033-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/EPE0033-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/EPE0033-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/EPE0033-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/EPE0033.jpg 1738w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dr. Harry Edwards, now Professor Emeritus at UC Berkeley, addresses a celebration at San Jose State University. \u003ccite>(Photo: Courtesy of Josie Lepe/San Jose State University )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Edwards calls what happened in Mexico City part of the third wave of athletic political activism. The first wave, he explains, includes people like Jack Johnson and Joe Lewis who established the fact of black athletic talent.\u003c/p>\n\u003cp>The second wave includes people like Jackie Robinson and Bill Willis who struggled to establish access to the fields of play, to end segregation of professional sports after World War II.\u003c/p>\n\u003cp>The third wave includes Muhammed Ali, as well as Smith and Carlos.\u003cbr>\n\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cbr>\n“Dignity and respect. Not only did they want to be on the field and on the courts, in the boxing ring. They wanted to be respected as human beings outside of the arena. That’s why it was the Olympic project for human rights, not the Olympic project for civil rights,” Edwards says.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/news/tag/colin-kaepernick\" target=\"_blank\" rel=\"noopener\">Colin Kaepernick\u003c/a>, the quarterback who lost his NFL position after kneeling during the national anthem to protest racial and social injustice? Edwards says Kaepernick is part of the fourth wave, which he sees as play for power. “Today, we’re in a position where we can exercise power. Here’s what we want to talk about.”\u003c/p>\n\u003cp>Edwards sees a fifth wave coming: women claiming more of a leadership role in professional sports.\u003c/p>\n\u003cp>“We’re not going anywhere where women don’t lead,” he says.\u003c/p>\n\u003cdiv style=\"width:100%\">\n\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://uploads.knightlab.com/storymapjs/52f6ac29a40773d4b276d006a9cc5ce8/politics-at-the-olympics/index.html\" width=\"100%\" height=\"800\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\n\u003c/div>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Restoration Underway After Murals Defaced in Mission's Clarion Alley",
"title": "Restoration Underway After Murals Defaced in Mission's Clarion Alley",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>Several murals in the iconic Clarion Alley in San Francisco's Mission district were vandalized over the past few weeks. The Clarion Alley Mural Project (CAMP) \u003ca href=\"https://www.facebook.com/ClarionAlleyMuralProject.org/posts/10155477226071572?__tn__=-R\" rel=\"noopener\" target=\"_blank\">posted about the vandalism\u003c/a> on its Facebook page Sunday morning.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe src=\"https://www.facebook.com/plugins/post.php?href=https%3A%2F%2Fwww.facebook.com%2FClarionAlleyMuralProject.org%2Fposts%2F10155477226071572&width=500\" width=\"500\" height=\"713\" style=\"border:none;overflow:hidden\" scrolling=\"no\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>According to Megan Wilson, CAMP's board president and co-director, two of the incidents targeted murals supporting the Palestinian cause, while the most recent vandalism, which Wilson said occurred in the last 48 hours, featured \"Make America Great Again\" imagery. Overall, Wilson said, about 10 of the 100 or so murals currently in the alley were defaced. \u003c/p>\n\u003cp>\"It feels like a hate crime,\" said Wilson, who was out repairing her own vandalized mural Sunday. She said she had already planned to be in the alley to attend the dedication of three murals made in support of Palestinian that was scheduled for later in the day, which she believed may have motivated the most recent acts of vandalism.\u003c/p>\n\u003cp>The mural project is the work of a collective of artists that has produced more than 700 usually social justice-themed murals in the Mission district alley between 17th and 18th and Mission and Valencia streets since 1992. \u003c/p>\n\u003cfigure id=\"attachment_11698857\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/10/Image-from-iOS-24-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" class=\"size-medium wp-image-11698857\">\u003cfigcaption class=\"wp-caption-text\">Megan Wilson, the co-director of the Clarion Alley Mural Project, estimated that 10 percent of the murals were defaced in this most recent incident. \u003ccite>(Tiffany Camhi/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Wilson said vandalism in the alley isn't common but that the murals have occasionally been defaced over the project's 26-year history. She said anytime it happens, members of the CAMP community show up to support the project and begin the repair process. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>By late Sunday morning, some of the murals that had been defaced over the last 48 hours had already been repainted, with more artists coming by to work on repairs later in the day. \u003c/p>\n\u003cfigure id=\"attachment_11698858\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/10/Image-from-iOS-25-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" class=\"size-medium wp-image-11698858\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/10/Image-from-iOS-25-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/Image-from-iOS-25-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/Image-from-iOS-25-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/Image-from-iOS-25-1200x900.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/Image-from-iOS-25-1920x1440.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/Image-from-iOS-25-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/Image-from-iOS-25-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/Image-from-iOS-25-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/Image-from-iOS-25-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/Image-from-iOS-25-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Some pieces were already repaired by artists. In the original post by Clarion Alley Mural Project, this mural could be seen with multiple \"Make America Great Again\" hats painted on the figures. \u003ccite>(Tiffany Camhi/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Wilson said she spent two hours Sunday morning just responding to emails offering support and donations. \u003c/p>\n\u003cp>\"CAMP has an amazing supportive community that really loves us,\" Wilson said. \"It's really amazing to have that.\" \u003c/p>\n\u003cfigure id=\"attachment_11698855\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/10/Image-from-iOS-23-1020x765.jpg\" alt=\"\" width=\"640\" height=\"480\" class=\"size-large wp-image-11698855\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/10/Image-from-iOS-23-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/Image-from-iOS-23-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/Image-from-iOS-23-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/Image-from-iOS-23-1200x900.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/Image-from-iOS-23-1920x1440.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/Image-from-iOS-23-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/Image-from-iOS-23-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/Image-from-iOS-23-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/Image-from-iOS-23-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/Image-from-iOS-23-520x390.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Over the last 48 hours some of the murals in Clarion Alley were painted over with the \"Make America Great Again\" slogan. \u003ccite>(Tiffany Camhi/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11698913\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/10/IMG_6871-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-11698913\">\u003cfigcaption class=\"wp-caption-text\">Kenshin Shemaya helps restore a friend's mural after vandals painted \"Make America Great Again\" over a figure.\u003c/figcaption>\u003c/figure>\n\u003cp>Artist Kenshin Shemaya came Sunday to restore a friend's mural after vandals painted Make America Great Again over a figure. Later, he says he'd tackle repairing his own mural.\u003c/p>\n\u003cp>\"The vandalism is a constant, but normally it's just teenage kids coming through with 40 ounces and markers, but this was obviously a premeditated attack,\" Shemaya said.\u003c/p>\n\u003cp>Shemaya said the vandals came prepared with several colors to destroy artists' work.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\"Rather than going and painting their own mural, expressing their own opinions, they chose to come out and shit on somebody else's,\" Shemaya said.\u003c/p>\n\u003cfigure id=\"attachment_11698859\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/10/Image-from-iOS-26-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" class=\"size-medium wp-image-11698859\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/10/Image-from-iOS-26-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/Image-from-iOS-26-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/Image-from-iOS-26-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/Image-from-iOS-26-1200x900.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/Image-from-iOS-26-1920x1440.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/Image-from-iOS-26-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/Image-from-iOS-26-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/Image-from-iOS-26-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/Image-from-iOS-26-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/Image-from-iOS-26-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">This mural by Mothers Fight Back had \"Kavanaugh justice for all!\" painted beside the mural's text. The mural \"Justice for Sahleem Tindle\" is a memorial for Sahleem who was killed in West Oakland by a BART officer Jan. 3, 2018. \u003ccite>(Tiffany Camhi/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Several murals in the iconic Clarion Alley in San Francisco's Mission district were vandalized over the past few weeks. The Clarion Alley Mural Project (CAMP) \u003ca href=\"https://www.facebook.com/ClarionAlleyMuralProject.org/posts/10155477226071572?__tn__=-R\" rel=\"noopener\" target=\"_blank\">posted about the vandalism\u003c/a> on its Facebook page Sunday morning.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe src=\"https://www.facebook.com/plugins/post.php?href=https%3A%2F%2Fwww.facebook.com%2FClarionAlleyMuralProject.org%2Fposts%2F10155477226071572&width=500\" width=\"500\" height=\"713\" style=\"border:none;overflow:hidden\" scrolling=\"no\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>According to Megan Wilson, CAMP's board president and co-director, two of the incidents targeted murals supporting the Palestinian cause, while the most recent vandalism, which Wilson said occurred in the last 48 hours, featured \"Make America Great Again\" imagery. Overall, Wilson said, about 10 of the 100 or so murals currently in the alley were defaced. \u003c/p>\n\u003cp>\"It feels like a hate crime,\" said Wilson, who was out repairing her own vandalized mural Sunday. She said she had already planned to be in the alley to attend the dedication of three murals made in support of Palestinian that was scheduled for later in the day, which she believed may have motivated the most recent acts of vandalism.\u003c/p>\n\u003cp>The mural project is the work of a collective of artists that has produced more than 700 usually social justice-themed murals in the Mission district alley between 17th and 18th and Mission and Valencia streets since 1992. \u003c/p>\n\u003cfigure id=\"attachment_11698857\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/10/Image-from-iOS-24-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" class=\"size-medium wp-image-11698857\">\u003cfigcaption class=\"wp-caption-text\">Megan Wilson, the co-director of the Clarion Alley Mural Project, estimated that 10 percent of the murals were defaced in this most recent incident. \u003ccite>(Tiffany Camhi/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Wilson said vandalism in the alley isn't common but that the murals have occasionally been defaced over the project's 26-year history. She said anytime it happens, members of the CAMP community show up to support the project and begin the repair process. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>By late Sunday morning, some of the murals that had been defaced over the last 48 hours had already been repainted, with more artists coming by to work on repairs later in the day. \u003c/p>\n\u003cfigure id=\"attachment_11698858\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/10/Image-from-iOS-25-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" class=\"size-medium wp-image-11698858\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/10/Image-from-iOS-25-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/Image-from-iOS-25-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/Image-from-iOS-25-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/Image-from-iOS-25-1200x900.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/Image-from-iOS-25-1920x1440.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/Image-from-iOS-25-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/Image-from-iOS-25-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/Image-from-iOS-25-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/Image-from-iOS-25-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/Image-from-iOS-25-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Some pieces were already repaired by artists. In the original post by Clarion Alley Mural Project, this mural could be seen with multiple \"Make America Great Again\" hats painted on the figures. \u003ccite>(Tiffany Camhi/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Wilson said she spent two hours Sunday morning just responding to emails offering support and donations. \u003c/p>\n\u003cp>\"CAMP has an amazing supportive community that really loves us,\" Wilson said. \"It's really amazing to have that.\" \u003c/p>\n\u003cfigure id=\"attachment_11698855\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/10/Image-from-iOS-23-1020x765.jpg\" alt=\"\" width=\"640\" height=\"480\" class=\"size-large wp-image-11698855\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/10/Image-from-iOS-23-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/Image-from-iOS-23-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/Image-from-iOS-23-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/Image-from-iOS-23-1200x900.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/Image-from-iOS-23-1920x1440.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/Image-from-iOS-23-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/Image-from-iOS-23-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/Image-from-iOS-23-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/Image-from-iOS-23-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/Image-from-iOS-23-520x390.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Over the last 48 hours some of the murals in Clarion Alley were painted over with the \"Make America Great Again\" slogan. \u003ccite>(Tiffany Camhi/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11698913\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/10/IMG_6871-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-11698913\">\u003cfigcaption class=\"wp-caption-text\">Kenshin Shemaya helps restore a friend's mural after vandals painted \"Make America Great Again\" over a figure.\u003c/figcaption>\u003c/figure>\n\u003cp>Artist Kenshin Shemaya came Sunday to restore a friend's mural after vandals painted Make America Great Again over a figure. Later, he says he'd tackle repairing his own mural.\u003c/p>\n\u003cp>\"The vandalism is a constant, but normally it's just teenage kids coming through with 40 ounces and markers, but this was obviously a premeditated attack,\" Shemaya said.\u003c/p>\n\u003cp>Shemaya said the vandals came prepared with several colors to destroy artists' work.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\"Rather than going and painting their own mural, expressing their own opinions, they chose to come out and shit on somebody else's,\" Shemaya said.\u003c/p>\n\u003cfigure id=\"attachment_11698859\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/10/Image-from-iOS-26-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" class=\"size-medium wp-image-11698859\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/10/Image-from-iOS-26-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/Image-from-iOS-26-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/Image-from-iOS-26-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/Image-from-iOS-26-1200x900.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/Image-from-iOS-26-1920x1440.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/Image-from-iOS-26-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/Image-from-iOS-26-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/Image-from-iOS-26-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/Image-from-iOS-26-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/Image-from-iOS-26-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">This mural by Mothers Fight Back had \"Kavanaugh justice for all!\" painted beside the mural's text. The mural \"Justice for Sahleem Tindle\" is a memorial for Sahleem who was killed in West Oakland by a BART officer Jan. 3, 2018. \u003ccite>(Tiffany Camhi/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Cafe Ohlone Brings Native Food to Berkeley",
"title": "Cafe Ohlone Brings Native Food to Berkeley",
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"content": "\u003cp>The Bay Area is renowned for its food, both global and local. But when it comes to the first foods of this place, not so much. Until now.\u003c/p>\n\u003cp>\u003ca href=\"https://www.makamham.com/cafeohlone/\" target=\"_blank\" rel=\"noopener\">Cafe Ohlone\u003c/a>, a new cafe featuring native Ohlone cuisine, has been hosting preview tastings inside University Press Books near the UC Berkeley campus, as it moves toward \u003ca href=\"https://twitter.com/makamham/status/1049773973775380480\" target=\"_blank\" rel=\"noopener\">regular hours and a grand opening\u003c/a> later this fall.\u003c/p>\n\u003cfigure id=\"attachment_11698716\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11698716 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/10/IMG_6719-800x533.jpg\" alt=\"Staff of Cafe Ohlone cart venison with elderberry sauce up to diners on the upper deck.\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/10/IMG_6719-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/IMG_6719-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/IMG_6719-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/IMG_6719-1200x800.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/IMG_6719-1920x1280.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/IMG_6719-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/IMG_6719-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/IMG_6719-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/IMG_6719-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/IMG_6719-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Staff of Cafe Ohlone cart venison with elderberry sauce up to diners on the upper deck. \u003ccite>(Sara Hossaini/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At a recent tasting, Vincent Medina and partner Louis Trevino served up Ohlone dishes including acorn bisque, elderberry sorrel salad and soft-boiled quail eggs with bayshore salt.\u003c/p>\n\u003cp>Standing in line for seconds, tribal member Johnny Dominguez called the place and the food an \"honor\" to behold.\u003c/p>\n\u003cp>\"I just had smoked venison, and that was really good,\" Dominguez said with a smile.\u003c/p>\n\u003cfigure id=\"attachment_11698718\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11698718 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/10/IMG_6721-e1539478100462-800x1273.jpg\" alt=\"Andrea Wieland of San Francisco says she was excited to try Ohlone food all week, and she was not disappointed. She says the visit gave her the opportunity to meet members of the Ohlone community for the first time.\" width=\"800\" height=\"1273\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/10/IMG_6721-e1539478100462-800x1273.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/IMG_6721-e1539478100462-160x255.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/IMG_6721-e1539478100462-1020x1623.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/IMG_6721-e1539478100462-754x1200.jpg 754w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/IMG_6721-e1539478100462-1920x3056.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/IMG_6721-e1539478100462-1180x1878.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/IMG_6721-e1539478100462-960x1528.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/IMG_6721-e1539478100462-240x382.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/IMG_6721-e1539478100462-375x597.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/IMG_6721-e1539478100462-520x828.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Andrea Wieland of San Francisco says she was excited to try Ohlone food all week, and she was not disappointed. She says the visit gave her the opportunity to meet members of the Ohlone community for the first time. \u003ccite>(Sara Hossaini/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Andrea Wieland of San Francisco said she'd been excited to taste the food for an entire week prior, and she wasn't disappointed.\u003c/p>\n\u003cp>\"I think there's a lot of indigenous cultures throughout the country that are a little bit better represented [than the Ohlone], but you could live in the Bay Area your entire life, and it wouldn't really register ever that there's a whole indigenous cultural group because we never hear about them,\" said Wieland, who said she'd never met an Ohlone person before visiting the cafe.\u003c/p>\n\u003cp>Alex Waite says she's excited about the establishment, which she says gives her another way for her to connect with her Native American heritage after being adopted away from the reservation where she was born.\u003c/p>\n\u003cp>\"My body feels really good eating it, you know?\" Waite said.\u003c/p>\n\u003cp>Cafe co-owner Vincent Medina says the food is as indigenous to this region as it is invisible to many.\u003c/p>\n\u003cfigure id=\"attachment_11698715\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11698715 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/10/IMG_6716-800x533.jpg\" alt=\"Alex Waite (R) finishes up her native tea with a friend. She says eating at Cafe Ohlone is another way for her to connect with her Native American heritage after being adopted away from the reservation where she was born.\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/10/IMG_6716-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/IMG_6716-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/IMG_6716-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/IMG_6716-1200x800.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/IMG_6716-1920x1280.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/IMG_6716-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/IMG_6716-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/IMG_6716-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/IMG_6716-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/IMG_6716-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alex Waite (R) finishes up her native tea with a friend. She says eating at Cafe Ohlone is another way for her to connect with her Native American heritage after being adopted away from the reservation where she was born. \u003ccite>(Sara Hossaini/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"It can be isolating when you're Ohlone, when you know you're from a place but you don't really see any reminders of your existence anywhere,' Medina said. \"And then to top it off, a big chunk of the population thinks you're extinct.\"\u003c/p>\n\u003cp>Medina is from one of East Bay's oldest families, and he spent nearly a decade studying audio and written records of the last fluent speakers of the Chochenyo language.\u003c/p>\n\u003cp>\"One of the things I think about a lot is how sad it must have been in those times in our history when those traditional foods weren't available to our people,\" he said. \"Not because they didn't care about it, but because of the violence that existed.\"\u003c/p>\n\u003cfigure id=\"attachment_11698720\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11698720 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/10/IMG_6725-800x533.jpg\" alt=\"Vincent Medina (R) shares venison with tribal members. 'This is your place,' Medina tells them.\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/10/IMG_6725-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/IMG_6725-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/IMG_6725-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/IMG_6725-1200x800.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/IMG_6725-1920x1280.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/IMG_6725-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/IMG_6725-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/IMG_6725-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/IMG_6725-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/IMG_6725-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Vincent Medina (R) shares venison with tribal members. 'This is your place,' Medina tells them. \u003ccite>(Sara Hossaini/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Medina says Cafe Ohlone is following in the footsteps of those elders who worked hard to preserve their traditions against the odds.\u003c/p>\n\u003cp>\"We're just trying to make it easier for the next generation,\" he said.\u003c/p>\n\u003cp>The cafe plans to update its \u003ca href=\"https://twitter.com/makamham\">Twitter feed\u003c/a> with its progress and schedule as it moves toward an official grand opening.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Bay Area is renowned for its food, both global and local. But when it comes to the first foods of this place, not so much. Until now.\u003c/p>\n\u003cp>\u003ca href=\"https://www.makamham.com/cafeohlone/\" target=\"_blank\" rel=\"noopener\">Cafe Ohlone\u003c/a>, a new cafe featuring native Ohlone cuisine, has been hosting preview tastings inside University Press Books near the UC Berkeley campus, as it moves toward \u003ca href=\"https://twitter.com/makamham/status/1049773973775380480\" target=\"_blank\" rel=\"noopener\">regular hours and a grand opening\u003c/a> later this fall.\u003c/p>\n\u003cfigure id=\"attachment_11698716\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11698716 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/10/IMG_6719-800x533.jpg\" alt=\"Staff of Cafe Ohlone cart venison with elderberry sauce up to diners on the upper deck.\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/10/IMG_6719-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/IMG_6719-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/IMG_6719-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/IMG_6719-1200x800.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/IMG_6719-1920x1280.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/IMG_6719-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/IMG_6719-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/IMG_6719-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/IMG_6719-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/IMG_6719-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Staff of Cafe Ohlone cart venison with elderberry sauce up to diners on the upper deck. \u003ccite>(Sara Hossaini/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At a recent tasting, Vincent Medina and partner Louis Trevino served up Ohlone dishes including acorn bisque, elderberry sorrel salad and soft-boiled quail eggs with bayshore salt.\u003c/p>\n\u003cp>Standing in line for seconds, tribal member Johnny Dominguez called the place and the food an \"honor\" to behold.\u003c/p>\n\u003cp>\"I just had smoked venison, and that was really good,\" Dominguez said with a smile.\u003c/p>\n\u003cfigure id=\"attachment_11698718\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11698718 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/10/IMG_6721-e1539478100462-800x1273.jpg\" alt=\"Andrea Wieland of San Francisco says she was excited to try Ohlone food all week, and she was not disappointed. She says the visit gave her the opportunity to meet members of the Ohlone community for the first time.\" width=\"800\" height=\"1273\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/10/IMG_6721-e1539478100462-800x1273.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/IMG_6721-e1539478100462-160x255.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/IMG_6721-e1539478100462-1020x1623.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/IMG_6721-e1539478100462-754x1200.jpg 754w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/IMG_6721-e1539478100462-1920x3056.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/IMG_6721-e1539478100462-1180x1878.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/IMG_6721-e1539478100462-960x1528.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/IMG_6721-e1539478100462-240x382.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/IMG_6721-e1539478100462-375x597.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/IMG_6721-e1539478100462-520x828.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Andrea Wieland of San Francisco says she was excited to try Ohlone food all week, and she was not disappointed. She says the visit gave her the opportunity to meet members of the Ohlone community for the first time. \u003ccite>(Sara Hossaini/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Andrea Wieland of San Francisco said she'd been excited to taste the food for an entire week prior, and she wasn't disappointed.\u003c/p>\n\u003cp>\"I think there's a lot of indigenous cultures throughout the country that are a little bit better represented [than the Ohlone], but you could live in the Bay Area your entire life, and it wouldn't really register ever that there's a whole indigenous cultural group because we never hear about them,\" said Wieland, who said she'd never met an Ohlone person before visiting the cafe.\u003c/p>\n\u003cp>Alex Waite says she's excited about the establishment, which she says gives her another way for her to connect with her Native American heritage after being adopted away from the reservation where she was born.\u003c/p>\n\u003cp>\"My body feels really good eating it, you know?\" Waite said.\u003c/p>\n\u003cp>Cafe co-owner Vincent Medina says the food is as indigenous to this region as it is invisible to many.\u003c/p>\n\u003cfigure id=\"attachment_11698715\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11698715 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/10/IMG_6716-800x533.jpg\" alt=\"Alex Waite (R) finishes up her native tea with a friend. She says eating at Cafe Ohlone is another way for her to connect with her Native American heritage after being adopted away from the reservation where she was born.\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/10/IMG_6716-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/IMG_6716-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/IMG_6716-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/IMG_6716-1200x800.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/IMG_6716-1920x1280.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/IMG_6716-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/IMG_6716-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/IMG_6716-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/IMG_6716-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/IMG_6716-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alex Waite (R) finishes up her native tea with a friend. She says eating at Cafe Ohlone is another way for her to connect with her Native American heritage after being adopted away from the reservation where she was born. \u003ccite>(Sara Hossaini/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"It can be isolating when you're Ohlone, when you know you're from a place but you don't really see any reminders of your existence anywhere,' Medina said. \"And then to top it off, a big chunk of the population thinks you're extinct.\"\u003c/p>\n\u003cp>Medina is from one of East Bay's oldest families, and he spent nearly a decade studying audio and written records of the last fluent speakers of the Chochenyo language.\u003c/p>\n\u003cp>\"One of the things I think about a lot is how sad it must have been in those times in our history when those traditional foods weren't available to our people,\" he said. \"Not because they didn't care about it, but because of the violence that existed.\"\u003c/p>\n\u003cfigure id=\"attachment_11698720\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11698720 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/10/IMG_6725-800x533.jpg\" alt=\"Vincent Medina (R) shares venison with tribal members. 'This is your place,' Medina tells them.\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/10/IMG_6725-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/IMG_6725-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/IMG_6725-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/IMG_6725-1200x800.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/IMG_6725-1920x1280.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/IMG_6725-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/IMG_6725-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/IMG_6725-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/IMG_6725-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/IMG_6725-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Vincent Medina (R) shares venison with tribal members. 'This is your place,' Medina tells them. \u003ccite>(Sara Hossaini/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Medina says Cafe Ohlone is following in the footsteps of those elders who worked hard to preserve their traditions against the odds.\u003c/p>\n\u003cp>\"We're just trying to make it easier for the next generation,\" he said.\u003c/p>\n\u003cp>The cafe plans to update its \u003ca href=\"https://twitter.com/makamham\">Twitter feed\u003c/a> with its progress and schedule as it moves toward an official grand opening.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "it-never-stopped-coming-photojournalist-reflects-on-the-north-bay-fires-one-year-later",
"title": "'It Never Stopped Coming': Photojournalist Reflects on the North Bay Fires One Year Later",
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"headTitle": "‘It Never Stopped Coming’: Photojournalist Reflects on the North Bay Fires One Year Later | KQED",
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"content": "\u003cp>\u003cem>Whether it was the photo of the man jumping off his home or the sign reading “The love in the air is thicker than the smoke,” many images from the North Bay Fires have stuck with people even one year later.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Getty Images photojournalist \u003ca href=\"https://twitter.com/sullyfoto\" target=\"_blank\" rel=\"noopener\">Justin Sullivan\u003c/a> covered the fires last year and took some of the most memorable images of the event. A year later, he went back and photographed the same locations to see how they had changed over the course of a year.\u003c/em>\u003c/p>\n\u003cp>\u003cem>KQED talked to Sullivan about what it was like to cover the devastating fires, how fires have changed since he started covering them and what it’s been like covering ones so close to home. You can hear the interview by clicking the play button above, or you can read a transcript below, which has been lightly edited for clarity.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Going back to those first days covering the fires in the North Bay, are there any impressions or feelings that have stuck with you over the year?\u003c/strong>\u003c/p>\n\u003cp>I think that the overall scale of the fire was the thing that stuck with me the most. I’ve been covering fires for nearly 20 years, and the fact that a fire grew that fast and devastated a community that wasn’t in the middle of a forest or in the middle of a field of dry brush or typical places where you do see destruction from a fire. The Coffey Park community, in specific, that lost the most homes wasn’t anywhere near that stuff. The weather and the winds just pushed it right into that area, and I’m sure those people never expected that. It never stopped coming. That’s the crazy thing about how these fires are continuing to grow bigger and bigger each day.\u003c/p>\n\u003cfigure id=\"attachment_11698756\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11698756 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/10/RS33162_GettyImages-1047758214-qut-800x1063.jpg\" alt=\"(Top image) Smoke can be seen rising from the Hilton Sonoma Wine Country on October 9, 2017 in Santa Rosa. (Bottom image) The Hilton sign remains at the site of the Hilton Sonoma Wine Country that was destroyed by the Tubbs Fire one year earlier on October 8, 2018 in Santa Rosa.\" width=\"800\" height=\"1063\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33162_GettyImages-1047758214-qut-800x1063.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33162_GettyImages-1047758214-qut-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33162_GettyImages-1047758214-qut-1020x1355.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33162_GettyImages-1047758214-qut-904x1200.jpg 904w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33162_GettyImages-1047758214-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33162_GettyImages-1047758214-qut-1180x1567.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33162_GettyImages-1047758214-qut-960x1275.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33162_GettyImages-1047758214-qut-240x319.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33162_GettyImages-1047758214-qut-375x498.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33162_GettyImages-1047758214-qut-520x691.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Top image) Smoke can be seen rising from the Hilton Sonoma Wine Country on October 9, 2017 in Santa Rosa. (Bottom image) The Hilton sign remains at the site of the Hilton Sonoma Wine Country that was destroyed by the Tubbs Fire one year earlier on October 8, 2018 in Santa Rosa. (bottom image) The Hilton sign remains at the site of the Hilton Sonoma Wine Country that was destroyed by the Tubbs Fire one year earlier on October 8, 2018 in Santa Rosa, California. \u003ccite>(Justin Sullivan/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>In your photos last year, you captured a lot. You captured the destruction—I remember images of the Hilton Hotel in Santa Rosa being in flames, totally destroyed. Also images of people consoling each other, images of firefighters. I’m wondering if there are any particular photos that you remember capturing that have stuck with you since last year.\u003c/strong>\u003c/p>\n\u003cp>There was one. I met a guy named Mike. This was near Glen Ellen, and he lived in a small little house that was, it was kind this little cul-de-sac, and it wasn’t like a traditional street, and it was just like this little development that had maybe three or four houses on it. Three other houses around it had been burned down, and he was trying to save his little house—running around, the fence was on fire. He’s trying to do all he can to keep it away from his house. And at one point he climbed up on top of the roof so he could just sort of get an overview and to see what he was dealing with. And there’s a picture I took of him jumping off the roof back down on the ground as he was like frantically, you know, trying to rush around and extinguish all the flames that were encroaching on his little house. I think at the end of the day, he managed to save his house, and it was the only one that was saved in the area. The immediate area around his house, everything else burned down.\u003c/p>\n\u003cfigure id=\"attachment_11698754\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11698754 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/10/RS27223_GettyImages-859436442-qut-800x533.jpg\" alt=\"A resident rushes to save his home as an out of control wildfire moves through the area on October 9, 2017 in Glen Ellen, California.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS27223_GettyImages-859436442-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS27223_GettyImages-859436442-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS27223_GettyImages-859436442-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS27223_GettyImages-859436442-qut-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS27223_GettyImages-859436442-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS27223_GettyImages-859436442-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS27223_GettyImages-859436442-qut-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS27223_GettyImages-859436442-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS27223_GettyImages-859436442-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS27223_GettyImages-859436442-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A resident rushes to save his home as an out of control wildfire moves through the area on October 9, 2017 in Glen Ellen, California. \u003ccite>(Justin Sullivan/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Have you kept in touch with him in any way? Or do you keep in touch with any of the people that you photographed last year? Are there people or personalities who you met who have stuck with you or who you’ve continued to photograph and speak with?\u003c/strong>\u003c/p>\n\u003cp>I spoke with him for probably a month or so after the fire, and then we lost touch. There was another guy that reached out to me because he saw a picture that I had taken of his house while it was on fire. He had just moved into the house probably six months prior, or maybe a year prior, and we ended up meeting. I gave him some photos of his house. At first when I got that email from him, I thought, “He’s going to be upset that I took a picture of his home on fire.” But at the end of the day, I think he was just more interested in saying, “Look this is what happened, and I’d like to have something that shows, you know, where I once lived.”\u003c/p>\n\u003cfigure id=\"attachment_11698773\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11698773 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/10/RS33164_GettyImages-1047758260-qut-800x1071.jpg\" alt=\"(Top image) Burned out cars sit next to a building on fire in a fire ravaged neighborhood on October 9, 2017 in Santa Rosa. (Bottom image) A light pole stands in a parking lot of a store that was destroyed by the Tubbs Fire one year earlier on October 8, 2018 in Santa Rosa.\" width=\"800\" height=\"1071\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33164_GettyImages-1047758260-qut-800x1071.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33164_GettyImages-1047758260-qut-160x214.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33164_GettyImages-1047758260-qut-1020x1366.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33164_GettyImages-1047758260-qut-896x1200.jpg 896w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33164_GettyImages-1047758260-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33164_GettyImages-1047758260-qut-1180x1580.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33164_GettyImages-1047758260-qut-960x1286.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33164_GettyImages-1047758260-qut-240x321.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33164_GettyImages-1047758260-qut-375x502.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33164_GettyImages-1047758260-qut-520x696.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Top image) Burned out cars sit next to a building on fire in a fire ravaged neighborhood on October 9, 2017 in Santa Rosa. (Bottom image) A light pole stands in a parking lot of a store that was destroyed by the Tubbs Fire one year earlier on October 8, 2018 in Santa Rosa. \u003ccite>(Justin Sullivan/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Is there any difficulty in deciding what to photograph during such a tragic event?\u003c/strong>\u003c/p>\n\u003cp>I think in the case of that particular fire—or fires, because there are three or four that were going on at the same time—is the amount of stimulus that was happening. I mean, there were things happening everywhere. There were moments with people. There were moments not with people— and landscapes of whole ridges on fire. I honestly started my day, the day that the fires started, in Napa County, and then I slowly started to move toward Sonoma. I didn’t even get to Santa Rosa until probably the afternoon. I didn’t even know about the Coffey Park neighborhood until maybe two days later when I went over in a helicopter, and that was the first time I had seen that widespread devastation and was completely blown away. There was just so much going on. I think on that very first day, I drove from Marin County, where I live, to Sonoma, all the way up to Calistoga, down in Napa, all the way to Santa Rosa and back. And it was just—the area was so huge that there was just so much to see and do.\u003c/p>\n\u003cfigure id=\"attachment_11698774\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11698774\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/10/RS33160_GettyImages-1047758152-qut-800x1078.jpg\" alt=\"(Top image) Firefighters spray water on fire damaged mobile home at the Journey's End Mobile Home Park on October 9, 2017 in Santa Rosa. (Bottom image) A burned mobile home stands at the Journey's End Mobile Home Park that was destroyed by the Tubbs Fire one year earlier on October 8, 2018.\" width=\"800\" height=\"1078\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33160_GettyImages-1047758152-qut-800x1078.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33160_GettyImages-1047758152-qut-160x216.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33160_GettyImages-1047758152-qut-1020x1375.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33160_GettyImages-1047758152-qut-890x1200.jpg 890w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33160_GettyImages-1047758152-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33160_GettyImages-1047758152-qut-1180x1591.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33160_GettyImages-1047758152-qut-960x1294.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33160_GettyImages-1047758152-qut-240x324.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33160_GettyImages-1047758152-qut-375x505.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33160_GettyImages-1047758152-qut-520x701.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Top image) Firefighters spray water on fire damaged mobile home at the Journey’s End Mobile Home Park on October 9, 2017 in Santa Rosa. (Bottom image) A burned mobile home stands at the Journey’s End Mobile Home Park that was destroyed by the Tubbs Fire one year earlier on October 8, 2018. \u003ccite>(Justin Sullivan/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Living in Marin County, being so close to where this tragedy struck—did that make it different from the other events you’ve covered? Did this feel different at all because this massive destruction was so close to where you live? \u003c/strong>\u003c/p>\n\u003cp>It did in many ways. For the start, I woke up in the middle of the night, and my girlfriend woke me up and said, “Hey, I think there’s a fire in our building.” And sure enough, I woke up and it smelled like smoke. I looked outside, and there was smoke everywhere. And this was probably maybe two or three hours after the fire started—that’s how strong the winds were blowing. It just blew. Marin County was just socked in with smoke. And then, in the days to come after the fact, I got more phone calls and emails from people that I know in the area saying, “Hey, can you go take a look and see my cousin’s house and my brother’s house, or my house? We can’t get in. If you’re in that area, can you take a look?” And I’ve never really had that on fires. A lot of the fires I cover are in remote areas or in Southern California, and I don’t necessarily know many people in the area in Southern California or rural California. So it kind of hit home that people, you know, identified with me being there and just wanted peace of mind to know, “Hey, is my property OK, or is my brother’s property OK?” And I ended up going and looking at maybe six or seven people’s homes that I’ve known for many years just to make sure it was still there.\u003c/p>\n\u003cfigure id=\"attachment_11698758\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11698758 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/10/RS33157_GettyImages-1047746632-qut-800x1078.jpg\" alt=\"In this composite image a comparison has been made between the days of the 2017 Tubbs Fire and what those areas look like on the one year anniversary of California's most destructive wildfire complex. (top image) A view of homes in the Coffey Park neighborhood that were destroyed by the Tubbs Fire on October 23, 2017 in Santa Rosa. (bottom image) A newly constructed home stands on the site that was destroyed by the Tubbs Fire one year earlier on October 8, 2018 in Santa Rosa.\" width=\"800\" height=\"1078\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33157_GettyImages-1047746632-qut-800x1078.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33157_GettyImages-1047746632-qut-160x216.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33157_GettyImages-1047746632-qut-1020x1374.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33157_GettyImages-1047746632-qut-891x1200.jpg 891w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33157_GettyImages-1047746632-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33157_GettyImages-1047746632-qut-1180x1589.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33157_GettyImages-1047746632-qut-960x1293.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33157_GettyImages-1047746632-qut-240x323.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33157_GettyImages-1047746632-qut-375x505.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33157_GettyImages-1047746632-qut-520x700.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In this composite image a comparison has been made between the days of the 2017 Tubbs Fire and what those areas look like on the one year anniversary of California’s most destructive wildfire complex. (top image) A view of homes in the Coffey Park neighborhood that were destroyed by the Tubbs Fire on October 23, 2017 in Santa Rosa. (bottom image) A newly constructed home stands on the site that was destroyed by the Tubbs Fire one year earlier on October 8, 2018 in Santa Rosa. \u003ccite>(Justin Sullivan/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Seeing some of your photographs a year later of new construction in these burns zones, it’s pretty striking to see new homes in areas surrounded by destruction from the fires. I’m wondering, what are your thoughts, one year later, on how the community is rebuilding, from the perspective of an observer, somebody who’s capturing images of it?\u003c/strong>\u003c/p>\n\u003cp>Well, I was sort of struck by that as well because I’ve never gone back to an area that I photographed in a fire because typically areas don’t have such a wide area that burned down. That Coffey Park area in particular, where literally hundreds of homes were just gone. To go back and see, you know, a fraction of them popping up, but there’s still a lot that’s not being built. There are “for sale” signs on some of the pieces of land. There’s just pieces of land that are just empty. You know, they’ve taken everything out, they’ve cleared all the toxic debris out, and it’s just an empty lot now. But there are some neighborhoods that I went to that there were probably maybe 50 or 60 homes in there, and now there are only two that have come back. It’s a slow progression, and hopefully it does come back to the vibrant community that once was. But I think at this point, it has a long way to go.\u003c/p>\n\u003cfigure id=\"attachment_11698759\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11698759 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/10/RS27543_GettyImages-861028680-qut-1-800x533.jpg\" alt=\"A sign is posted outside Cline Cellars on October 13, 2017 in Sonoma.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS27543_GettyImages-861028680-qut-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS27543_GettyImages-861028680-qut-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS27543_GettyImages-861028680-qut-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS27543_GettyImages-861028680-qut-1-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS27543_GettyImages-861028680-qut-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS27543_GettyImages-861028680-qut-1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS27543_GettyImages-861028680-qut-1-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS27543_GettyImages-861028680-qut-1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS27543_GettyImages-861028680-qut-1-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS27543_GettyImages-861028680-qut-1-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A sign is posted outside Cline Cellars on October 13, 2017 in Sonoma. \u003ccite>(Justin Sullivan/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>There’s one image that we’ve published here at KQED, and I’ve seen in a number of other publications of a sign that some residents of the North Bay had made that said, “The love in the air is thicker than the smoke.” I’m wondering if you remember when you first saw that sign and how the motto it’s sort of become for the Sonoma and Napa areas, whether it rung true to you and whether you’ve thought about it at all over the past year.\u003c/strong>\u003c/p>\n\u003cp>It definitely rung true at the moment. I remember seeing it maybe like on the third day, driving back up to Napa just to continue the fire coverage, and passing by in the morning and completely doing a U-turn, just going back, because I think it spoke for that region. And you did see people, and you still to this day see people, coming out for each other regardless of who you are, what you do, what color you are. The community really came together. Almost immediately, you could see it, and I thought that was a perfect motto for the situation at hand there.\u003c/p>\n\u003cfigure id=\"attachment_11698775\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11698775\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/10/RS33159_GettyImages-1047746746-qut-800x1060.jpg\" alt=\"(Top image) Smoke billows from a neighborhood that was destroyed by a fast moving wildfire on October 9, 2017 in Santa Rosa. (Bottom image) A newly constructed home stands in a neighborhood that was destroyed by the Tubbs Fire one year earlier on October 8, 2018.\" width=\"800\" height=\"1060\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33159_GettyImages-1047746746-qut-800x1060.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33159_GettyImages-1047746746-qut-160x212.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33159_GettyImages-1047746746-qut-1020x1352.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33159_GettyImages-1047746746-qut-905x1200.jpg 905w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33159_GettyImages-1047746746-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33159_GettyImages-1047746746-qut-1180x1564.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33159_GettyImages-1047746746-qut-960x1273.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33159_GettyImages-1047746746-qut-240x318.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33159_GettyImages-1047746746-qut-375x497.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33159_GettyImages-1047746746-qut-520x689.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Top image) Smoke billows from a neighborhood that was destroyed by a fast moving wildfire on October 9, 2017 in Santa Rosa. (Bottom image) A newly constructed home stands in a neighborhood that was destroyed by the Tubbs Fire one year earlier on October 8, 2018. \u003ccite>(Justin Sullivan/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>You mentioned that you’ve been covering fires for a long time, and one thing that keeps coming up here in California is that there is no more fire season and that now we’re seeing fire years. And it’s taking a toll on people who are constantly exposed to fires, people who are losing their homes. Is it taking a toll on you at all, as somebody who is going out to these fire zones and photographing?\u003c/strong>\u003c/p>\n\u003cp>Yes. It’s an exhausting task to go to cover these fires. A lot of the times, like I said before, they’re in areas that are rural. You know, it will take you hours to get there. Once you’re there, there are no resources available anymore. You’re kind of self-sufficient for as long as you’re up there sometimes. You’ll cover one of these fires between three and seven days, and you’ve been sleeping in your car, or you do camping when it’s available, and it’s exhausting. The size of these fires has grown tenfold in the past ten years. I mean, they grow so fast now. I was talking to a friend recently about fires that we covered 10 years ago and how we thought at the time, “Wow! That was a huge fire. It was 35,000 acres!” Now, 35,000 acres happens in a matter of hours. And then they explode into these 400,000, 500,000 acre fires. I don’t know that I ever thought I would see that. And it’s exhausting that in months like December, where you don’t expect this thing to happen here, you’re out there still covering fires.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "Getty Images photojournalist Justin Sullivan talks about what it was like to cover the devastating North Bay Fires, how fires have changed since he started covering them and what it's been like covering ones so close to home.",
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"title": "'It Never Stopped Coming': Photojournalist Reflects on the North Bay Fires One Year Later | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Whether it was the photo of the man jumping off his home or the sign reading “The love in the air is thicker than the smoke,” many images from the North Bay Fires have stuck with people even one year later.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Getty Images photojournalist \u003ca href=\"https://twitter.com/sullyfoto\" target=\"_blank\" rel=\"noopener\">Justin Sullivan\u003c/a> covered the fires last year and took some of the most memorable images of the event. A year later, he went back and photographed the same locations to see how they had changed over the course of a year.\u003c/em>\u003c/p>\n\u003cp>\u003cem>KQED talked to Sullivan about what it was like to cover the devastating fires, how fires have changed since he started covering them and what it’s been like covering ones so close to home. You can hear the interview by clicking the play button above, or you can read a transcript below, which has been lightly edited for clarity.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Going back to those first days covering the fires in the North Bay, are there any impressions or feelings that have stuck with you over the year?\u003c/strong>\u003c/p>\n\u003cp>I think that the overall scale of the fire was the thing that stuck with me the most. I’ve been covering fires for nearly 20 years, and the fact that a fire grew that fast and devastated a community that wasn’t in the middle of a forest or in the middle of a field of dry brush or typical places where you do see destruction from a fire. The Coffey Park community, in specific, that lost the most homes wasn’t anywhere near that stuff. The weather and the winds just pushed it right into that area, and I’m sure those people never expected that. It never stopped coming. That’s the crazy thing about how these fires are continuing to grow bigger and bigger each day.\u003c/p>\n\u003cfigure id=\"attachment_11698756\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11698756 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/10/RS33162_GettyImages-1047758214-qut-800x1063.jpg\" alt=\"(Top image) Smoke can be seen rising from the Hilton Sonoma Wine Country on October 9, 2017 in Santa Rosa. (Bottom image) The Hilton sign remains at the site of the Hilton Sonoma Wine Country that was destroyed by the Tubbs Fire one year earlier on October 8, 2018 in Santa Rosa.\" width=\"800\" height=\"1063\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33162_GettyImages-1047758214-qut-800x1063.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33162_GettyImages-1047758214-qut-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33162_GettyImages-1047758214-qut-1020x1355.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33162_GettyImages-1047758214-qut-904x1200.jpg 904w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33162_GettyImages-1047758214-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33162_GettyImages-1047758214-qut-1180x1567.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33162_GettyImages-1047758214-qut-960x1275.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33162_GettyImages-1047758214-qut-240x319.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33162_GettyImages-1047758214-qut-375x498.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33162_GettyImages-1047758214-qut-520x691.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Top image) Smoke can be seen rising from the Hilton Sonoma Wine Country on October 9, 2017 in Santa Rosa. (Bottom image) The Hilton sign remains at the site of the Hilton Sonoma Wine Country that was destroyed by the Tubbs Fire one year earlier on October 8, 2018 in Santa Rosa. (bottom image) The Hilton sign remains at the site of the Hilton Sonoma Wine Country that was destroyed by the Tubbs Fire one year earlier on October 8, 2018 in Santa Rosa, California. \u003ccite>(Justin Sullivan/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>In your photos last year, you captured a lot. You captured the destruction—I remember images of the Hilton Hotel in Santa Rosa being in flames, totally destroyed. Also images of people consoling each other, images of firefighters. I’m wondering if there are any particular photos that you remember capturing that have stuck with you since last year.\u003c/strong>\u003c/p>\n\u003cp>There was one. I met a guy named Mike. This was near Glen Ellen, and he lived in a small little house that was, it was kind this little cul-de-sac, and it wasn’t like a traditional street, and it was just like this little development that had maybe three or four houses on it. Three other houses around it had been burned down, and he was trying to save his little house—running around, the fence was on fire. He’s trying to do all he can to keep it away from his house. And at one point he climbed up on top of the roof so he could just sort of get an overview and to see what he was dealing with. And there’s a picture I took of him jumping off the roof back down on the ground as he was like frantically, you know, trying to rush around and extinguish all the flames that were encroaching on his little house. I think at the end of the day, he managed to save his house, and it was the only one that was saved in the area. The immediate area around his house, everything else burned down.\u003c/p>\n\u003cfigure id=\"attachment_11698754\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11698754 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/10/RS27223_GettyImages-859436442-qut-800x533.jpg\" alt=\"A resident rushes to save his home as an out of control wildfire moves through the area on October 9, 2017 in Glen Ellen, California.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS27223_GettyImages-859436442-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS27223_GettyImages-859436442-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS27223_GettyImages-859436442-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS27223_GettyImages-859436442-qut-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS27223_GettyImages-859436442-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS27223_GettyImages-859436442-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS27223_GettyImages-859436442-qut-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS27223_GettyImages-859436442-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS27223_GettyImages-859436442-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS27223_GettyImages-859436442-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A resident rushes to save his home as an out of control wildfire moves through the area on October 9, 2017 in Glen Ellen, California. \u003ccite>(Justin Sullivan/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Have you kept in touch with him in any way? Or do you keep in touch with any of the people that you photographed last year? Are there people or personalities who you met who have stuck with you or who you’ve continued to photograph and speak with?\u003c/strong>\u003c/p>\n\u003cp>I spoke with him for probably a month or so after the fire, and then we lost touch. There was another guy that reached out to me because he saw a picture that I had taken of his house while it was on fire. He had just moved into the house probably six months prior, or maybe a year prior, and we ended up meeting. I gave him some photos of his house. At first when I got that email from him, I thought, “He’s going to be upset that I took a picture of his home on fire.” But at the end of the day, I think he was just more interested in saying, “Look this is what happened, and I’d like to have something that shows, you know, where I once lived.”\u003c/p>\n\u003cfigure id=\"attachment_11698773\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11698773 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/10/RS33164_GettyImages-1047758260-qut-800x1071.jpg\" alt=\"(Top image) Burned out cars sit next to a building on fire in a fire ravaged neighborhood on October 9, 2017 in Santa Rosa. (Bottom image) A light pole stands in a parking lot of a store that was destroyed by the Tubbs Fire one year earlier on October 8, 2018 in Santa Rosa.\" width=\"800\" height=\"1071\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33164_GettyImages-1047758260-qut-800x1071.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33164_GettyImages-1047758260-qut-160x214.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33164_GettyImages-1047758260-qut-1020x1366.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33164_GettyImages-1047758260-qut-896x1200.jpg 896w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33164_GettyImages-1047758260-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33164_GettyImages-1047758260-qut-1180x1580.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33164_GettyImages-1047758260-qut-960x1286.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33164_GettyImages-1047758260-qut-240x321.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33164_GettyImages-1047758260-qut-375x502.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33164_GettyImages-1047758260-qut-520x696.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Top image) Burned out cars sit next to a building on fire in a fire ravaged neighborhood on October 9, 2017 in Santa Rosa. (Bottom image) A light pole stands in a parking lot of a store that was destroyed by the Tubbs Fire one year earlier on October 8, 2018 in Santa Rosa. \u003ccite>(Justin Sullivan/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Is there any difficulty in deciding what to photograph during such a tragic event?\u003c/strong>\u003c/p>\n\u003cp>I think in the case of that particular fire—or fires, because there are three or four that were going on at the same time—is the amount of stimulus that was happening. I mean, there were things happening everywhere. There were moments with people. There were moments not with people— and landscapes of whole ridges on fire. I honestly started my day, the day that the fires started, in Napa County, and then I slowly started to move toward Sonoma. I didn’t even get to Santa Rosa until probably the afternoon. I didn’t even know about the Coffey Park neighborhood until maybe two days later when I went over in a helicopter, and that was the first time I had seen that widespread devastation and was completely blown away. There was just so much going on. I think on that very first day, I drove from Marin County, where I live, to Sonoma, all the way up to Calistoga, down in Napa, all the way to Santa Rosa and back. And it was just—the area was so huge that there was just so much to see and do.\u003c/p>\n\u003cfigure id=\"attachment_11698774\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11698774\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/10/RS33160_GettyImages-1047758152-qut-800x1078.jpg\" alt=\"(Top image) Firefighters spray water on fire damaged mobile home at the Journey's End Mobile Home Park on October 9, 2017 in Santa Rosa. (Bottom image) A burned mobile home stands at the Journey's End Mobile Home Park that was destroyed by the Tubbs Fire one year earlier on October 8, 2018.\" width=\"800\" height=\"1078\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33160_GettyImages-1047758152-qut-800x1078.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33160_GettyImages-1047758152-qut-160x216.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33160_GettyImages-1047758152-qut-1020x1375.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33160_GettyImages-1047758152-qut-890x1200.jpg 890w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33160_GettyImages-1047758152-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33160_GettyImages-1047758152-qut-1180x1591.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33160_GettyImages-1047758152-qut-960x1294.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33160_GettyImages-1047758152-qut-240x324.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33160_GettyImages-1047758152-qut-375x505.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33160_GettyImages-1047758152-qut-520x701.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Top image) Firefighters spray water on fire damaged mobile home at the Journey’s End Mobile Home Park on October 9, 2017 in Santa Rosa. (Bottom image) A burned mobile home stands at the Journey’s End Mobile Home Park that was destroyed by the Tubbs Fire one year earlier on October 8, 2018. \u003ccite>(Justin Sullivan/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Living in Marin County, being so close to where this tragedy struck—did that make it different from the other events you’ve covered? Did this feel different at all because this massive destruction was so close to where you live? \u003c/strong>\u003c/p>\n\u003cp>It did in many ways. For the start, I woke up in the middle of the night, and my girlfriend woke me up and said, “Hey, I think there’s a fire in our building.” And sure enough, I woke up and it smelled like smoke. I looked outside, and there was smoke everywhere. And this was probably maybe two or three hours after the fire started—that’s how strong the winds were blowing. It just blew. Marin County was just socked in with smoke. And then, in the days to come after the fact, I got more phone calls and emails from people that I know in the area saying, “Hey, can you go take a look and see my cousin’s house and my brother’s house, or my house? We can’t get in. If you’re in that area, can you take a look?” And I’ve never really had that on fires. A lot of the fires I cover are in remote areas or in Southern California, and I don’t necessarily know many people in the area in Southern California or rural California. So it kind of hit home that people, you know, identified with me being there and just wanted peace of mind to know, “Hey, is my property OK, or is my brother’s property OK?” And I ended up going and looking at maybe six or seven people’s homes that I’ve known for many years just to make sure it was still there.\u003c/p>\n\u003cfigure id=\"attachment_11698758\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11698758 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/10/RS33157_GettyImages-1047746632-qut-800x1078.jpg\" alt=\"In this composite image a comparison has been made between the days of the 2017 Tubbs Fire and what those areas look like on the one year anniversary of California's most destructive wildfire complex. (top image) A view of homes in the Coffey Park neighborhood that were destroyed by the Tubbs Fire on October 23, 2017 in Santa Rosa. (bottom image) A newly constructed home stands on the site that was destroyed by the Tubbs Fire one year earlier on October 8, 2018 in Santa Rosa.\" width=\"800\" height=\"1078\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33157_GettyImages-1047746632-qut-800x1078.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33157_GettyImages-1047746632-qut-160x216.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33157_GettyImages-1047746632-qut-1020x1374.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33157_GettyImages-1047746632-qut-891x1200.jpg 891w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33157_GettyImages-1047746632-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33157_GettyImages-1047746632-qut-1180x1589.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33157_GettyImages-1047746632-qut-960x1293.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33157_GettyImages-1047746632-qut-240x323.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33157_GettyImages-1047746632-qut-375x505.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33157_GettyImages-1047746632-qut-520x700.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In this composite image a comparison has been made between the days of the 2017 Tubbs Fire and what those areas look like on the one year anniversary of California’s most destructive wildfire complex. (top image) A view of homes in the Coffey Park neighborhood that were destroyed by the Tubbs Fire on October 23, 2017 in Santa Rosa. (bottom image) A newly constructed home stands on the site that was destroyed by the Tubbs Fire one year earlier on October 8, 2018 in Santa Rosa. \u003ccite>(Justin Sullivan/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Seeing some of your photographs a year later of new construction in these burns zones, it’s pretty striking to see new homes in areas surrounded by destruction from the fires. I’m wondering, what are your thoughts, one year later, on how the community is rebuilding, from the perspective of an observer, somebody who’s capturing images of it?\u003c/strong>\u003c/p>\n\u003cp>Well, I was sort of struck by that as well because I’ve never gone back to an area that I photographed in a fire because typically areas don’t have such a wide area that burned down. That Coffey Park area in particular, where literally hundreds of homes were just gone. To go back and see, you know, a fraction of them popping up, but there’s still a lot that’s not being built. There are “for sale” signs on some of the pieces of land. There’s just pieces of land that are just empty. You know, they’ve taken everything out, they’ve cleared all the toxic debris out, and it’s just an empty lot now. But there are some neighborhoods that I went to that there were probably maybe 50 or 60 homes in there, and now there are only two that have come back. It’s a slow progression, and hopefully it does come back to the vibrant community that once was. But I think at this point, it has a long way to go.\u003c/p>\n\u003cfigure id=\"attachment_11698759\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11698759 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/10/RS27543_GettyImages-861028680-qut-1-800x533.jpg\" alt=\"A sign is posted outside Cline Cellars on October 13, 2017 in Sonoma.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS27543_GettyImages-861028680-qut-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS27543_GettyImages-861028680-qut-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS27543_GettyImages-861028680-qut-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS27543_GettyImages-861028680-qut-1-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS27543_GettyImages-861028680-qut-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS27543_GettyImages-861028680-qut-1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS27543_GettyImages-861028680-qut-1-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS27543_GettyImages-861028680-qut-1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS27543_GettyImages-861028680-qut-1-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS27543_GettyImages-861028680-qut-1-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A sign is posted outside Cline Cellars on October 13, 2017 in Sonoma. \u003ccite>(Justin Sullivan/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>There’s one image that we’ve published here at KQED, and I’ve seen in a number of other publications of a sign that some residents of the North Bay had made that said, “The love in the air is thicker than the smoke.” I’m wondering if you remember when you first saw that sign and how the motto it’s sort of become for the Sonoma and Napa areas, whether it rung true to you and whether you’ve thought about it at all over the past year.\u003c/strong>\u003c/p>\n\u003cp>It definitely rung true at the moment. I remember seeing it maybe like on the third day, driving back up to Napa just to continue the fire coverage, and passing by in the morning and completely doing a U-turn, just going back, because I think it spoke for that region. And you did see people, and you still to this day see people, coming out for each other regardless of who you are, what you do, what color you are. The community really came together. Almost immediately, you could see it, and I thought that was a perfect motto for the situation at hand there.\u003c/p>\n\u003cfigure id=\"attachment_11698775\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11698775\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/10/RS33159_GettyImages-1047746746-qut-800x1060.jpg\" alt=\"(Top image) Smoke billows from a neighborhood that was destroyed by a fast moving wildfire on October 9, 2017 in Santa Rosa. (Bottom image) A newly constructed home stands in a neighborhood that was destroyed by the Tubbs Fire one year earlier on October 8, 2018.\" width=\"800\" height=\"1060\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33159_GettyImages-1047746746-qut-800x1060.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33159_GettyImages-1047746746-qut-160x212.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33159_GettyImages-1047746746-qut-1020x1352.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33159_GettyImages-1047746746-qut-905x1200.jpg 905w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33159_GettyImages-1047746746-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33159_GettyImages-1047746746-qut-1180x1564.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33159_GettyImages-1047746746-qut-960x1273.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33159_GettyImages-1047746746-qut-240x318.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33159_GettyImages-1047746746-qut-375x497.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33159_GettyImages-1047746746-qut-520x689.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Top image) Smoke billows from a neighborhood that was destroyed by a fast moving wildfire on October 9, 2017 in Santa Rosa. (Bottom image) A newly constructed home stands in a neighborhood that was destroyed by the Tubbs Fire one year earlier on October 8, 2018. \u003ccite>(Justin Sullivan/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>You mentioned that you’ve been covering fires for a long time, and one thing that keeps coming up here in California is that there is no more fire season and that now we’re seeing fire years. And it’s taking a toll on people who are constantly exposed to fires, people who are losing their homes. Is it taking a toll on you at all, as somebody who is going out to these fire zones and photographing?\u003c/strong>\u003c/p>\n\u003cp>Yes. It’s an exhausting task to go to cover these fires. A lot of the times, like I said before, they’re in areas that are rural. You know, it will take you hours to get there. Once you’re there, there are no resources available anymore. You’re kind of self-sufficient for as long as you’re up there sometimes. You’ll cover one of these fires between three and seven days, and you’ve been sleeping in your car, or you do camping when it’s available, and it’s exhausting. The size of these fires has grown tenfold in the past ten years. I mean, they grow so fast now. I was talking to a friend recently about fires that we covered 10 years ago and how we thought at the time, “Wow! That was a huge fire. It was 35,000 acres!” Now, 35,000 acres happens in a matter of hours. And then they explode into these 400,000, 500,000 acre fires. I don’t know that I ever thought I would see that. And it’s exhausting that in months like December, where you don’t expect this thing to happen here, you’re out there still covering fires.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "norcals-sara-bareilles-serves-up-waitress-darkness-mess-and-all",
"title": "NorCal's Sara Bareilles Serves Up 'Waitress' — Darkness, 'Mess' and All",
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"headTitle": "NorCal’s Sara Bareilles Serves Up ‘Waitress’ — Darkness, ‘Mess’ and All | KQED",
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"content": "\u003cp>Most people know Sara Bareilles as the singer-songwriter force behind pop hits like “Love Song” and “Brave.”\u003c/p>\n\u003cp>But the Northern California native has been getting a lot of attention lately for her work in musicals — notably “\u003ca href=\"https://www.shnsf.com/Online/default.asp?BOparam::WScontent::loadArticle::permalink=waitress-musical&BOparam::WScontent::loadArticle::context_id=\" target=\"_blank\" rel=\"noopener\">Waitress\u003c/a>.”\u003c/p>\n\u003cp>The Tony and Grammy Award-nominated composer’s Broadway musical is based on the 2007 film of the same title. It’s about an unhappily married pregnant woman, Jenna Hunterson, who dreams of opening her own pie shop.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=JZccnrYn8dA\u003c/p>\n\u003cp>KQED’s Chloe Veltman sat down with Bareilles at San Francisco’s Golden Gate Theatre to talk about the show.\u003c/p>\n\u003cp>“Waitress” opens there Oct. 16 as part of a national tour.\u003c/p>\n\u003cp>Listen to an edited version of their conversation by clicking the play button above. And read on for a few additional highlights:\u003c/p>\n\u003cp>\u003cstrong>What draws you to musical theater?\u003c/strong>\u003c/p>\n\u003cp>I have always been very drawn to the storytelling of musical theater. I loved the character study of it. Just diving into the depths of the character and their inner thoughts and feelings.\u003c/p>\n\u003cfigure id=\"attachment_11697989\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11697989\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/10/sarah-bareilles-800x533.jpg\" alt='Sara Bareilles at the piano during an event for \"Waitress\" presenter SHN.' width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/sarah-bareilles-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/sarah-bareilles-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/sarah-bareilles-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/sarah-bareilles-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/sarah-bareilles-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/sarah-bareilles-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/sarah-bareilles-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/sarah-bareilles-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/sarah-bareilles-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/sarah-bareilles-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sara Bareilles at the piano during an event for “Waitress” presenter SHN. \u003ccite>(Courtesy SHN)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What was it about the 2007 movie “Waitress” that inspired you to join the musical’s creative team as a composer and lyricist?\u003c/strong>\u003c/p>\n\u003cp>Adrienne Shelly, who is the writer/director of that film, created such a little gem. It’s funny. It’s quirky. It’s dark. The subject matter is uncomfortable at times, and somehow she still created this really quite musical world. The characters are all really eccentric. I felt like they were also human, because they weren’t perfect. And so I liked the idea of getting to dive into their psychology, and try to tease that out a little bit with songs.\u003c/p>\n\u003cp>\u003cstrong>The movie is set in a small town in the Deep South, as is the musical. How much did your own upbringing in Eureka inform your work on the musical?\u003c/strong>\u003c/p>\n\u003cp>I can relate to the idea of coming from a community — the good and the bad of that. The people who really want the best for you, and also the people who think they know what’s best for you, when they don’t. So I sort of understand that it’s delicate, the dance that you do when you’re trying to sort of find yourself in a small town. Luckily Jenna, our lead character, she has an incredible community, wonderful friends and some new strangers that come through town that cause all sorts of mayhem.\u003c/p>\n\u003cfigure id=\"attachment_11697990\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11697990\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/10/600x330_WAITRESSrevised.jpg\" alt='\"Waitress\" flier.' width=\"600\" height=\"330\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/600x330_WAITRESSrevised.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/600x330_WAITRESSrevised-160x88.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/600x330_WAITRESSrevised-240x132.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/600x330_WAITRESSrevised-375x206.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/600x330_WAITRESSrevised-520x286.jpg 520w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">“Waitress” flier. \u003ccite>(Courtesy SHN)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>You have a bunch of brilliant comic songs in the musical, like the number about pregnancy, “Club Knocked Up.” But below the levity of these songs, like this one, is some really dark stuff. Why is it important that the musical walks the line between humor and heaviness?\u003c/strong>\u003c/p>\n\u003cp>I think that’s, for me, what it means to be alive. It’s the darkness and light, you know, the yin and yang. We don’t have all one thing or the other. And I think that’s one of the things that actually allows people to process dark matter, is if they’re given a little bit of buoyancy, you know, along the way.\u003c/p>\n\u003cp>\u003cstrong>I’ve read that you identify closely with the main character, Jenna.\u003c/strong>\u003c/p>\n\u003cp>I just fell head over heels in love with this woman. I love that she’s so imperfect. You know she didn’t want the child, and she’s in a messed-up marriage, and that she doesn’t have it all figured out. I really loved that we were given a chance to get to know a heroine who’s not — no offense to Wonder Woman — but, like, who’s not Wonder Woman. Who just lives amongst the rest of us a little bit more.\u003c/p>\n\u003cp>\u003cstrong>But how does that relate to your life and your sense of identification with her?\u003c/strong>\u003c/p>\n\u003cp>Oh, because I’m a total mess most of the time. That’s really what it comes down to.\u003c/p>\n\u003cfigure id=\"attachment_11697995\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11697995\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/10/Desi-Oakley-and-Larry-Marshall-in-the-National-Tour-of-WAITRESS-Credit-Joan-Marcus-0595r-800x1200.jpg\" alt='A scene from \"Waitress\" featuring Desi Oakley as Jenna and Larry Marshall as Old Joe.' width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/Desi-Oakley-and-Larry-Marshall-in-the-National-Tour-of-WAITRESS-Credit-Joan-Marcus-0595r-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/Desi-Oakley-and-Larry-Marshall-in-the-National-Tour-of-WAITRESS-Credit-Joan-Marcus-0595r-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/Desi-Oakley-and-Larry-Marshall-in-the-National-Tour-of-WAITRESS-Credit-Joan-Marcus-0595r-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/Desi-Oakley-and-Larry-Marshall-in-the-National-Tour-of-WAITRESS-Credit-Joan-Marcus-0595r-1920x2880.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/Desi-Oakley-and-Larry-Marshall-in-the-National-Tour-of-WAITRESS-Credit-Joan-Marcus-0595r-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/Desi-Oakley-and-Larry-Marshall-in-the-National-Tour-of-WAITRESS-Credit-Joan-Marcus-0595r-960x1440.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/Desi-Oakley-and-Larry-Marshall-in-the-National-Tour-of-WAITRESS-Credit-Joan-Marcus-0595r-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/Desi-Oakley-and-Larry-Marshall-in-the-National-Tour-of-WAITRESS-Credit-Joan-Marcus-0595r-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/Desi-Oakley-and-Larry-Marshall-in-the-National-Tour-of-WAITRESS-Credit-Joan-Marcus-0595r-520x780.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A scene from “Waitress” featuring Desi Oakley as Jenna and Larry Marshall as Old Joe. \u003ccite>(Joan Marcus)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>In some ways, “Waitress” sends this strong feminist message. Jenna takes control of her career and her love life. But to what degree do you think the musical’s storyline ends up reinforcing traditional gender stereotypes? After all, the kindness of one wealthy male character, Old Joe, plays a big role in helping Jenna overcome some of her challenges.\u003c/strong>\u003c/p>\n\u003cp>We’ve talked about making him “Old Josephine.” You know, I don’t think there’s anything that’s off the table in terms of re-imagining how these sort of patriarchal “stereotypes” run through. But I also think there are good men out there as well. And I don’t think you need to jettison the male point of view to tell feminist stories.\u003c/p>\n\u003cp>\u003cem>Sara Bareilles’ Broadway musical “Waitress” plays on tour at San Francisco’s Golden Gate Theater Oct. 16 – Nov. 11, 2018. You can find out more about the show \u003ca href=\"https://www.shnsf.com/Online/default.asp?BOparam::WScontent::loadArticle::permalink=waitress-musical&BOparam::WScontent::loadArticle::context_id=\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003cbr>\n[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"excerpt": "The famed singer-songwriter shares thoughts about her life and her Broadway musical opening on tour in San Francisco this month. ",
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"title": "NorCal's Sara Bareilles Serves Up 'Waitress' — Darkness, 'Mess' and All | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Most people know Sara Bareilles as the singer-songwriter force behind pop hits like “Love Song” and “Brave.”\u003c/p>\n\u003cp>But the Northern California native has been getting a lot of attention lately for her work in musicals — notably “\u003ca href=\"https://www.shnsf.com/Online/default.asp?BOparam::WScontent::loadArticle::permalink=waitress-musical&BOparam::WScontent::loadArticle::context_id=\" target=\"_blank\" rel=\"noopener\">Waitress\u003c/a>.”\u003c/p>\n\u003cp>The Tony and Grammy Award-nominated composer’s Broadway musical is based on the 2007 film of the same title. It’s about an unhappily married pregnant woman, Jenna Hunterson, who dreams of opening her own pie shop.\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/JZccnrYn8dA'\n title='//www.youtube.com/embed/JZccnrYn8dA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>KQED’s Chloe Veltman sat down with Bareilles at San Francisco’s Golden Gate Theatre to talk about the show.\u003c/p>\n\u003cp>“Waitress” opens there Oct. 16 as part of a national tour.\u003c/p>\n\u003cp>Listen to an edited version of their conversation by clicking the play button above. And read on for a few additional highlights:\u003c/p>\n\u003cp>\u003cstrong>What draws you to musical theater?\u003c/strong>\u003c/p>\n\u003cp>I have always been very drawn to the storytelling of musical theater. I loved the character study of it. Just diving into the depths of the character and their inner thoughts and feelings.\u003c/p>\n\u003cfigure id=\"attachment_11697989\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11697989\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/10/sarah-bareilles-800x533.jpg\" alt='Sara Bareilles at the piano during an event for \"Waitress\" presenter SHN.' width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/sarah-bareilles-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/sarah-bareilles-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/sarah-bareilles-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/sarah-bareilles-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/sarah-bareilles-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/sarah-bareilles-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/sarah-bareilles-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/sarah-bareilles-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/sarah-bareilles-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/sarah-bareilles-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sara Bareilles at the piano during an event for “Waitress” presenter SHN. \u003ccite>(Courtesy SHN)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What was it about the 2007 movie “Waitress” that inspired you to join the musical’s creative team as a composer and lyricist?\u003c/strong>\u003c/p>\n\u003cp>Adrienne Shelly, who is the writer/director of that film, created such a little gem. It’s funny. It’s quirky. It’s dark. The subject matter is uncomfortable at times, and somehow she still created this really quite musical world. The characters are all really eccentric. I felt like they were also human, because they weren’t perfect. And so I liked the idea of getting to dive into their psychology, and try to tease that out a little bit with songs.\u003c/p>\n\u003cp>\u003cstrong>The movie is set in a small town in the Deep South, as is the musical. How much did your own upbringing in Eureka inform your work on the musical?\u003c/strong>\u003c/p>\n\u003cp>I can relate to the idea of coming from a community — the good and the bad of that. The people who really want the best for you, and also the people who think they know what’s best for you, when they don’t. So I sort of understand that it’s delicate, the dance that you do when you’re trying to sort of find yourself in a small town. Luckily Jenna, our lead character, she has an incredible community, wonderful friends and some new strangers that come through town that cause all sorts of mayhem.\u003c/p>\n\u003cfigure id=\"attachment_11697990\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11697990\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/10/600x330_WAITRESSrevised.jpg\" alt='\"Waitress\" flier.' width=\"600\" height=\"330\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/600x330_WAITRESSrevised.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/600x330_WAITRESSrevised-160x88.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/600x330_WAITRESSrevised-240x132.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/600x330_WAITRESSrevised-375x206.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/600x330_WAITRESSrevised-520x286.jpg 520w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">“Waitress” flier. \u003ccite>(Courtesy SHN)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>You have a bunch of brilliant comic songs in the musical, like the number about pregnancy, “Club Knocked Up.” But below the levity of these songs, like this one, is some really dark stuff. Why is it important that the musical walks the line between humor and heaviness?\u003c/strong>\u003c/p>\n\u003cp>I think that’s, for me, what it means to be alive. It’s the darkness and light, you know, the yin and yang. We don’t have all one thing or the other. And I think that’s one of the things that actually allows people to process dark matter, is if they’re given a little bit of buoyancy, you know, along the way.\u003c/p>\n\u003cp>\u003cstrong>I’ve read that you identify closely with the main character, Jenna.\u003c/strong>\u003c/p>\n\u003cp>I just fell head over heels in love with this woman. I love that she’s so imperfect. You know she didn’t want the child, and she’s in a messed-up marriage, and that she doesn’t have it all figured out. I really loved that we were given a chance to get to know a heroine who’s not — no offense to Wonder Woman — but, like, who’s not Wonder Woman. Who just lives amongst the rest of us a little bit more.\u003c/p>\n\u003cp>\u003cstrong>But how does that relate to your life and your sense of identification with her?\u003c/strong>\u003c/p>\n\u003cp>Oh, because I’m a total mess most of the time. That’s really what it comes down to.\u003c/p>\n\u003cfigure id=\"attachment_11697995\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11697995\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/10/Desi-Oakley-and-Larry-Marshall-in-the-National-Tour-of-WAITRESS-Credit-Joan-Marcus-0595r-800x1200.jpg\" alt='A scene from \"Waitress\" featuring Desi Oakley as Jenna and Larry Marshall as Old Joe.' width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/Desi-Oakley-and-Larry-Marshall-in-the-National-Tour-of-WAITRESS-Credit-Joan-Marcus-0595r-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/Desi-Oakley-and-Larry-Marshall-in-the-National-Tour-of-WAITRESS-Credit-Joan-Marcus-0595r-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/Desi-Oakley-and-Larry-Marshall-in-the-National-Tour-of-WAITRESS-Credit-Joan-Marcus-0595r-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/Desi-Oakley-and-Larry-Marshall-in-the-National-Tour-of-WAITRESS-Credit-Joan-Marcus-0595r-1920x2880.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/Desi-Oakley-and-Larry-Marshall-in-the-National-Tour-of-WAITRESS-Credit-Joan-Marcus-0595r-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/Desi-Oakley-and-Larry-Marshall-in-the-National-Tour-of-WAITRESS-Credit-Joan-Marcus-0595r-960x1440.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/Desi-Oakley-and-Larry-Marshall-in-the-National-Tour-of-WAITRESS-Credit-Joan-Marcus-0595r-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/Desi-Oakley-and-Larry-Marshall-in-the-National-Tour-of-WAITRESS-Credit-Joan-Marcus-0595r-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/Desi-Oakley-and-Larry-Marshall-in-the-National-Tour-of-WAITRESS-Credit-Joan-Marcus-0595r-520x780.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A scene from “Waitress” featuring Desi Oakley as Jenna and Larry Marshall as Old Joe. \u003ccite>(Joan Marcus)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>In some ways, “Waitress” sends this strong feminist message. Jenna takes control of her career and her love life. But to what degree do you think the musical’s storyline ends up reinforcing traditional gender stereotypes? After all, the kindness of one wealthy male character, Old Joe, plays a big role in helping Jenna overcome some of her challenges.\u003c/strong>\u003c/p>\n\u003cp>We’ve talked about making him “Old Josephine.” You know, I don’t think there’s anything that’s off the table in terms of re-imagining how these sort of patriarchal “stereotypes” run through. But I also think there are good men out there as well. And I don’t think you need to jettison the male point of view to tell feminist stories.\u003c/p>\n\u003cp>\u003cem>Sara Bareilles’ Broadway musical “Waitress” plays on tour at San Francisco’s Golden Gate Theater Oct. 16 – Nov. 11, 2018. You can find out more about the show \u003ca href=\"https://www.shnsf.com/Online/default.asp?BOparam::WScontent::loadArticle::permalink=waitress-musical&BOparam::WScontent::loadArticle::context_id=\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003cbr>\n\u003c/p>\u003c/div>",
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"content": "\u003cp>If you were in the North Bay exactly one year ago, you probably remember the wind. Powerful gusts of nearly 80 miles per hour helped fuel some of the deadliest and most destructive fires in state history as they burned at a rate of more than a football field every minute.\u003c/p>\n\u003cp>For composer \u003ca href=\"https://www.pauldooley.net/\" target=\"_blank\" rel=\"noopener\">Paul Dooley \u003c/a>that was the starting point for “Sonoma Strong,” an original composition commissioned by the Santa Rosa Symphony. The symphony debuted the work at a free concert this summer and has decided to \u003ca href=\"https://www.sonomacounty.com/sonoma-events/santa-rosa-symphony-passion-and-power-1\" target=\"_blank\" rel=\"noopener\">perform it again\u003c/a> for its season opener on Oct. 6, 7 and 8.\u003c/p>\n\u003cp>“I wanted to capture some of the wind and some of the energy from that night [on Oct. 8 last year],” said Dooley, a Santa Rosa native who teaches at the University of Michigan.\u003c/p>\n\u003cp>To do that he used something you won’t typically find in a symphony: massive musical tubes called whirlies. You swing them around over your head and they make a soft whistling sound.\u003c/p>\n\u003cp>“The swirling of the whirlies sort of looks a little bit like a siren — it can kind of evoke that feeling,” he said. “But it’s also a very beautiful sound, so I figured it might be an elegant way to capture some of the energy from that night.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The whirlies are set to multiple trumpet solos. After a while, the strings come in and the piece begins to build.\u003c/p>\n\u003cp>“And that transforms into a sort of ominous climax, marking the halfway point of the piece,” Dooley said.\u003c/p>\n\u003cp>That climax evokes the devastation of the October fires, which destroyed thousands of homes and killed 44 people — devastation that was certainly felt by the Santa Rosa Symphony. According to Santa Rosa Symphony President and CEO Alan Silow, 22 families closely connected to the symphony lost their homes in the fires, including members of the board, musicians and staff. A number of the organizations’ major donors and subscribers also lost their homes.\u003c/p>\n\u003cp>The symphony had to cancel and postpone concerts and call off their annual donation campaign, as many of the symphony’s staff were forced to evacuate from their homes.\u003c/p>\n\u003cp>“We still paid our staff for the time they had to miss, we still paid our musicians for the concerts we had to cancel, because we thought that was the right thing to do,” Silow said. “But obviously that also impacted us, fiscally speaking, as well.”\u003c/p>\n\u003cp>But now, Silow said, they’re beginning to move toward recovery.\u003c/p>\n\u003cp>“I don’t know if I would say it’s triumph, but we’re definitely in recovery,” he said. “And I think whenever tragedies hit like that, the silver lining is it brings out the best of people. It has definitely brought out the best of people in Sonoma County.”\u003c/p>\n\u003cp>That’s a sentiment that Dooley worked to capture in “Sonoma Strong.” After the piece’s ominous climax, there’s a marked change in tone.\u003c/p>\n\u003cp>New instruments enter. The key changes.\u003c/p>\n\u003cp>“The piece transitions to what I would call the rebirth,” he said. “And it’s the first entrance of the woodwinds: the flutes, the oboes, the clarinets and the bassoons.”\u003c/p>\n\u003cp>During the “rebirth” portion, Dooley builds off of the themes he established at the beginning of the piece but with new instruments and a different tone, giving it a “more heroic and celebratory fashion and feel,” according to Dooley.\u003c/p>\n\u003cp>That heroism and celebration — the feeling of triumph that comes along with rebuilding — is what Dooley hopes sticks with the audience.\u003c/p>\n\u003cp>“I’m hoping that through the transformation of the piece, people are somewhat reminded of what happened last year, but are given a new outlook. Or the piece helps them transform their view of the horror of [the wildfires] into something positive and something that can bring the community together, as the construction and rebuilding continues,” he said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Santa Rosa Symphony will perform “Sonoma Strong” on Monday, Oct. 8 at 6:30 pm at the Green Music Center at Sonoma State University.\u003c/em>\u003c/p>\n\n",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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},
"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
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"onourwatch": {
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"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"on-the-media": {
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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},
"pbs-newshour": {
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},
"perspectives": {
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"order": 14
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"politicalbreakdown": {
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"order": 5
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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