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"content": "\u003cp>The Sonoma Coast town of Bodega Bay is probably best known as the dark backdrop for Alfred Hitchcock’s film, “\u003ca href=\"http://www.bodegabay.com/the-birds/\" target=\"_blank\" rel=\"noopener\">The Birds\u003c/a>.” But the town is also home to the folk trio, \u003ca href=\"https://www.rainbowgirlsmusic.com/\" target=\"_blank\" rel=\"noopener\">Rainbow Girls\u003c/a>. Erin Chapin, Caitlin Gowdey and Vanessa May started playing music together in the dorms at UC Santa Barbara. Now, they’re playing for audiences around the world. Their newest album, “\u003ca href=\"https://rainbowgirls.bandcamp.com/album/american-dream\" target=\"_blank\" rel=\"noopener\">American Dream\u003c/a>,” came out last month.\u003c/p>\n\u003cfigure id=\"attachment_11638629\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11638629\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/12/RS28683_Rainbow-Girls-American-Dream-Album-Cover-qut-800x717.jpg\" alt=\"\" width=\"800\" height=\"717\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28683_Rainbow-Girls-American-Dream-Album-Cover-qut-800x717.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28683_Rainbow-Girls-American-Dream-Album-Cover-qut-160x143.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28683_Rainbow-Girls-American-Dream-Album-Cover-qut-1020x914.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28683_Rainbow-Girls-American-Dream-Album-Cover-qut-1180x1058.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28683_Rainbow-Girls-American-Dream-Album-Cover-qut-960x860.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28683_Rainbow-Girls-American-Dream-Album-Cover-qut-240x215.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28683_Rainbow-Girls-American-Dream-Album-Cover-qut-375x336.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28683_Rainbow-Girls-American-Dream-Album-Cover-qut-520x466.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28683_Rainbow-Girls-American-Dream-Album-Cover-qut.jpg 1696w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“American Dream’s” cover features a tattered American flag made by the band members. \u003ccite>(Courtesy Rainbow Girls)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The following is an excerpt from a conversation with Sasha Khokha, host of \u003cem>The California Report Magazine.\u003c/em> They joined her in studio to talk politics, life on the road and how their relationship as roommates influences their music. They also played an in-studio concert!\u003c/p>\n\u003cfigure id=\"attachment_11638879\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11638879\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/12/RS28325_IMG_2908-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28325_IMG_2908-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28325_IMG_2908-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28325_IMG_2908-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28325_IMG_2908-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28325_IMG_2908-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28325_IMG_2908-qut-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28325_IMG_2908-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28325_IMG_2908-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28325_IMG_2908-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Erin Chapin, Caitlin Gowdey, and Vanessa May in our studios. \u003ccite>(Bianca Taylor/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>On their new album’s stripped-down acoustic sound:\u003c/em>\u003c/p>\n\u003cp>Vanessa: “For a long time we were playing for friends and audiences all over that were hoping to have a kind of party, celebratory atmosphere. Then the election was happening, and it felt like an appropriate time to strip those things away.”\u003c/p>\n\u003cp>Erin: “I think most of our songs, even from past albums, are often political. But when you have so many instruments in front of them it’s easier to miss what we’re talking about. But now you can’t really ignore what we’re saying.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>On writing a song about the protest at Standing Rock Indian Reservation (“Song for Standing Rock”):\u003c/em>\u003c/p>\n\u003cp>Caitlin: “That song is about trying to be a part of unwavering support for Indigenous lives, and black and brown folks’ lives that are just being completely destroyed with impunity. And this song is for all of them who are fighting just to have love, and water, and life.”\u003c/p>\n\u003cfigure id=\"attachment_11638877\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11638877\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/12/RS28339_IMG_2895-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28339_IMG_2895-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28339_IMG_2895-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28339_IMG_2895-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28339_IMG_2895-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28339_IMG_2895-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28339_IMG_2895-qut-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28339_IMG_2895-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28339_IMG_2895-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28339_IMG_2895-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rainbow Girls (Erin Chapin, Caitlin Gowdey, Vanessa May) perform “Song for Standing Rock” in-studio at KQED and The California Report. \u003ccite>(Bianca Taylor/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>On living together:\u003c/em>\u003c/p>\n\u003cp>Vanessa: “It’s a pretty cool thing. You know, you’re sitting in your room and you hear, either across the hallway or on the other side of the wall, a song being rehearsed and you hear this chorus being done over and over and over, and you’re like, ‘Is that an original? Is that ours? Do we get to do that one?’ ”\u003c/p>\n\u003cp>Caitlin: “And it’s a treat to get to hear when everyone’s learning new techniques, or like absorbing other musical styles, and you feel their learning process. It just kind of flows out into the hallway and you can grab onto it.”\u003c/p>\n\u003cp>\u003cem>On their “American Dream” album title and cover art:\u003c/em>\u003c/p>\n\u003cp>Vanessa: “This ripped-up flag is kind of a representation of where we are right now.”\u003c/p>\n\u003cp>Erin: “We made that [flag] at our house, near the back of our shed. it’s 10 feet tall and it was originally all sheets. I think Vanessa did the majority of all the ripping of all the sheets and tying them together, and then we dyed the red stripes with wine. The stars are Queen Anne’s Lace flowers, which grow in the field where we live.”\u003c/p>\n\u003cp>Caitlin: “The song itself, ‘American Dream,’ is about how far it is from being a reality for so many people in the country. It’s a song about owning land as equaling freedom and security and safety. The song is dedicated to the disenfranchised and those who don’t get to live that dream.”\u003c/p>\n\u003cp>\u003cem>On their plans for the holidays:\u003c/em>\u003c/p>\n\u003cp>Vanessa: “Being at home, which feels really good. Drinking a lot of tea, enjoying being at the house, and working on new music.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Erin: “We’ve been kind of going nonstop [on tour] for like six years now. So I’m excited to, you know, sit by the fire [and] put stuff in the refrigerator, and hang out with my cat.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Sonoma Coast town of Bodega Bay is probably best known as the dark backdrop for Alfred Hitchcock’s film, “\u003ca href=\"http://www.bodegabay.com/the-birds/\" target=\"_blank\" rel=\"noopener\">The Birds\u003c/a>.” But the town is also home to the folk trio, \u003ca href=\"https://www.rainbowgirlsmusic.com/\" target=\"_blank\" rel=\"noopener\">Rainbow Girls\u003c/a>. Erin Chapin, Caitlin Gowdey and Vanessa May started playing music together in the dorms at UC Santa Barbara. Now, they’re playing for audiences around the world. Their newest album, “\u003ca href=\"https://rainbowgirls.bandcamp.com/album/american-dream\" target=\"_blank\" rel=\"noopener\">American Dream\u003c/a>,” came out last month.\u003c/p>\n\u003cfigure id=\"attachment_11638629\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11638629\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/12/RS28683_Rainbow-Girls-American-Dream-Album-Cover-qut-800x717.jpg\" alt=\"\" width=\"800\" height=\"717\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28683_Rainbow-Girls-American-Dream-Album-Cover-qut-800x717.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28683_Rainbow-Girls-American-Dream-Album-Cover-qut-160x143.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28683_Rainbow-Girls-American-Dream-Album-Cover-qut-1020x914.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28683_Rainbow-Girls-American-Dream-Album-Cover-qut-1180x1058.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28683_Rainbow-Girls-American-Dream-Album-Cover-qut-960x860.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28683_Rainbow-Girls-American-Dream-Album-Cover-qut-240x215.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28683_Rainbow-Girls-American-Dream-Album-Cover-qut-375x336.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28683_Rainbow-Girls-American-Dream-Album-Cover-qut-520x466.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28683_Rainbow-Girls-American-Dream-Album-Cover-qut.jpg 1696w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“American Dream’s” cover features a tattered American flag made by the band members. \u003ccite>(Courtesy Rainbow Girls)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The following is an excerpt from a conversation with Sasha Khokha, host of \u003cem>The California Report Magazine.\u003c/em> They joined her in studio to talk politics, life on the road and how their relationship as roommates influences their music. They also played an in-studio concert!\u003c/p>\n\u003cfigure id=\"attachment_11638879\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11638879\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/12/RS28325_IMG_2908-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28325_IMG_2908-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28325_IMG_2908-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28325_IMG_2908-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28325_IMG_2908-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28325_IMG_2908-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28325_IMG_2908-qut-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28325_IMG_2908-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28325_IMG_2908-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28325_IMG_2908-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Erin Chapin, Caitlin Gowdey, and Vanessa May in our studios. \u003ccite>(Bianca Taylor/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>On their new album’s stripped-down acoustic sound:\u003c/em>\u003c/p>\n\u003cp>Vanessa: “For a long time we were playing for friends and audiences all over that were hoping to have a kind of party, celebratory atmosphere. Then the election was happening, and it felt like an appropriate time to strip those things away.”\u003c/p>\n\u003cp>Erin: “I think most of our songs, even from past albums, are often political. But when you have so many instruments in front of them it’s easier to miss what we’re talking about. But now you can’t really ignore what we’re saying.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>On writing a song about the protest at Standing Rock Indian Reservation (“Song for Standing Rock”):\u003c/em>\u003c/p>\n\u003cp>Caitlin: “That song is about trying to be a part of unwavering support for Indigenous lives, and black and brown folks’ lives that are just being completely destroyed with impunity. And this song is for all of them who are fighting just to have love, and water, and life.”\u003c/p>\n\u003cfigure id=\"attachment_11638877\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11638877\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/12/RS28339_IMG_2895-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28339_IMG_2895-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28339_IMG_2895-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28339_IMG_2895-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28339_IMG_2895-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28339_IMG_2895-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28339_IMG_2895-qut-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28339_IMG_2895-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28339_IMG_2895-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28339_IMG_2895-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rainbow Girls (Erin Chapin, Caitlin Gowdey, Vanessa May) perform “Song for Standing Rock” in-studio at KQED and The California Report. \u003ccite>(Bianca Taylor/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>On living together:\u003c/em>\u003c/p>\n\u003cp>Vanessa: “It’s a pretty cool thing. You know, you’re sitting in your room and you hear, either across the hallway or on the other side of the wall, a song being rehearsed and you hear this chorus being done over and over and over, and you’re like, ‘Is that an original? Is that ours? Do we get to do that one?’ ”\u003c/p>\n\u003cp>Caitlin: “And it’s a treat to get to hear when everyone’s learning new techniques, or like absorbing other musical styles, and you feel their learning process. It just kind of flows out into the hallway and you can grab onto it.”\u003c/p>\n\u003cp>\u003cem>On their “American Dream” album title and cover art:\u003c/em>\u003c/p>\n\u003cp>Vanessa: “This ripped-up flag is kind of a representation of where we are right now.”\u003c/p>\n\u003cp>Erin: “We made that [flag] at our house, near the back of our shed. it’s 10 feet tall and it was originally all sheets. I think Vanessa did the majority of all the ripping of all the sheets and tying them together, and then we dyed the red stripes with wine. The stars are Queen Anne’s Lace flowers, which grow in the field where we live.”\u003c/p>\n\u003cp>Caitlin: “The song itself, ‘American Dream,’ is about how far it is from being a reality for so many people in the country. It’s a song about owning land as equaling freedom and security and safety. The song is dedicated to the disenfranchised and those who don’t get to live that dream.”\u003c/p>\n\u003cp>\u003cem>On their plans for the holidays:\u003c/em>\u003c/p>\n\u003cp>Vanessa: “Being at home, which feels really good. Drinking a lot of tea, enjoying being at the house, and working on new music.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Erin: “We’ve been kind of going nonstop [on tour] for like six years now. So I’m excited to, you know, sit by the fire [and] put stuff in the refrigerator, and hang out with my cat.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "the-punjabi-immigrant-who-started-el-cerritos-favorite-christmas-tradition",
"title": "The Immigrant Who Started El Cerrito’s Favorite Christmas Tradition",
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"content": "\u003cp>Every December, El Cerrito is home to one of the country’s most impressive Christmas displays. Scores of handmade figurines — wise men, sheep, camels — populate a massive tableau of Bethlehem, on a site that’s ordinarily marked by the presence of large electrical towers and overgrown vegetation.\u003c/p>\n\u003cp>For the better part of a month, the display’s lights shine bright, while holiday music echoes from speakers buried beneath stuccoed sheep. Thousands visit the display each year, from all over the region, and though it has been hosted at this particular site only since 2002, the tradition is nearly 70 years old.\u003c/p>\n\u003cp>It takes dozens of volunteers — including a local Boy Scout troop and off-duty firefighters — to move the statues from a nearby facility up the hill and then painstakingly arrange them into a super-sized diorama, piece by piece.\u003c/p>\n\u003cfigure id=\"attachment_11639099\" class=\"wp-caption aligncenter\" style=\"max-width: 1723px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11639099\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/12/RS28715_IMG_2439-qut.jpg\" alt=\"\" width=\"1723\" height=\"2535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28715_IMG_2439-qut.jpg 1723w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28715_IMG_2439-qut-160x235.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28715_IMG_2439-qut-800x1177.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28715_IMG_2439-qut-1020x1501.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28715_IMG_2439-qut-1180x1736.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28715_IMG_2439-qut-960x1412.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28715_IMG_2439-qut-240x353.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28715_IMG_2439-qut-375x552.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28715_IMG_2439-qut-520x765.jpg 520w\" sizes=\"(max-width: 1723px) 100vw, 1723px\">\u003cfigcaption class=\"wp-caption-text\">A wooden cutout of Sundar Shadi is a recent addition to the holiday display. It was inspired by a photo taken of him for a local newspaper. \u003ccite>(Spencer Silva/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A recent addition is a two-dimensional cutout of a man holding what appears to be a rake. It’s the late Sundar Shadi, the man who started it all.\u003c/p>\n\u003cp>“It’s an amazing thing he did,” said Jane Bartke, one of several former El Cerrito mayors who keep the project alive.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Bartke, who has lived in El Cerrito since 1963, was quick to point out that although the display features Christian imagery — most notably, the tablet inscribed with a passage from the Gospel of Luke — the display is not exclusively for those who celebrate Christmas.\u003c/p>\n\u003cfigure id=\"attachment_11639083\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11639083\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/12/RS28723_IMG_2431-qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28723_IMG_2431-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28723_IMG_2431-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28723_IMG_2431-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28723_IMG_2431-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28723_IMG_2431-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28723_IMG_2431-qut-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28723_IMG_2431-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28723_IMG_2431-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28723_IMG_2431-qut-520x347.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The “smokers” sit around the fire and inhale a hookah. For perspective, Shadi crafted large figures, like the camels, to be placed closer to the viewer, and put smaller figures farther away. \u003ccite>(Spencer Silva/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We refer to it as a Bethlehem scene,” Bartke said. “There is no nativity. There will never be a nativity scene. He was not a Christian.”\u003c/p>\n\u003cp>That’s right. The man whose name is synonymous with Christmas in El Cerrito, Sundar Shadi, was not Christian. He was Sikh.\u003c/p>\n\u003cp>Shadi emigrated in 1921 from what’s now Pakistan to the United States to study horticulture at UC Berkeley. Eight years later, he earned a master’s degree in the same field, but he couldn’t find work in academia. Some say that was because of the color of his skin.\u003c/p>\n\u003cp>So he took a job at a gas station. Eventually, he saved up enough money to buy that gas station, and many others. He earned enough money to retire at 49.\u003c/p>\n\u003cp>But he never lost his passion for horticulture. He turned the empty lot next to his house into an elaborate garden. Then his wife, Dorothy, encouraged him to take up a new hobby.\u003c/p>\n\u003cfigure id=\"attachment_11639080\" class=\"wp-caption aligncenter\" style=\"max-width: 941px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11639080\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/12/RS28724_shadi-and-dorothy-qut.jpg\" alt=\"\" width=\"941\" height=\"504\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28724_shadi-and-dorothy-qut.jpg 941w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28724_shadi-and-dorothy-qut-160x86.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28724_shadi-and-dorothy-qut-800x428.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28724_shadi-and-dorothy-qut-240x129.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28724_shadi-and-dorothy-qut-375x201.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28724_shadi-and-dorothy-qut-520x279.jpg 520w\" sizes=\"(max-width: 941px) 100vw, 941px\">\u003cfigcaption class=\"wp-caption-text\">Sundar Shadi and his wife, Dorothy, pose for a photo in front of their garden. The couple was forced to marry in Carson City, Nevada, because interracial marriages were banned in California at the time. \u003ccite>(Photo Courtesy of the Sundar Shadi Holiday Display Committee)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It was driving Dorothy crazy because he couldn’t be outside [tending his garden in the winter] so she said he should do something,” Bartke explained. “They debated putting a Santa Claus up or star, and they decided to put a star up on the hillside. And that’s how it all started.”\u003c/p>\n\u003cp>In 1949, Shadi built a large wooden star and put it in the lot adjacent to their house. Things escalated from there, and as the years went on, he built a whole city from milk cartons, shower curtains, plaster and chicken wire. Over the years, Shadi’s elaborate gardens and holiday display became the stuff of legend.\u003c/p>\n\u003cp>“He was known to me as ‘the man with the beautiful garden,’ ” said Zach Gillen, 42, who grew up in the area. During the school year, Gillen remembers eagerly looking out of the bus to see what Shadi had done with his garden. Then, around the holidays, he and his family would sometimes drive up the hill to see the neatly arranged Christmas scene.\u003c/p>\n\u003cp>“I remember people coming from all over to see it,” he said.\u003c/p>\n\u003cp>In 1984, Shadi told ABC News that it was all about bringing joy to his community.\u003c/p>\n\u003cp>“It inspires me when I see the people enjoying it, so I feel that maybe I’m doing some service to my community,” he said.\u003c/p>\n\u003cp>By the late ’90s, Shadi was no longer able to set up his own Christmas display, and for the first time in almost half a century, his statues spent the holiday season in storage. He died in 2002, just before his 102nd birthday.\u003c/p>\n\u003cfigure id=\"attachment_11639092\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11639092\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/12/RS28717_IMG_2447-qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28717_IMG_2447-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28717_IMG_2447-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28717_IMG_2447-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28717_IMG_2447-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28717_IMG_2447-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28717_IMG_2447-qut-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28717_IMG_2447-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28717_IMG_2447-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28717_IMG_2447-qut-520x347.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Though she has been replaced, the angel has been a staple of the display for decades. “He always had the angel. Sometimes she was pink, sometimes she was blue. I found out since that it was according to what shower curtains you could find,” said Jane Bartke, a former mayor of El Cerrito. Bartke played an essential role in making sure Shadi’s creation lived on. \u003ccite>(Spencer Silva/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But thanks to Jane and her husband, Rich Bartke — also a former El Cerrito mayor — Shadi’s legacy lives on. After his death, the Bartkes facilitated the acquisition of the statues from his family with the help of Soroptimist International.\u003c/p>\n\u003cp>Local firefighters helped move the hundreds of aged pieces to an empty warehouse, which was offered to them as storage by a local lumber company. Moving them is no easy task. “It takes four people to carry one of those camels,” Jane Bartke explained.\u003c/p>\n\u003cp>The Boy Scouts were enlisted to help restore the figurines. Then, PG&E agreed to lease the hillside below their tangle of power lines. The display was ready for revival.\u003c/p>\n\u003cp>\u003ca href=\"http://shadiholidaydisplay.com/\">The Sundar Shadi Holiday Display\u003c/a> been up every December since.\u003c/p>\n\u003cp>On a recent night, an ancestor of Shadi’s first blue star shone brightly over the rows of milk-carton houses and coffee-tin minarets. An angelic arrangement of “Silent Night” echoed, as families huddled close to take in Shadi’s display.\u003c/p>\n\u003cfigure id=\"attachment_11639093\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11639093\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/12/RS28721_IMG_2413-qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28721_IMG_2413-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28721_IMG_2413-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28721_IMG_2413-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28721_IMG_2413-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28721_IMG_2413-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28721_IMG_2413-qut-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28721_IMG_2413-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28721_IMG_2413-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28721_IMG_2413-qut-520x347.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Sundar Shadi originally used milk cartons to craft the tiny houses that make up the town of Bethlehem. \u003ccite>(Spencer Silva/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A young boy named Charlie Smith slips a donation into a box, something he does every year. His younger sister likes the camels, but his favorite is the star.\u003c/p>\n\u003cp>Volunteer docent Mae Ritz — who’s also a former mayor of El Cerrito — passes out candy canes and shares the story of the man and his creation with visitors.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“All if us work hard to make sure that this looks good,” says Ritz. “It just makes you feel good to see it happen and it makes you proud of El Cerrito and what we’re doing.”\u003c/p>\n\n",
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"title": "The Immigrant Who Started El Cerrito’s Favorite Christmas Tradition | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Every December, El Cerrito is home to one of the country’s most impressive Christmas displays. Scores of handmade figurines — wise men, sheep, camels — populate a massive tableau of Bethlehem, on a site that’s ordinarily marked by the presence of large electrical towers and overgrown vegetation.\u003c/p>\n\u003cp>For the better part of a month, the display’s lights shine bright, while holiday music echoes from speakers buried beneath stuccoed sheep. Thousands visit the display each year, from all over the region, and though it has been hosted at this particular site only since 2002, the tradition is nearly 70 years old.\u003c/p>\n\u003cp>It takes dozens of volunteers — including a local Boy Scout troop and off-duty firefighters — to move the statues from a nearby facility up the hill and then painstakingly arrange them into a super-sized diorama, piece by piece.\u003c/p>\n\u003cfigure id=\"attachment_11639099\" class=\"wp-caption aligncenter\" style=\"max-width: 1723px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11639099\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/12/RS28715_IMG_2439-qut.jpg\" alt=\"\" width=\"1723\" height=\"2535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28715_IMG_2439-qut.jpg 1723w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28715_IMG_2439-qut-160x235.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28715_IMG_2439-qut-800x1177.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28715_IMG_2439-qut-1020x1501.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28715_IMG_2439-qut-1180x1736.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28715_IMG_2439-qut-960x1412.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28715_IMG_2439-qut-240x353.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28715_IMG_2439-qut-375x552.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28715_IMG_2439-qut-520x765.jpg 520w\" sizes=\"(max-width: 1723px) 100vw, 1723px\">\u003cfigcaption class=\"wp-caption-text\">A wooden cutout of Sundar Shadi is a recent addition to the holiday display. It was inspired by a photo taken of him for a local newspaper. \u003ccite>(Spencer Silva/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A recent addition is a two-dimensional cutout of a man holding what appears to be a rake. It’s the late Sundar Shadi, the man who started it all.\u003c/p>\n\u003cp>“It’s an amazing thing he did,” said Jane Bartke, one of several former El Cerrito mayors who keep the project alive.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Bartke, who has lived in El Cerrito since 1963, was quick to point out that although the display features Christian imagery — most notably, the tablet inscribed with a passage from the Gospel of Luke — the display is not exclusively for those who celebrate Christmas.\u003c/p>\n\u003cfigure id=\"attachment_11639083\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11639083\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/12/RS28723_IMG_2431-qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28723_IMG_2431-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28723_IMG_2431-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28723_IMG_2431-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28723_IMG_2431-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28723_IMG_2431-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28723_IMG_2431-qut-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28723_IMG_2431-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28723_IMG_2431-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28723_IMG_2431-qut-520x347.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The “smokers” sit around the fire and inhale a hookah. For perspective, Shadi crafted large figures, like the camels, to be placed closer to the viewer, and put smaller figures farther away. \u003ccite>(Spencer Silva/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We refer to it as a Bethlehem scene,” Bartke said. “There is no nativity. There will never be a nativity scene. He was not a Christian.”\u003c/p>\n\u003cp>That’s right. The man whose name is synonymous with Christmas in El Cerrito, Sundar Shadi, was not Christian. He was Sikh.\u003c/p>\n\u003cp>Shadi emigrated in 1921 from what’s now Pakistan to the United States to study horticulture at UC Berkeley. Eight years later, he earned a master’s degree in the same field, but he couldn’t find work in academia. Some say that was because of the color of his skin.\u003c/p>\n\u003cp>So he took a job at a gas station. Eventually, he saved up enough money to buy that gas station, and many others. He earned enough money to retire at 49.\u003c/p>\n\u003cp>But he never lost his passion for horticulture. He turned the empty lot next to his house into an elaborate garden. Then his wife, Dorothy, encouraged him to take up a new hobby.\u003c/p>\n\u003cfigure id=\"attachment_11639080\" class=\"wp-caption aligncenter\" style=\"max-width: 941px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11639080\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/12/RS28724_shadi-and-dorothy-qut.jpg\" alt=\"\" width=\"941\" height=\"504\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28724_shadi-and-dorothy-qut.jpg 941w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28724_shadi-and-dorothy-qut-160x86.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28724_shadi-and-dorothy-qut-800x428.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28724_shadi-and-dorothy-qut-240x129.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28724_shadi-and-dorothy-qut-375x201.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28724_shadi-and-dorothy-qut-520x279.jpg 520w\" sizes=\"(max-width: 941px) 100vw, 941px\">\u003cfigcaption class=\"wp-caption-text\">Sundar Shadi and his wife, Dorothy, pose for a photo in front of their garden. The couple was forced to marry in Carson City, Nevada, because interracial marriages were banned in California at the time. \u003ccite>(Photo Courtesy of the Sundar Shadi Holiday Display Committee)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It was driving Dorothy crazy because he couldn’t be outside [tending his garden in the winter] so she said he should do something,” Bartke explained. “They debated putting a Santa Claus up or star, and they decided to put a star up on the hillside. And that’s how it all started.”\u003c/p>\n\u003cp>In 1949, Shadi built a large wooden star and put it in the lot adjacent to their house. Things escalated from there, and as the years went on, he built a whole city from milk cartons, shower curtains, plaster and chicken wire. Over the years, Shadi’s elaborate gardens and holiday display became the stuff of legend.\u003c/p>\n\u003cp>“He was known to me as ‘the man with the beautiful garden,’ ” said Zach Gillen, 42, who grew up in the area. During the school year, Gillen remembers eagerly looking out of the bus to see what Shadi had done with his garden. Then, around the holidays, he and his family would sometimes drive up the hill to see the neatly arranged Christmas scene.\u003c/p>\n\u003cp>“I remember people coming from all over to see it,” he said.\u003c/p>\n\u003cp>In 1984, Shadi told ABC News that it was all about bringing joy to his community.\u003c/p>\n\u003cp>“It inspires me when I see the people enjoying it, so I feel that maybe I’m doing some service to my community,” he said.\u003c/p>\n\u003cp>By the late ’90s, Shadi was no longer able to set up his own Christmas display, and for the first time in almost half a century, his statues spent the holiday season in storage. He died in 2002, just before his 102nd birthday.\u003c/p>\n\u003cfigure id=\"attachment_11639092\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11639092\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/12/RS28717_IMG_2447-qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28717_IMG_2447-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28717_IMG_2447-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28717_IMG_2447-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28717_IMG_2447-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28717_IMG_2447-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28717_IMG_2447-qut-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28717_IMG_2447-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28717_IMG_2447-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28717_IMG_2447-qut-520x347.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Though she has been replaced, the angel has been a staple of the display for decades. “He always had the angel. Sometimes she was pink, sometimes she was blue. I found out since that it was according to what shower curtains you could find,” said Jane Bartke, a former mayor of El Cerrito. Bartke played an essential role in making sure Shadi’s creation lived on. \u003ccite>(Spencer Silva/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But thanks to Jane and her husband, Rich Bartke — also a former El Cerrito mayor — Shadi’s legacy lives on. After his death, the Bartkes facilitated the acquisition of the statues from his family with the help of Soroptimist International.\u003c/p>\n\u003cp>Local firefighters helped move the hundreds of aged pieces to an empty warehouse, which was offered to them as storage by a local lumber company. Moving them is no easy task. “It takes four people to carry one of those camels,” Jane Bartke explained.\u003c/p>\n\u003cp>The Boy Scouts were enlisted to help restore the figurines. Then, PG&E agreed to lease the hillside below their tangle of power lines. The display was ready for revival.\u003c/p>\n\u003cp>\u003ca href=\"http://shadiholidaydisplay.com/\">The Sundar Shadi Holiday Display\u003c/a> been up every December since.\u003c/p>\n\u003cp>On a recent night, an ancestor of Shadi’s first blue star shone brightly over the rows of milk-carton houses and coffee-tin minarets. An angelic arrangement of “Silent Night” echoed, as families huddled close to take in Shadi’s display.\u003c/p>\n\u003cfigure id=\"attachment_11639093\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11639093\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/12/RS28721_IMG_2413-qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28721_IMG_2413-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28721_IMG_2413-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28721_IMG_2413-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28721_IMG_2413-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28721_IMG_2413-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28721_IMG_2413-qut-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28721_IMG_2413-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28721_IMG_2413-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28721_IMG_2413-qut-520x347.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Sundar Shadi originally used milk cartons to craft the tiny houses that make up the town of Bethlehem. \u003ccite>(Spencer Silva/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A young boy named Charlie Smith slips a donation into a box, something he does every year. His younger sister likes the camels, but his favorite is the star.\u003c/p>\n\u003cp>Volunteer docent Mae Ritz — who’s also a former mayor of El Cerrito — passes out candy canes and shares the story of the man and his creation with visitors.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“All if us work hard to make sure that this looks good,” says Ritz. “It just makes you feel good to see it happen and it makes you proud of El Cerrito and what we’re doing.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "giving-back-with-the-gift-of-a-tamalada",
"title": "Giving Back With the Gift of a Tamalada",
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"headTitle": "Giving Back With the Gift of a Tamalada | KQED",
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"content": "\u003cp>This morning, the bustling kitchen of the \u003ca href=\"https://www.stfranciscenterla.org/\" target=\"_blank\" rel=\"noopener\">St. Francis Center\u003c/a> in downtown Los Angeles, near Skid Row, is filled with the pungent aromas of chilies, onions and garlic. Four huge covered pots steam on top of large stoves. It’s a well-worn community kitchen that has been a beacon of support and services for the city’s homeless and low-income residents for decades.\u003c/p>\n\u003cp>But today there’s a twist. The people who normally receive services from the center are running the show. They’re giving back through a holiday tamale-making party, or tamalada. And it’s all thanks to the spirit of community and care that the center fosters — one person and one meal at a time.\u003c/p>\n\u003cfigure id=\"attachment_11638934\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11638934 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/12/RS28707_14-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28707_14-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28707_14-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28707_14-qut-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28707_14-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28707_14-qut-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28707_14-qut-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28707_14-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28707_14-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28707_14-qut-520x346.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lucila Velázquez is hard at work with her tamale-making crew: her daughter Heidi and friend Estella. \u003ccite>(Blair Wells/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lucila Velázquez obviously knows what she’s doing. Without stopping her conversation, she grabs a softened oja (corn husk) and spreads masa, or corn dough, onto the smooth side of the husk. “Jenny,” she yells sweetly to one of the younger kids across the room. “Are you going to help?”\u003c/p>\n\u003cp>She and a handful of other folks stand side by side at long tables lined with oversize metal bowls. They’re stuffing the masa-covered oja with cheese, shredded pork and chile verde. A few quick folds of the husk and they move on to the next one. The rush is on. The holidays are almost here.\u003c/p>\n\u003cfigure id=\"attachment_11638916\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11638916 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/12/RS28700_01-qut-2-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28700_01-qut-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28700_01-qut-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28700_01-qut-2-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28700_01-qut-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28700_01-qut-2-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28700_01-qut-2-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28700_01-qut-2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28700_01-qut-2-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28700_01-qut-2-520x346.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Volunteers Rodrigo, Gabriela, Estella, Erik, Lucila, Armando, Amparo and Celia (clockwise from the left) take part in the tamalada, preparing chicken and cheese tamales at the St. Francis Center in Los Angeles. \u003ccite>(Blair Wells/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For the past 45 years, the St. Francis Center (situated on a street appropriately called “Hope”) has been providing hot meals to people living on or near one of the poorest stretches of the Los Angeles streets.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Marianne Kulikov, development director for the center, stands nearby admiring the volunteers making the tamales.\u003c/p>\n\u003cp>“We serve about 100,000 meals to our homeless guests every year,” she says with a clear sense of pride. “We have about 200 to 300 guests come in each morning for a hot meal.”\u003c/p>\n\u003cp>And sometimes it’s their only meal of the day.\u003c/p>\n\u003cp>The center also has a food pantry to help low-income people, many living on the edge of homelessness. People like Lucila Velázquez.\u003c/p>\n\u003cp>“I’ve been coming here for about 20 years,” Velázquez explains. “My kids have been coming since they were little for after-school programs, summer camps and even Zumba.”\u003c/p>\n\u003cp>Velázquez gets her groceries from here, too.\u003c/p>\n\u003cp>“The pantry program gives us different items like vegetables, beans, rice, meat and eggs. Sometimes they have hygiene products like shampoo and even dog food,” Velázquez says.\u003c/p>\n\u003cp>Items Velázquez says she couldn’t afford on her own. She works at a nearby clothing factory and says she barely makes ends meet with her low-wage job. She says that, without a doubt, the center is the reason she and her family survive.\u003c/p>\n\u003cp>“One hundred percent of the families we serve fall well below the federal poverty level,” Kulikov explains. “So being able to provide them with something where they don’t have to worry about where their next meal is coming from to feed their family is just huge.”\u003c/p>\n\u003cp>Kulikov says recipients of the food bank can get groceries here once a week and take home about 50 pounds of packaged and fresh food.\u003c/p>\n\u003cp>“We go out and rescue food from the community,” she says. “So it equates to about $2.5 million worth of food that we’re rescuing from local partners like Target, Costco, the Regional Food Bank and Trader Joe’s.”\u003c/p>\n\u003cfigure id=\"attachment_11638937\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11638937\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/12/RS28688_02-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28688_02-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28688_02-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28688_02-qut-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28688_02-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28688_02-qut-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28688_02-qut-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28688_02-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28688_02-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28688_02-qut-520x346.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ana Aguirre, one of the “Top Tamale” chefs at the St. Francis Center in Los Angeles, watches over her sweet tamales as they steam. \u003ccite>(Blair Wells/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The center also offers health services and a hygiene program, where people can come in for a hot shower and receive clean clothes. It’s all run on a tight budget with a small staff, so it relies on volunteers.\u003c/p>\n\u003cp>That’s part of the reason Lucila Velázquez is here today.\u003c/p>\n\u003cp>“It’s really important for me to be able to give back,” she says. “All my kids have been involved in the programs here. They’ve helped us out so much and in so many different ways that any time we can give back, we do.”\u003c/p>\n\u003cfigure id=\"attachment_11638951\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11638951\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/12/RS28710_15-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28710_15-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28710_15-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28710_15-qut.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28710_15-qut-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28710_15-qut-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28710_15-qut-520x390.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dry erase board just outside the kitchen at the St. Francis Center in Los Angeles. Artwork by volunteer Tris Caserio. \u003ccite>(Jose Ramirez, ED of St. Francis Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But there’s also another reason she’s in the midst of this community tamalada. Several years ago, a group of local women who rely on the food bank came up with a fundraising idea to help the center — a tamale-making contest they dubbed “Top Tamale.”\u003c/p>\n\u003cp>It was a little competition that made a big impact. Each year, the Top Tamale champs win the honor of having their family recipes used for the center’s tamale-selling fundraiser.\u003c/p>\n\u003cp>“I won,” Velázquez laughs. “Twice!”\u003c/p>\n\u003cfigure id=\"attachment_11638935\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11638935 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/12/RS28708_05-qut-3-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28708_05-qut-3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28708_05-qut-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28708_05-qut-3-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28708_05-qut-3.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28708_05-qut-3-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28708_05-qut-3-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28708_05-qut-3-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28708_05-qut-3-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28708_05-qut-3-520x346.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lucila Velázquez has been crowned “Top Tamale” twice for her cheese tamale at the St. Francis Center in Los Angeles (clockwise from the left: friend Estella, son Erik, daughter Heidi, and Velázquez). \u003ccite>(Blair Wells/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This year Velázquez’s recipe won the cheese tamale competition. That’s why she’s here today with her family and friends, cranking out what will soon be 4,500-plus cheese, pork, sweet and chicken tamales.\u003c/p>\n\u003cp>“So right now we’re preparing the cheese tamales,” she explains.\u003c/p>\n\u003cp>It’s a traditional Mexican recipe she has since passed down to her five kids. Two of them are here helping: Heidi and Erik.\u003c/p>\n\u003cp>“I am wrapping the tamales in this sheet so the cheese can’t escape,” Erik explains, as he wraps a thin paper sheet around the oja of a finished tamale. He quickly added, “I wouldn’t want to make them alone. If I have my sisters and my mom with me, yeah.”\u003c/p>\n\u003cp>That’s because tamales are hard work. They take many hands. Hands to mix the masa. Hands to shred the pork. Hands to chop the chilies.\u003c/p>\n\u003cp>“My hand is on fire because I was cutting chilies last night and I didn’t put gloves on,” he admits. “So I have to dunk them in water like every five minutes.”\u003c/p>\n\u003cp>Making 4,500 tamales is no easy task. So every Sunday for the past two months, Velázquez and her kids have come here to cook.\u003c/p>\n\u003cfigure id=\"attachment_11638936\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11638936\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/12/RS28703_10-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28703_10-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28703_10-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28703_10-qut-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28703_10-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28703_10-qut-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28703_10-qut-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28703_10-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28703_10-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28703_10-qut-520x346.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Top Tamale” chef Ana Aguirre (left) and Christina Velázquez do a final check on Aguirre’s chicken tamales at the St. Francis Center in Los Angeles. \u003ccite>(Blair Wells/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kulikov says all the proceeds from Top Tamale sales will benefit the food pantry. She adds that this couldn’t happen without help from people like Lucila Velázquez.\u003c/p>\n\u003cp>“Lucila has been a guest of our services for several years now and she would just come in,” Kulikov says. “There’s always those guests who want to give back, and that’s what I think makes St. Francis Center so unique and so wonderful.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The last of the tamales are finally packed in plastic boxes. This weekend, people from all over L.A. County will drop by to pick up their tamales just in time for Christmas. And whether they know it or not, they’ll be sharing in a tradition that has been carried across borders and passed down through generations.\u003c/p>\n\n",
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"excerpt": "Holiday hope with a side of homemade tamales at the St. Francis Center near downtown L.A.’s Skid Row.",
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"title": "Giving Back With the Gift of a Tamalada | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This morning, the bustling kitchen of the \u003ca href=\"https://www.stfranciscenterla.org/\" target=\"_blank\" rel=\"noopener\">St. Francis Center\u003c/a> in downtown Los Angeles, near Skid Row, is filled with the pungent aromas of chilies, onions and garlic. Four huge covered pots steam on top of large stoves. It’s a well-worn community kitchen that has been a beacon of support and services for the city’s homeless and low-income residents for decades.\u003c/p>\n\u003cp>But today there’s a twist. The people who normally receive services from the center are running the show. They’re giving back through a holiday tamale-making party, or tamalada. And it’s all thanks to the spirit of community and care that the center fosters — one person and one meal at a time.\u003c/p>\n\u003cfigure id=\"attachment_11638934\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11638934 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/12/RS28707_14-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28707_14-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28707_14-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28707_14-qut-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28707_14-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28707_14-qut-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28707_14-qut-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28707_14-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28707_14-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28707_14-qut-520x346.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lucila Velázquez is hard at work with her tamale-making crew: her daughter Heidi and friend Estella. \u003ccite>(Blair Wells/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lucila Velázquez obviously knows what she’s doing. Without stopping her conversation, she grabs a softened oja (corn husk) and spreads masa, or corn dough, onto the smooth side of the husk. “Jenny,” she yells sweetly to one of the younger kids across the room. “Are you going to help?”\u003c/p>\n\u003cp>She and a handful of other folks stand side by side at long tables lined with oversize metal bowls. They’re stuffing the masa-covered oja with cheese, shredded pork and chile verde. A few quick folds of the husk and they move on to the next one. The rush is on. The holidays are almost here.\u003c/p>\n\u003cfigure id=\"attachment_11638916\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11638916 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/12/RS28700_01-qut-2-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28700_01-qut-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28700_01-qut-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28700_01-qut-2-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28700_01-qut-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28700_01-qut-2-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28700_01-qut-2-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28700_01-qut-2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28700_01-qut-2-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28700_01-qut-2-520x346.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Volunteers Rodrigo, Gabriela, Estella, Erik, Lucila, Armando, Amparo and Celia (clockwise from the left) take part in the tamalada, preparing chicken and cheese tamales at the St. Francis Center in Los Angeles. \u003ccite>(Blair Wells/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For the past 45 years, the St. Francis Center (situated on a street appropriately called “Hope”) has been providing hot meals to people living on or near one of the poorest stretches of the Los Angeles streets.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Marianne Kulikov, development director for the center, stands nearby admiring the volunteers making the tamales.\u003c/p>\n\u003cp>“We serve about 100,000 meals to our homeless guests every year,” she says with a clear sense of pride. “We have about 200 to 300 guests come in each morning for a hot meal.”\u003c/p>\n\u003cp>And sometimes it’s their only meal of the day.\u003c/p>\n\u003cp>The center also has a food pantry to help low-income people, many living on the edge of homelessness. People like Lucila Velázquez.\u003c/p>\n\u003cp>“I’ve been coming here for about 20 years,” Velázquez explains. “My kids have been coming since they were little for after-school programs, summer camps and even Zumba.”\u003c/p>\n\u003cp>Velázquez gets her groceries from here, too.\u003c/p>\n\u003cp>“The pantry program gives us different items like vegetables, beans, rice, meat and eggs. Sometimes they have hygiene products like shampoo and even dog food,” Velázquez says.\u003c/p>\n\u003cp>Items Velázquez says she couldn’t afford on her own. She works at a nearby clothing factory and says she barely makes ends meet with her low-wage job. She says that, without a doubt, the center is the reason she and her family survive.\u003c/p>\n\u003cp>“One hundred percent of the families we serve fall well below the federal poverty level,” Kulikov explains. “So being able to provide them with something where they don’t have to worry about where their next meal is coming from to feed their family is just huge.”\u003c/p>\n\u003cp>Kulikov says recipients of the food bank can get groceries here once a week and take home about 50 pounds of packaged and fresh food.\u003c/p>\n\u003cp>“We go out and rescue food from the community,” she says. “So it equates to about $2.5 million worth of food that we’re rescuing from local partners like Target, Costco, the Regional Food Bank and Trader Joe’s.”\u003c/p>\n\u003cfigure id=\"attachment_11638937\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11638937\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/12/RS28688_02-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28688_02-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28688_02-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28688_02-qut-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28688_02-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28688_02-qut-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28688_02-qut-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28688_02-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28688_02-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28688_02-qut-520x346.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ana Aguirre, one of the “Top Tamale” chefs at the St. Francis Center in Los Angeles, watches over her sweet tamales as they steam. \u003ccite>(Blair Wells/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The center also offers health services and a hygiene program, where people can come in for a hot shower and receive clean clothes. It’s all run on a tight budget with a small staff, so it relies on volunteers.\u003c/p>\n\u003cp>That’s part of the reason Lucila Velázquez is here today.\u003c/p>\n\u003cp>“It’s really important for me to be able to give back,” she says. “All my kids have been involved in the programs here. They’ve helped us out so much and in so many different ways that any time we can give back, we do.”\u003c/p>\n\u003cfigure id=\"attachment_11638951\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11638951\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/12/RS28710_15-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28710_15-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28710_15-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28710_15-qut.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28710_15-qut-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28710_15-qut-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28710_15-qut-520x390.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dry erase board just outside the kitchen at the St. Francis Center in Los Angeles. Artwork by volunteer Tris Caserio. \u003ccite>(Jose Ramirez, ED of St. Francis Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But there’s also another reason she’s in the midst of this community tamalada. Several years ago, a group of local women who rely on the food bank came up with a fundraising idea to help the center — a tamale-making contest they dubbed “Top Tamale.”\u003c/p>\n\u003cp>It was a little competition that made a big impact. Each year, the Top Tamale champs win the honor of having their family recipes used for the center’s tamale-selling fundraiser.\u003c/p>\n\u003cp>“I won,” Velázquez laughs. “Twice!”\u003c/p>\n\u003cfigure id=\"attachment_11638935\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11638935 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/12/RS28708_05-qut-3-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28708_05-qut-3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28708_05-qut-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28708_05-qut-3-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28708_05-qut-3.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28708_05-qut-3-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28708_05-qut-3-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28708_05-qut-3-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28708_05-qut-3-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28708_05-qut-3-520x346.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lucila Velázquez has been crowned “Top Tamale” twice for her cheese tamale at the St. Francis Center in Los Angeles (clockwise from the left: friend Estella, son Erik, daughter Heidi, and Velázquez). \u003ccite>(Blair Wells/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This year Velázquez’s recipe won the cheese tamale competition. That’s why she’s here today with her family and friends, cranking out what will soon be 4,500-plus cheese, pork, sweet and chicken tamales.\u003c/p>\n\u003cp>“So right now we’re preparing the cheese tamales,” she explains.\u003c/p>\n\u003cp>It’s a traditional Mexican recipe she has since passed down to her five kids. Two of them are here helping: Heidi and Erik.\u003c/p>\n\u003cp>“I am wrapping the tamales in this sheet so the cheese can’t escape,” Erik explains, as he wraps a thin paper sheet around the oja of a finished tamale. He quickly added, “I wouldn’t want to make them alone. If I have my sisters and my mom with me, yeah.”\u003c/p>\n\u003cp>That’s because tamales are hard work. They take many hands. Hands to mix the masa. Hands to shred the pork. Hands to chop the chilies.\u003c/p>\n\u003cp>“My hand is on fire because I was cutting chilies last night and I didn’t put gloves on,” he admits. “So I have to dunk them in water like every five minutes.”\u003c/p>\n\u003cp>Making 4,500 tamales is no easy task. So every Sunday for the past two months, Velázquez and her kids have come here to cook.\u003c/p>\n\u003cfigure id=\"attachment_11638936\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11638936\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/12/RS28703_10-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28703_10-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28703_10-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28703_10-qut-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28703_10-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28703_10-qut-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28703_10-qut-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28703_10-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28703_10-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28703_10-qut-520x346.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Top Tamale” chef Ana Aguirre (left) and Christina Velázquez do a final check on Aguirre’s chicken tamales at the St. Francis Center in Los Angeles. \u003ccite>(Blair Wells/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kulikov says all the proceeds from Top Tamale sales will benefit the food pantry. She adds that this couldn’t happen without help from people like Lucila Velázquez.\u003c/p>\n\u003cp>“Lucila has been a guest of our services for several years now and she would just come in,” Kulikov says. “There’s always those guests who want to give back, and that’s what I think makes St. Francis Center so unique and so wonderful.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The last of the tamales are finally packed in plastic boxes. This weekend, people from all over L.A. County will drop by to pick up their tamales just in time for Christmas. And whether they know it or not, they’ll be sharing in a tradition that has been carried across borders and passed down through generations.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Andy Weir has set the bar pretty high when it comes to his writing. His first book, \"The Martian,\" was a best-seller and adapted into an award-winning film of the same name starring Matt Damon.\u003c/p>\n\u003cp>Now, he has returned to space for his second book, \"Artemis.\" It's the story of a 26-year-old smuggler named Jasmine Bashara living on Artemis, the first human colony on the moon.\u003c/p>\n\u003cp>Recently, Weir sat down with KQED to talk about \"Artemis,\" why he has never wanted to go to space himself and his passion for mixology.\u003c/p>\n\u003cp>\u003cstrong>Describe your book in 10 words or fewer.\u003c/strong>\u003c/p>\n\u003cp>Heist story set on the moon.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Your last book, \"The Martian,\" was set on Mars. If you had to choose, would you rather go to Mars or the moon?\u003c/strong>\u003c/p>\n\u003cp>I would rather not go to either, but if I had to go to one, I guess I'd rather go to the moon because it's closer and would make it easier for me to come back. I write about brave people, but I'm not one of them.\u003c/p>\n\u003cp>I like the idea of those places, but I don't like the idea of me going to those places. I'm pretty sure that George R.R. Martin would not want to live in Westeros either. Just cause you write about it doesn't mean you'd personally want to be there.\u003c/p>\n\u003cp>\u003cstrong>Is there a question you're tired of getting asked about \"Artemis\"?\u003c/strong>\u003c/p>\n\u003cp>The one that I find myself explaining a lot was, \"Talk to us about writing a female lead when you're a man.\" And I'm like, OK. Do people always ask J.K. Rowling, \"Tell us about writing a teenage boy lead when you're a woman.\" Or to J.R.R Tolkien who was, to my knowledge, never an elf? I don't see the value in that question.\u003c/p>\n\u003cp>[contextly_sidebar id=\"W4GWGZnG1WIuoBc9yjyLohG859rCh4hm\"]\u003c/p>\n\u003cp>\u003cstrong>What is your favorite thing to do in the Bay Area?\u003c/strong>\u003c/p>\n\u003cp>The boring answer is like woodworking, but what I like to do in the area is my friends and I like to go to high-end cocktail bars. There's a group of us who are really into mixology. We like going and trying out new high-end cocktails and cocktail bars.\u003c/p>\n\u003cp>\u003cstrong>Do you have a favorite cocktail bar in the area?\u003c/strong>\u003c/p>\n\u003cp>I think my favorite in all of the Bay Area is probably \u003ca href=\"http://www.smugglerscovesf.com/\" target=\"_blank\" rel=\"noopener\">Smuggler's Cove\u003c/a> here in San Francisco, although San Francisco is kind of far. I live in Sunnyvale, so San Francisco is a bit of schlep for me to get to, so I'm actually really fond of \u003ca href=\"http://www.haberdashersj.com/\" target=\"_blank\" rel=\"noopener\">Haberdasher\u003c/a>, which used to be called Single Barrel, in San Jose.\u003c/p>\n\u003cp>\u003cstrong>Do you mix your own drinks as well?\u003c/strong>\u003c/p>\n\u003cp>Oh yes, absolutely. I've got a wet bar at home.\u003c/p>\n\u003cp>\u003cstrong>What's your specialty?\u003c/strong>\u003c/p>\n\u003cp>I don't know if I have a specialty, but the drink I most often make for myself and for my friends is a Rum Old-Fashioned, which is basically just an Old-Fashioned, but I use a dark rum instead of whiskey.\u003c/p>\n\u003cp>\u003cstrong>If you could have everyone in the world read one book you didn't write, what would it be?\u003c/strong>\u003c/p>\n\u003cp>I guess I'd want it to be something fun because I'm not interested in trying to change people's opinions or ideals or anything like that. So just something that's fun. How about \"\u003ca href=\"https://www.goodreads.com/book/show/41804.I_Robot?from_search=true\" target=\"_blank\" rel=\"noopener\">I, Robot\u003c/a>\" by Isaac Asimov? That's my favorite book, so let's make everyone else read it.\u003c/p>\n\u003cp>\u003cstrong>What's on your to-read list right now?\u003c/strong>\u003c/p>\n\u003cp>You're putting me on the spot. I can't remember off the top of my head.\u003c/p>\n\u003cp>So the problem is -- well, it's not a problem, it's awesome -- I always get sent those books well in advance. So the books that are coming out soon, I've already read. \"\u003ca href=\"https://www.goodreads.com/book/show/33825757-paradox-bound\" target=\"_blank\" rel=\"noopener\">Paradox Bound\u003c/a>\" by Peter Clines is very good. \"\u003ca href=\"https://www.goodreads.com/book/show/29947651-endurance\" target=\"_blank\" rel=\"noopener\">Endurance\u003c/a>\" by Scott Kelly, that's nonfiction. That's really good.\u003c/p>\n\u003cp>I guess one thing I will say is I'll read pretty much anything by Mary Roach. She writes nonfiction. Whatever random topic she decides to cover next -- I got sucked in by reading \"\u003ca href=\"https://www.goodreads.com/book/show/7237456-packing-for-mars?from_search=true\" target=\"_blank\" rel=\"noopener\">Packing for Mars\u003c/a>,\" which was all about the space industry, but it doesn't matter. She could talk about the history of lint, and I'd be enthralled. She's really good at what she does.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Andy Weir has set the bar pretty high when it comes to his writing. His first book, \"The Martian,\" was a best-seller and adapted into an award-winning film of the same name starring Matt Damon.\u003c/p>\n\u003cp>Now, he has returned to space for his second book, \"Artemis.\" It's the story of a 26-year-old smuggler named Jasmine Bashara living on Artemis, the first human colony on the moon.\u003c/p>\n\u003cp>Recently, Weir sat down with KQED to talk about \"Artemis,\" why he has never wanted to go to space himself and his passion for mixology.\u003c/p>\n\u003cp>\u003cstrong>Describe your book in 10 words or fewer.\u003c/strong>\u003c/p>\n\u003cp>Heist story set on the moon.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Your last book, \"The Martian,\" was set on Mars. If you had to choose, would you rather go to Mars or the moon?\u003c/strong>\u003c/p>\n\u003cp>I would rather not go to either, but if I had to go to one, I guess I'd rather go to the moon because it's closer and would make it easier for me to come back. I write about brave people, but I'm not one of them.\u003c/p>\n\u003cp>I like the idea of those places, but I don't like the idea of me going to those places. I'm pretty sure that George R.R. Martin would not want to live in Westeros either. Just cause you write about it doesn't mean you'd personally want to be there.\u003c/p>\n\u003cp>\u003cstrong>Is there a question you're tired of getting asked about \"Artemis\"?\u003c/strong>\u003c/p>\n\u003cp>The one that I find myself explaining a lot was, \"Talk to us about writing a female lead when you're a man.\" And I'm like, OK. Do people always ask J.K. Rowling, \"Tell us about writing a teenage boy lead when you're a woman.\" Or to J.R.R Tolkien who was, to my knowledge, never an elf? I don't see the value in that question.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cstrong>What is your favorite thing to do in the Bay Area?\u003c/strong>\u003c/p>\n\u003cp>The boring answer is like woodworking, but what I like to do in the area is my friends and I like to go to high-end cocktail bars. There's a group of us who are really into mixology. We like going and trying out new high-end cocktails and cocktail bars.\u003c/p>\n\u003cp>\u003cstrong>Do you have a favorite cocktail bar in the area?\u003c/strong>\u003c/p>\n\u003cp>I think my favorite in all of the Bay Area is probably \u003ca href=\"http://www.smugglerscovesf.com/\" target=\"_blank\" rel=\"noopener\">Smuggler's Cove\u003c/a> here in San Francisco, although San Francisco is kind of far. I live in Sunnyvale, so San Francisco is a bit of schlep for me to get to, so I'm actually really fond of \u003ca href=\"http://www.haberdashersj.com/\" target=\"_blank\" rel=\"noopener\">Haberdasher\u003c/a>, which used to be called Single Barrel, in San Jose.\u003c/p>\n\u003cp>\u003cstrong>Do you mix your own drinks as well?\u003c/strong>\u003c/p>\n\u003cp>Oh yes, absolutely. I've got a wet bar at home.\u003c/p>\n\u003cp>\u003cstrong>What's your specialty?\u003c/strong>\u003c/p>\n\u003cp>I don't know if I have a specialty, but the drink I most often make for myself and for my friends is a Rum Old-Fashioned, which is basically just an Old-Fashioned, but I use a dark rum instead of whiskey.\u003c/p>\n\u003cp>\u003cstrong>If you could have everyone in the world read one book you didn't write, what would it be?\u003c/strong>\u003c/p>\n\u003cp>I guess I'd want it to be something fun because I'm not interested in trying to change people's opinions or ideals or anything like that. So just something that's fun. How about \"\u003ca href=\"https://www.goodreads.com/book/show/41804.I_Robot?from_search=true\" target=\"_blank\" rel=\"noopener\">I, Robot\u003c/a>\" by Isaac Asimov? That's my favorite book, so let's make everyone else read it.\u003c/p>\n\u003cp>\u003cstrong>What's on your to-read list right now?\u003c/strong>\u003c/p>\n\u003cp>You're putting me on the spot. I can't remember off the top of my head.\u003c/p>\n\u003cp>So the problem is -- well, it's not a problem, it's awesome -- I always get sent those books well in advance. So the books that are coming out soon, I've already read. \"\u003ca href=\"https://www.goodreads.com/book/show/33825757-paradox-bound\" target=\"_blank\" rel=\"noopener\">Paradox Bound\u003c/a>\" by Peter Clines is very good. \"\u003ca href=\"https://www.goodreads.com/book/show/29947651-endurance\" target=\"_blank\" rel=\"noopener\">Endurance\u003c/a>\" by Scott Kelly, that's nonfiction. That's really good.\u003c/p>\n\u003cp>I guess one thing I will say is I'll read pretty much anything by Mary Roach. She writes nonfiction. Whatever random topic she decides to cover next -- I got sucked in by reading \"\u003ca href=\"https://www.goodreads.com/book/show/7237456-packing-for-mars?from_search=true\" target=\"_blank\" rel=\"noopener\">Packing for Mars\u003c/a>,\" which was all about the space industry, but it doesn't matter. She could talk about the history of lint, and I'd be enthralled. She's really good at what she does.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Central Valley Family Creates Legacy Through Frozen Food Factory",
"title": "Central Valley Family Creates Legacy Through Frozen Food Factory",
"headTitle": "California Foodways | The California Report | KQED News",
"content": "\u003cp>Recently I visited the Central Valley town of Dinuba and went into a factory, a kind of factory I’d never seen. Before the big wigs let me in, they suited me up in safety gear. I was with company chair Kim Ruiz Beck.\u003c/p>\n\u003cp>“We are putting gloves on because we have fingernail polish on our nails, and I have a wedding ring I can’t get off my finger,” she explained.\u003c/p>\n\u003cp>There was more.\u003c/p>\n\u003cp>“That’s a hair net to cover your hair. Everything has to be totally tucked in.”\u003c/p>\n\u003cp>They’re so strict about the hair net that even George W. Bush wasn’t let into the factory without one. Ruiz Beck said her father, company co-founder Fred Ruiz, told her the president would be making a visit to the plant.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“But he won’t wear a hairnet. We’re like, ‘Are you kidding? All our customers will watch the president on TV at our plant!’”\u003c/p>\n\u003cp>So, what happened?\u003c/p>\n\u003cp>“He didn’t tour the plant, because we couldn’t make an exception,” said Ruiz Beck. Instead, the company built a glass wall, so the president could see the factory in operation, but not risk the bad optics.\u003c/p>\n\u003cp>All these measures are to protect the product the factory turns out: frozen burritos, the product you see in every convenience store, college dorms, hundreds of school cafeterias, and thousands of family freezers around the country.\u003c/p>\n\u003cfigure id=\"attachment_11637159\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11637159\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/12/RS28376_label-machine-65_CC-qut-800x531.jpg\" alt=\"\" width=\"800\" height=\"531\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/12/RS28376_label-machine-65_CC-qut-800x531.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/12/RS28376_label-machine-65_CC-qut-160x106.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/12/RS28376_label-machine-65_CC-qut-1020x677.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/12/RS28376_label-machine-65_CC-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/12/RS28376_label-machine-65_CC-qut-1180x784.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/12/RS28376_label-machine-65_CC-qut-960x638.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/12/RS28376_label-machine-65_CC-qut-240x159.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/12/RS28376_label-machine-65_CC-qut-375x249.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/12/RS28376_label-machine-65_CC-qut-520x345.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A label machine in the Ruiz Foods factory. \u003ccite>(Courtesy of Ruiz Foods)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Dinuba facility I visited is just one of the plants owned by \u003ca href=\"http://www.ruizfoodservice.com/\">Ruiz Foods\u003c/a>, the largest manufacturers of frozen burritos -- in fact all frozen Mexican food -- in the country. And this factory, it’s like the Willy Wonka of Mexican food.\u003c/p>\n\u003cp>The company won’t let me say much about what goes on in the factory -- it’s all a proprietary process -- but what I can say is that I saw thousands of burritos, quesadillas, and taquitos, most of which will be sold under the El Monterey brand. \u003c/p>\n\u003cp>Over 1,600 people work here, and many fold or roll products by hand. Still other products are folded, incredibly, by machine before heading obediently down what look like miles of conveyor belts moving toward a spiral freezer.\u003c/p>\n\u003cfigure id=\"attachment_11637157\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11637157\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/12/RS28370_breakfast-burritos-exiting-chiller-49_CC-qut-800x531.jpg\" alt=\"\" width=\"800\" height=\"531\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/12/RS28370_breakfast-burritos-exiting-chiller-49_CC-qut-800x531.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/12/RS28370_breakfast-burritos-exiting-chiller-49_CC-qut-160x106.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/12/RS28370_breakfast-burritos-exiting-chiller-49_CC-qut-1020x677.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/12/RS28370_breakfast-burritos-exiting-chiller-49_CC-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/12/RS28370_breakfast-burritos-exiting-chiller-49_CC-qut-1180x784.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/12/RS28370_breakfast-burritos-exiting-chiller-49_CC-qut-960x638.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/12/RS28370_breakfast-burritos-exiting-chiller-49_CC-qut-240x159.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/12/RS28370_breakfast-burritos-exiting-chiller-49_CC-qut-375x249.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/12/RS28370_breakfast-burritos-exiting-chiller-49_CC-qut-520x345.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Breakfast burritos exit a chiller. \u003ccite>(Courtesy of Ruiz Foods)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After lunch with a handful of family members, company co-founder Fred Ruiz told me that the family is originally from Chihuahua, Mexico, but fled during the Mexican Revolution, when his father was just a boy.\u003c/p>\n\u003cp>“Pancho Villa was basically taking over farms and businesses,” and the Ruiz family had land. “It wasn’t safe to live,” he said. “My dad remembers everybody being piled into this car in the middle of the night and there was lots of guns and bombs going off.”\u003c/p>\n\u003cp>They settled in Los Angeles. Fred Ruiz says his dad Louis was a born entrepreneur, selling feather dusters, then clothing door to door. In the 1950s, the family moved to Tulare County, where Louis Ruiz and his brothers started a tortilla business.\u003c/p>\n\u003cp>“And I think what my Dad realized at the time is there were opportunities to sell Mexican food in the San Joaquin Valley.”\u003c/p>\n\u003cfigure id=\"attachment_11637156\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11637156\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/12/RS28372_Louis.Fred-Ruiz-qut-800x711.jpg\" alt=\"\" width=\"800\" height=\"711\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/12/RS28372_Louis.Fred-Ruiz-qut-800x711.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/12/RS28372_Louis.Fred-Ruiz-qut-160x142.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/12/RS28372_Louis.Fred-Ruiz-qut-240x213.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/12/RS28372_Louis.Fred-Ruiz-qut-375x333.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/12/RS28372_Louis.Fred-Ruiz-qut-520x462.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/12/RS28372_Louis.Fred-Ruiz-qut.jpg 864w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Louis and Fred Ruiz with some early products. \u003ccite>(Courtesy of Ruiz Foods)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To get some historical context, I decided to talk to author Gustavo Arellano who wrote the book Taco USA: How Mexican Food Conquered America.\u003c/p>\n\u003cp>He said, the flour tortilla that defines a burrito is a northern Mexican staple.\u003c/p>\n\u003cp>“The urban legend is that the first people who created the dish that we now called 'burritos' were miners,” he explained, people who worked in copper mines between Sonora, Mexico and Arizona.\u003c/p>\n\u003cp>They would would wrap all their food in big flour tortillas, and ride donkeys or burros down into the mines.\u003c/p>\n\u003cp>“So they called these ‘burritos,’ little burros,” said Arellano.\u003c/p>\n\u003cp>Arellano explained, burritos really entered the U.S. in the 1940s during the bracero program, when the U.S. and Mexico agreed to bring tens of thousands of Mexican agricultural workers into the country.\u003c/p>\n\u003cp>“As part of the agreement, the American farmers who participated in this program had to give workers Mexican food. Of course they weren’t going to give them moles and complicated dishes,” he said.\u003c/p>\n\u003cp>U.S. farmers knew beans, rice, and the northern Mexican flour tortillas, but most of the braceros came from central and southern Mexico, where they ate corn tortillas.\u003c/p>\n\u003cp>[contextly_sidebar id=\"uYebybR7gfc02szvtAnglwdaBbUChBux\"]\u003c/p>\n\u003cp>“You see some of these oral histories, these braceros said they hated burritos,\" said Arellano. \"They’re already far from home, and now they get this approximation of Mexican food?”\u003c/p>\n\u003cp>Eventually, the burrito entered the mainstream, starting with Taco Bell and Del Taco in the 60s, and Chipotle in the 90s. But Mexican food has been in American grocery stores much longer.\u003c/p>\n\u003cp>“You started getting canned tamales in the late 1890s,” Arellano said, followed by canned rice, beans, and chili sauce.\u003c/p>\n\u003cp>Arellano continues, “Starting in the 1930s you have a man named George Ashley who starts putting tortillas in a can.”\u003c/p>\n\u003cp>Not all, but most of these food producers were white, and most of their customers were white people who lived near Mexican Americans, and their food.\u003c/p>\n\u003cp>“Once Americans taste Mexican food they need it, and it becomes a part of their life and they’re going to try to replicate it at home one way or another,” said Arellano.\u003c/p>\n\u003cp>That’s the environment in which Louis and Fred Ruiz started their business in the 1960s. They had a primed customer base in the racially diverse Central Valley, and the perfect muse: mom.\u003c/p>\n\u003cp>“I loved her cheese enchiladas,” said Fred Ruiz. “I loved her tostadas, her tamales. Our flavor profiles are modeled after the way my Mom made Mexican food at home when I was growing up.”\u003c/p>\n\u003cp>[contextly_sidebar id=\"Hu1PEukUDEy3ismfpxSZ552bn9UvzW6P\"]\u003c/p>\n\u003cp>While Fred and his dad developed recipes for their first products, his mom worked at a shoe store in downtown Tulare.\u003c/p>\n\u003cp>“I would be working on some sauce and it just didn’t taste right,” remembered Ruiz. “So I would put it in a little dish, and I’d drive over to the store. I’m there, I’ve got sauce all over my t-shirt, I smelled like an enchilada, and I’d say, ‘Mom, taste this.’ And then she would tell me, it just needed a little more oregano, a little more garlic.”\u003c/p>\n\u003cp>In fact, the test kitchen is still called Rosie’s Culinary Center.\u003c/p>\n\u003cp>Kim Ruiz Beck explained that her grandfather Louis served as both delivery man and sales guy.\u003c/p>\n\u003cp>“He’d drive the truck, pull in, deliver all the product in the back of the grocery store. And then he would drive around the front, and he would change into a suit,” she said, and meet with the manager to try to make more sales.\u003c/p>\n\u003cp>Ruiz Foods grew to be a top Latino-owned business, but Fred Ruiz and his dad started in 1964, before major advances in civil rights.\u003c/p>\n\u003cp>“There were some challenges, just growing up as a kid being Mexican,” Ruiz remembered. “I asked this girl if she’d go on a date one time and she said no she couldn’t, her Dad wouldn’t let her date Mexicans.”\u003c/p>\n\u003cp>And in business? Ruiz didn’t want to belabor the point, but he admitted, “There were some challenges we had to overcome. Some people didn’t believe that we were going to grow our business.”\u003c/p>\n\u003cp>But Kim Ruiz Beck said by the 1980s, a new piece of technology transformed the business: the microwave.\u003c/p>\n\u003cp>“Every home has a microwave. That really is the key to our product success,” she said.\u003c/p>\n\u003cp>Ruiz Foods started growing into the multi-million-dollar-a-year business it is today. The company, and the family, have a lot of influence. Fred Ruiz showed me a photograph taken at the White House Rose Garden, when he and his father received the United States Small Business Persons of the Year Award, presented by President Ronald Reagan.\u003c/p>\n\u003cp>[contextly_sidebar id=\"f0H0kM7W7hIePOsoQglhLgX2qK62bvuJ\"]\u003c/p>\n\u003cp>Fred served a 12-year stint on the UC Board of Regents. Among other philanthropy, the company recently pledged $1 million to the Fresno State Craig School of Business.\u003c/p>\n\u003cp>For the company to stay on top, the family told me they’ve had to innovate, adding breakfast items, fusion foods, and something called Tornados. They’re like flautas or taquitos, developed specifically to fit on convenience store roller grills, the ones that usually hold hot dogs. Despite all those new products, the company told me their top retail product is still a bag of eight frozen burritos.\u003c/p>\n\u003cp>Kim Ruiz Beck started working at her family’s company 40 years ago.\u003c/p>\n\u003cp>“My whole life, this is all I know,” she joked. “All I know is burritos!”\u003c/p>\n\u003cp>When I asked why she joined the family business, she got emotional.\u003c/p>\n\u003cp>“This is all I ever wanted. I’m so proud of my Dad and my grandpa. I just wanted to be a part of this business,” she said, choking back tears. “I love this business. I love what they’ve created, I love what we created in the community.”\u003c/p>\n\u003cp>And, she said, she loves knowing the company’s reaching so many people through food.\u003c/p>\n\u003cp>At a town park a mile away, I asked a group of teenagers on skateboards about Ruiz Foods. They’ve got friends and family who work at the factory, and said, though they prefer homemade Mexican food, they eat El Monterey burritos for convenience and the low price tag. An eight-pack of bean and cheese burritos costs under $4. Compare that to other convenience store fare, they said.\u003c/p>\n\u003cp>“A bag of chips is $1.69 and a soda’s a dollar, so it’s like $3.”\u003c/p>\n\u003cp>One boy said, “I never ate Ruiz Foods,” but his friend quickly corrected him.\u003c/p>\n\u003cp>“Yes you have, bro, they package the blue burritos, El Monte burritos.” They all agree their favorite is the chile verde.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>What was clear, talking to these guys basically in the shadow of the Ruiz Foods factory, is that their products are in a lot of our lives, whether we know it or not.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Recently I visited the Central Valley town of Dinuba and went into a factory, a kind of factory I’d never seen. Before the big wigs let me in, they suited me up in safety gear. I was with company chair Kim Ruiz Beck.\u003c/p>\n\u003cp>“We are putting gloves on because we have fingernail polish on our nails, and I have a wedding ring I can’t get off my finger,” she explained.\u003c/p>\n\u003cp>There was more.\u003c/p>\n\u003cp>“That’s a hair net to cover your hair. Everything has to be totally tucked in.”\u003c/p>\n\u003cp>They’re so strict about the hair net that even George W. Bush wasn’t let into the factory without one. Ruiz Beck said her father, company co-founder Fred Ruiz, told her the president would be making a visit to the plant.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“But he won’t wear a hairnet. We’re like, ‘Are you kidding? All our customers will watch the president on TV at our plant!’”\u003c/p>\n\u003cp>So, what happened?\u003c/p>\n\u003cp>“He didn’t tour the plant, because we couldn’t make an exception,” said Ruiz Beck. Instead, the company built a glass wall, so the president could see the factory in operation, but not risk the bad optics.\u003c/p>\n\u003cp>All these measures are to protect the product the factory turns out: frozen burritos, the product you see in every convenience store, college dorms, hundreds of school cafeterias, and thousands of family freezers around the country.\u003c/p>\n\u003cfigure id=\"attachment_11637159\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11637159\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/12/RS28376_label-machine-65_CC-qut-800x531.jpg\" alt=\"\" width=\"800\" height=\"531\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/12/RS28376_label-machine-65_CC-qut-800x531.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/12/RS28376_label-machine-65_CC-qut-160x106.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/12/RS28376_label-machine-65_CC-qut-1020x677.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/12/RS28376_label-machine-65_CC-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/12/RS28376_label-machine-65_CC-qut-1180x784.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/12/RS28376_label-machine-65_CC-qut-960x638.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/12/RS28376_label-machine-65_CC-qut-240x159.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/12/RS28376_label-machine-65_CC-qut-375x249.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/12/RS28376_label-machine-65_CC-qut-520x345.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A label machine in the Ruiz Foods factory. \u003ccite>(Courtesy of Ruiz Foods)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Dinuba facility I visited is just one of the plants owned by \u003ca href=\"http://www.ruizfoodservice.com/\">Ruiz Foods\u003c/a>, the largest manufacturers of frozen burritos -- in fact all frozen Mexican food -- in the country. And this factory, it’s like the Willy Wonka of Mexican food.\u003c/p>\n\u003cp>The company won’t let me say much about what goes on in the factory -- it’s all a proprietary process -- but what I can say is that I saw thousands of burritos, quesadillas, and taquitos, most of which will be sold under the El Monterey brand. \u003c/p>\n\u003cp>Over 1,600 people work here, and many fold or roll products by hand. Still other products are folded, incredibly, by machine before heading obediently down what look like miles of conveyor belts moving toward a spiral freezer.\u003c/p>\n\u003cfigure id=\"attachment_11637157\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11637157\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/12/RS28370_breakfast-burritos-exiting-chiller-49_CC-qut-800x531.jpg\" alt=\"\" width=\"800\" height=\"531\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/12/RS28370_breakfast-burritos-exiting-chiller-49_CC-qut-800x531.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/12/RS28370_breakfast-burritos-exiting-chiller-49_CC-qut-160x106.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/12/RS28370_breakfast-burritos-exiting-chiller-49_CC-qut-1020x677.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/12/RS28370_breakfast-burritos-exiting-chiller-49_CC-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/12/RS28370_breakfast-burritos-exiting-chiller-49_CC-qut-1180x784.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/12/RS28370_breakfast-burritos-exiting-chiller-49_CC-qut-960x638.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/12/RS28370_breakfast-burritos-exiting-chiller-49_CC-qut-240x159.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/12/RS28370_breakfast-burritos-exiting-chiller-49_CC-qut-375x249.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/12/RS28370_breakfast-burritos-exiting-chiller-49_CC-qut-520x345.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Breakfast burritos exit a chiller. \u003ccite>(Courtesy of Ruiz Foods)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After lunch with a handful of family members, company co-founder Fred Ruiz told me that the family is originally from Chihuahua, Mexico, but fled during the Mexican Revolution, when his father was just a boy.\u003c/p>\n\u003cp>“Pancho Villa was basically taking over farms and businesses,” and the Ruiz family had land. “It wasn’t safe to live,” he said. “My dad remembers everybody being piled into this car in the middle of the night and there was lots of guns and bombs going off.”\u003c/p>\n\u003cp>They settled in Los Angeles. Fred Ruiz says his dad Louis was a born entrepreneur, selling feather dusters, then clothing door to door. In the 1950s, the family moved to Tulare County, where Louis Ruiz and his brothers started a tortilla business.\u003c/p>\n\u003cp>“And I think what my Dad realized at the time is there were opportunities to sell Mexican food in the San Joaquin Valley.”\u003c/p>\n\u003cfigure id=\"attachment_11637156\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11637156\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/12/RS28372_Louis.Fred-Ruiz-qut-800x711.jpg\" alt=\"\" width=\"800\" height=\"711\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/12/RS28372_Louis.Fred-Ruiz-qut-800x711.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/12/RS28372_Louis.Fred-Ruiz-qut-160x142.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/12/RS28372_Louis.Fred-Ruiz-qut-240x213.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/12/RS28372_Louis.Fred-Ruiz-qut-375x333.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/12/RS28372_Louis.Fred-Ruiz-qut-520x462.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/12/RS28372_Louis.Fred-Ruiz-qut.jpg 864w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Louis and Fred Ruiz with some early products. \u003ccite>(Courtesy of Ruiz Foods)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To get some historical context, I decided to talk to author Gustavo Arellano who wrote the book Taco USA: How Mexican Food Conquered America.\u003c/p>\n\u003cp>He said, the flour tortilla that defines a burrito is a northern Mexican staple.\u003c/p>\n\u003cp>“The urban legend is that the first people who created the dish that we now called 'burritos' were miners,” he explained, people who worked in copper mines between Sonora, Mexico and Arizona.\u003c/p>\n\u003cp>They would would wrap all their food in big flour tortillas, and ride donkeys or burros down into the mines.\u003c/p>\n\u003cp>“So they called these ‘burritos,’ little burros,” said Arellano.\u003c/p>\n\u003cp>Arellano explained, burritos really entered the U.S. in the 1940s during the bracero program, when the U.S. and Mexico agreed to bring tens of thousands of Mexican agricultural workers into the country.\u003c/p>\n\u003cp>“As part of the agreement, the American farmers who participated in this program had to give workers Mexican food. Of course they weren’t going to give them moles and complicated dishes,” he said.\u003c/p>\n\u003cp>U.S. farmers knew beans, rice, and the northern Mexican flour tortillas, but most of the braceros came from central and southern Mexico, where they ate corn tortillas.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“You see some of these oral histories, these braceros said they hated burritos,\" said Arellano. \"They’re already far from home, and now they get this approximation of Mexican food?”\u003c/p>\n\u003cp>Eventually, the burrito entered the mainstream, starting with Taco Bell and Del Taco in the 60s, and Chipotle in the 90s. But Mexican food has been in American grocery stores much longer.\u003c/p>\n\u003cp>“You started getting canned tamales in the late 1890s,” Arellano said, followed by canned rice, beans, and chili sauce.\u003c/p>\n\u003cp>Arellano continues, “Starting in the 1930s you have a man named George Ashley who starts putting tortillas in a can.”\u003c/p>\n\u003cp>Not all, but most of these food producers were white, and most of their customers were white people who lived near Mexican Americans, and their food.\u003c/p>\n\u003cp>“Once Americans taste Mexican food they need it, and it becomes a part of their life and they’re going to try to replicate it at home one way or another,” said Arellano.\u003c/p>\n\u003cp>That’s the environment in which Louis and Fred Ruiz started their business in the 1960s. They had a primed customer base in the racially diverse Central Valley, and the perfect muse: mom.\u003c/p>\n\u003cp>“I loved her cheese enchiladas,” said Fred Ruiz. “I loved her tostadas, her tamales. Our flavor profiles are modeled after the way my Mom made Mexican food at home when I was growing up.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>While Fred and his dad developed recipes for their first products, his mom worked at a shoe store in downtown Tulare.\u003c/p>\n\u003cp>“I would be working on some sauce and it just didn’t taste right,” remembered Ruiz. “So I would put it in a little dish, and I’d drive over to the store. I’m there, I’ve got sauce all over my t-shirt, I smelled like an enchilada, and I’d say, ‘Mom, taste this.’ And then she would tell me, it just needed a little more oregano, a little more garlic.”\u003c/p>\n\u003cp>In fact, the test kitchen is still called Rosie’s Culinary Center.\u003c/p>\n\u003cp>Kim Ruiz Beck explained that her grandfather Louis served as both delivery man and sales guy.\u003c/p>\n\u003cp>“He’d drive the truck, pull in, deliver all the product in the back of the grocery store. And then he would drive around the front, and he would change into a suit,” she said, and meet with the manager to try to make more sales.\u003c/p>\n\u003cp>Ruiz Foods grew to be a top Latino-owned business, but Fred Ruiz and his dad started in 1964, before major advances in civil rights.\u003c/p>\n\u003cp>“There were some challenges, just growing up as a kid being Mexican,” Ruiz remembered. “I asked this girl if she’d go on a date one time and she said no she couldn’t, her Dad wouldn’t let her date Mexicans.”\u003c/p>\n\u003cp>And in business? Ruiz didn’t want to belabor the point, but he admitted, “There were some challenges we had to overcome. Some people didn’t believe that we were going to grow our business.”\u003c/p>\n\u003cp>But Kim Ruiz Beck said by the 1980s, a new piece of technology transformed the business: the microwave.\u003c/p>\n\u003cp>“Every home has a microwave. That really is the key to our product success,” she said.\u003c/p>\n\u003cp>Ruiz Foods started growing into the multi-million-dollar-a-year business it is today. The company, and the family, have a lot of influence. Fred Ruiz showed me a photograph taken at the White House Rose Garden, when he and his father received the United States Small Business Persons of the Year Award, presented by President Ronald Reagan.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Fred served a 12-year stint on the UC Board of Regents. Among other philanthropy, the company recently pledged $1 million to the Fresno State Craig School of Business.\u003c/p>\n\u003cp>For the company to stay on top, the family told me they’ve had to innovate, adding breakfast items, fusion foods, and something called Tornados. They’re like flautas or taquitos, developed specifically to fit on convenience store roller grills, the ones that usually hold hot dogs. Despite all those new products, the company told me their top retail product is still a bag of eight frozen burritos.\u003c/p>\n\u003cp>Kim Ruiz Beck started working at her family’s company 40 years ago.\u003c/p>\n\u003cp>“My whole life, this is all I know,” she joked. “All I know is burritos!”\u003c/p>\n\u003cp>When I asked why she joined the family business, she got emotional.\u003c/p>\n\u003cp>“This is all I ever wanted. I’m so proud of my Dad and my grandpa. I just wanted to be a part of this business,” she said, choking back tears. “I love this business. I love what they’ve created, I love what we created in the community.”\u003c/p>\n\u003cp>And, she said, she loves knowing the company’s reaching so many people through food.\u003c/p>\n\u003cp>At a town park a mile away, I asked a group of teenagers on skateboards about Ruiz Foods. They’ve got friends and family who work at the factory, and said, though they prefer homemade Mexican food, they eat El Monterey burritos for convenience and the low price tag. An eight-pack of bean and cheese burritos costs under $4. Compare that to other convenience store fare, they said.\u003c/p>\n\u003cp>“A bag of chips is $1.69 and a soda’s a dollar, so it’s like $3.”\u003c/p>\n\u003cp>One boy said, “I never ate Ruiz Foods,” but his friend quickly corrected him.\u003c/p>\n\u003cp>“Yes you have, bro, they package the blue burritos, El Monte burritos.” They all agree their favorite is the chile verde.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>What was clear, talking to these guys basically in the shadow of the Ruiz Foods factory, is that their products are in a lot of our lives, whether we know it or not.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>As the tallest building in San Francisco, Salesforce Tower is the new center of the city skyline. And as soon as January, the top of the tower will also become a work of public art created by San Francisco visual artist Jim Campbell, 61.\u003c/p>\n\u003cp>During the day, cameras installed around San Francisco will record movements like waves crashing on Ocean Beach, trees blowing in Golden Gate Park, and pedestrians crossing Market Street. At night, the images will be projected onto the top of Salesforce Tower like a visual diary of the day.\u003c/p>\n\u003cp>The permanent installation is called “Day for Night.” Campbell says he named it after the filmmaking technique where a scene is lit during the day to make it look like it is night.\u003c/p>\n\u003cp>Salesforce Tower is 1,070 feet tall and has 61 floors of office space wrapped in glass. But the top six floors, called the crown, are wrapped with over a hundred and thirty perforated aluminum panels. The components in “Day For Night” are installed directly into these panels, with about eighty pixels bolted to each aluminum panel. In total, over 11,000 pixels will create a hundred-foot tall circular LED screen.\u003c/p>\n\u003cp>Campbell says during a trip to Hong Kong, he watched the skyline blaze and blink like an elaborate LED light show, and thought that it wasn’t a very pleasant aesthetic.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“So a part of me was: ‘why am I creating this thing that I don’t necessarily believe in from an urban planning perspective?’ he recalls. “On the other hand, I took that as a challenge, and said: ‘Okay, what can I do in this skyline that will work, that will fit in without completely changing the skyline?’ I really don’t want to do something that I would call spectacular. I don’t want it to be flashy.”\u003c/p>\n\u003cfigure id=\"attachment_11637551\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/12/SalesforceTopTower-800x798.jpg\" alt=\"Artist's rendering of the "Day for Night" installation atop Salesforce Tower in San Francisco.\" width=\"800\" height=\"798\" class=\"size-medium wp-image-11637551\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/SalesforceTopTower-800x798.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/SalesforceTopTower-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/SalesforceTopTower-1020x1017.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/SalesforceTopTower-960x957.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/SalesforceTopTower-240x239.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/SalesforceTopTower-375x374.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/SalesforceTopTower-520x519.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/SalesforceTopTower-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/SalesforceTopTower-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/SalesforceTopTower-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/SalesforceTopTower-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/SalesforceTopTower-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/SalesforceTopTower-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/SalesforceTopTower.jpg 1114w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist’s rendering of the “Day for Night” installation atop Salesforce Tower in San Francisco. \u003ccite>(Courtesy of the artist and Boston Properties)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To start, Campbell changed the way the pixels are mounted by turning them inward. On the buildings in Hong Kong, the pixels face away from the building, shining bright light into the sky.\u003c/p>\n\u003cp>On Salesforce Tower, they extend outward from the panels — like camping headlamps on selfie sticks — and shine light back at the aluminum panels, creating a soft glow against the gray aluminum.\u003c/p>\n\u003cp>The moving images will be low-resolution, kind of blurry, so you might not be able to determine what the image is at first glance. As far as Campbell knows, it’s the first time pixels have been installed this way on a building and the first time public art will become part of the city skyline in this way. But even he isn’t completely certain about it.\u003c/p>\n\u003cp>“I see this more and more as a big experiment,” he says. “What could go wrong is that people don’t want to see an image in the sky. We don’t know. Do you know if you want to or not? I don’t.”\u003c/p>\n\u003ch2>‘Unachievable High Plateau’\u003c/h2>\n\u003cp>Today, Campbell’s artwork hangs in major museums worldwide. His public art is installed in places like Grace Cathedral, the San Diego Airport, Dallas Cowboys Stadium and Battery Park.\u003c/p>\n\u003cp>But as a kid, becoming an artist was never a possibility. He grew up in a lower-middle-class suburb of Chicago and says, “I never met an artist, so I never knew it was an option.”\u003c/p>\n\u003cfigure id=\"attachment_11637554\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/12/JimCampbell-800x450.jpg\" alt=\"Jim Campbell (R) and Sean McGowen on the roof of Salesforce Tower before the crown was built.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-11637554\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/JimCampbell.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/JimCampbell-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/JimCampbell-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/JimCampbell-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/JimCampbell-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jim Campbell (R) and Sean McGowen on the roof of Salesforce Tower before the crown was built. \u003ccite>(Courtesy Jim Campbell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He graduated from MIT in 1978 with degrees in mathematics and electrical engineering. In Silicon Valley, he worked on algorithms to convert standard definition TV images into high-definition TV images. In his spare time, he created digital art in a studio converted from his Potrero Hill home’s garage.\u003c/p>\n\u003cp>“I was doing art for at least ten years before I called myself an artist,” he says. “I always had artists on this unachievable high plateau.”\u003c/p>\n\u003cp>He stopped doing what he considers “serious engineering,” but still designs the electronic components used in his art, including the pixels used on Salesforce Tower.\u003c/p>\n\u003cp>Much of Campbell’s work has explored the boundaries of perception. And with “Day for Night,” he wants to challenge what we expect to see in a skyline.\u003c/p>\n\u003cp>“It’s an interesting public-art challenge,” he explains, “in that a million people are going to see this at night, whether they want to or not. So it’s a challenge, to have it fit in, have it be subtle, have it be engaging, changing, and dynamic.”\u003c/p>\n\u003ch2>San Francisco’s Anti-High Rise History\u003c/h2>\n\u003cp>San Francisco has hardly been a city to embrace changes to its skyline. In the 1960s, where residents saw natural hills downtown, developers saw opportunity. Big, boxy buildings shot-up without oversight.\u003c/p>\n\u003cp>Joshua Switzky, a lead planner with the San Francisco Planning Department, says a backlash against tall office buildings took root among critics and residents.\u003c/p>\n\u003cp>“That created the planning framework to more consciously shape the city’s skyline based on public values and intention, and not on private initiative,” Switzky says.\u003c/p>\n\u003cp>That framework, he says, was called the Downtown Plan. “That plan required that tall buildings taper as they got taller and emphasized more delicate and interesting tops of buildings,” Switzky says.\u003c/p>\n\u003cp>To avoid refrigerator-like buildings, the plan required tops to be complex, decorative, sculptured, intricate, expressive. Architects bristled. Allan Temko, San Francisco Chronicle’s architecture critic at the time, quipped that San Francisco wouldn’t need architects, but milliners. \u003c/p>\n\u003cp>“Putting silly hats on tops of buildings,” Switzky explains, “and there certainly are buildings that that’s probably a fair representation.”\u003c/p>\n\u003cp>An “anti-high rise” movement was born. Back then, Tim Redmond was a reporter for the progressive publication, The San Francisco Bay Guardian. Today he’s the editor of 48hills.org, the Guardian’s online successor.\u003c/p>\n\u003cp>Redmond says the movement wasn’t against high-rises or how they looked. “It was more than that. It was an urban-environmental movement that wanted reasonable, rational planning in the city.”\u003c/p>\n\u003cp>“When you do commercial office development, you attract workers to those buildings. How are they going to get there? Where are going to live? What’s going to happen if they need emergency services? And who’s going to pay for all of that?” Not the developers, he says.\u003c/p>\n\u003cfigure id=\"attachment_11637556\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/12/TowerFromPark-800x485.jpg\" alt=\"A view from Dolores Park of the San Francisco skyline with the Salesforce Tower in the center.\" width=\"800\" height=\"485\" class=\"size-medium wp-image-11637556\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/TowerFromPark.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/TowerFromPark-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/TowerFromPark-240x146.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/TowerFromPark-375x227.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/TowerFromPark-520x315.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A view from Dolores Park of the San Francisco skyline with the Salesforce Tower in the center.\u003cbr> \u003ccite>(TORBAKHOPPER/Flickr)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We sat in Dolores Park overlooking Mission residential neighborhoods in the foreground with the downtown skyline rising beyond.\u003c/p>\n\u003cp>“Thirty years ago there were low income working class people living here,” he said. “And most of them are gone and that’s because of what I see right over their heads. That’s because of what I see downtown.”\u003c/p>\n\u003cp>The Downtown Plan requires developers to pay one percent of construction costs for public art like Jim Campbell’s. Redmond says high-rise developers should fund housing in the same way. Still, Redmond supports the fee.\u003c/p>\n\u003cp>“I’m glad that we require a fee for public art,” Redmond says. “And that’s a wonderful thing. I’m all in favor, I’m glad they’re doing it. What is that going to do for the family who is being evicted in the Mission because the landlord wants to rent it out to someone who works in Salesforce Tower?”\u003c/p>\n\u003cp>The planning department still dictates the aesthetics of San Francisco urban design, but it has no oversight on the actual art. So here, it’s the developer, Boston Properties, and Jim Campbell, who get final say over the new “hat” that will top Salesforce Tower.\u003c/p>\n\u003cp>Whether people like seeing images on the tower or not, the San Francisco skyline is about to change, as fast as the city it reflects.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>This story originally aired on \u003ca href=\"http://kalw.org/post/public-art-expected-change-san-francisco-skyline#stream/0\" rel=\"noopener\" target=\"_blank\">KALW\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As the tallest building in San Francisco, Salesforce Tower is the new center of the city skyline. And as soon as January, the top of the tower will also become a work of public art created by San Francisco visual artist Jim Campbell, 61.\u003c/p>\n\u003cp>During the day, cameras installed around San Francisco will record movements like waves crashing on Ocean Beach, trees blowing in Golden Gate Park, and pedestrians crossing Market Street. At night, the images will be projected onto the top of Salesforce Tower like a visual diary of the day.\u003c/p>\n\u003cp>The permanent installation is called “Day for Night.” Campbell says he named it after the filmmaking technique where a scene is lit during the day to make it look like it is night.\u003c/p>\n\u003cp>Salesforce Tower is 1,070 feet tall and has 61 floors of office space wrapped in glass. But the top six floors, called the crown, are wrapped with over a hundred and thirty perforated aluminum panels. The components in “Day For Night” are installed directly into these panels, with about eighty pixels bolted to each aluminum panel. In total, over 11,000 pixels will create a hundred-foot tall circular LED screen.\u003c/p>\n\u003cp>Campbell says during a trip to Hong Kong, he watched the skyline blaze and blink like an elaborate LED light show, and thought that it wasn’t a very pleasant aesthetic.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“So a part of me was: ‘why am I creating this thing that I don’t necessarily believe in from an urban planning perspective?’ he recalls. “On the other hand, I took that as a challenge, and said: ‘Okay, what can I do in this skyline that will work, that will fit in without completely changing the skyline?’ I really don’t want to do something that I would call spectacular. I don’t want it to be flashy.”\u003c/p>\n\u003cfigure id=\"attachment_11637551\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/12/SalesforceTopTower-800x798.jpg\" alt=\"Artist's rendering of the "Day for Night" installation atop Salesforce Tower in San Francisco.\" width=\"800\" height=\"798\" class=\"size-medium wp-image-11637551\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/SalesforceTopTower-800x798.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/SalesforceTopTower-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/SalesforceTopTower-1020x1017.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/SalesforceTopTower-960x957.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/SalesforceTopTower-240x239.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/SalesforceTopTower-375x374.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/SalesforceTopTower-520x519.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/SalesforceTopTower-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/SalesforceTopTower-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/SalesforceTopTower-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/SalesforceTopTower-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/SalesforceTopTower-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/SalesforceTopTower-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/SalesforceTopTower.jpg 1114w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist’s rendering of the “Day for Night” installation atop Salesforce Tower in San Francisco. \u003ccite>(Courtesy of the artist and Boston Properties)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To start, Campbell changed the way the pixels are mounted by turning them inward. On the buildings in Hong Kong, the pixels face away from the building, shining bright light into the sky.\u003c/p>\n\u003cp>On Salesforce Tower, they extend outward from the panels — like camping headlamps on selfie sticks — and shine light back at the aluminum panels, creating a soft glow against the gray aluminum.\u003c/p>\n\u003cp>The moving images will be low-resolution, kind of blurry, so you might not be able to determine what the image is at first glance. As far as Campbell knows, it’s the first time pixels have been installed this way on a building and the first time public art will become part of the city skyline in this way. But even he isn’t completely certain about it.\u003c/p>\n\u003cp>“I see this more and more as a big experiment,” he says. “What could go wrong is that people don’t want to see an image in the sky. We don’t know. Do you know if you want to or not? I don’t.”\u003c/p>\n\u003ch2>‘Unachievable High Plateau’\u003c/h2>\n\u003cp>Today, Campbell’s artwork hangs in major museums worldwide. His public art is installed in places like Grace Cathedral, the San Diego Airport, Dallas Cowboys Stadium and Battery Park.\u003c/p>\n\u003cp>But as a kid, becoming an artist was never a possibility. He grew up in a lower-middle-class suburb of Chicago and says, “I never met an artist, so I never knew it was an option.”\u003c/p>\n\u003cfigure id=\"attachment_11637554\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/12/JimCampbell-800x450.jpg\" alt=\"Jim Campbell (R) and Sean McGowen on the roof of Salesforce Tower before the crown was built.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-11637554\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/JimCampbell.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/JimCampbell-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/JimCampbell-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/JimCampbell-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/JimCampbell-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jim Campbell (R) and Sean McGowen on the roof of Salesforce Tower before the crown was built. \u003ccite>(Courtesy Jim Campbell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He graduated from MIT in 1978 with degrees in mathematics and electrical engineering. In Silicon Valley, he worked on algorithms to convert standard definition TV images into high-definition TV images. In his spare time, he created digital art in a studio converted from his Potrero Hill home’s garage.\u003c/p>\n\u003cp>“I was doing art for at least ten years before I called myself an artist,” he says. “I always had artists on this unachievable high plateau.”\u003c/p>\n\u003cp>He stopped doing what he considers “serious engineering,” but still designs the electronic components used in his art, including the pixels used on Salesforce Tower.\u003c/p>\n\u003cp>Much of Campbell’s work has explored the boundaries of perception. And with “Day for Night,” he wants to challenge what we expect to see in a skyline.\u003c/p>\n\u003cp>“It’s an interesting public-art challenge,” he explains, “in that a million people are going to see this at night, whether they want to or not. So it’s a challenge, to have it fit in, have it be subtle, have it be engaging, changing, and dynamic.”\u003c/p>\n\u003ch2>San Francisco’s Anti-High Rise History\u003c/h2>\n\u003cp>San Francisco has hardly been a city to embrace changes to its skyline. In the 1960s, where residents saw natural hills downtown, developers saw opportunity. Big, boxy buildings shot-up without oversight.\u003c/p>\n\u003cp>Joshua Switzky, a lead planner with the San Francisco Planning Department, says a backlash against tall office buildings took root among critics and residents.\u003c/p>\n\u003cp>“That created the planning framework to more consciously shape the city’s skyline based on public values and intention, and not on private initiative,” Switzky says.\u003c/p>\n\u003cp>That framework, he says, was called the Downtown Plan. “That plan required that tall buildings taper as they got taller and emphasized more delicate and interesting tops of buildings,” Switzky says.\u003c/p>\n\u003cp>To avoid refrigerator-like buildings, the plan required tops to be complex, decorative, sculptured, intricate, expressive. Architects bristled. Allan Temko, San Francisco Chronicle’s architecture critic at the time, quipped that San Francisco wouldn’t need architects, but milliners. \u003c/p>\n\u003cp>“Putting silly hats on tops of buildings,” Switzky explains, “and there certainly are buildings that that’s probably a fair representation.”\u003c/p>\n\u003cp>An “anti-high rise” movement was born. Back then, Tim Redmond was a reporter for the progressive publication, The San Francisco Bay Guardian. Today he’s the editor of 48hills.org, the Guardian’s online successor.\u003c/p>\n\u003cp>Redmond says the movement wasn’t against high-rises or how they looked. “It was more than that. It was an urban-environmental movement that wanted reasonable, rational planning in the city.”\u003c/p>\n\u003cp>“When you do commercial office development, you attract workers to those buildings. How are they going to get there? Where are going to live? What’s going to happen if they need emergency services? And who’s going to pay for all of that?” Not the developers, he says.\u003c/p>\n\u003cfigure id=\"attachment_11637556\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/12/TowerFromPark-800x485.jpg\" alt=\"A view from Dolores Park of the San Francisco skyline with the Salesforce Tower in the center.\" width=\"800\" height=\"485\" class=\"size-medium wp-image-11637556\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/TowerFromPark.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/TowerFromPark-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/TowerFromPark-240x146.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/TowerFromPark-375x227.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/TowerFromPark-520x315.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A view from Dolores Park of the San Francisco skyline with the Salesforce Tower in the center.\u003cbr> \u003ccite>(TORBAKHOPPER/Flickr)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We sat in Dolores Park overlooking Mission residential neighborhoods in the foreground with the downtown skyline rising beyond.\u003c/p>\n\u003cp>“Thirty years ago there were low income working class people living here,” he said. “And most of them are gone and that’s because of what I see right over their heads. That’s because of what I see downtown.”\u003c/p>\n\u003cp>The Downtown Plan requires developers to pay one percent of construction costs for public art like Jim Campbell’s. Redmond says high-rise developers should fund housing in the same way. Still, Redmond supports the fee.\u003c/p>\n\u003cp>“I’m glad that we require a fee for public art,” Redmond says. “And that’s a wonderful thing. I’m all in favor, I’m glad they’re doing it. What is that going to do for the family who is being evicted in the Mission because the landlord wants to rent it out to someone who works in Salesforce Tower?”\u003c/p>\n\u003cp>The planning department still dictates the aesthetics of San Francisco urban design, but it has no oversight on the actual art. So here, it’s the developer, Boston Properties, and Jim Campbell, who get final say over the new “hat” that will top Salesforce Tower.\u003c/p>\n\u003cp>Whether people like seeing images on the tower or not, the San Francisco skyline is about to change, as fast as the city it reflects.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This story originally aired on \u003ca href=\"http://kalw.org/post/public-art-expected-change-san-francisco-skyline#stream/0\" rel=\"noopener\" target=\"_blank\">KALW\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Bay Area Native Americans Granted Property Rights to Sacred Mountain",
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"content": "\u003cp>Thousands of years before Europeans arrived, Native Americans who lived near San Jose would come to the summit of \u003ca href=\"https://www.openspace.org/mount-umunhum-sierra-azul\" target=\"_blank\" rel=\"noopener\">Mount Umunhum\u003c/a> to pray and cultivate medicinal plants. Now, they’ll be able to do that again, thanks to a new kind of “cultural conservation easement,\" a deal that could become a model for other tribes looking to re-establish access to their ancestral lands.\u003c/p>\n\u003cp>Wednesday night, the board of the Midpeninsula Regional Open Space District voted unanimously to grant local Native Americans property rights to 36 acres at Mount Umunhum, which was formerly home to the Almaden Air Force Station.\u003c/p>\n\u003cp>Valentin Lopez chairs the \u003ca href=\"http://amahmutsun.org\" target=\"_blank\" rel=\"noopener\">Amah Mutsun Tribal Band\u003c/a>, a group of 600 people descended from tribes who lived near the mountain. During the Spanish colonial era, more than 80 different tribes were pressed into servitude at \u003ca href=\"http://www.oldmissionsjb.org\" target=\"_blank\" rel=\"noopener\">Mission San Juan Bautista\u003c/a> and \u003ca href=\"https://www.parks.ca.gov/?page_id=548\" target=\"_blank\" rel=\"noopener\">Mission Santa Cruz\u003c/a>, including the Mutsun and the Yokut.\u003c/p>\n\u003cp>“We’re not a tribe that descends from one tribe. We descend from the band of tribes that were taken to the missions,\" Lopez says.\u003c/p>\n\u003cp>[audio src=\"https://www.kqed.org/.stream/anon/radio/RDnews/2017/12/MountUmuhumforweb.mp3\" Image=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/12/RS28569_IMG_9778-2-qut-800x450.jpg\" Title=\"Local Native Americans Granted Historic Access to Mount Umunhum\" program=\"KQED News\"]\u003c/p>\n\u003cp>Between the Spanish, and later, the Americans, this group of tribes \u003ca href=\"http://www.nativeamericancaucus.org/content/california-indian-history\" target=\"_blank\" rel=\"noopener\">lost legal claim\u003c/a> to much of the land they came from. Then, in modern times, as real estate prices rose, many enrolled members were priced out of Silicon Valley. Today, many Native Americans drive from Sacramento and the Central Valley to Mount Umunhum to conduct spiritual ceremonies.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Lopez, who lives in Galt (Sacramento County), says this kind of partnership with a parks agency is unprecedented. There is a \u003ca href=\"http://www.parks.ca.gov/pages/21299/files/resolution%2029-2008%20-%20ano%20nuevo%20quiroste%20valley%20cp%20-%2010-31-08%20-%20final-attest..pdf\" target=\"_blank\" rel=\"noopener\">cultural preserve\u003c/a> with \u003ca href=\"http://www.parks.ca.gov/?page_id=523\" target=\"_blank\" rel=\"noopener\">Año Nuevo State Park\u003c/a> that allows for co-management, but he says that agreement doesn’t give the tribe those rights in perpetuity.\u003c/p>\n\u003cp>\"This offers hope to our tribe. But it also offers hope to a lot of other tribes. It provides a mechanism that other tribes can use,\" Lopez says. \"This is the first real recognition of our tribes by a public agency that recognizes that we should have a voice, and an equal voice, on how a particular location of our traditional land is managed and protected and preserved.\"\u003c/p>\n\u003cfigure id=\"attachment_11637104\" class=\"wp-caption aligncenter\" style=\"max-width: 731px\">\u003cimg class=\"size-full wp-image-11637104\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/12/RS28571_Screen-Shot-2017-12-14-at-12.26.38-PM.png\" alt=\"Map of Mount Umunhum's Summit.\" width=\"731\" height=\"364\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/12/RS28571_Screen-Shot-2017-12-14-at-12.26.38-PM.png 731w, https://ww2.kqed.org/app/uploads/sites/10/2017/12/RS28571_Screen-Shot-2017-12-14-at-12.26.38-PM-160x80.png 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/12/RS28571_Screen-Shot-2017-12-14-at-12.26.38-PM-240x120.png 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/12/RS28571_Screen-Shot-2017-12-14-at-12.26.38-PM-375x187.png 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/12/RS28571_Screen-Shot-2017-12-14-at-12.26.38-PM-520x259.png 520w\" sizes=\"(max-width: 731px) 100vw, 731px\">\u003cfigcaption class=\"wp-caption-text\">Map of Mount Umunhum's Summit. \u003ccite>(Photo: Courtesy of Midpeninsula Regional Open Space District)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Steve Abbors, general manager of the open space district, says, \"I think the idea of being able to reconnect the indigenous people with this land they lived on for centuries is long overdue.\"\u003c/p>\n\u003cp>Abbors says the agency began reaching out to Native Americans in the area when it realized the mountain had a sacred meaning for them historically.\u003c/p>\n\u003cp>\"We view it as a responsibility,\" Abbors says. \"We are really reconnecting a culture that was severed from the land centuries ago. This (easement) allows us to help manage the land with the people who were the original stewards. We’re trying to help make a culture that was invisible to the public for many years visible.\"\u003c/p>\n\u003cp>[vimeo 243187810 w=640 h=360]\u003c/p>\n\u003cp>Working in tandem with Midpen, the tribe is planing a 1.5-acre garden for food, medicinal and basketry plants of the kind that were there \"pre-contact,\" before Europeans showed up in California.\u003c/p>\n\u003cp>“We see this as a partnership. We want to restore the mountain, as much as possible, to its pre-contact condition,” Lopez says.\u003c/p>\n\u003cp>There are also plans to hold a joint prayer ceremony in January with the \u003ca href=\"http://www.indianhealthcenter.org\" target=\"_blank\" rel=\"noopener\">Indian Health Center of Santa Clara Valley\u003c/a>. Another ceremony in April will focus on veterans, “for the healing of all veterans, not just Native Americans, but all veterans,” Lopez says. The easement allows for six such ceremonies annually on the summit. The tribe may also eventually propose a traditional roundhouse, for educational and ceremonial purposes.\u003c/p>\n\u003cp>The open space district became the owner of the property in 1986 when it bought the parcel from the federal government. It took years before the district raised enough money to restore the area and demolish its military buildings, with the exception of the five-story concrete radar tower many call “the cube,” a historic site in Santa Clara County.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Midpen's board also voted to retain and seal the radar tower on Mount Umunhum, long considered a local landmark because of its visibility for miles and because of its ties to the region's Cold War history. Abbors says the agency has been in conversation with veterans' groups about a possible museum to honor Cold War contributions, and those talks led to the determination they would prefer a location that would be easier for older and disabled veterans to reach than the summit at Mount Umunhum.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Thousands of years before Europeans arrived, Native Americans who lived near San Jose would come to the summit of \u003ca href=\"https://www.openspace.org/mount-umunhum-sierra-azul\" target=\"_blank\" rel=\"noopener\">Mount Umunhum\u003c/a> to pray and cultivate medicinal plants. Now, they’ll be able to do that again, thanks to a new kind of “cultural conservation easement,\" a deal that could become a model for other tribes looking to re-establish access to their ancestral lands.\u003c/p>\n\u003cp>Wednesday night, the board of the Midpeninsula Regional Open Space District voted unanimously to grant local Native Americans property rights to 36 acres at Mount Umunhum, which was formerly home to the Almaden Air Force Station.\u003c/p>\n\u003cp>Valentin Lopez chairs the \u003ca href=\"http://amahmutsun.org\" target=\"_blank\" rel=\"noopener\">Amah Mutsun Tribal Band\u003c/a>, a group of 600 people descended from tribes who lived near the mountain. During the Spanish colonial era, more than 80 different tribes were pressed into servitude at \u003ca href=\"http://www.oldmissionsjb.org\" target=\"_blank\" rel=\"noopener\">Mission San Juan Bautista\u003c/a> and \u003ca href=\"https://www.parks.ca.gov/?page_id=548\" target=\"_blank\" rel=\"noopener\">Mission Santa Cruz\u003c/a>, including the Mutsun and the Yokut.\u003c/p>\n\u003cp>“We’re not a tribe that descends from one tribe. We descend from the band of tribes that were taken to the missions,\" Lopez says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Between the Spanish, and later, the Americans, this group of tribes \u003ca href=\"http://www.nativeamericancaucus.org/content/california-indian-history\" target=\"_blank\" rel=\"noopener\">lost legal claim\u003c/a> to much of the land they came from. Then, in modern times, as real estate prices rose, many enrolled members were priced out of Silicon Valley. Today, many Native Americans drive from Sacramento and the Central Valley to Mount Umunhum to conduct spiritual ceremonies.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Lopez, who lives in Galt (Sacramento County), says this kind of partnership with a parks agency is unprecedented. There is a \u003ca href=\"http://www.parks.ca.gov/pages/21299/files/resolution%2029-2008%20-%20ano%20nuevo%20quiroste%20valley%20cp%20-%2010-31-08%20-%20final-attest..pdf\" target=\"_blank\" rel=\"noopener\">cultural preserve\u003c/a> with \u003ca href=\"http://www.parks.ca.gov/?page_id=523\" target=\"_blank\" rel=\"noopener\">Año Nuevo State Park\u003c/a> that allows for co-management, but he says that agreement doesn’t give the tribe those rights in perpetuity.\u003c/p>\n\u003cp>\"This offers hope to our tribe. But it also offers hope to a lot of other tribes. It provides a mechanism that other tribes can use,\" Lopez says. \"This is the first real recognition of our tribes by a public agency that recognizes that we should have a voice, and an equal voice, on how a particular location of our traditional land is managed and protected and preserved.\"\u003c/p>\n\u003cfigure id=\"attachment_11637104\" class=\"wp-caption aligncenter\" style=\"max-width: 731px\">\u003cimg class=\"size-full wp-image-11637104\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/12/RS28571_Screen-Shot-2017-12-14-at-12.26.38-PM.png\" alt=\"Map of Mount Umunhum's Summit.\" width=\"731\" height=\"364\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/12/RS28571_Screen-Shot-2017-12-14-at-12.26.38-PM.png 731w, https://ww2.kqed.org/app/uploads/sites/10/2017/12/RS28571_Screen-Shot-2017-12-14-at-12.26.38-PM-160x80.png 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/12/RS28571_Screen-Shot-2017-12-14-at-12.26.38-PM-240x120.png 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/12/RS28571_Screen-Shot-2017-12-14-at-12.26.38-PM-375x187.png 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/12/RS28571_Screen-Shot-2017-12-14-at-12.26.38-PM-520x259.png 520w\" sizes=\"(max-width: 731px) 100vw, 731px\">\u003cfigcaption class=\"wp-caption-text\">Map of Mount Umunhum's Summit. \u003ccite>(Photo: Courtesy of Midpeninsula Regional Open Space District)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Steve Abbors, general manager of the open space district, says, \"I think the idea of being able to reconnect the indigenous people with this land they lived on for centuries is long overdue.\"\u003c/p>\n\u003cp>Abbors says the agency began reaching out to Native Americans in the area when it realized the mountain had a sacred meaning for them historically.\u003c/p>\n\u003cp>\"We view it as a responsibility,\" Abbors says. \"We are really reconnecting a culture that was severed from the land centuries ago. This (easement) allows us to help manage the land with the people who were the original stewards. We’re trying to help make a culture that was invisible to the public for many years visible.\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Working in tandem with Midpen, the tribe is planing a 1.5-acre garden for food, medicinal and basketry plants of the kind that were there \"pre-contact,\" before Europeans showed up in California.\u003c/p>\n\u003cp>“We see this as a partnership. We want to restore the mountain, as much as possible, to its pre-contact condition,” Lopez says.\u003c/p>\n\u003cp>There are also plans to hold a joint prayer ceremony in January with the \u003ca href=\"http://www.indianhealthcenter.org\" target=\"_blank\" rel=\"noopener\">Indian Health Center of Santa Clara Valley\u003c/a>. Another ceremony in April will focus on veterans, “for the healing of all veterans, not just Native Americans, but all veterans,” Lopez says. The easement allows for six such ceremonies annually on the summit. The tribe may also eventually propose a traditional roundhouse, for educational and ceremonial purposes.\u003c/p>\n\u003cp>The open space district became the owner of the property in 1986 when it bought the parcel from the federal government. It took years before the district raised enough money to restore the area and demolish its military buildings, with the exception of the five-story concrete radar tower many call “the cube,” a historic site in Santa Clara County.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Midpen's board also voted to retain and seal the radar tower on Mount Umunhum, long considered a local landmark because of its visibility for miles and because of its ties to the region's Cold War history. Abbors says the agency has been in conversation with veterans' groups about a possible museum to honor Cold War contributions, and those talks led to the determination they would prefer a location that would be easier for older and disabled veterans to reach than the summit at Mount Umunhum.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Remembering Bruce Brown, Whose Search for the Perfect Break Redefined Surfing",
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"content": "\u003cp>Writing on June 16, 1966, just one day after the film \u003cem>The Endless Summer \u003c/em>finally got a wide release, \u003ca href=\"http://www.nytimes.com/movie/review?res=9C0CE0D7153CE53BBC4E52DFB066838D679EDE&pagewanted=print\">The New York Times remarked\u003c/a> on its creator’s “courage — some might say foolhardiness.” For years, he struggled to convince film distributors that even people who had never seen a beach before would want to see his surfing film.\u003c/p>\n\u003cp>And Bruce Brown was right.\u003c/p>\n\u003cp>On Sunday, more than half a century since \u003cem>The Endless Summer\u003c/em> hit big screens across America, Brown died at the age of 80 in Santa Barbara. He leaves behind a film that defined surfing for a worldwide audience and, after a slew of earlier big-screen misrepresentations, finally did so on the sport’s own terms.\u003c/p>\n\u003cp>There had already been a surfing boom in Hollywood by the mid-1960s, to be sure, but the surfers they featured rarely failed to be flimsy depictions of no-goodniks or ninnies — and rarely failed to frustrate actual surfers. Then, Brown’s film came along.\u003c/p>\n\u003cp>“What Bruce did, and what nobody has done since, was to square the circle,” \u003ca href=\"https://encyclopediaofsurfing.com/\">Matt Warshaw\u003c/a>, author of \u003cem>The History of Surfing\u003c/em>, \u003ca href=\"https://www.nytimes.com/2017/12/12/obituaries/bruce-brown-documentarian-of-surfing-is-dead-at-80.html\">told The New York Times\u003c/a>. “He was able to present surfing as it really is, to non-surfers.”\u003c/p>\n\u003cfigure id=\"attachment_11636766\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11636766\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/12/PipelineFirst-800x523.jpg\" alt=\"Bruce Brown captured this, the first footage of anyone surfing the infamous Banzai Pipeline off Oahu, Hawaii.\" width=\"800\" height=\"523\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/PipelineFirst-800x523.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/PipelineFirst-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/PipelineFirst-1020x667.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/PipelineFirst.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/PipelineFirst-1180x772.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/PipelineFirst-960x628.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/PipelineFirst-240x157.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/PipelineFirst-375x245.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/PipelineFirst-520x340.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bruce Brown captured this, the first footage of anyone surfing the infamous Banzai Pipeline off Oahu, Hawaii. \u003ccite>(Surf the Earth/YouTube)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“\u003cem>Endless Summer\u003c/em> is 50-something years old now,” Warshaw \u003ca href=\"https://www.surfer.com/features/history-of-surfing-defining-a-surfer/\">explained to Surfer magazine\u003c/a> earlier this year, “and every year that goes by, it’s harder to remember the degree to which Bruce broke the laws of entertainment physics by managing to please and impress both his core audience and the general public.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The documentary, which featured two of Brown’s friends on a round-the-globe quest to find the perfect wave, was — \u003ca href=\"https://www.npr.org/2014/07/24/334459717/revisiting-an-endless-summer\">as Ian Buckwalter wrote\u003c/a> for NPR — “part surfing film, part travelogue, occasionally even anthropological study and wildlife film, but ultimately it visually taps into the wanderlust that sends us to far-flung beaches in search of an escape from life that we can’t find at home.”\u003c/p>\n\u003cp>It was shot on a shoestring budget of $50,000 and destined to earn more than $30 million. But it was by no means his first film.\u003c/p>\n\u003cfigure id=\"attachment_11636752\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11636752\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/12/BruceBrown-800x469.jpg\" alt=\"Bruce Brown behind the camera.\" width=\"800\" height=\"469\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/BruceBrown-800x469.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/BruceBrown-160x94.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/BruceBrown-1020x598.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/BruceBrown.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/BruceBrown-1180x692.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/BruceBrown-960x563.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/BruceBrown-240x141.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/BruceBrown-375x220.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/BruceBrown-520x305.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bruce Brown behind the camera. \u003ccite>(Red Bull/YouTube)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I started off when I was 14, with an 8-mm camera taking pictures of surfing to show my mom,” he \u003ca href=\"https://www.youtube.com/watch?v=Mjtzolb1AQk\">told the skateboard company Dusters California\u003c/a> in a 2014 interview.\u003c/p>\n\u003cp>He enlisted in the Navy after high school in the 1950s, drew a dream assignment aboard a submarine in Hawaii and used his 8-mm camera to film home surfing movies in his downtime. After his discharge, he would show the movies at small venues in Southern California for the price of a quarter, until a local surfboard manufacturer put up a few thousand dollars for him to produce a whole feature in Hawaii, \u003cem>Slippery When Wet\u003c/em>.\u003c/p>\n\u003cp>What followed was a series of movies (one every year, in fact) that would get a limited release and were attended mostly by other surfers. But even these small-scale pictures made an impact. In fact, his 1961 film \u003cem>Surfing Hollow Days\u003c/em> lays claim to its own corner of surfing history. It includes the first footage ever shot of surfers riding arguably the world’s most famous break, and even coined its name: the Banzai Pipeline off Oahu, Hawaii.\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=3930&v=5TLASiDL1mc\u003c/p>\n\u003cp>But it was \u003cem>The Endless Summer\u003c/em> that caught the world’s attention, at least eventually.\u003c/p>\n\u003cp>Prospective distributors were deeply skeptical about a beach film’s ability to draw audiences far from the beach. So Brown and his associates pursued a crazy idea to show the film about as far from the beach as they could get: Wichita, Kansas. The Inertia, an outdoors sports news site, \u003ca href=\"http://www.theinertia.com/surf/bomb-scare-almost-ruined-endless-summer/\">sums up how\u003c/a> the stunt “has become part of the movie’s lore”:\u003c/p>\n\u003cblockquote>\u003cp>“Wichita was slammed with a huge snowstorm that winter and icicles dangled from the marquee of the Sunset Theater that bore the name of the film in February 1966. [Promoter R. Paul] Allen feared a flop, but beneath the frosty sign that first night stretched a long line of Kansans, hopping up and down to stay warm while waiting to watch the adventures of Robert August and Mike Hynson on the big screen. The movie sold out two straight weeks. Distributors in New York still weren’t impressed, but the movie’s success in the middle of winter, in the middle of America, convinced Brown and Allen to keep fighting, and they rented out a theater in Manhattan and finally got the buzz they needed to turn the film into a $30 million behemoth.”\u003c/p>\u003c/blockquote>\n\u003cp>“I put everything I had on the line,” Brown \u003ca href=\"http://articles.latimes.com/1991-07-24/news/vw-112_1_endless-summer\">told the Los Angeles Times\u003c/a> in 1991. “If it wouldn’t have worked, it would have been the ball game.”\u003c/p>\n\u003cp>But it did work. Shortly after the film hit the big screen on a wide scale, it became a cultural icon, one so recognizable that even its movie poster is now \u003ca href=\"https://www.moma.org/collection/works/4801\">in the collection\u003c/a> of New York’s Museum of Modern Art. Brown was \u003ca href=\"https://www.surfer.com/features/bruce_brown_enters_surfers_hall_of_fame/\">eventually enshrined\u003c/a> in surfing’s Hall of Fame, and his film was added to the Library of Congress’ National Film Registry, which selects works for their cultural and historic importance to the U.S.\u003c/p>\n\u003cfigure id=\"attachment_11636743\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11636743\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/12/endless-4_custom-1838b73c2161d6824a380a7d80b533b3d0d91cea-800x1073.jpg\" alt=\"The immortal film poster for The Endless Summer, which you may recognize from New York's Museum of Modern Art, not to mention college dorm room walls across the country.\" width=\"800\" height=\"1073\">\u003cfigcaption class=\"wp-caption-text\">The immortal film poster for ‘The Endless Summer,’ which you may recognize from New York’s Museum of Modern Art, not to mention college dorm room walls across the country. \u003ccite>(Monterey Media Inc.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Brown would go on to earn an Oscar nomination for his documentary on motorcycle riders, \u003cem>On a Sunday\u003c/em>, and after a long retirement, he even returned in the early ’90s to release a sequel to his seminal surfing film.\u003c/p>\n\u003cp>Still, it is \u003cem>The Endless Summer \u003c/em>that defines his legacy as a filmmaker and an ambassador for the sport he loved. And as soon as news of his death surfaced publicly, emotional tributes flowed in from some of the surfing world’s living legends — all-time greats such as Kelly Slater and Stephanie Gilmore, neither of whom had even been alive when the movie hit theaters.\u003c/p>\n\u003cp>“Thank you for showing us the world as you saw it,” Slater \u003ca href=\"https://www.instagram.com/p/BckWV02gOsa/\">said on Instagram\u003c/a>. “We need more like you. On to the other side. I hope to bump into you again in some other place and time.”\u003c/p>\n\u003cp>https://www.instagram.com/p/BckWV02gOsa/\u003c/p>\n\u003cp>Ultimately, Brown says it was less his work as a filmmaker than his love of surfing that defined him.\u003c/p>\n\u003cp>“I had no formal training,” he told Dusters. Before heading to Hawaii to film his first full-length feature, “I got in the plane with a book on how to make movies. It was a real thin book, too.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“I had no interest in cameras other than surfing,” he added. “I just wanted to take pictures of me and my buddies surfing — you know, just to show people.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Remembering+Bruce+Brown%2C+Whose+Search+For+The+Perfect+Break+Redefined+Surfing&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Writing on June 16, 1966, just one day after the film \u003cem>The Endless Summer \u003c/em>finally got a wide release, \u003ca href=\"http://www.nytimes.com/movie/review?res=9C0CE0D7153CE53BBC4E52DFB066838D679EDE&pagewanted=print\">The New York Times remarked\u003c/a> on its creator’s “courage — some might say foolhardiness.” For years, he struggled to convince film distributors that even people who had never seen a beach before would want to see his surfing film.\u003c/p>\n\u003cp>And Bruce Brown was right.\u003c/p>\n\u003cp>On Sunday, more than half a century since \u003cem>The Endless Summer\u003c/em> hit big screens across America, Brown died at the age of 80 in Santa Barbara. He leaves behind a film that defined surfing for a worldwide audience and, after a slew of earlier big-screen misrepresentations, finally did so on the sport’s own terms.\u003c/p>\n\u003cp>There had already been a surfing boom in Hollywood by the mid-1960s, to be sure, but the surfers they featured rarely failed to be flimsy depictions of no-goodniks or ninnies — and rarely failed to frustrate actual surfers. Then, Brown’s film came along.\u003c/p>\n\u003cp>“What Bruce did, and what nobody has done since, was to square the circle,” \u003ca href=\"https://encyclopediaofsurfing.com/\">Matt Warshaw\u003c/a>, author of \u003cem>The History of Surfing\u003c/em>, \u003ca href=\"https://www.nytimes.com/2017/12/12/obituaries/bruce-brown-documentarian-of-surfing-is-dead-at-80.html\">told The New York Times\u003c/a>. “He was able to present surfing as it really is, to non-surfers.”\u003c/p>\n\u003cfigure id=\"attachment_11636766\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11636766\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/12/PipelineFirst-800x523.jpg\" alt=\"Bruce Brown captured this, the first footage of anyone surfing the infamous Banzai Pipeline off Oahu, Hawaii.\" width=\"800\" height=\"523\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/PipelineFirst-800x523.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/PipelineFirst-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/PipelineFirst-1020x667.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/PipelineFirst.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/PipelineFirst-1180x772.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/PipelineFirst-960x628.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/PipelineFirst-240x157.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/PipelineFirst-375x245.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/PipelineFirst-520x340.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bruce Brown captured this, the first footage of anyone surfing the infamous Banzai Pipeline off Oahu, Hawaii. \u003ccite>(Surf the Earth/YouTube)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“\u003cem>Endless Summer\u003c/em> is 50-something years old now,” Warshaw \u003ca href=\"https://www.surfer.com/features/history-of-surfing-defining-a-surfer/\">explained to Surfer magazine\u003c/a> earlier this year, “and every year that goes by, it’s harder to remember the degree to which Bruce broke the laws of entertainment physics by managing to please and impress both his core audience and the general public.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The documentary, which featured two of Brown’s friends on a round-the-globe quest to find the perfect wave, was — \u003ca href=\"https://www.npr.org/2014/07/24/334459717/revisiting-an-endless-summer\">as Ian Buckwalter wrote\u003c/a> for NPR — “part surfing film, part travelogue, occasionally even anthropological study and wildlife film, but ultimately it visually taps into the wanderlust that sends us to far-flung beaches in search of an escape from life that we can’t find at home.”\u003c/p>\n\u003cp>It was shot on a shoestring budget of $50,000 and destined to earn more than $30 million. But it was by no means his first film.\u003c/p>\n\u003cfigure id=\"attachment_11636752\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11636752\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/12/BruceBrown-800x469.jpg\" alt=\"Bruce Brown behind the camera.\" width=\"800\" height=\"469\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/BruceBrown-800x469.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/BruceBrown-160x94.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/BruceBrown-1020x598.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/BruceBrown.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/BruceBrown-1180x692.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/BruceBrown-960x563.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/BruceBrown-240x141.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/BruceBrown-375x220.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/BruceBrown-520x305.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bruce Brown behind the camera. \u003ccite>(Red Bull/YouTube)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I started off when I was 14, with an 8-mm camera taking pictures of surfing to show my mom,” he \u003ca href=\"https://www.youtube.com/watch?v=Mjtzolb1AQk\">told the skateboard company Dusters California\u003c/a> in a 2014 interview.\u003c/p>\n\u003cp>He enlisted in the Navy after high school in the 1950s, drew a dream assignment aboard a submarine in Hawaii and used his 8-mm camera to film home surfing movies in his downtime. After his discharge, he would show the movies at small venues in Southern California for the price of a quarter, until a local surfboard manufacturer put up a few thousand dollars for him to produce a whole feature in Hawaii, \u003cem>Slippery When Wet\u003c/em>.\u003c/p>\n\u003cp>What followed was a series of movies (one every year, in fact) that would get a limited release and were attended mostly by other surfers. But even these small-scale pictures made an impact. In fact, his 1961 film \u003cem>Surfing Hollow Days\u003c/em> lays claim to its own corner of surfing history. It includes the first footage ever shot of surfers riding arguably the world’s most famous break, and even coined its name: the Banzai Pipeline off Oahu, Hawaii.\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/5TLASiDL1mc'\n title='//www.youtube.com/embed/5TLASiDL1mc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But it was \u003cem>The Endless Summer\u003c/em> that caught the world’s attention, at least eventually.\u003c/p>\n\u003cp>Prospective distributors were deeply skeptical about a beach film’s ability to draw audiences far from the beach. So Brown and his associates pursued a crazy idea to show the film about as far from the beach as they could get: Wichita, Kansas. The Inertia, an outdoors sports news site, \u003ca href=\"http://www.theinertia.com/surf/bomb-scare-almost-ruined-endless-summer/\">sums up how\u003c/a> the stunt “has become part of the movie’s lore”:\u003c/p>\n\u003cblockquote>\u003cp>“Wichita was slammed with a huge snowstorm that winter and icicles dangled from the marquee of the Sunset Theater that bore the name of the film in February 1966. [Promoter R. Paul] Allen feared a flop, but beneath the frosty sign that first night stretched a long line of Kansans, hopping up and down to stay warm while waiting to watch the adventures of Robert August and Mike Hynson on the big screen. The movie sold out two straight weeks. Distributors in New York still weren’t impressed, but the movie’s success in the middle of winter, in the middle of America, convinced Brown and Allen to keep fighting, and they rented out a theater in Manhattan and finally got the buzz they needed to turn the film into a $30 million behemoth.”\u003c/p>\u003c/blockquote>\n\u003cp>“I put everything I had on the line,” Brown \u003ca href=\"http://articles.latimes.com/1991-07-24/news/vw-112_1_endless-summer\">told the Los Angeles Times\u003c/a> in 1991. “If it wouldn’t have worked, it would have been the ball game.”\u003c/p>\n\u003cp>But it did work. Shortly after the film hit the big screen on a wide scale, it became a cultural icon, one so recognizable that even its movie poster is now \u003ca href=\"https://www.moma.org/collection/works/4801\">in the collection\u003c/a> of New York’s Museum of Modern Art. Brown was \u003ca href=\"https://www.surfer.com/features/bruce_brown_enters_surfers_hall_of_fame/\">eventually enshrined\u003c/a> in surfing’s Hall of Fame, and his film was added to the Library of Congress’ National Film Registry, which selects works for their cultural and historic importance to the U.S.\u003c/p>\n\u003cfigure id=\"attachment_11636743\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11636743\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/12/endless-4_custom-1838b73c2161d6824a380a7d80b533b3d0d91cea-800x1073.jpg\" alt=\"The immortal film poster for The Endless Summer, which you may recognize from New York's Museum of Modern Art, not to mention college dorm room walls across the country.\" width=\"800\" height=\"1073\">\u003cfigcaption class=\"wp-caption-text\">The immortal film poster for ‘The Endless Summer,’ which you may recognize from New York’s Museum of Modern Art, not to mention college dorm room walls across the country. \u003ccite>(Monterey Media Inc.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Brown would go on to earn an Oscar nomination for his documentary on motorcycle riders, \u003cem>On a Sunday\u003c/em>, and after a long retirement, he even returned in the early ’90s to release a sequel to his seminal surfing film.\u003c/p>\n\u003cp>Still, it is \u003cem>The Endless Summer \u003c/em>that defines his legacy as a filmmaker and an ambassador for the sport he loved. And as soon as news of his death surfaced publicly, emotional tributes flowed in from some of the surfing world’s living legends — all-time greats such as Kelly Slater and Stephanie Gilmore, neither of whom had even been alive when the movie hit theaters.\u003c/p>\n\u003cp>“Thank you for showing us the world as you saw it,” Slater \u003ca href=\"https://www.instagram.com/p/BckWV02gOsa/\">said on Instagram\u003c/a>. “We need more like you. On to the other side. I hope to bump into you again in some other place and time.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ultimately, Brown says it was less his work as a filmmaker than his love of surfing that defined him.\u003c/p>\n\u003cp>“I had no formal training,” he told Dusters. Before heading to Hawaii to film his first full-length feature, “I got in the plane with a book on how to make movies. It was a real thin book, too.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I had no interest in cameras other than surfing,” he added. “I just wanted to take pictures of me and my buddies surfing — you know, just to show people.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Remembering+Bruce+Brown%2C+Whose+Search+For+The+Perfect+Break+Redefined+Surfing&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>For 24 years, Dan Rather was the face of CBS News as the networks nightly news anchor. Now, at 86, he’s gone digital, delivering news through his website, \u003ca href=\"https://www.newsandguts.com/\" rel=\"noopener\" target=\"_blank\">News and Guts\u003c/a>, and its associated Facebook page, which has more than one million followers.\u003c/p>\n\u003cp>Recently, Rather sat down to talk about his new book, “What Unites Us: Reflections on Patriotism,” his favorite books and his thoughts on Bay Area sports.\u003c/p>\n\u003cp>\u003cstrong>What is your least favorite thing about social media?\u003c/strong>\u003c/p>\n\u003cp>First of all, I’m very grateful for what success we’ve had on social media. I have my Facebook page, and I have a new site, separate from Facebook, newsandguts.com. I’m very grateful for the reception that both of those have received in social media. But the ability of anonymous people to smear the reputations of other people or to spread propaganda and known untruths is one of the weaknesses of the post-digital divide, the whole world of news on the Internet.\u003c/p>\n\u003cp>[contextly_sidebar id=”GM0YuV2wJmtO5GJAaUWkARMIsFYrpk46″]\u003c/p>\n\u003cp>I do think as time goes along, we’ll make adjustments and it’ll get better, but that’s the main concern. Particularly, the ability to ruin somebody’s reputation anonymously.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>What’s your favorite thing to do in the Bay Area when you visit?\u003c/strong>\u003c/p>\n\u003cp>Well, I’m a sports fan. Right now, I love to see the Warriors play. I did not get to a game this time around, but I did get back to my hotel room in time to have a hamburger and watch the Warriors play. I also like to see the Giants who’ve had some really good years. This last baseball season wasn’t their best.\u003c/p>\n\u003cp>I’m sorry the Raiders were moving out of Oakland. If I’d had to vote, I wouldn’t have voted for that. The 49ers have been down. I’ve been following 49ers since before we had pro football in Texas, but they’ll be back. I think they got a pretty good quarterback now. We’ll see whether they can build around him.\u003c/p>\n\u003cp>\u003cstrong>If you could tell everyone in the country to read one book other than yours, what would it be?\u003c/strong>\u003c/p>\n\u003cp>Let the record show that I’m giving it a little thought. I would say read Homer. Because the wisdom in Homer’s most famous two books has stood up over the centuries. It’s also a book that you can read it and keep reading it and learn something new each time.\u003c/p>\n\u003cp>So, say if you only have one book, then I would make it “The Iliad.” If you can have two, “The Iliad” and “The Odyssey.” I would consider that one long read. On a distant island with only one book, outside of possibly the Holy Bible, that’s what I’d take.\u003c/p>\n\u003cp>\u003cstrong>Where do you get your news?\u003c/strong>\u003c/p>\n\u003cp>I’ve spent a lifetime getting news from almost every conceivable place. I read newspapers. I read six, seven newspapers a day. I read magazines. Yes, I do more than occasionally, read a book. I watch television both on a regular television set, on my computer screen and on my iPhone. I’m pretty much all news, all the time, but that’s partly because I’m in the news business. But it’s also because I have a passion for following news and a passion for trying to report news.\u003c/p>\n\u003cp>My absolute go-to base camps for news are the Associated Press and Reuters. Reasons: these are two news services with worldwide news gathering capacity. They have reporters all over the world. And two, they’ve been in business a long time, and they have high standards. So, if something appears, I say to myself quickly, “Is this news? Is it fake news? Is this true?” My base touching place is AP or Reuters.\u003c/p>\n\u003cp>\u003cstrong>Has it been liberating for you to go from the anchor chair to social media where you have more freedom to inject your own feelings?\u003c/strong>\u003c/p>\n\u003cp>Right now, I can just say, I play no favorites, pull no punches. I may be wrong, but this is what I think. This is what I know and trying to put things in context and perspective. Not only has it been liberating, but it’s been gratifying. Frankly, I had no idea that I could make it in social media. It’s one of the surprises in my life that I have.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For 24 years, Dan Rather was the face of CBS News as the networks nightly news anchor. Now, at 86, he’s gone digital, delivering news through his website, \u003ca href=\"https://www.newsandguts.com/\" rel=\"noopener\" target=\"_blank\">News and Guts\u003c/a>, and its associated Facebook page, which has more than one million followers.\u003c/p>\n\u003cp>Recently, Rather sat down to talk about his new book, “What Unites Us: Reflections on Patriotism,” his favorite books and his thoughts on Bay Area sports.\u003c/p>\n\u003cp>\u003cstrong>What is your least favorite thing about social media?\u003c/strong>\u003c/p>\n\u003cp>First of all, I’m very grateful for what success we’ve had on social media. I have my Facebook page, and I have a new site, separate from Facebook, newsandguts.com. I’m very grateful for the reception that both of those have received in social media. But the ability of anonymous people to smear the reputations of other people or to spread propaganda and known untruths is one of the weaknesses of the post-digital divide, the whole world of news on the Internet.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>I do think as time goes along, we’ll make adjustments and it’ll get better, but that’s the main concern. Particularly, the ability to ruin somebody’s reputation anonymously.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>What’s your favorite thing to do in the Bay Area when you visit?\u003c/strong>\u003c/p>\n\u003cp>Well, I’m a sports fan. Right now, I love to see the Warriors play. I did not get to a game this time around, but I did get back to my hotel room in time to have a hamburger and watch the Warriors play. I also like to see the Giants who’ve had some really good years. This last baseball season wasn’t their best.\u003c/p>\n\u003cp>I’m sorry the Raiders were moving out of Oakland. If I’d had to vote, I wouldn’t have voted for that. The 49ers have been down. I’ve been following 49ers since before we had pro football in Texas, but they’ll be back. I think they got a pretty good quarterback now. We’ll see whether they can build around him.\u003c/p>\n\u003cp>\u003cstrong>If you could tell everyone in the country to read one book other than yours, what would it be?\u003c/strong>\u003c/p>\n\u003cp>Let the record show that I’m giving it a little thought. I would say read Homer. Because the wisdom in Homer’s most famous two books has stood up over the centuries. It’s also a book that you can read it and keep reading it and learn something new each time.\u003c/p>\n\u003cp>So, say if you only have one book, then I would make it “The Iliad.” If you can have two, “The Iliad” and “The Odyssey.” I would consider that one long read. On a distant island with only one book, outside of possibly the Holy Bible, that’s what I’d take.\u003c/p>\n\u003cp>\u003cstrong>Where do you get your news?\u003c/strong>\u003c/p>\n\u003cp>I’ve spent a lifetime getting news from almost every conceivable place. I read newspapers. I read six, seven newspapers a day. I read magazines. Yes, I do more than occasionally, read a book. I watch television both on a regular television set, on my computer screen and on my iPhone. I’m pretty much all news, all the time, but that’s partly because I’m in the news business. But it’s also because I have a passion for following news and a passion for trying to report news.\u003c/p>\n\u003cp>My absolute go-to base camps for news are the Associated Press and Reuters. Reasons: these are two news services with worldwide news gathering capacity. They have reporters all over the world. And two, they’ve been in business a long time, and they have high standards. So, if something appears, I say to myself quickly, “Is this news? Is it fake news? Is this true?” My base touching place is AP or Reuters.\u003c/p>\n\u003cp>\u003cstrong>Has it been liberating for you to go from the anchor chair to social media where you have more freedom to inject your own feelings?\u003c/strong>\u003c/p>\n\u003cp>Right now, I can just say, I play no favorites, pull no punches. I may be wrong, but this is what I think. This is what I know and trying to put things in context and perspective. Not only has it been liberating, but it’s been gratifying. Frankly, I had no idea that I could make it in social media. It’s one of the surprises in my life that I have.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Robert Calonico bleeds Berkeley blue and gold.\u003c/p>\n\u003cp>He grew up on UC Berkeley's campus, went to college there and has served as director of the school's marching band for 28 years.\u003c/p>\n\u003cp>During his tenure as the school's director of bands -- a position that includes leading the 225-piece \"Pride of California\" marching band and the 60-piece University Wind Ensemble -- Calonico has traveled around the globe with student musicians as they performed at countless school sporting events, all while gaining the respect and admiration of students and faculty from across Berkeley's campus.\u003c/p>\n\u003cp>On Wednesday, Calonico announced that he plans to \u003ca href=\"http://www.eastbaytimes.com/2017/12/06/beloved-cal-band-director-to-retire-on-high-note/\" target=\"_blank\" rel=\"noopener\">step down\u003c/a> from his position in June. I sat down with him in his office to talk about his time at Berkeley.\u003c/p>\n\u003cp>\u003cb>After 28 years of leading Cal’s bands, what’s your favorite memory?\u003c/b>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I’d have to say, with the marching band, performing at the Great Wall of China in 2016.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=seuwsrF3hzI\u003c/p>\n\u003cp>\u003cb>I’ve heard that you grew up in Berkeley. So you essentially bleed blue and gold, don’t you?\u003c/b>\u003c/p>\n\u003cp>“You know, a lot of students say, ‘Bob, the first three letters of your last name kind of say it all.’ C-A-L, so there it is. My dad did grad school here, and my mom was an undergrad. That’s where they met. Back in the day, they would tell us, ‘You can apply anywhere you want, but you’re going to Cal.’ ”\u003c/p>\n\u003cp>\u003cb>Can you tell me a little bit about your first time playing with the Cal band?\u003c/b>\u003c/p>\n\u003cp>“My brother was a sophomore here at the time. It was my first year, in 1972. There’s an explosion that goes off at pregame, and my brother didn’t say a word about it. And I marched right over that spot right before the bomb went off, and I must have jumped 6 feet in the air. He never told me until it actually happened. I found him on the sideline and go, ‘You didn’t tell me!’ He goes, ‘Well, of course I didn’t!’ ”\u003c/p>\n\u003cp>\u003cb>Can you tell me a little bit about your experience with students here at Berkeley?\u003c/b>\u003c/p>\n\u003cp>“They are incredible on every level -- just as people, and then as musicians and students. They’re just a joy to be around. With the marching band, it’s student leadership. There are five students who run the band and every aspect of it. And I’m maybe institutional memory -- a guider, if you will, a mentor at times. They chart the course of the band.”\u003c/p>\n\u003cp>\u003cb>I was a student at Berkeley not too long ago. I’ve seen firsthand the sense of community in Cal’s band. When you watch them perform, you see that they love every second of it. Can you tell me about the culture and how it’s evolved over the years?\u003c/b>\u003c/p>\n\u003cp>“That is one of the things I talk to potential students about. Find your community, whatever it is. If it’s gonna be working on the newspaper, or if it’s gonna be a fraternity or sorority -- whatever it is, it makes a place like this a lot smaller. It’s just so strange that I’ve been here all these years, and I can walk across campus, and there isn’t one time where I’ve not seen a student that I teach -- either in the band or in the wind ensemble or something. It’s just uncanny. It does make a community within a very large one.”\u003c/p>\n\u003cp>\u003cb>You’ve been all over the world with these bands. Is there one specific instance you can point to as the moment you were most proud to be director of Cal’s bands?\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Being asked to be in Super Bowl 50. During a recording session with Will Champion, the drummer of Coldplay, he was as kind as can be to my students. And I mean that whole experience. And there was also a memorandum -- we had to not tell anyone that we were selected. So this all occurred in late December, and the performance wasn’t until the second week of February. So for six weeks, my students didn’t say a word. And they were warned: ‘If you do, they may pull you from the show,’ so I think the whole picture -- that whole Super Bowl experience in 2016 -- is probably way up there.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Robert Calonico bleeds Berkeley blue and gold.\u003c/p>\n\u003cp>He grew up on UC Berkeley's campus, went to college there and has served as director of the school's marching band for 28 years.\u003c/p>\n\u003cp>During his tenure as the school's director of bands -- a position that includes leading the 225-piece \"Pride of California\" marching band and the 60-piece University Wind Ensemble -- Calonico has traveled around the globe with student musicians as they performed at countless school sporting events, all while gaining the respect and admiration of students and faculty from across Berkeley's campus.\u003c/p>\n\u003cp>On Wednesday, Calonico announced that he plans to \u003ca href=\"http://www.eastbaytimes.com/2017/12/06/beloved-cal-band-director-to-retire-on-high-note/\" target=\"_blank\" rel=\"noopener\">step down\u003c/a> from his position in June. I sat down with him in his office to talk about his time at Berkeley.\u003c/p>\n\u003cp>\u003cb>After 28 years of leading Cal’s bands, what’s your favorite memory?\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I’d have to say, with the marching band, performing at the Great Wall of China in 2016.”\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/seuwsrF3hzI'\n title='//www.youtube.com/embed/seuwsrF3hzI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cb>I’ve heard that you grew up in Berkeley. So you essentially bleed blue and gold, don’t you?\u003c/b>\u003c/p>\n\u003cp>“You know, a lot of students say, ‘Bob, the first three letters of your last name kind of say it all.’ C-A-L, so there it is. My dad did grad school here, and my mom was an undergrad. That’s where they met. Back in the day, they would tell us, ‘You can apply anywhere you want, but you’re going to Cal.’ ”\u003c/p>\n\u003cp>\u003cb>Can you tell me a little bit about your first time playing with the Cal band?\u003c/b>\u003c/p>\n\u003cp>“My brother was a sophomore here at the time. It was my first year, in 1972. There’s an explosion that goes off at pregame, and my brother didn’t say a word about it. And I marched right over that spot right before the bomb went off, and I must have jumped 6 feet in the air. He never told me until it actually happened. I found him on the sideline and go, ‘You didn’t tell me!’ He goes, ‘Well, of course I didn’t!’ ”\u003c/p>\n\u003cp>\u003cb>Can you tell me a little bit about your experience with students here at Berkeley?\u003c/b>\u003c/p>\n\u003cp>“They are incredible on every level -- just as people, and then as musicians and students. They’re just a joy to be around. With the marching band, it’s student leadership. There are five students who run the band and every aspect of it. And I’m maybe institutional memory -- a guider, if you will, a mentor at times. They chart the course of the band.”\u003c/p>\n\u003cp>\u003cb>I was a student at Berkeley not too long ago. I’ve seen firsthand the sense of community in Cal’s band. When you watch them perform, you see that they love every second of it. Can you tell me about the culture and how it’s evolved over the years?\u003c/b>\u003c/p>\n\u003cp>“That is one of the things I talk to potential students about. Find your community, whatever it is. If it’s gonna be working on the newspaper, or if it’s gonna be a fraternity or sorority -- whatever it is, it makes a place like this a lot smaller. It’s just so strange that I’ve been here all these years, and I can walk across campus, and there isn’t one time where I’ve not seen a student that I teach -- either in the band or in the wind ensemble or something. It’s just uncanny. It does make a community within a very large one.”\u003c/p>\n\u003cp>\u003cb>You’ve been all over the world with these bands. Is there one specific instance you can point to as the moment you were most proud to be director of Cal’s bands?\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Being asked to be in Super Bowl 50. During a recording session with Will Champion, the drummer of Coldplay, he was as kind as can be to my students. And I mean that whole experience. And there was also a memorandum -- we had to not tell anyone that we were selected. So this all occurred in late December, and the performance wasn’t until the second week of February. So for six weeks, my students didn’t say a word. And they were warned: ‘If you do, they may pull you from the show,’ so I think the whole picture -- that whole Super Bowl experience in 2016 -- is probably way up there.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Archaeologists Excavate Sphinx from SoCal Sand Dunes",
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"content": "\u003cp>When Cecil B. DeMille made his 1923 blockbuster \u003ca href=\"http://www.imdb.com/title/tt0014532/\" target=\"_blank\" rel=\"noopener\">“The Ten Commandments,”\u003c/a> he used the massive sloping sand dunes in Guadalupe, near Santa Barbara, as a stand-in for ancient Egypt. Huge gates and towering statues were built into the sand.\u003c/p>\n\u003cfigure id=\"attachment_11635624\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11635624\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/12/RS28381_013-qut-800x580.jpg\" alt=\"\" width=\"800\" height=\"580\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28381_013-qut-800x580.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28381_013-qut-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28381_013-qut-1020x740.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28381_013-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28381_013-qut-1180x856.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28381_013-qut-960x696.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28381_013-qut-240x174.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28381_013-qut-375x272.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28381_013-qut-520x377.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sphinx with unfinished “The Ten Commandments” set in the background. \u003ccite>(Courtesy of Guadalupe-Nipomo Dunes Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It was biggest set ever built for the most expensive movie that had ever been made at the time.\u003c/p>\n\u003cp>When filming ended, DeMille buried the set in the sand dunes so no one from a rival studio could steal it. But that didn’t stop archaeologists from searching for treasures in the sand.\u003c/p>\n\u003cp>The California Report magazine first introduced you to the buried treasure in our annual \u003ca href=\"https://ww2.kqed.org/news/2016/11/26/hidden-gems-the-lost-city-of-cecil-b-demille/\">Hidden Gems\u003c/a> show, about cool road trip spots in California.\u003c/p>\n\u003cp>https://ww2.kqed.org/news/2016/11/26/hidden-gems-the-lost-city-of-cecil-b-demille/\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Last month, archaeologists there dug up their most impressive find yet: a huge statue of a sphinx, made of plaster of Paris and horsehair. (A sphinx is a creature from ancient Egyptian mythology, a cat body with a human head.)\u003c/p>\n\u003cp>“It’s about 5 1/2 feet tall, and 300 pounds, and it’s quite the statue to be working with,” says Doug Jenzen, Executive Director of the \u003ca href=\"http://dunescenter.org/\" target=\"_blank\" rel=\"noopener\">Guadalupe-Nipomo Dunes Center.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11635622\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11635622 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/12/RS28383_DJI_0088-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28383_DJI_0088-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28383_DJI_0088-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28383_DJI_0088-qut-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28383_DJI_0088-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28383_DJI_0088-qut-1180x884.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28383_DJI_0088-qut-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28383_DJI_0088-qut-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28383_DJI_0088-qut-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28383_DJI_0088-qut-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Archaeologists spent 12 days uncovering the sphinx buried nearly a century ago. \u003ccite>(Courtesy of Guadalupe-Nipomo Dunes Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It took a team of ten people 12 days to excavate the waterlogged statue. The first thing they noticed was its color, which wasn’t black and white, like the other remains they’d found.\u003c/p>\n\u003cp>“The part that was in the earth the longest had this deep terra cotta pigment to it,” Jenzen explains. “It was a complete surprise.”\u003c/p>\n\u003cp>Jenzen sees uncovering these relics from “The Ten Commandments” movie set as an important way of saving a piece of cinematic history.\u003c/p>\n\u003cfigure id=\"attachment_11635621\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11635621 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/12/RS28380_021-qut-800x627.jpg\" alt=\"\" width=\"800\" height=\"627\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28380_021-qut-800x627.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28380_021-qut-160x125.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28380_021-qut-1020x799.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28380_021-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28380_021-qut-1180x924.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28380_021-qut-960x752.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28380_021-qut-240x188.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28380_021-qut-375x294.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28380_021-qut-520x407.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Reproduction still photograph of the temple up close with extras in the foreground, taken on the set of “The Ten Commandments”. \u003ccite>(Courtesy of the Academy of Motion Picture Arts and Sciences/Guadalupe-Nipomo Dunes Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“People around the country – and actually around the world – could go see these films and have these shared experiences for the first time,” says Jenzen.\u003c/p>\n\u003cp>And, he adds, it’s also about bringing art to rural Guadalupe.\u003c/p>\n\u003cp>“It deserves to get some positive press and children here deserve to have these amazing things to see in museums.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>You can see the sphinx for yourself when it’s on display at the Dunes Center next summer.\u003c/p>\n\n",
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"title": "Archaeologists Excavate Sphinx from SoCal Sand Dunes | KQED",
"description": "Archaeologists uncovered a sphinx from "The Ten Commandments" movie set that had been buried since 1923 near Santa Barbara.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When Cecil B. DeMille made his 1923 blockbuster \u003ca href=\"http://www.imdb.com/title/tt0014532/\" target=\"_blank\" rel=\"noopener\">“The Ten Commandments,”\u003c/a> he used the massive sloping sand dunes in Guadalupe, near Santa Barbara, as a stand-in for ancient Egypt. Huge gates and towering statues were built into the sand.\u003c/p>\n\u003cfigure id=\"attachment_11635624\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11635624\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/12/RS28381_013-qut-800x580.jpg\" alt=\"\" width=\"800\" height=\"580\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28381_013-qut-800x580.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28381_013-qut-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28381_013-qut-1020x740.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28381_013-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28381_013-qut-1180x856.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28381_013-qut-960x696.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28381_013-qut-240x174.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28381_013-qut-375x272.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28381_013-qut-520x377.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sphinx with unfinished “The Ten Commandments” set in the background. \u003ccite>(Courtesy of Guadalupe-Nipomo Dunes Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It was biggest set ever built for the most expensive movie that had ever been made at the time.\u003c/p>\n\u003cp>When filming ended, DeMille buried the set in the sand dunes so no one from a rival studio could steal it. But that didn’t stop archaeologists from searching for treasures in the sand.\u003c/p>\n\u003cp>The California Report magazine first introduced you to the buried treasure in our annual \u003ca href=\"https://ww2.kqed.org/news/2016/11/26/hidden-gems-the-lost-city-of-cecil-b-demille/\">Hidden Gems\u003c/a> show, about cool road trip spots in California.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Last month, archaeologists there dug up their most impressive find yet: a huge statue of a sphinx, made of plaster of Paris and horsehair. (A sphinx is a creature from ancient Egyptian mythology, a cat body with a human head.)\u003c/p>\n\u003cp>“It’s about 5 1/2 feet tall, and 300 pounds, and it’s quite the statue to be working with,” says Doug Jenzen, Executive Director of the \u003ca href=\"http://dunescenter.org/\" target=\"_blank\" rel=\"noopener\">Guadalupe-Nipomo Dunes Center.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11635622\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11635622 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/12/RS28383_DJI_0088-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28383_DJI_0088-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28383_DJI_0088-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28383_DJI_0088-qut-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28383_DJI_0088-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28383_DJI_0088-qut-1180x884.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28383_DJI_0088-qut-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28383_DJI_0088-qut-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28383_DJI_0088-qut-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28383_DJI_0088-qut-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Archaeologists spent 12 days uncovering the sphinx buried nearly a century ago. \u003ccite>(Courtesy of Guadalupe-Nipomo Dunes Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It took a team of ten people 12 days to excavate the waterlogged statue. The first thing they noticed was its color, which wasn’t black and white, like the other remains they’d found.\u003c/p>\n\u003cp>“The part that was in the earth the longest had this deep terra cotta pigment to it,” Jenzen explains. “It was a complete surprise.”\u003c/p>\n\u003cp>Jenzen sees uncovering these relics from “The Ten Commandments” movie set as an important way of saving a piece of cinematic history.\u003c/p>\n\u003cfigure id=\"attachment_11635621\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11635621 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/12/RS28380_021-qut-800x627.jpg\" alt=\"\" width=\"800\" height=\"627\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28380_021-qut-800x627.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28380_021-qut-160x125.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28380_021-qut-1020x799.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28380_021-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28380_021-qut-1180x924.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28380_021-qut-960x752.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28380_021-qut-240x188.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28380_021-qut-375x294.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28380_021-qut-520x407.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Reproduction still photograph of the temple up close with extras in the foreground, taken on the set of “The Ten Commandments”. \u003ccite>(Courtesy of the Academy of Motion Picture Arts and Sciences/Guadalupe-Nipomo Dunes Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“People around the country – and actually around the world – could go see these films and have these shared experiences for the first time,” says Jenzen.\u003c/p>\n\u003cp>And, he adds, it’s also about bringing art to rural Guadalupe.\u003c/p>\n\u003cp>“It deserves to get some positive press and children here deserve to have these amazing things to see in museums.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>You can see the sphinx for yourself when it’s on display at the Dunes Center next summer.\u003c/p>\n\n\u003c/div>\u003c/p>",
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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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"onourwatch": {
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
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