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"content": "\u003cp>For a first-time visitor, Anderson Street in Los Angeles' Boyle Heights neighborhood looks pretty gritty and industrial: old brick workshops, small factories and a steady rumble of delivery trucks driving by.\u003c/p>\n\u003cp>But step inside some of the old, soot-stained buildings and you're in a world of high-end art, with paintings worth thousands of dollars on the walls.\u003c/p>\n\u003cp>Over the last couple of years, about a dozen art galleries have moved to vacant industrial spaces on and around Anderson Street to escape escalating rents in other parts of the city. Their arrival in the largely Latino neighborhood has angered some residents and neighborhood activists. With about a third of its 90,000 residents living below the poverty line, they argue the community has more important needs than art galleries.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe src=\"https://www.npr.org/player/embed/534443389/534516212\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\"A laundromat, a homeless shelter, affordable housing for people who make less than $20,000 a year, maybe get some parks, and some gardens, \" says Leonardo Vilchis, who is executive director of Union de Vecinos, a Boyle Heights nonprofit that represents low-income residents in the neighborhood.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Vilchis fears the art galleries on Anderson Street could represent just the first wave of gentrification in Boyle Heights, a wave that could force longtime residents out as other businesses arrive and rents rise in their wake. Some observers have dubbed this connection between art and gentrification \"art washing.\"\u003c/p>\n\u003cp>\"Put in an art gallery with paintings that cost tens of thousands of dollars and the audience that comes to this place starts looking for other kinds of amenities,\" says Vilchis. \"They look for the brewery, for the coffee shop, for the place to hang out. All of those things increase the cost and the value of the local neighborhood.\"\u003c/p>\n\u003cfigure id=\"attachment_11535651\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11535651\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/06/dsc09213-dc9c625c760ce4d1667c335db0d34177ae02c896-800x600.jpg\" alt=\"Leonardo Vilchis is executive director of Union de Vecinos, a Boyle Heights nonprofit that represents low-income residents. His group wants the art galleries out of the neighborhood.\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Leonardo Vilchis is executive director of Union de Vecinos, a Boyle Heights nonprofit that represents low-income residents. His group wants the art galleries out of the neighborhood. \u003ccite>(Saul Gonzalez/KCRW)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Eva Chimento, of Chimento Contemporary, admits that before her gallery's opening night she was pretty clueless about this part of Boyle Heights.\u003c/p>\n\u003cp>\u003cem>\"\u003c/em>You know like when you cross the state line there are empty fields that is like 'No Man's Land.' It's not Arizona, it's not California it's just 'No Man's Land.' That's where I thought I was,\" Chimento says.\u003c/p>\n\u003ch3>'Hipster Trash'\u003c/h3>\n\u003cp>Boyle Heights is a community with a long history of protest dating back to the Chicano civil rights movement of the 1960s. And anti-gentrification activists are using some of that same energy in a campaign to force the galleries to leave Boyle Heights.\u003c/p>\n\u003cp>Their tactics include protests in front of the galleries and the posting of mock eviction notices on the businesses' doors.\u003c/p>\n\u003cp>One group has even posted flyers showing a human skull in gun sights and the words \"Boyle Heights is not safe for hipster trash.\"\u003c/p>\n\u003cfigure id=\"attachment_11535669\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11535669\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/06/dsc09296_wide-fae9b53a5c7671298c1f544cb89011f244c890aa-800x450.jpg\" alt=\"Protesters posted these flyers around Boyle Heights.\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/06/dsc09296_wide-fae9b53a5c7671298c1f544cb89011f244c890aa-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/dsc09296_wide-fae9b53a5c7671298c1f544cb89011f244c890aa-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/dsc09296_wide-fae9b53a5c7671298c1f544cb89011f244c890aa-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/dsc09296_wide-fae9b53a5c7671298c1f544cb89011f244c890aa-1920x1080.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/dsc09296_wide-fae9b53a5c7671298c1f544cb89011f244c890aa-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/dsc09296_wide-fae9b53a5c7671298c1f544cb89011f244c890aa-960x540.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/dsc09296_wide-fae9b53a5c7671298c1f544cb89011f244c890aa-240x135.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/dsc09296_wide-fae9b53a5c7671298c1f544cb89011f244c890aa-375x211.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/dsc09296_wide-fae9b53a5c7671298c1f544cb89011f244c890aa-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Protesters posted these flyers around Boyle Heights. \u003ccite>(Saul Gonzalez/KCRW)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Last year, the door of a gallery was graffiti-tagged with the words \"F*** White Art.\" That prompted an ongoing hate crime investigation by the Los Angeles Police Department.\u003c/p>\n\u003cp>Vilchis doesn't apologize for these actions, saying that they're the only way Boyle Heights' poor and working-class residents can get attention.\u003c/p>\n\u003cp>He also likens the presence of galleries in the neighborhood to a kind of cancer and believes compromise is impossible, even with gallery owners who say they want to help the community.\u003c/p>\n\u003cp>\u003cem>\"\u003c/em>What you need to do with cancer is you've got to do surgery, right?\" says Vilchis.\"You need to start killing the cells that are creating the cancer. So to say, 'OK, I'm a cancer cell, but I want to be good,' doesn't change the fact that you're a cancer cell. You need to move out.\"\u003c/p>\n\u003cp>And how are the gallery owners reacting to such tough talk?\u003c/p>\n\u003cp>\"It's not intimidating,\" says Mihai Nicodim, owner of the gallery that was graffiti-tagged.\u003c/p>\n\u003cfigure id=\"attachment_11535638\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11535638\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/06/dsc09734_wide-ae920878b95fca4f73c5650de2a7bc600fd2a851-800x450.jpg\" alt=\"Anti-gentrification activists staged a protest outside Weird Wave Coffee Brewers recently, chanting 'Weird Cafe has got to go.'\" width=\"800\" height=\"450\">\u003cfigcaption class=\"wp-caption-text\">Anti-gentrification activists staged a protest outside Weird Wave Coffee Brewers recently, chanting 'Weird Cafe has got to go.' \u003ccite>(Saul Gonzalez/KCRW)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nicodim opened his Boyle Heights Gallery in 2015, but he's a longtime figure in the L.A. arts scene.\u003c/p>\n\u003cp>\"I'm not going anywhere,\" Nicodim says.\" I've been here in the downtown area for the last 25 years, I'm not going to go away because someone tells me to just go, you know? I'm home.\"\u003c/p>\n\u003cp>But gallery opponents recently scored their first victory. Citing persistent harassment and trolling, one art space in Boyle Heights closed this year.\u003c/p>\n\u003cp>To celebrate its closure, Vilchis and his fellow anti-gallery activists held a party in front of the building, complete with a mariachi group.\u003c/p>\n\u003cp>As the battle for Boyle Heights continues, gallery owner Eva Chimento is already thinking about her own long-term future in the neighborhood. But she says it has more to do with escalating costs than protests.\u003c/p>\n\u003cp>\"Well, when my lease is up, I may be moving, too,\" Chimento says. \"I might not be able to afford the rent.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>You can follow Saul Gonzalez on Twitter at \u003ca href=\"https://twitter.com/SaulKCRW?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Eauthor\">@SaulKCRW\u003c/a>.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 KCRW. To see more, visit \u003ca href=\"http://www.kcrw.com\">KCRW\u003c/a>.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+This+LA+Neighborhood%2C+Protest+Art+Is+A+Verb&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "About a third of Boyle Heights' 90,000 residents live below the poverty line. But lower rents have attracted art galleries to the area, and that's drawing the ire of residents and activists.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For a first-time visitor, Anderson Street in Los Angeles' Boyle Heights neighborhood looks pretty gritty and industrial: old brick workshops, small factories and a steady rumble of delivery trucks driving by.\u003c/p>\n\u003cp>But step inside some of the old, soot-stained buildings and you're in a world of high-end art, with paintings worth thousands of dollars on the walls.\u003c/p>\n\u003cp>Over the last couple of years, about a dozen art galleries have moved to vacant industrial spaces on and around Anderson Street to escape escalating rents in other parts of the city. Their arrival in the largely Latino neighborhood has angered some residents and neighborhood activists. With about a third of its 90,000 residents living below the poverty line, they argue the community has more important needs than art galleries.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe src=\"https://www.npr.org/player/embed/534443389/534516212\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\"A laundromat, a homeless shelter, affordable housing for people who make less than $20,000 a year, maybe get some parks, and some gardens, \" says Leonardo Vilchis, who is executive director of Union de Vecinos, a Boyle Heights nonprofit that represents low-income residents in the neighborhood.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Vilchis fears the art galleries on Anderson Street could represent just the first wave of gentrification in Boyle Heights, a wave that could force longtime residents out as other businesses arrive and rents rise in their wake. Some observers have dubbed this connection between art and gentrification \"art washing.\"\u003c/p>\n\u003cp>\"Put in an art gallery with paintings that cost tens of thousands of dollars and the audience that comes to this place starts looking for other kinds of amenities,\" says Vilchis. \"They look for the brewery, for the coffee shop, for the place to hang out. All of those things increase the cost and the value of the local neighborhood.\"\u003c/p>\n\u003cfigure id=\"attachment_11535651\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11535651\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/06/dsc09213-dc9c625c760ce4d1667c335db0d34177ae02c896-800x600.jpg\" alt=\"Leonardo Vilchis is executive director of Union de Vecinos, a Boyle Heights nonprofit that represents low-income residents. His group wants the art galleries out of the neighborhood.\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Leonardo Vilchis is executive director of Union de Vecinos, a Boyle Heights nonprofit that represents low-income residents. His group wants the art galleries out of the neighborhood. \u003ccite>(Saul Gonzalez/KCRW)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Eva Chimento, of Chimento Contemporary, admits that before her gallery's opening night she was pretty clueless about this part of Boyle Heights.\u003c/p>\n\u003cp>\u003cem>\"\u003c/em>You know like when you cross the state line there are empty fields that is like 'No Man's Land.' It's not Arizona, it's not California it's just 'No Man's Land.' That's where I thought I was,\" Chimento says.\u003c/p>\n\u003ch3>'Hipster Trash'\u003c/h3>\n\u003cp>Boyle Heights is a community with a long history of protest dating back to the Chicano civil rights movement of the 1960s. And anti-gentrification activists are using some of that same energy in a campaign to force the galleries to leave Boyle Heights.\u003c/p>\n\u003cp>Their tactics include protests in front of the galleries and the posting of mock eviction notices on the businesses' doors.\u003c/p>\n\u003cp>One group has even posted flyers showing a human skull in gun sights and the words \"Boyle Heights is not safe for hipster trash.\"\u003c/p>\n\u003cfigure id=\"attachment_11535669\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11535669\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/06/dsc09296_wide-fae9b53a5c7671298c1f544cb89011f244c890aa-800x450.jpg\" alt=\"Protesters posted these flyers around Boyle Heights.\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/06/dsc09296_wide-fae9b53a5c7671298c1f544cb89011f244c890aa-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/dsc09296_wide-fae9b53a5c7671298c1f544cb89011f244c890aa-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/dsc09296_wide-fae9b53a5c7671298c1f544cb89011f244c890aa-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/dsc09296_wide-fae9b53a5c7671298c1f544cb89011f244c890aa-1920x1080.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/dsc09296_wide-fae9b53a5c7671298c1f544cb89011f244c890aa-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/dsc09296_wide-fae9b53a5c7671298c1f544cb89011f244c890aa-960x540.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/dsc09296_wide-fae9b53a5c7671298c1f544cb89011f244c890aa-240x135.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/dsc09296_wide-fae9b53a5c7671298c1f544cb89011f244c890aa-375x211.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/dsc09296_wide-fae9b53a5c7671298c1f544cb89011f244c890aa-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Protesters posted these flyers around Boyle Heights. \u003ccite>(Saul Gonzalez/KCRW)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Last year, the door of a gallery was graffiti-tagged with the words \"F*** White Art.\" That prompted an ongoing hate crime investigation by the Los Angeles Police Department.\u003c/p>\n\u003cp>Vilchis doesn't apologize for these actions, saying that they're the only way Boyle Heights' poor and working-class residents can get attention.\u003c/p>\n\u003cp>He also likens the presence of galleries in the neighborhood to a kind of cancer and believes compromise is impossible, even with gallery owners who say they want to help the community.\u003c/p>\n\u003cp>\u003cem>\"\u003c/em>What you need to do with cancer is you've got to do surgery, right?\" says Vilchis.\"You need to start killing the cells that are creating the cancer. So to say, 'OK, I'm a cancer cell, but I want to be good,' doesn't change the fact that you're a cancer cell. You need to move out.\"\u003c/p>\n\u003cp>And how are the gallery owners reacting to such tough talk?\u003c/p>\n\u003cp>\"It's not intimidating,\" says Mihai Nicodim, owner of the gallery that was graffiti-tagged.\u003c/p>\n\u003cfigure id=\"attachment_11535638\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11535638\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/06/dsc09734_wide-ae920878b95fca4f73c5650de2a7bc600fd2a851-800x450.jpg\" alt=\"Anti-gentrification activists staged a protest outside Weird Wave Coffee Brewers recently, chanting 'Weird Cafe has got to go.'\" width=\"800\" height=\"450\">\u003cfigcaption class=\"wp-caption-text\">Anti-gentrification activists staged a protest outside Weird Wave Coffee Brewers recently, chanting 'Weird Cafe has got to go.' \u003ccite>(Saul Gonzalez/KCRW)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nicodim opened his Boyle Heights Gallery in 2015, but he's a longtime figure in the L.A. arts scene.\u003c/p>\n\u003cp>\"I'm not going anywhere,\" Nicodim says.\" I've been here in the downtown area for the last 25 years, I'm not going to go away because someone tells me to just go, you know? I'm home.\"\u003c/p>\n\u003cp>But gallery opponents recently scored their first victory. Citing persistent harassment and trolling, one art space in Boyle Heights closed this year.\u003c/p>\n\u003cp>To celebrate its closure, Vilchis and his fellow anti-gallery activists held a party in front of the building, complete with a mariachi group.\u003c/p>\n\u003cp>As the battle for Boyle Heights continues, gallery owner Eva Chimento is already thinking about her own long-term future in the neighborhood. But she says it has more to do with escalating costs than protests.\u003c/p>\n\u003cp>\"Well, when my lease is up, I may be moving, too,\" Chimento says. \"I might not be able to afford the rent.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>You can follow Saul Gonzalez on Twitter at \u003ca href=\"https://twitter.com/SaulKCRW?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Eauthor\">@SaulKCRW\u003c/a>.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 KCRW. To see more, visit \u003ca href=\"http://www.kcrw.com\">KCRW\u003c/a>.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+This+LA+Neighborhood%2C+Protest+Art+Is+A+Verb&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Not Far From Hollywood, This State Park Is a Scene-Stealer",
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"content": "\u003cp>If you stay in \u003ca href=\"https://www.parks.ca.gov/?page_id=631\" target=\"_blank\" rel=\"noopener noreferrer\">Red Rock Canyon State Park\u003c/a> on a clear night under a crescent moon, make sure to spend some time looking up. Unzip your tent and step out after everyone else has gone to sleep and spend a moment alone on planet Earth. That's what I do on a recent trip here with my two teenage sons.\u003c/p>\n\u003cp>Shooting stars abound. The Milky Way looks like someone took a giant paintbrush and swiped the sky with glitter. The fluted cliffs abutting the campground look like dark curtains cast in moonlight.\u003c/p>\n\u003cp>Except for a random bird call, there's a silence that feels almost pristine.\u003c/p>\n\u003cfigure id=\"attachment_11533697\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11533697\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/06/RedRockCamp-800x1106.jpg\" alt=\"Desert cliffs add drama and beauty to Ricardo Campground. \" width=\"800\" height=\"1106\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/06/RedRockCamp-800x1106.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RedRockCamp-160x221.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RedRockCamp-1020x1410.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RedRockCamp.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RedRockCamp-1180x1631.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RedRockCamp-960x1327.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RedRockCamp-240x332.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RedRockCamp-375x518.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RedRockCamp-520x719.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Desert cliffs add drama and beauty to Ricardo Campground. \u003ccite>(Alice Daniel/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even during the day, visitors can easily find themselves alone on one of the many trails in the park.\u003c/p>\n\u003cp>There's stunning scenery, but for many travelers, it’s merely a pit stop on Highway 14 on the eastern side of the Sierra Nevada. Travelers point out the red cliffs on the way to Joshua Tree or Death Valley but many fail to delve deeper into this 27,000 acre state park.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Lots of people just pull off the highway, take a few pictures and keep going,” says Park Ranger Damion Laughlin. “They don’t realize how much there is besides what you can see from the highway.”\u003c/p>\n\u003cp>Layers of mudstone and sandstone form buttes and cliffs that tower over Hagen Canyon. Joshua Trees stand guard on the desert floor, and there are way more lizards than people here.\u003c/p>\n\u003cp>It’s no wonder this place has been the backdrop for a lot of Westerns.\u003c/p>\n\u003cfigure id=\"attachment_11528796\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11528796\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/06/011-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">About two hours north of Hollywood, hundreds of movies including Westerns have been filmed here. \u003ccite>(Alice Daniel/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the 1953 classic \"Law and Order,\" Ronald Reagan stood on a rock near here and took shots to scare an outlaw.\u003c/p>\n\u003cp>Just a couple hours from Hollywood, this otherworldly landscape has been the setting for \u003ca href=\"https://www.youtube.com/watch?v=kWy86ZENzFk\" target=\"_blank\" rel=\"noopener noreferrer\">hundreds of movies\u003c/a>, TV shows and commercials: \"Buck Rogers,\" \"20,000 Leagues Under the Sea\" and even \"Jurassic Park,\" for a scene that’s supposed to resemble the Montana badlands.\u003c/p>\n\u003cp>We weren’t chased by velociraptors, but my teenage sons and I did escape. We headed deep into the backcountry on some of the rutted dirt roads. It's good to have a four-wheel drive car with high clearance, and plenty of water in case you get stuck.\u003c/p>\n\u003cp>[contextly_sidebar id=\"oJyru51LSamxtXtV6LXSyRwOBiwlf5vP\"]\u003c/p>\n\u003cp>And if you are traveling with teens, they might notice that some of the dirt roads here don’t \u003cem>really\u003c/em> require a driver’s license.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>My 15-year-old decided this would be a safe place to learn to drive a stick shift. With no one around, we switched seats. But after he forgot to use the break and the car lurched forward one too many times, my nerves got frayed. After all, it wasn't what we came there to do. I’d rather watch the colors of the desert shift in the sunlight and the ravens soar overhead.\u003c/p>\n\u003cfigure id=\"attachment_11528797\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11528797 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/06/004-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/06/004-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/004-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/004-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/004-1920x1280.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/004-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/004-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/004-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/004-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/004-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Spring is a great time to visit. It's not too hot, and wildflowers abound. \u003ccite>(Alice Daniel/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you stay in \u003ca href=\"https://www.parks.ca.gov/?page_id=631\" target=\"_blank\" rel=\"noopener noreferrer\">Red Rock Canyon State Park\u003c/a> on a clear night under a crescent moon, make sure to spend some time looking up. Unzip your tent and step out after everyone else has gone to sleep and spend a moment alone on planet Earth. That's what I do on a recent trip here with my two teenage sons.\u003c/p>\n\u003cp>Shooting stars abound. The Milky Way looks like someone took a giant paintbrush and swiped the sky with glitter. The fluted cliffs abutting the campground look like dark curtains cast in moonlight.\u003c/p>\n\u003cp>Except for a random bird call, there's a silence that feels almost pristine.\u003c/p>\n\u003cfigure id=\"attachment_11533697\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11533697\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/06/RedRockCamp-800x1106.jpg\" alt=\"Desert cliffs add drama and beauty to Ricardo Campground. \" width=\"800\" height=\"1106\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/06/RedRockCamp-800x1106.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RedRockCamp-160x221.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RedRockCamp-1020x1410.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RedRockCamp.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RedRockCamp-1180x1631.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RedRockCamp-960x1327.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RedRockCamp-240x332.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RedRockCamp-375x518.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RedRockCamp-520x719.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Desert cliffs add drama and beauty to Ricardo Campground. \u003ccite>(Alice Daniel/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even during the day, visitors can easily find themselves alone on one of the many trails in the park.\u003c/p>\n\u003cp>There's stunning scenery, but for many travelers, it’s merely a pit stop on Highway 14 on the eastern side of the Sierra Nevada. Travelers point out the red cliffs on the way to Joshua Tree or Death Valley but many fail to delve deeper into this 27,000 acre state park.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Lots of people just pull off the highway, take a few pictures and keep going,” says Park Ranger Damion Laughlin. “They don’t realize how much there is besides what you can see from the highway.”\u003c/p>\n\u003cp>Layers of mudstone and sandstone form buttes and cliffs that tower over Hagen Canyon. Joshua Trees stand guard on the desert floor, and there are way more lizards than people here.\u003c/p>\n\u003cp>It’s no wonder this place has been the backdrop for a lot of Westerns.\u003c/p>\n\u003cfigure id=\"attachment_11528796\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11528796\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/06/011-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">About two hours north of Hollywood, hundreds of movies including Westerns have been filmed here. \u003ccite>(Alice Daniel/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the 1953 classic \"Law and Order,\" Ronald Reagan stood on a rock near here and took shots to scare an outlaw.\u003c/p>\n\u003cp>Just a couple hours from Hollywood, this otherworldly landscape has been the setting for \u003ca href=\"https://www.youtube.com/watch?v=kWy86ZENzFk\" target=\"_blank\" rel=\"noopener noreferrer\">hundreds of movies\u003c/a>, TV shows and commercials: \"Buck Rogers,\" \"20,000 Leagues Under the Sea\" and even \"Jurassic Park,\" for a scene that’s supposed to resemble the Montana badlands.\u003c/p>\n\u003cp>We weren’t chased by velociraptors, but my teenage sons and I did escape. We headed deep into the backcountry on some of the rutted dirt roads. It's good to have a four-wheel drive car with high clearance, and plenty of water in case you get stuck.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>And if you are traveling with teens, they might notice that some of the dirt roads here don’t \u003cem>really\u003c/em> require a driver’s license.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>My 15-year-old decided this would be a safe place to learn to drive a stick shift. With no one around, we switched seats. But after he forgot to use the break and the car lurched forward one too many times, my nerves got frayed. After all, it wasn't what we came there to do. I’d rather watch the colors of the desert shift in the sunlight and the ravens soar overhead.\u003c/p>\n\u003cfigure id=\"attachment_11528797\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11528797 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/06/004-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/06/004-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/004-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/004-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/004-1920x1280.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/004-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/004-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/004-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/004-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/004-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Spring is a great time to visit. It's not too hot, and wildflowers abound. \u003ccite>(Alice Daniel/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"slug": "mission-cultural-center-for-latino-arts-unveils-restored-mural",
"title": "Mission Cultural Center for Latino Arts Unveils Restored Mural",
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"content": "\u003cp>Beloved artistic traditions weaved together in front of the Mission Cultural Center for Latino Arts (MCCLA) Thursday evening at the unveiling of the center’s newly restored mural.\u003c/p>\n\u003cp>The celebration captured the Latino-American artistic lineage cultivated in the Mission. With the scent of copal in the air, Aztec dancers from the Mixcoatl Anahuac troupe, dressed in vibrant \u003ci>penacho\u003c/i>s, led the re-dedication for MCCLA’s newly restored mural, “Spirit of the Arts.” The unveiling honored its original artists Carlos Loarca and Betsie Miller-Kusz, in addition to muralists Carlos Gonzalez, Suaro Cervantes, Paul Kensinger and Aureliano Rivera — all of whom received a commendation from the City of San Francisco.\u003c/p>\n\u003cp>“[The mural is] just a testament to the vibrancy and the diversity of this community, and that’s what we’re here celebrating,” said MCCLA Director Jennie Rodriguez in her opening address at the celebration. “In these difficult moments, some of us think that maybe difficult moments are in our way, but it’s a time for the community to come together, and again, pledge their support to these institutions that are here supporting the community as well and bringing a lot of value and quality of life to our communities.”\u003c/p>\n\u003cp>The mural’s month-long restoration process — a collaboration between MCCLA and the San Francisco Arts Commission — comes 35 years after the mural’s original completion.\u003c/p>\n\u003cp>Borrowing from Aztec, Incan and Mayan iconography, “Spirit of the Arts” is sprightly, textured and rich with history and homage. It covers the entirety of the Center’s 3,700 square-foot façade. “Spirit of the Arts” was originally painted in 1982 by Loarca, Miller-Kusz and Manuel Villamor, all of whom returned to work on its restoration to commemorate the center’s role as a fixture of the Mission district’s artistic community.\u003c/p>\n\u003cfigure id=\"attachment_13501610\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13501610\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Unveiling-Ceremony-800x600.jpg\" alt=\"Dancers performing in front of the Mission Cultural Center for Latino Arts\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Unveiling-Ceremony-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Unveiling-Ceremony-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Unveiling-Ceremony-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Unveiling-Ceremony-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Unveiling-Ceremony.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Unveiling-Ceremony-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Unveiling-Ceremony-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Unveiling-Ceremony-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Unveiling-Ceremony-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Unveiling-Ceremony-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dancers performing in front of the Mission Cultural Center for Latino Arts. \u003ccite>(Kevin L. Jones/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In its modern manifestation, the mural symbolizes heightened political stakes both on a local and national level. District 9 Supervisor Hillary Ronen, who was slated to appear at the festivities, was not able to attend due to ongoing city budget negotiations.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The Center’s inaugural director, former San Francisco poet laureate Alejandro Murguía, was in attendance for the event, as was former District 9 Supervisor David Campos. Campos, according to a press release, helped secure funding for the restoration project through an add-back.\u003c/p>\n\u003cp>“We’re talking about a president who’s in the process of engaging and pushing forward mass deportation,” Campos said at the event. “It is at a time where that is about to happen at the national level that we need to stand around and say ‘Mr. Trump, Latinos are as much a part of this community as everyone else. Whether you like it or not, we’re here and we’re here to stay. We’re not going away.’ This is our community as much as it is anyone’s, so that’s the message that we hope we’re making.”\u003c/p>\n\u003cp>Opened in 1977, the Mission Cultural Center for Latino Arts is the largest Latino cultural center in the continental United States. The Center hosts art workshops, gallery exhibitions, film screenings and art classes, including an annual summer arts program for local youth.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>MCCLA, along with the Bayview Opera House, SOMArts and the African American Art and Culture Complex, is one of four city-owned, community-operated art spaces to offer artistic resources to San Francisco residents. The Calle 24 Latino Cultural District, where the center is located, was chosen as a semi-finalist for the California Cultural District’s pilot program.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Beloved artistic traditions weaved together in front of the Mission Cultural Center for Latino Arts (MCCLA) Thursday evening at the unveiling of the center’s newly restored mural.\u003c/p>\n\u003cp>The celebration captured the Latino-American artistic lineage cultivated in the Mission. With the scent of copal in the air, Aztec dancers from the Mixcoatl Anahuac troupe, dressed in vibrant \u003ci>penacho\u003c/i>s, led the re-dedication for MCCLA’s newly restored mural, “Spirit of the Arts.” The unveiling honored its original artists Carlos Loarca and Betsie Miller-Kusz, in addition to muralists Carlos Gonzalez, Suaro Cervantes, Paul Kensinger and Aureliano Rivera — all of whom received a commendation from the City of San Francisco.\u003c/p>\n\u003cp>“[The mural is] just a testament to the vibrancy and the diversity of this community, and that’s what we’re here celebrating,” said MCCLA Director Jennie Rodriguez in her opening address at the celebration. “In these difficult moments, some of us think that maybe difficult moments are in our way, but it’s a time for the community to come together, and again, pledge their support to these institutions that are here supporting the community as well and bringing a lot of value and quality of life to our communities.”\u003c/p>\n\u003cp>The mural’s month-long restoration process — a collaboration between MCCLA and the San Francisco Arts Commission — comes 35 years after the mural’s original completion.\u003c/p>\n\u003cp>Borrowing from Aztec, Incan and Mayan iconography, “Spirit of the Arts” is sprightly, textured and rich with history and homage. It covers the entirety of the Center’s 3,700 square-foot façade. “Spirit of the Arts” was originally painted in 1982 by Loarca, Miller-Kusz and Manuel Villamor, all of whom returned to work on its restoration to commemorate the center’s role as a fixture of the Mission district’s artistic community.\u003c/p>\n\u003cfigure id=\"attachment_13501610\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13501610\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Unveiling-Ceremony-800x600.jpg\" alt=\"Dancers performing in front of the Mission Cultural Center for Latino Arts\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Unveiling-Ceremony-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Unveiling-Ceremony-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Unveiling-Ceremony-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Unveiling-Ceremony-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Unveiling-Ceremony.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Unveiling-Ceremony-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Unveiling-Ceremony-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Unveiling-Ceremony-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Unveiling-Ceremony-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Unveiling-Ceremony-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dancers performing in front of the Mission Cultural Center for Latino Arts. \u003ccite>(Kevin L. Jones/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In its modern manifestation, the mural symbolizes heightened political stakes both on a local and national level. District 9 Supervisor Hillary Ronen, who was slated to appear at the festivities, was not able to attend due to ongoing city budget negotiations.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Center’s inaugural director, former San Francisco poet laureate Alejandro Murguía, was in attendance for the event, as was former District 9 Supervisor David Campos. Campos, according to a press release, helped secure funding for the restoration project through an add-back.\u003c/p>\n\u003cp>“We’re talking about a president who’s in the process of engaging and pushing forward mass deportation,” Campos said at the event. “It is at a time where that is about to happen at the national level that we need to stand around and say ‘Mr. Trump, Latinos are as much a part of this community as everyone else. Whether you like it or not, we’re here and we’re here to stay. We’re not going away.’ This is our community as much as it is anyone’s, so that’s the message that we hope we’re making.”\u003c/p>\n\u003cp>Opened in 1977, the Mission Cultural Center for Latino Arts is the largest Latino cultural center in the continental United States. The Center hosts art workshops, gallery exhibitions, film screenings and art classes, including an annual summer arts program for local youth.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>MCCLA, along with the Bayview Opera House, SOMArts and the African American Art and Culture Complex, is one of four city-owned, community-operated art spaces to offer artistic resources to San Francisco residents. The Calle 24 Latino Cultural District, where the center is located, was chosen as a semi-finalist for the California Cultural District’s pilot program.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "33 Years After Her Death, Eccentric Opera Singer's Garden Still Grows",
"title": "33 Years After Her Death, Eccentric Opera Singer's Garden Still Grows",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>Like many, Madame Ganna Walska came to California in search of spiritual enlightenment.\u003c/p>\n\u003cp>Walska was a Polish opera diva. She toured Europe and the United States, collecting numerous husbands along the way. In 1941, encouraged by her sixth and final spouse (who was also her yoga guru), she purchased a 37-acre estate in Montecito, in Santa Barbara County. But a few years later, when the marriage fell apart, Walska claimed the estate as her own. She called it \u003ca href=\"http://www.lotusland.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Lotusland\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11524458\" class=\"wp-caption aligncenter\" style=\"max-width: 660px\">\u003cimg class=\"wp-image-11524458 size-full\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/06/RS25748_MGW-in-Garden-kneeling-qut.jpg\" alt=\"Madame Ganna Walska poses for a photographer in the garden. (Lotusland)\" width=\"660\" height=\"444\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25748_MGW-in-Garden-kneeling-qut.jpg 660w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25748_MGW-in-Garden-kneeling-qut-160x108.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25748_MGW-in-Garden-kneeling-qut-240x161.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25748_MGW-in-Garden-kneeling-qut-375x252.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25748_MGW-in-Garden-kneeling-qut-520x350.jpg 520w\" sizes=\"(max-width: 660px) 100vw, 660px\">\u003cfigcaption class=\"wp-caption-text\">Madame Ganna Walska poses for a photographer in the garden. \u003ccite>(Courtesy of Lotusland)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It is impossible to separate the creation from the creator. This is a very personal garden. It’s all Madame Ganna Walska,” said Gwen Stauffer, Lotusland’s executive director. She smiled as she described Walska. “She was a collector by heart. She collected all kinds of things, and when she found out plants were collectible she was collecting them with a vengeance, from all over the world.”\u003c/p>\n\u003cp>Eccentric hats, opulent gowns and glittering gemstones took a backseat to exotic flora and fauna. And Walska had an incredible knack for showcasing her newfound passion. For maximum dramatic effect, she’d instruct her gardeners to group hundreds of the same plants together, like the barrel cacti that line the estate’s driveway.\u003c/p>\n\u003cfigure id=\"attachment_11524522\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11524522 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/06/RS25749_IMG_9883-qut-e1498077258498-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25749_IMG_9883-qut-e1498077258498-800x1067.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25749_IMG_9883-qut-e1498077258498-160x213.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25749_IMG_9883-qut-e1498077258498-1020x1360.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25749_IMG_9883-qut-e1498077258498-1180x1573.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25749_IMG_9883-qut-e1498077258498-960x1280.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25749_IMG_9883-qut-e1498077258498-240x320.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25749_IMG_9883-qut-e1498077258498-375x500.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25749_IMG_9883-qut-e1498077258498-520x693.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25749_IMG_9883-qut-e1498077258498.jpg 1440w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mike Furner's been the gardener at Lotusland for 38 years. \u003ccite>(Diane Bock/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mike Furner has worked at Lotusland for 38 years. “When Madame was trying to get ahold of one of the gardeners, she would almost sing out their names.\" In a falsetto voice, he imitated her. “She’d be going, ‘Chaaaarlieeee’ or ‘Mr. Tiiiilst.'\"\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Today, Furner tends the bromeliad garden. Also known as air plants, they’re tucked into an enchanted forest, just beyond the secluded, fanciful theatre garden where Walska sometimes performed.\u003c/p>\n\u003cp>“To me, it’s pretty magical walking through here,\" said Furner. “You come out of a succulent garden, and bam, there all of a sudden, you’re in this tropical area, as if you were walking through the forest in Costa Rica.”\u003c/p>\n\u003cp>A big part of Lotusland’s charm is the contrast between its classic elements -- like the impressive rose garden and expansive lawns -- and the unique plant specimens that Walska sought out. Her final creation, and a must-see stop on the tour, is the cycad garden. Cycads are Jurassic-era plants that resemble palm trees, and Lotusland features some extraordinarily rare specimens. In 1977, Walska auctioned off her treasured jewelry to create this collection.\u003c/p>\n\u003cp>Walska died at Lotusland in 1984. She was 96. The gardens opened to the public for tours seven years later.\u003c/p>\n\u003cp>Lotusland Director Gwen Stauffer admires Walska and her legacy.\u003c/p>\n\u003cp>“She was extraordinary,\" Stauffer said. \"You know, I can understand why people called her eccentric; she didn’t think like anybody else. Thank goodness, because who else would come up with this incredible, crazy, beautiful designs and these gardens? Normal people don’t do that. This is fun.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Just like the lady herself, Walska’s horticultural legacy is over-the-top and unforgettable.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Like many, Madame Ganna Walska came to California in search of spiritual enlightenment.\u003c/p>\n\u003cp>Walska was a Polish opera diva. She toured Europe and the United States, collecting numerous husbands along the way. In 1941, encouraged by her sixth and final spouse (who was also her yoga guru), she purchased a 37-acre estate in Montecito, in Santa Barbara County. But a few years later, when the marriage fell apart, Walska claimed the estate as her own. She called it \u003ca href=\"http://www.lotusland.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Lotusland\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11524458\" class=\"wp-caption aligncenter\" style=\"max-width: 660px\">\u003cimg class=\"wp-image-11524458 size-full\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/06/RS25748_MGW-in-Garden-kneeling-qut.jpg\" alt=\"Madame Ganna Walska poses for a photographer in the garden. (Lotusland)\" width=\"660\" height=\"444\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25748_MGW-in-Garden-kneeling-qut.jpg 660w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25748_MGW-in-Garden-kneeling-qut-160x108.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25748_MGW-in-Garden-kneeling-qut-240x161.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25748_MGW-in-Garden-kneeling-qut-375x252.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25748_MGW-in-Garden-kneeling-qut-520x350.jpg 520w\" sizes=\"(max-width: 660px) 100vw, 660px\">\u003cfigcaption class=\"wp-caption-text\">Madame Ganna Walska poses for a photographer in the garden. \u003ccite>(Courtesy of Lotusland)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It is impossible to separate the creation from the creator. This is a very personal garden. It’s all Madame Ganna Walska,” said Gwen Stauffer, Lotusland’s executive director. She smiled as she described Walska. “She was a collector by heart. She collected all kinds of things, and when she found out plants were collectible she was collecting them with a vengeance, from all over the world.”\u003c/p>\n\u003cp>Eccentric hats, opulent gowns and glittering gemstones took a backseat to exotic flora and fauna. And Walska had an incredible knack for showcasing her newfound passion. For maximum dramatic effect, she’d instruct her gardeners to group hundreds of the same plants together, like the barrel cacti that line the estate’s driveway.\u003c/p>\n\u003cfigure id=\"attachment_11524522\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11524522 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/06/RS25749_IMG_9883-qut-e1498077258498-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25749_IMG_9883-qut-e1498077258498-800x1067.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25749_IMG_9883-qut-e1498077258498-160x213.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25749_IMG_9883-qut-e1498077258498-1020x1360.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25749_IMG_9883-qut-e1498077258498-1180x1573.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25749_IMG_9883-qut-e1498077258498-960x1280.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25749_IMG_9883-qut-e1498077258498-240x320.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25749_IMG_9883-qut-e1498077258498-375x500.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25749_IMG_9883-qut-e1498077258498-520x693.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25749_IMG_9883-qut-e1498077258498.jpg 1440w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mike Furner's been the gardener at Lotusland for 38 years. \u003ccite>(Diane Bock/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mike Furner has worked at Lotusland for 38 years. “When Madame was trying to get ahold of one of the gardeners, she would almost sing out their names.\" In a falsetto voice, he imitated her. “She’d be going, ‘Chaaaarlieeee’ or ‘Mr. Tiiiilst.'\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Today, Furner tends the bromeliad garden. Also known as air plants, they’re tucked into an enchanted forest, just beyond the secluded, fanciful theatre garden where Walska sometimes performed.\u003c/p>\n\u003cp>“To me, it’s pretty magical walking through here,\" said Furner. “You come out of a succulent garden, and bam, there all of a sudden, you’re in this tropical area, as if you were walking through the forest in Costa Rica.”\u003c/p>\n\u003cp>A big part of Lotusland’s charm is the contrast between its classic elements -- like the impressive rose garden and expansive lawns -- and the unique plant specimens that Walska sought out. Her final creation, and a must-see stop on the tour, is the cycad garden. Cycads are Jurassic-era plants that resemble palm trees, and Lotusland features some extraordinarily rare specimens. In 1977, Walska auctioned off her treasured jewelry to create this collection.\u003c/p>\n\u003cp>Walska died at Lotusland in 1984. She was 96. The gardens opened to the public for tours seven years later.\u003c/p>\n\u003cp>Lotusland Director Gwen Stauffer admires Walska and her legacy.\u003c/p>\n\u003cp>“She was extraordinary,\" Stauffer said. \"You know, I can understand why people called her eccentric; she didn’t think like anybody else. Thank goodness, because who else would come up with this incredible, crazy, beautiful designs and these gardens? Normal people don’t do that. This is fun.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Just like the lady herself, Walska’s horticultural legacy is over-the-top and unforgettable.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Going to Napa? Take a Break From Wine and Check Out This Mill",
"title": "Going to Napa? Take a Break From Wine and Check Out This Mill",
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"content": "\u003cp>It’s easy to miss the Bale Grist Mill.\u003c/p>\n\u003cp>Its nondescript sign off Highway 29 blends in among the dozens of wineries and vineyards that fill the Napa Valley.\u003c/p>\n\u003cp>\"This was here for a very long time, and it sort of became part of the wallpaper,” said Steve Harle. “It's something that people are aware of and used to driving straight past it, but are maybe not used to stopping in.\"\u003c/p>\n\u003cp>Harle is the head miller at the \u003ca href=\"http://napavalleystateparks.org/local-activities-attractions/\" target=\"_blank\" rel=\"noopener noreferrer\">Bale Grist Mill\u003c/a> located in the picturesque upper valley between Calistoga and St. Helena.\u003c/p>\n\u003cp>The mill was founded in the mid-1840s by Dr. Edward Bale, an English surgeon who came to Mexican California on a whaling ship. In 1849, Bale died, leaving his 27-year-old widow Maria Soberanes Bale to care for the mill, their six young children and a sizable debt.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[gallery type=\"rectangular\" size=\"medium\" ids=\"11524293,11524294,11524289\"]\u003cbr>\n\u003cem>Archival photos courtesy of the Napa Valley State Parks Association\u003c/em>\u003c/p>\n\u003cp>Maria responded by building one of the largest waterwheels in North America. At 36 feet tall, it was the same height as a modern telephone pole. She needed the big wheel to power the new \u003ca href=\"http://www.historyisfun.org/blog/oliver-evans-invention/\" target=\"_blank\" rel=\"noopener noreferrer\">Evans custom mill\u003c/a> she installed, an automated mill that is considered one of the first continuous production systems in the world.\u003c/p>\n\u003cp>“I never realized a wheel could be so big,” said Pat Cuthbertson, who was visiting from London where she’s toured several other mills. “The wheel is huge compared to what I’ve seen before.”\u003c/p>\n\u003cp>The souped-up mill’s increased productivity -- combined with the thousands of people flowing into California looking for gold in the late 1840s and early 1850s -- took Maria from indebtedness in 1848 to being the third richest person in the Napa Valley by 1853.\u003c/p>\n\u003caside class=\"pullquote alignright\">'It was a wreck. It was a complete derelict mess.'\u003ccite>Mario Scalise,\u003cbr>Mill Historian\u003cbr>\n\u003c/cite>\u003c/aside>\n\u003cp>Maria later gave the mill to one of her daughters, who sold it in 1860. It operated under various owners until the early 1900s when it stopped production completely, falling into disrepair over the years.\u003c/p>\n\u003cp>\"I first came here when I was about seven years old in the early '60s, and back in those days you couldn't get in,” said Mario Scalise, a third-generation miller and the Bale Grist Mill historian. “It was a wreck. It was a complete derelict mess.”\u003c/p>\n\u003cp>The California State Parks took over the mill in the 1970s and started a decades-long restoration process. In 2000, the mill reopened for active milling and for public tours.\u003c/p>\n\u003cp>Harle gives a tour standing in the shadow of Maria Soberanes Bale’s 36-foot waterwheel, a redwood ferris wheel slowly turning with clock-like gears. The wheel connects to the mill building itself, the sidecar to the massive wheel’s motorcycle.\u003c/p>\n\u003cfigure id=\"attachment_11524299\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11524299\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/06/RS25730_TOUR-qut-1-800x530.jpg\" alt=\"\" width=\"800\" height=\"530\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25730_TOUR-qut-1-800x530.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25730_TOUR-qut-1-160x106.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25730_TOUR-qut-1-1020x676.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25730_TOUR-qut-1.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25730_TOUR-qut-1-1180x782.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25730_TOUR-qut-1-960x636.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25730_TOUR-qut-1-240x159.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25730_TOUR-qut-1-375x248.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25730_TOUR-qut-1-520x345.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Head miller and tour guide Steve Harle (right) tells visitors the history of the Bale Grist Mill. \u003ccite>(Ryan Levi/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Harle -- dressed like Indiana Jones in a white collared shirt, brown vest and fedora -- leads the group inside the mill for a demonstration. He walks them through the pre-milling process: Grain is dropped into a basin, carried by elevators to a cleaner and dropped into another basin where it awaits milling.\u003c/p>\n\u003cp>Harle gets down on his hands and knees to adjust the two French Buhr millstones between which the grain will actually be milled. Once the millstones are set, he turns a metal crank, opening up the waterwheel and starting the process.\u003c/p>\n\u003cp>[contextly_sidebar id=\"BjhKNvvePq6WpGd1z1TFbbXlja4DRz1q\"]\u003c/p>\n\u003cp>The quiet room begins to hum with the turning of the millstones, and soon it’s overtaken by the “song of the damsel,” an incessant banging of a vertical rod called a damsel, which looks like a metal tuning fork, against the wooden basin.\u003c/p>\n\u003cp>Unlike Scalise, Harle doesn’t have a history in milling.\u003c/p>\n\u003cp>He moved to the Napa Valley a year ago with his family, after living in Australia for about 15 years where he worked in information technology. Harle learned about the mill from his in-laws, who live in the area, and brought his wife and two little kids for a visit.\u003c/p>\n\u003cp>“I just thought, ‘This is awesome,’” he said.\u003c/p>\n\u003cp>Then he saw an ad in the local paper for the head miller position at the Bale Grist Mill and found himself with a decision to make.\u003c/p>\n\u003cfigure id=\"attachment_11524302\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11524302\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/06/RS25729_HARLE-qut-1-800x530.jpg\" alt=\"\" width=\"800\" height=\"530\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25729_HARLE-qut-1-800x530.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25729_HARLE-qut-1-160x106.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25729_HARLE-qut-1-1020x676.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25729_HARLE-qut-1.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25729_HARLE-qut-1-1180x782.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25729_HARLE-qut-1-960x636.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25729_HARLE-qut-1-240x159.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25729_HARLE-qut-1-375x248.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25729_HARLE-qut-1-520x345.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">After moving to the United States from Australia, Harle decided to switch careers from IT to milling. \u003ccite>(Ryan Levi/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Do I want to commute two hours a day down to the Bay Area and two hours back, or do I want to maybe take a cut in pay and see my kids a bit more and go and do something like this, which is pretty unique? So I chose the unique option,” Harle said.\u003c/p>\n\u003cp>Now he’s trying to get more people to visit his unique workplace. He said the mill gets a few thousand visitors per year, but could handle a lot more. He’s working on creating more awareness of the landmark through social media and regular community events at the mill.\u003c/p>\n\u003cp>“You might not think you are into this stuff, but it is really impressive that they managed to put something like this together with what they had at hand over 100, 150 years ago,” he said.\u003c/p>\n\u003cp>The couple of dozen visitors out on a recent spring day were certainly impressed.\u003c/p>\n\u003cp>“It's just really interesting to see how everything works the way they used to do it,” said Amber Bamberg, who was visiting from Santa Rosa with her husband. “I could smell the flour when he was milling it.”\u003c/p>\n\u003cfigure id=\"attachment_11524306\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11524306 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/06/RS25732_BAMBERGS-qut-1-800x530.jpg\" alt=\"\" width=\"800\" height=\"530\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25732_BAMBERGS-qut-1-800x530.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25732_BAMBERGS-qut-1-160x106.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25732_BAMBERGS-qut-1-1020x676.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25732_BAMBERGS-qut-1.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25732_BAMBERGS-qut-1-1180x782.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25732_BAMBERGS-qut-1-960x636.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25732_BAMBERGS-qut-1-240x159.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25732_BAMBERGS-qut-1-375x248.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25732_BAMBERGS-qut-1-520x345.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Donny and Amber Bamberg stand in front of Maria Soberanes Bale's 36-foot waterwheel. They live just a few miles away in Santa Rosa, but this was their first time at the mill. \u003ccite>(Ryan Levi/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Amber’s husband Donny Bamberg works with machines all day and spends a lot of time researching how they used to work. He said it was amazing to see the same type of machine he’s read about in books actually being used to produce flour.\u003c/p>\n\u003cp>“We've probably driven past here a hundred times and never really put thought into ‘Hey, what's that?’” said Donny.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“It's something you have to look for,” added Amber. “I'm going to go look for other things like this because this was so much fun.”\u003c/p>\n\n",
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"excerpt": "The 36-foot-tall Bale Grist Mill has stood in the upper Napa Valley since California was a part of Mexico.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s easy to miss the Bale Grist Mill.\u003c/p>\n\u003cp>Its nondescript sign off Highway 29 blends in among the dozens of wineries and vineyards that fill the Napa Valley.\u003c/p>\n\u003cp>\"This was here for a very long time, and it sort of became part of the wallpaper,” said Steve Harle. “It's something that people are aware of and used to driving straight past it, but are maybe not used to stopping in.\"\u003c/p>\n\u003cp>Harle is the head miller at the \u003ca href=\"http://napavalleystateparks.org/local-activities-attractions/\" target=\"_blank\" rel=\"noopener noreferrer\">Bale Grist Mill\u003c/a> located in the picturesque upper valley between Calistoga and St. Helena.\u003c/p>\n\u003cp>The mill was founded in the mid-1840s by Dr. Edward Bale, an English surgeon who came to Mexican California on a whaling ship. In 1849, Bale died, leaving his 27-year-old widow Maria Soberanes Bale to care for the mill, their six young children and a sizable debt.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cbr>\n\u003cem>Archival photos courtesy of the Napa Valley State Parks Association\u003c/em>\u003c/p>\n\u003cp>Maria responded by building one of the largest waterwheels in North America. At 36 feet tall, it was the same height as a modern telephone pole. She needed the big wheel to power the new \u003ca href=\"http://www.historyisfun.org/blog/oliver-evans-invention/\" target=\"_blank\" rel=\"noopener noreferrer\">Evans custom mill\u003c/a> she installed, an automated mill that is considered one of the first continuous production systems in the world.\u003c/p>\n\u003cp>“I never realized a wheel could be so big,” said Pat Cuthbertson, who was visiting from London where she’s toured several other mills. “The wheel is huge compared to what I’ve seen before.”\u003c/p>\n\u003cp>The souped-up mill’s increased productivity -- combined with the thousands of people flowing into California looking for gold in the late 1840s and early 1850s -- took Maria from indebtedness in 1848 to being the third richest person in the Napa Valley by 1853.\u003c/p>\n\u003caside class=\"pullquote alignright\">'It was a wreck. It was a complete derelict mess.'\u003ccite>Mario Scalise,\u003cbr>Mill Historian\u003cbr>\n\u003c/cite>\u003c/aside>\n\u003cp>Maria later gave the mill to one of her daughters, who sold it in 1860. It operated under various owners until the early 1900s when it stopped production completely, falling into disrepair over the years.\u003c/p>\n\u003cp>\"I first came here when I was about seven years old in the early '60s, and back in those days you couldn't get in,” said Mario Scalise, a third-generation miller and the Bale Grist Mill historian. “It was a wreck. It was a complete derelict mess.”\u003c/p>\n\u003cp>The California State Parks took over the mill in the 1970s and started a decades-long restoration process. In 2000, the mill reopened for active milling and for public tours.\u003c/p>\n\u003cp>Harle gives a tour standing in the shadow of Maria Soberanes Bale’s 36-foot waterwheel, a redwood ferris wheel slowly turning with clock-like gears. The wheel connects to the mill building itself, the sidecar to the massive wheel’s motorcycle.\u003c/p>\n\u003cfigure id=\"attachment_11524299\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11524299\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/06/RS25730_TOUR-qut-1-800x530.jpg\" alt=\"\" width=\"800\" height=\"530\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25730_TOUR-qut-1-800x530.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25730_TOUR-qut-1-160x106.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25730_TOUR-qut-1-1020x676.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25730_TOUR-qut-1.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25730_TOUR-qut-1-1180x782.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25730_TOUR-qut-1-960x636.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25730_TOUR-qut-1-240x159.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25730_TOUR-qut-1-375x248.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25730_TOUR-qut-1-520x345.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Head miller and tour guide Steve Harle (right) tells visitors the history of the Bale Grist Mill. \u003ccite>(Ryan Levi/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Harle -- dressed like Indiana Jones in a white collared shirt, brown vest and fedora -- leads the group inside the mill for a demonstration. He walks them through the pre-milling process: Grain is dropped into a basin, carried by elevators to a cleaner and dropped into another basin where it awaits milling.\u003c/p>\n\u003cp>Harle gets down on his hands and knees to adjust the two French Buhr millstones between which the grain will actually be milled. Once the millstones are set, he turns a metal crank, opening up the waterwheel and starting the process.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The quiet room begins to hum with the turning of the millstones, and soon it’s overtaken by the “song of the damsel,” an incessant banging of a vertical rod called a damsel, which looks like a metal tuning fork, against the wooden basin.\u003c/p>\n\u003cp>Unlike Scalise, Harle doesn’t have a history in milling.\u003c/p>\n\u003cp>He moved to the Napa Valley a year ago with his family, after living in Australia for about 15 years where he worked in information technology. Harle learned about the mill from his in-laws, who live in the area, and brought his wife and two little kids for a visit.\u003c/p>\n\u003cp>“I just thought, ‘This is awesome,’” he said.\u003c/p>\n\u003cp>Then he saw an ad in the local paper for the head miller position at the Bale Grist Mill and found himself with a decision to make.\u003c/p>\n\u003cfigure id=\"attachment_11524302\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11524302\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/06/RS25729_HARLE-qut-1-800x530.jpg\" alt=\"\" width=\"800\" height=\"530\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25729_HARLE-qut-1-800x530.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25729_HARLE-qut-1-160x106.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25729_HARLE-qut-1-1020x676.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25729_HARLE-qut-1.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25729_HARLE-qut-1-1180x782.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25729_HARLE-qut-1-960x636.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25729_HARLE-qut-1-240x159.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25729_HARLE-qut-1-375x248.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25729_HARLE-qut-1-520x345.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">After moving to the United States from Australia, Harle decided to switch careers from IT to milling. \u003ccite>(Ryan Levi/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Do I want to commute two hours a day down to the Bay Area and two hours back, or do I want to maybe take a cut in pay and see my kids a bit more and go and do something like this, which is pretty unique? So I chose the unique option,” Harle said.\u003c/p>\n\u003cp>Now he’s trying to get more people to visit his unique workplace. He said the mill gets a few thousand visitors per year, but could handle a lot more. He’s working on creating more awareness of the landmark through social media and regular community events at the mill.\u003c/p>\n\u003cp>“You might not think you are into this stuff, but it is really impressive that they managed to put something like this together with what they had at hand over 100, 150 years ago,” he said.\u003c/p>\n\u003cp>The couple of dozen visitors out on a recent spring day were certainly impressed.\u003c/p>\n\u003cp>“It's just really interesting to see how everything works the way they used to do it,” said Amber Bamberg, who was visiting from Santa Rosa with her husband. “I could smell the flour when he was milling it.”\u003c/p>\n\u003cfigure id=\"attachment_11524306\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11524306 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/06/RS25732_BAMBERGS-qut-1-800x530.jpg\" alt=\"\" width=\"800\" height=\"530\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25732_BAMBERGS-qut-1-800x530.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25732_BAMBERGS-qut-1-160x106.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25732_BAMBERGS-qut-1-1020x676.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25732_BAMBERGS-qut-1.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25732_BAMBERGS-qut-1-1180x782.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25732_BAMBERGS-qut-1-960x636.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25732_BAMBERGS-qut-1-240x159.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25732_BAMBERGS-qut-1-375x248.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25732_BAMBERGS-qut-1-520x345.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Donny and Amber Bamberg stand in front of Maria Soberanes Bale's 36-foot waterwheel. They live just a few miles away in Santa Rosa, but this was their first time at the mill. \u003ccite>(Ryan Levi/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Amber’s husband Donny Bamberg works with machines all day and spends a lot of time researching how they used to work. He said it was amazing to see the same type of machine he’s read about in books actually being used to produce flour.\u003c/p>\n\u003cp>“We've probably driven past here a hundred times and never really put thought into ‘Hey, what's that?’” said Donny.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It's something you have to look for,” added Amber. “I'm going to go look for other things like this because this was so much fun.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Gotham City may have Batman. Metropolis may have Superman. But Glendora has the Donut Man.\u003c/p>\n\u003cp>“I am the Donut Man,” says Jim Nakano. “Everyone calls me that wherever I go now. They don’t know me as Jim anymore. Even my good friends a lot of times say, ‘oh, he’s the Donut Man.’”\u003c/p>\n\u003cp>People come to Nakano for what many call the best donuts in Southern California, lining up at the window of his small shop that’s open 24 hours a day, seven days a week on Route 66.\u003c/p>\n\u003cp>[audio src=\"http://www.kqed.org/.stream/anon/radio/tcrmag/2017/06/20170623atcrmag.mp3\" Image=\"https://u.s.kqed.net/2017/06/23/DonutManSignAud.jpg\" Title=\"Are These the Best Donuts in Southern California?\" program=\"The California Report\"]\u003c/p>\n\u003cp>On this commercial stretch of the Mother Road at 7:30 a.m. on a Monday, there’s not a lot of kicks to get, unless they involve donuts. And at The Donut Man, there’s one kick above all others.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I definitely heard a lot about the strawberry one,” says Jason Abdalla. He’s from Chicago. This is his first Donut Man experience. “That’s like, kind of the iconic one if you look them up online or anything like that.”\u003c/p>\n\u003cp>Abdalla eyes a fresh tray of the legendary strawberry donuts in the window and gives his assessment.\u003c/p>\n\u003cp>“Insane. Absolutely insane,” he says with awed appreciation. “I don’t know how you eat that.”\u003c/p>\n\u003cfigure id=\"attachment_11526966\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/06/DonutManNakano-800x525.jpg\" alt=\"Jim Nakano, aka the Donut Man, at the shop he's run since 1972 in Glendora.\" width=\"800\" height=\"525\" class=\"size-medium wp-image-11526966\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/06/DonutManNakano-800x525.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/06/DonutManNakano-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/06/DonutManNakano-1020x670.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/06/DonutManNakano.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/06/DonutManNakano-1180x775.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/06/DonutManNakano-960x631.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/06/DonutManNakano-240x158.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/06/DonutManNakano-375x246.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/06/DonutManNakano-520x342.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jim Nakano, aka the Donut Man, at the shop he’s run since 1972 in Glendora. \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The source of this insanity, “the strawberry one,” is a shell of fried dough jammed with fresh strawberries drenched in a thick strawberry syrup. It’s been the main attraction at Donut Man since its debut in 1974, two years after the shop opened.\u003c/p>\n\u003cp>“My wife, in the early ’70s, she said we should just go for the American dream and we were thinking, ‘what kind of business?'” recalls Jim Nakano. “And she said to me, ‘I like hot donuts.'”\u003c/p>\n\u003cp>That’s how it all began, though Nakano has survived a lot more than just 45 years in the donut trade. An East L.A. native, he and his family were sent to an internment camp in Arizona during World War II. During the Vietnam War, Nakano joined the Naval Air Corps. He made it through to make a life in donuts.\u003c/p>\n\u003cp>[contextly_sidebar id=”ik3MYCcrevZnqWinPXyuLuThX4RCYTbQ”]\u003c/p>\n\u003cp>That’s what’s happening right now in the small shop, where quarters are close and the handful of employees on the morning shift go about their business — frying, baking, mixing and sprinkling — with military precision.\u003c/p>\n\u003cp>For Katelyn Johnson, who fills fried shells with strawberries, it comes with a sense of pride.\u003c/p>\n\u003cp>“I mean yeah, cause you turn around [to the window], and you watch people’s faces come up and they’re like, ‘Oh my God — that thing’s huge, it’s massive.’”\u003c/p>\n\u003cp>Johnson lays out yet another tray of the confections. The donuts glisten in the morning sun as customers ogle them through the window.\u003c/p>\n\u003cp>“Just looking at them, you get hungry,” she says. “It’s like, you’re happy because people look at it and they’re like, ‘Oh my gosh, I want one.’”\u003c/p>\n\u003cfigure id=\"attachment_11526776\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/06/DonutManSign-800x1034.jpg\" alt=\"Jim Nakano says donuts are an anytime of the day food: 'You can eat it in the morning, you can eat it as a snack and you can eat it for lunch because it’s so big.'\" width=\"800\" height=\"1034\" class=\"size-medium wp-image-11526776\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/06/DonutManSign-800x1034.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/06/DonutManSign-160x207.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/06/DonutManSign-1020x1319.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/06/DonutManSign.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/06/DonutManSign-1180x1525.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/06/DonutManSign-960x1241.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/06/DonutManSign-240x310.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/06/DonutManSign-375x485.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/06/DonutManSign-520x672.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jim Nakano says donuts are an anytime-of-the-day food: ‘You can eat it in the morning, you can eat it as a snack and you can eat it for lunch because it’s so big.’\u003cbr> \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During strawberry season — between February and September — Nakano and his crew of 36 are moving donuts as fast as they can put them out, baking around the clock. Why not? In Nakano’s world, any time is a good time for donuts.\u003c/p>\n\u003cp>“You can eat in the morning, you can eat it as a snack and you can eat it for lunch because it’s so big,” he says. “And a lot of people eat it for desserts in the evening. So you could use that strawberry donut for many uses.”\u003c/p>\n\u003cp>Including glazed apologies.\u003c/p>\n\u003cp>“The strawberries have gotten me out of trouble with the wife so many times,” admits Jim, a Glendora local, who began coming to The Donut Man 40 years ago. He shows up on an almost daily basis, chatting and joking with Nakano and the crew as he picks up a box to take to his job as an usher at Angel Stadium in Anaheim.\u003c/p>\n\u003cp>“The donuts are fantastic, the people are even better,” he says.\u003c/p>\n\u003cp>For Nakano, the feeling is mutual.\u003c/p>\n\u003cp>“I think that’s one of the reasons I’m still here, is that the customers are just so good,” he says. “We’re on about our third generation of kids. You see the grandparents say, ‘God, Jim, I’m bringing in grandkids now and all that’ and I laugh. ‘Yup. I remember when you were kinda young too. We were both young.’”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>At 77, Nakano is still at the shop every morning at 6:30 a.m. He says he has no interest in retiring from the business of making donuts, and of making people happy.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Gotham City may have Batman. Metropolis may have Superman. But Glendora has the Donut Man.\u003c/p>\n\u003cp>“I am the Donut Man,” says Jim Nakano. “Everyone calls me that wherever I go now. They don’t know me as Jim anymore. Even my good friends a lot of times say, ‘oh, he’s the Donut Man.’”\u003c/p>\n\u003cp>People come to Nakano for what many call the best donuts in Southern California, lining up at the window of his small shop that’s open 24 hours a day, seven days a week on Route 66.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On this commercial stretch of the Mother Road at 7:30 a.m. on a Monday, there’s not a lot of kicks to get, unless they involve donuts. And at The Donut Man, there’s one kick above all others.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I definitely heard a lot about the strawberry one,” says Jason Abdalla. He’s from Chicago. This is his first Donut Man experience. “That’s like, kind of the iconic one if you look them up online or anything like that.”\u003c/p>\n\u003cp>Abdalla eyes a fresh tray of the legendary strawberry donuts in the window and gives his assessment.\u003c/p>\n\u003cp>“Insane. Absolutely insane,” he says with awed appreciation. “I don’t know how you eat that.”\u003c/p>\n\u003cfigure id=\"attachment_11526966\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/06/DonutManNakano-800x525.jpg\" alt=\"Jim Nakano, aka the Donut Man, at the shop he's run since 1972 in Glendora.\" width=\"800\" height=\"525\" class=\"size-medium wp-image-11526966\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/06/DonutManNakano-800x525.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/06/DonutManNakano-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/06/DonutManNakano-1020x670.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/06/DonutManNakano.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/06/DonutManNakano-1180x775.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/06/DonutManNakano-960x631.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/06/DonutManNakano-240x158.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/06/DonutManNakano-375x246.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/06/DonutManNakano-520x342.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jim Nakano, aka the Donut Man, at the shop he’s run since 1972 in Glendora. \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The source of this insanity, “the strawberry one,” is a shell of fried dough jammed with fresh strawberries drenched in a thick strawberry syrup. It’s been the main attraction at Donut Man since its debut in 1974, two years after the shop opened.\u003c/p>\n\u003cp>“My wife, in the early ’70s, she said we should just go for the American dream and we were thinking, ‘what kind of business?'” recalls Jim Nakano. “And she said to me, ‘I like hot donuts.'”\u003c/p>\n\u003cp>That’s how it all began, though Nakano has survived a lot more than just 45 years in the donut trade. An East L.A. native, he and his family were sent to an internment camp in Arizona during World War II. During the Vietnam War, Nakano joined the Naval Air Corps. He made it through to make a life in donuts.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>That’s what’s happening right now in the small shop, where quarters are close and the handful of employees on the morning shift go about their business — frying, baking, mixing and sprinkling — with military precision.\u003c/p>\n\u003cp>For Katelyn Johnson, who fills fried shells with strawberries, it comes with a sense of pride.\u003c/p>\n\u003cp>“I mean yeah, cause you turn around [to the window], and you watch people’s faces come up and they’re like, ‘Oh my God — that thing’s huge, it’s massive.’”\u003c/p>\n\u003cp>Johnson lays out yet another tray of the confections. The donuts glisten in the morning sun as customers ogle them through the window.\u003c/p>\n\u003cp>“Just looking at them, you get hungry,” she says. “It’s like, you’re happy because people look at it and they’re like, ‘Oh my gosh, I want one.’”\u003c/p>\n\u003cfigure id=\"attachment_11526776\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/06/DonutManSign-800x1034.jpg\" alt=\"Jim Nakano says donuts are an anytime of the day food: 'You can eat it in the morning, you can eat it as a snack and you can eat it for lunch because it’s so big.'\" width=\"800\" height=\"1034\" class=\"size-medium wp-image-11526776\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/06/DonutManSign-800x1034.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/06/DonutManSign-160x207.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/06/DonutManSign-1020x1319.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/06/DonutManSign.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/06/DonutManSign-1180x1525.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/06/DonutManSign-960x1241.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/06/DonutManSign-240x310.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/06/DonutManSign-375x485.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/06/DonutManSign-520x672.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jim Nakano says donuts are an anytime-of-the-day food: ‘You can eat it in the morning, you can eat it as a snack and you can eat it for lunch because it’s so big.’\u003cbr> \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During strawberry season — between February and September — Nakano and his crew of 36 are moving donuts as fast as they can put them out, baking around the clock. Why not? In Nakano’s world, any time is a good time for donuts.\u003c/p>\n\u003cp>“You can eat in the morning, you can eat it as a snack and you can eat it for lunch because it’s so big,” he says. “And a lot of people eat it for desserts in the evening. So you could use that strawberry donut for many uses.”\u003c/p>\n\u003cp>Including glazed apologies.\u003c/p>\n\u003cp>“The strawberries have gotten me out of trouble with the wife so many times,” admits Jim, a Glendora local, who began coming to The Donut Man 40 years ago. He shows up on an almost daily basis, chatting and joking with Nakano and the crew as he picks up a box to take to his job as an usher at Angel Stadium in Anaheim.\u003c/p>\n\u003cp>“The donuts are fantastic, the people are even better,” he says.\u003c/p>\n\u003cp>For Nakano, the feeling is mutual.\u003c/p>\n\u003cp>“I think that’s one of the reasons I’m still here, is that the customers are just so good,” he says. “We’re on about our third generation of kids. You see the grandparents say, ‘God, Jim, I’m bringing in grandkids now and all that’ and I laugh. ‘Yup. I remember when you were kinda young too. We were both young.’”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>At 77, Nakano is still at the shop every morning at 6:30 a.m. He says he has no interest in retiring from the business of making donuts, and of making people happy.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>With the inescapable backdrop of the Trump administration, \u003ca href=\"https://ww2.kqed.org/news/2017/06/23/revelry-and-resistance-at-s-f-pride/\">this weekend’s San Francisco pride parade\u003c/a> will be led by the “Resistance Contingent.” \u003c/p>\n\u003cp>It looks like the Pride forecast calls for rainbow downpours with frequent signs of resistance. Happy #SFPride!\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>It’s \u003ca href=\"http://www.sfpride.org/schedule/\" target=\"_blank\" rel=\"noopener noreferrer\">Pride\u003c/a> weekend in San Francisco. Get ready for a lot of rainbows and resistance on Saturday and Sunday. The theme this year is “A Celebration of Diversity.”\u003c/p>\n\u003cp>“We should serve one another not because of our common humanity but rather for our distinctiveness,” said Amy Sueyoshi, one of six Community Grand Marshals of this year’s San Francisco Pride Parade and March. “Get your queer on and make the world a better place.”\u003c/p>\n\u003cp>More than 20 builders and artists spent Thursday in a Mission Bay warehouse on San Francisco’s Pier 54 painting, sawing, nailing and rigging, tacking boas, attaching styrofoam balls and using a healthy dose of glitter to decorate some of the more than 40 floats expected to make their way down Market Street in Sunday’s parade.\u003c/p>\n\u003cfigure id=\"attachment_11528131\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/06/RS25802_DSCF2388-qut.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11528131\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/06/RS25802_DSCF2388-qut.jpg\" alt=\"\" width=\"1920\" height=\"1082\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/06/RS25802_DSCF2388-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/06/RS25802_DSCF2388-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/06/RS25802_DSCF2388-qut-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/06/RS25802_DSCF2388-qut-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/06/RS25802_DSCF2388-qut-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/06/RS25802_DSCF2388-qut-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/06/RS25802_DSCF2388-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/06/RS25802_DSCF2388-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/06/RS25802_DSCF2388-qut-520x293.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Artists and organizers worked to prepare for the parade. \u003ccite>(Peter Arcuni/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Because it’s ‘Summer of Love,’ everybody’s getting into the ’60s psychedelic thing, which has been just a blast to work with,” said Stephanie Mufson, a veteran float builder.\u003c/p>\n\u003cp>Mufson roamed the warehouse keeping everyone organized and on task. She was backed up by a count-down clock hanging on the wall, reminding the volunteers that only three days and 20 hours remained until parade time.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[gallery type=\"rectangular\" ids=\"11528136,11528135,11528132,11528129\"]\u003c/p>\n\u003cp>“It’s a lot of putting on floral sheeting and trim and things like that,” said artist Yulia Rashkovskaya as she prepped an enchanted forest-themed float. “There’s a lot of fabrication: making these giant flowers, making the lips, making this tree out of styrofoam and wood.”\u003c/p>\n\u003cp>Gay pride parades have always been a combination of fun, pride and politics. In 1978, gay activist Harvey Milk led parade protests against Proposition 6, the so-called Briggs Initiative that would have banned openly gay school teachers in California. In other years, HIV/AIDS policies of the Reagan and Bush years were the targets of anger.\u003c/p>\n\u003cp>Here’s a KQED archival video from the 1979 parade, then called the “Gay Freedom Day Parade”:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=VTFZBIju9Ok\u003c/p>\n\u003cp>This year, with President Trump in the White House, there will be an especially loud and clear statement about the community’s values.\u003c/p>\n\u003cp>“Many of us, in fact I’d say most in our community, recognize that resisting Donald Trump is part and parcel of every fiber of our being,” said San Francisco Supervisor Jeff Sheehy. He represents the city’s largely gay Castro neighborhood, where Trump got less than 2 percent of the vote in some precincts. Sheehy said part of the message in this year’s parade is that LGBT people are everywhere.\u003c/p>\n\u003cp>“Some of the first communities that have been attacked, like our Muslim brothers and sisters — well there’s LGBTQ Muslims, or immigrants. Any community includes LGBTQ folk,” Sheehy said.\u003c/p>\n\u003cfigure id=\"attachment_11528128\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/06/RS25791_DSCF2377-qut.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11528128\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/06/RS25791_DSCF2377-qut.jpg\" alt=\"\" width=\"1920\" height=\"1082\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/06/RS25791_DSCF2377-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/06/RS25791_DSCF2377-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/06/RS25791_DSCF2377-qut-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/06/RS25791_DSCF2377-qut-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/06/RS25791_DSCF2377-qut-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/06/RS25791_DSCF2377-qut-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/06/RS25791_DSCF2377-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/06/RS25791_DSCF2377-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/06/RS25791_DSCF2377-qut-520x293.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The San Francisco Pride parade and celebration will include political resistance. \u003ccite>(Peter Arcuni/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ahead of those colorful floats still being prepped, the parade will be led by what organizers are calling a “Resistant Contingent.”\u003c/p>\n\u003cp>“Eschewing the usual floats and music, representatives from about 20 diverse organizations will lead the parade with an all-on-foot march down Market Street,” organizers wrote \u003ca href=\"http://www.sfpride.org/resist/\" target=\"_blank\" rel=\"noopener noreferrer\">on their website\u003c/a>. “Highlighting concerns ranging from women’s rights to immigration policies and the profiling persecution of African Americans, these voices will lead the normally celebratory event with a political statement reminiscent of the very milestone it commemorates — The Stonewall Rebellion.”\u003c/p>\n\u003cp>The “Resistance Contingent” will include S.F. Black Community Matters, International Migrants Alliance, Indivisible and other groups.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>KQED’s Peter Arcuni contributed to this story.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s \u003ca href=\"http://www.sfpride.org/schedule/\" target=\"_blank\" rel=\"noopener noreferrer\">Pride\u003c/a> weekend in San Francisco. Get ready for a lot of rainbows and resistance on Saturday and Sunday. The theme this year is “A Celebration of Diversity.”\u003c/p>\n\u003cp>“We should serve one another not because of our common humanity but rather for our distinctiveness,” said Amy Sueyoshi, one of six Community Grand Marshals of this year’s San Francisco Pride Parade and March. “Get your queer on and make the world a better place.”\u003c/p>\n\u003cp>More than 20 builders and artists spent Thursday in a Mission Bay warehouse on San Francisco’s Pier 54 painting, sawing, nailing and rigging, tacking boas, attaching styrofoam balls and using a healthy dose of glitter to decorate some of the more than 40 floats expected to make their way down Market Street in Sunday’s parade.\u003c/p>\n\u003cfigure id=\"attachment_11528131\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/06/RS25802_DSCF2388-qut.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11528131\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/06/RS25802_DSCF2388-qut.jpg\" alt=\"\" width=\"1920\" height=\"1082\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/06/RS25802_DSCF2388-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/06/RS25802_DSCF2388-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/06/RS25802_DSCF2388-qut-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/06/RS25802_DSCF2388-qut-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/06/RS25802_DSCF2388-qut-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/06/RS25802_DSCF2388-qut-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/06/RS25802_DSCF2388-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/06/RS25802_DSCF2388-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/06/RS25802_DSCF2388-qut-520x293.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Artists and organizers worked to prepare for the parade. \u003ccite>(Peter Arcuni/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Because it’s ‘Summer of Love,’ everybody’s getting into the ’60s psychedelic thing, which has been just a blast to work with,” said Stephanie Mufson, a veteran float builder.\u003c/p>\n\u003cp>Mufson roamed the warehouse keeping everyone organized and on task. She was backed up by a count-down clock hanging on the wall, reminding the volunteers that only three days and 20 hours remained until parade time.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’s a lot of putting on floral sheeting and trim and things like that,” said artist Yulia Rashkovskaya as she prepped an enchanted forest-themed float. “There’s a lot of fabrication: making these giant flowers, making the lips, making this tree out of styrofoam and wood.”\u003c/p>\n\u003cp>Gay pride parades have always been a combination of fun, pride and politics. In 1978, gay activist Harvey Milk led parade protests against Proposition 6, the so-called Briggs Initiative that would have banned openly gay school teachers in California. In other years, HIV/AIDS policies of the Reagan and Bush years were the targets of anger.\u003c/p>\n\u003cp>Here’s a KQED archival video from the 1979 parade, then called the “Gay Freedom Day Parade”:\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/VTFZBIju9Ok'\n title='//www.youtube.com/embed/VTFZBIju9Ok'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This year, with President Trump in the White House, there will be an especially loud and clear statement about the community’s values.\u003c/p>\n\u003cp>“Many of us, in fact I’d say most in our community, recognize that resisting Donald Trump is part and parcel of every fiber of our being,” said San Francisco Supervisor Jeff Sheehy. He represents the city’s largely gay Castro neighborhood, where Trump got less than 2 percent of the vote in some precincts. Sheehy said part of the message in this year’s parade is that LGBT people are everywhere.\u003c/p>\n\u003cp>“Some of the first communities that have been attacked, like our Muslim brothers and sisters — well there’s LGBTQ Muslims, or immigrants. Any community includes LGBTQ folk,” Sheehy said.\u003c/p>\n\u003cfigure id=\"attachment_11528128\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/06/RS25791_DSCF2377-qut.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11528128\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/06/RS25791_DSCF2377-qut.jpg\" alt=\"\" width=\"1920\" height=\"1082\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/06/RS25791_DSCF2377-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/06/RS25791_DSCF2377-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/06/RS25791_DSCF2377-qut-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/06/RS25791_DSCF2377-qut-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/06/RS25791_DSCF2377-qut-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/06/RS25791_DSCF2377-qut-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/06/RS25791_DSCF2377-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/06/RS25791_DSCF2377-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/06/RS25791_DSCF2377-qut-520x293.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The San Francisco Pride parade and celebration will include political resistance. \u003ccite>(Peter Arcuni/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ahead of those colorful floats still being prepped, the parade will be led by what organizers are calling a “Resistant Contingent.”\u003c/p>\n\u003cp>“Eschewing the usual floats and music, representatives from about 20 diverse organizations will lead the parade with an all-on-foot march down Market Street,” organizers wrote \u003ca href=\"http://www.sfpride.org/resist/\" target=\"_blank\" rel=\"noopener noreferrer\">on their website\u003c/a>. “Highlighting concerns ranging from women’s rights to immigration policies and the profiling persecution of African Americans, these voices will lead the normally celebratory event with a political statement reminiscent of the very milestone it commemorates — The Stonewall Rebellion.”\u003c/p>\n\u003cp>The “Resistance Contingent” will include S.F. Black Community Matters, International Migrants Alliance, Indivisible and other groups.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>KQED’s Peter Arcuni contributed to this story.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Welcome to Nancy's Airport Cafe, Where Regulars Fly in for Pie",
"title": "Welcome to Nancy's Airport Cafe, Where Regulars Fly in for Pie",
"headTitle": "California Foodways | The California Report | KQED News",
"content": "\u003cp>Between Sacramento and Redding, Highway 5 cuts through the middle of rice country. Right next to rice fields outside the town of Willows, there’s a restaurant popular with travelers, farmers, truckers.\u003c/p>\n\u003cp>And pilots.\u003c/p>\n\u003cp>Before I even step inside Nancy’s Airport Cafe, I see Marty Blaker walk out of the restaurant, through a small gate, and onto the tarmac of the Willows-Glenn County Airport, heading toward a 1965 Cherokee 180 airplane. He’s carrying a tell-tale to-go bag.\u003c/p>\n\u003cp>“Everybody takes pie,” Blaker says. Then, he reaches in the bag, opens a plastic foam container, and says, “Here’s the treasure. Today it’s a piece of cherry pie, and I will enjoy it later this afternoon.”\u003c/p>\n\u003cp>He flew in this morning from Rough and Ready, California, a little town outside of Grass Valley. He says places like Nancy’s are a kind of beacon for recreational pilots.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“There’s a thing called a $100 hamburger. What that means is you spend more money getting to the airport than you do on the hamburger itself. These days it costs more than $100,” Blaker says with a laugh.\u003c/p>\n\u003cfigure id=\"attachment_11526228\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11526228\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/06/NancysExterior-800x541.jpg\" alt=\"Nancy's Airport Cafe just outside of Willows is a favorite of recreational pilots. \" width=\"800\" height=\"541\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/06/NancysExterior-800x541.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/NancysExterior-160x108.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/NancysExterior-1020x690.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/NancysExterior.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/NancysExterior-1180x798.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/NancysExterior-960x650.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/NancysExterior-240x162.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/NancysExterior-375x254.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/NancysExterior-520x352.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nancy's Airport Cafe just outside of Willows is a favorite of recreational pilots. \u003ccite>(Lisa Morehouse/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But it’s all part of having an adventure, he says, sometimes solo, “sometimes there may be a rendezvous of two, four, 18 planes that all coordinate and descend on an airport café, and Nancy’s is a very popular Northern California destination for just such things.”\u003c/p>\n\u003cp>Blaker says he’s been flying his whole adult life and bought this plane 15 years ago.\u003c/p>\n\u003cp>“It’s simple, and that’s why I love it,” he says. “It gets me around California. I don’t need fancy.”\u003c/p>\n\u003caside class=\"pullquote alignright\">'This place was packed all the time, 24-7. Everyone knew about Nancy's.'\u003ccite>Greg Michael,\u003cbr>Pilot and Nancy's customer\u003c/cite>\u003c/aside>\n\u003cp>Flying, he says, is personal.\u003c/p>\n\u003cp>“Flying gives a different perspective,\" Blaker says. \"You see the world in a pretty different way from 2,000 to 10,000 feet above.”\u003c/p>\n\u003cp>Today, he saw the northern Sacramento Valley totally flooded.\u003c/p>\n\u003cp>“It’s on purpose,\" he says. \"All the rice fields have been flooded. Getting here was like flying over a big lake today.”\u003c/p>\n\u003cp>The Willows-Glenn County Airport is hopping. The three agriculture aviation businesses here have a constant rotation of crop dusters flying in, loading up with soaked rice seed, and taking off to plant those flooded fields from the air.\u003c/p>\n\u003cfigure id=\"attachment_11526288\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11526288\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/06/CubSwag-800x561.jpg\" alt=\"Willows resident Greg Michael at the hangar where he stores his 1946 J-3 Cub.\" width=\"800\" height=\"561\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/06/CubSwag-800x561.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/CubSwag-160x112.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/CubSwag-1020x715.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/CubSwag.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/CubSwag-1180x827.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/CubSwag-960x673.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/CubSwag-240x168.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/CubSwag-375x263.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/CubSwag-520x365.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Willows resident Greg Michael at the hangar where he stores his 1946 J-3 Cub airplane. \u003ccite>(Lisa Morehouse/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On the tarmac, I meet Willows resident Greg Michael, who just returned from a morning flight. He lets me into his hangar -- a sign outside says “Pilot Cave” -- which houses his 1946 J-3 Cub airplane. Inside, the walls are covered with flags, and photos of World War II airplanes, which makes sense given this airport’s history.\u003c/p>\n\u003cp>“It was pretty hush hush, but Jimmy Doolittle practiced his raids here” and at a couple other nearby airports, Michael says.\u003c/p>\n\u003cp>That’s World War II pilot Lt. Colonel Jimmy Doolittle, who led bombing raids on Tokyo soon after the attack on Pearl Harbor.\u003c/p>\n\u003cp>“These were big airports for heavy planes, built for military,” Michael says.\u003c/p>\n\u003cp>Another historic point? This is where aerial firefighting got its start in California.\u003c/p>\n\u003cp>Nancy’s Aiport Cafe has been a long presence in Michael’s life. He remembers when it was open 24 hours a day.\u003c/p>\n\u003cp>“I trucked for UPS, and you know where the good places to eat were,” he says. “This place was packed all the time 24-7. Everyone knew about Nancy’s.”\u003c/p>\n\u003cfigure id=\"attachment_11526290\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11526290\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/06/NancysWall-800x629.jpg\" alt=\"'Some people hang hats on the wall, we hang people’s pictures with their airplanes on the wall,' says Nancy's waitress Tricia Lawson.\" width=\"800\" height=\"629\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/06/NancysWall-800x629.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/NancysWall-160x126.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/NancysWall-1020x802.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/NancysWall.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/NancysWall-1180x928.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/NancysWall-960x755.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/NancysWall-240x189.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/NancysWall-375x295.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/NancysWall-520x409.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">'Some people hang hats on the wall, we hang people’s pictures with their airplanes on the wall,' says Nancy's waitress Tricia Lawson. \u003ccite>(Lisa Morehouse/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Finally, I get to see for myself. Inside Nancy’s, I meet waitress Tricia Lawson, who’s wearing the same name tag she put on 26 years ago when she first started working here. She points out the photos covering every inch of wall space in the restaurant.\u003c/p>\n\u003cp>“It’s just a thing here,\" she says. \"Some people hang hats on the wall. We hang people’s pictures with their airplanes on the wall.”\u003c/p>\n\u003cp>Pictures, and model planes.\u003c/p>\n\u003cp>[contextly_sidebar id=\"9U28lvATatrzxG4s4Kj3QMb0xVXBHBOQ\"]\u003c/p>\n\u003cp>“They actually donate them here, so we can have a piece of their history and a piece of our history,” says Lawson.\u003c/p>\n\u003cp>We stop by the cold box where Beverly Randolph raves about the cream pies on display.\u003c/p>\n\u003cp>“They’re delicious,\" she says. \"The lemon meringue is out of this world.”\u003c/p>\n\u003cp>She should know. She lives just down the road and Lawson tells me she eats here at least twice a week. I ask Randolph if she’s a pilot, too, and she laughs. “Not anymore. I used to be. I’m too old.” She tells me she’ll be 90 in a few days.\u003c/p>\n\u003cp>Lawson continues our tour, pointing to the tiny kitchen, where a lanky, laconic cook flies through orders.\u003c/p>\n\u003cp>“They say never trust a skinny cook, but that is such a lie! Michael is a robot.”\u003c/p>\n\u003cp>Then she leads me into the back kitchen.\u003c/p>\n\u003cp>“And this is ... Elizabeth!” she announces with a flourish.\u003c/p>\n\u003cfigure id=\"attachment_11524196\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11524196 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/06/RS25544_IMG_6754-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25544_IMG_6754-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25544_IMG_6754-qut-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25544_IMG_6754-qut-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25544_IMG_6754-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25544_IMG_6754-qut-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25544_IMG_6754-qut-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25544_IMG_6754-qut-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25544_IMG_6754-qut-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25544_IMG_6754-qut-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Baker Elizabeth Martinez holds peach and apple pies. \u003ccite>(Lisa Morehouse/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Elizabeth Martinez is Nancy’s shy but prolific maker of fruit and cream pies. I ask her how it feels to know that people fly from all over California to eat what she bakes.\u003c/p>\n\u003cp>“Gratitude ... That’s the best pay they can give me.”\u003c/p>\n\u003cp>Back in the dining room, Tricia Lawson refers to every customer by name. She says “In the first three hours of my shift, I don’t even use a ticket book because I know what they want!\"\u003c/p>\n\u003cp>Lawson says a handful of rice farmers are often at the door before 5:00 a.m., waiting for her to open the door.\u003c/p>\n\u003cp>“And don’t forget the truck drivers,” she says, to whom Nancy’s offers free coffee. “Give a truck driver free coffee, and he’s good to go.”\u003c/p>\n\u003cfigure id=\"attachment_11524197\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11524197 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/06/RS25545_IMG_6759-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25545_IMG_6759-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25545_IMG_6759-qut-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25545_IMG_6759-qut-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25545_IMG_6759-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25545_IMG_6759-qut-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25545_IMG_6759-qut-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25545_IMG_6759-qut-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25545_IMG_6759-qut-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25545_IMG_6759-qut-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tricia Lawson has worked as a server at Nancy's for 26 years. She still wears the name tag she got when she started. \u003ccite>(Lisa Morehouse/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though original owner Nancy Stokes sold the restaurant years ago, customer Colleen Brown says the place hasn’t changed. For 22 years, she and her husband always stopped in on drives between Lassen County and the East Bay.\u003c/p>\n\u003cp>“He passed away last year, and I’m still coming here,” Brown says.\u003c/p>\n\u003cp>She says even though they only came once or twice a year, “there were a couple waitresses who, when we walked in the door, they still remembered our names.”\u003c/p>\n\u003cp>As her husband’s health deteriorated, she started traveling alone.\u003c/p>\n\u003cp>“They’d always ask, ‘How’s he doing?’” she says. “It’s just like home. Nancy’s is a good spot.”\u003c/p>\n\u003cp>Brown advises, “Anybody traveling, stop and say, 'Hi.'”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>If you do, maybe take a cue from the regulars: get some pie to go. I took a whole lemon meringue home with me.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Between Sacramento and Redding, Highway 5 cuts through the middle of rice country. Right next to rice fields outside the town of Willows, there’s a restaurant popular with travelers, farmers, truckers.\u003c/p>\n\u003cp>And pilots.\u003c/p>\n\u003cp>Before I even step inside Nancy’s Airport Cafe, I see Marty Blaker walk out of the restaurant, through a small gate, and onto the tarmac of the Willows-Glenn County Airport, heading toward a 1965 Cherokee 180 airplane. He’s carrying a tell-tale to-go bag.\u003c/p>\n\u003cp>“Everybody takes pie,” Blaker says. Then, he reaches in the bag, opens a plastic foam container, and says, “Here’s the treasure. Today it’s a piece of cherry pie, and I will enjoy it later this afternoon.”\u003c/p>\n\u003cp>He flew in this morning from Rough and Ready, California, a little town outside of Grass Valley. He says places like Nancy’s are a kind of beacon for recreational pilots.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“There’s a thing called a $100 hamburger. What that means is you spend more money getting to the airport than you do on the hamburger itself. These days it costs more than $100,” Blaker says with a laugh.\u003c/p>\n\u003cfigure id=\"attachment_11526228\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11526228\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/06/NancysExterior-800x541.jpg\" alt=\"Nancy's Airport Cafe just outside of Willows is a favorite of recreational pilots. \" width=\"800\" height=\"541\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/06/NancysExterior-800x541.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/NancysExterior-160x108.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/NancysExterior-1020x690.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/NancysExterior.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/NancysExterior-1180x798.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/NancysExterior-960x650.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/NancysExterior-240x162.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/NancysExterior-375x254.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/NancysExterior-520x352.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nancy's Airport Cafe just outside of Willows is a favorite of recreational pilots. \u003ccite>(Lisa Morehouse/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But it’s all part of having an adventure, he says, sometimes solo, “sometimes there may be a rendezvous of two, four, 18 planes that all coordinate and descend on an airport café, and Nancy’s is a very popular Northern California destination for just such things.”\u003c/p>\n\u003cp>Blaker says he’s been flying his whole adult life and bought this plane 15 years ago.\u003c/p>\n\u003cp>“It’s simple, and that’s why I love it,” he says. “It gets me around California. I don’t need fancy.”\u003c/p>\n\u003caside class=\"pullquote alignright\">'This place was packed all the time, 24-7. Everyone knew about Nancy's.'\u003ccite>Greg Michael,\u003cbr>Pilot and Nancy's customer\u003c/cite>\u003c/aside>\n\u003cp>Flying, he says, is personal.\u003c/p>\n\u003cp>“Flying gives a different perspective,\" Blaker says. \"You see the world in a pretty different way from 2,000 to 10,000 feet above.”\u003c/p>\n\u003cp>Today, he saw the northern Sacramento Valley totally flooded.\u003c/p>\n\u003cp>“It’s on purpose,\" he says. \"All the rice fields have been flooded. Getting here was like flying over a big lake today.”\u003c/p>\n\u003cp>The Willows-Glenn County Airport is hopping. The three agriculture aviation businesses here have a constant rotation of crop dusters flying in, loading up with soaked rice seed, and taking off to plant those flooded fields from the air.\u003c/p>\n\u003cfigure id=\"attachment_11526288\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11526288\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/06/CubSwag-800x561.jpg\" alt=\"Willows resident Greg Michael at the hangar where he stores his 1946 J-3 Cub.\" width=\"800\" height=\"561\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/06/CubSwag-800x561.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/CubSwag-160x112.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/CubSwag-1020x715.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/CubSwag.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/CubSwag-1180x827.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/CubSwag-960x673.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/CubSwag-240x168.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/CubSwag-375x263.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/CubSwag-520x365.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Willows resident Greg Michael at the hangar where he stores his 1946 J-3 Cub airplane. \u003ccite>(Lisa Morehouse/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On the tarmac, I meet Willows resident Greg Michael, who just returned from a morning flight. He lets me into his hangar -- a sign outside says “Pilot Cave” -- which houses his 1946 J-3 Cub airplane. Inside, the walls are covered with flags, and photos of World War II airplanes, which makes sense given this airport’s history.\u003c/p>\n\u003cp>“It was pretty hush hush, but Jimmy Doolittle practiced his raids here” and at a couple other nearby airports, Michael says.\u003c/p>\n\u003cp>That’s World War II pilot Lt. Colonel Jimmy Doolittle, who led bombing raids on Tokyo soon after the attack on Pearl Harbor.\u003c/p>\n\u003cp>“These were big airports for heavy planes, built for military,” Michael says.\u003c/p>\n\u003cp>Another historic point? This is where aerial firefighting got its start in California.\u003c/p>\n\u003cp>Nancy’s Aiport Cafe has been a long presence in Michael’s life. He remembers when it was open 24 hours a day.\u003c/p>\n\u003cp>“I trucked for UPS, and you know where the good places to eat were,” he says. “This place was packed all the time 24-7. Everyone knew about Nancy’s.”\u003c/p>\n\u003cfigure id=\"attachment_11526290\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11526290\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/06/NancysWall-800x629.jpg\" alt=\"'Some people hang hats on the wall, we hang people’s pictures with their airplanes on the wall,' says Nancy's waitress Tricia Lawson.\" width=\"800\" height=\"629\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/06/NancysWall-800x629.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/NancysWall-160x126.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/NancysWall-1020x802.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/NancysWall.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/NancysWall-1180x928.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/NancysWall-960x755.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/NancysWall-240x189.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/NancysWall-375x295.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/NancysWall-520x409.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">'Some people hang hats on the wall, we hang people’s pictures with their airplanes on the wall,' says Nancy's waitress Tricia Lawson. \u003ccite>(Lisa Morehouse/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Finally, I get to see for myself. Inside Nancy’s, I meet waitress Tricia Lawson, who’s wearing the same name tag she put on 26 years ago when she first started working here. She points out the photos covering every inch of wall space in the restaurant.\u003c/p>\n\u003cp>“It’s just a thing here,\" she says. \"Some people hang hats on the wall. We hang people’s pictures with their airplanes on the wall.”\u003c/p>\n\u003cp>Pictures, and model planes.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“They actually donate them here, so we can have a piece of their history and a piece of our history,” says Lawson.\u003c/p>\n\u003cp>We stop by the cold box where Beverly Randolph raves about the cream pies on display.\u003c/p>\n\u003cp>“They’re delicious,\" she says. \"The lemon meringue is out of this world.”\u003c/p>\n\u003cp>She should know. She lives just down the road and Lawson tells me she eats here at least twice a week. I ask Randolph if she’s a pilot, too, and she laughs. “Not anymore. I used to be. I’m too old.” She tells me she’ll be 90 in a few days.\u003c/p>\n\u003cp>Lawson continues our tour, pointing to the tiny kitchen, where a lanky, laconic cook flies through orders.\u003c/p>\n\u003cp>“They say never trust a skinny cook, but that is such a lie! Michael is a robot.”\u003c/p>\n\u003cp>Then she leads me into the back kitchen.\u003c/p>\n\u003cp>“And this is ... Elizabeth!” she announces with a flourish.\u003c/p>\n\u003cfigure id=\"attachment_11524196\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11524196 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/06/RS25544_IMG_6754-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25544_IMG_6754-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25544_IMG_6754-qut-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25544_IMG_6754-qut-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25544_IMG_6754-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25544_IMG_6754-qut-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25544_IMG_6754-qut-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25544_IMG_6754-qut-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25544_IMG_6754-qut-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25544_IMG_6754-qut-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Baker Elizabeth Martinez holds peach and apple pies. \u003ccite>(Lisa Morehouse/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Elizabeth Martinez is Nancy’s shy but prolific maker of fruit and cream pies. I ask her how it feels to know that people fly from all over California to eat what she bakes.\u003c/p>\n\u003cp>“Gratitude ... That’s the best pay they can give me.”\u003c/p>\n\u003cp>Back in the dining room, Tricia Lawson refers to every customer by name. She says “In the first three hours of my shift, I don’t even use a ticket book because I know what they want!\"\u003c/p>\n\u003cp>Lawson says a handful of rice farmers are often at the door before 5:00 a.m., waiting for her to open the door.\u003c/p>\n\u003cp>“And don’t forget the truck drivers,” she says, to whom Nancy’s offers free coffee. “Give a truck driver free coffee, and he’s good to go.”\u003c/p>\n\u003cfigure id=\"attachment_11524197\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11524197 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/06/RS25545_IMG_6759-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25545_IMG_6759-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25545_IMG_6759-qut-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25545_IMG_6759-qut-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25545_IMG_6759-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25545_IMG_6759-qut-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25545_IMG_6759-qut-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25545_IMG_6759-qut-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25545_IMG_6759-qut-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25545_IMG_6759-qut-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tricia Lawson has worked as a server at Nancy's for 26 years. She still wears the name tag she got when she started. \u003ccite>(Lisa Morehouse/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though original owner Nancy Stokes sold the restaurant years ago, customer Colleen Brown says the place hasn’t changed. For 22 years, she and her husband always stopped in on drives between Lassen County and the East Bay.\u003c/p>\n\u003cp>“He passed away last year, and I’m still coming here,” Brown says.\u003c/p>\n\u003cp>She says even though they only came once or twice a year, “there were a couple waitresses who, when we walked in the door, they still remembered our names.”\u003c/p>\n\u003cp>As her husband’s health deteriorated, she started traveling alone.\u003c/p>\n\u003cp>“They’d always ask, ‘How’s he doing?’” she says. “It’s just like home. Nancy’s is a good spot.”\u003c/p>\n\u003cp>Brown advises, “Anybody traveling, stop and say, 'Hi.'”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>If you do, maybe take a cue from the regulars: get some pie to go. I took a whole lemon meringue home with me.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Report Details Death, Panic in Oakland Ghost Ship Fire",
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"content": "\u003cp>Voices screamed out, \"Fire!\" Suddenly, the lights went out and it got harder to breathe.\u003c/p>\n\u003cp>Many of the 36 people killed in the Ghost Ship warehouse fire in Oakland huddled together in the dark, and that's where they died of smoke inhalation.\u003c/p>\n\u003cp>Some of the young partygoers were found wrapped together in rugs.\u003c/p>\n\u003cp>More than six months after the Dec. 2 blaze at the warehouse that authorities said was illegally converted into living quarters, the Oakland Fire Department has released \u003ca href=\"http://www2.oaklandnet.com/oakca1/groups/ceda/documents/report/oak064503.pdf\" target=\"_blank\">a 50-page report\u003c/a> filled with harrowing details of death and panic as the flames and deadly smoke spread.\u003c/p>\n\u003cp>The report contains previously unknown details about the deadliest structure fire in the nation in more than 14 years and says investigators could not determine the cause due to the extensive damage.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The report is the first official account of what survivors and witnesses told investigators, and how some 52 firefighters battled the blaze at the warehouse, an artist colony that was hosting an electronic music party that night.\u003c/p>\n\u003cp>The report also gives a vivid description of the warehouse's interior — a maze-like labyrinth with makeshift hallways constructed not of walls but of \"pianos, organs, windows, wood benches, lumber\" and stacks of other scavenged items that blocked possible exits and fueled the blaze.[contextly_sidebar id=\"9ha7lQmq8AyAKxDjfczHxvCyYvsKCpTH\"]\u003c/p>\n\u003cp>The warehouse had no sprinklers and an ad hoc electrical system of power strips and extension cords that drew \"electricity from the body shop next door,\" Max Harris, the self-described \"creative director\" and second-in-command of the Ghost Ship, told investigators.\u003c/p>\n\u003cp>Harris, 27, and Derick Almena, 47, who leased the warehouse from the owner, were \u003ca href=\"https://ww2.kqed.org/news/2017/06/05/criminal-charges-announced-oakland-ghost-ship-fire/\" target=\"_blank\">charged this month\u003c/a> with 36 counts of involuntary manslaughter.\u003c/p>\n\u003cp>Prosecutors say the men knowingly created a fire trap in a building not licensed for housing or entertainment.\u003c/p>\n\u003cp>Lawyers for the men say they are scapegoats and that the building's owner Chor Ng, who denies knowledge that people lived in the warehouse, should face criminal charges. Harris and Almena have not yet entered pleas to the charges.\u003c/p>\n\u003cp>One victim was found just 10 feet from the front door, buried under debris, the report said.\u003c/p>\n\u003cp>Seven bodies were found clustered near a couch upstairs, the report said.\u003c/p>\n\u003cp>Eight others were found together wrapped in a rug on the first floor. But \"it was determined that all eight victims had fallen from the second floor,\" much of which collapsed in the inferno.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>http://www2.oaklandnet.com/oakca1/groups/ceda/documents/report/oak064503.pdf\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Voices screamed out, \"Fire!\" Suddenly, the lights went out and it got harder to breathe.\u003c/p>\n\u003cp>Many of the 36 people killed in the Ghost Ship warehouse fire in Oakland huddled together in the dark, and that's where they died of smoke inhalation.\u003c/p>\n\u003cp>Some of the young partygoers were found wrapped together in rugs.\u003c/p>\n\u003cp>More than six months after the Dec. 2 blaze at the warehouse that authorities said was illegally converted into living quarters, the Oakland Fire Department has released \u003ca href=\"http://www2.oaklandnet.com/oakca1/groups/ceda/documents/report/oak064503.pdf\" target=\"_blank\">a 50-page report\u003c/a> filled with harrowing details of death and panic as the flames and deadly smoke spread.\u003c/p>\n\u003cp>The report contains previously unknown details about the deadliest structure fire in the nation in more than 14 years and says investigators could not determine the cause due to the extensive damage.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The report is the first official account of what survivors and witnesses told investigators, and how some 52 firefighters battled the blaze at the warehouse, an artist colony that was hosting an electronic music party that night.\u003c/p>\n\u003cp>The report also gives a vivid description of the warehouse's interior — a maze-like labyrinth with makeshift hallways constructed not of walls but of \"pianos, organs, windows, wood benches, lumber\" and stacks of other scavenged items that blocked possible exits and fueled the blaze.\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The warehouse had no sprinklers and an ad hoc electrical system of power strips and extension cords that drew \"electricity from the body shop next door,\" Max Harris, the self-described \"creative director\" and second-in-command of the Ghost Ship, told investigators.\u003c/p>\n\u003cp>Harris, 27, and Derick Almena, 47, who leased the warehouse from the owner, were \u003ca href=\"https://ww2.kqed.org/news/2017/06/05/criminal-charges-announced-oakland-ghost-ship-fire/\" target=\"_blank\">charged this month\u003c/a> with 36 counts of involuntary manslaughter.\u003c/p>\n\u003cp>Prosecutors say the men knowingly created a fire trap in a building not licensed for housing or entertainment.\u003c/p>\n\u003cp>Lawyers for the men say they are scapegoats and that the building's owner Chor Ng, who denies knowledge that people lived in the warehouse, should face criminal charges. Harris and Almena have not yet entered pleas to the charges.\u003c/p>\n\u003cp>One victim was found just 10 feet from the front door, buried under debris, the report said.\u003c/p>\n\u003cp>Seven bodies were found clustered near a couch upstairs, the report said.\u003c/p>\n\u003cp>Eight others were found together wrapped in a rug on the first floor. But \"it was determined that all eight victims had fallen from the second floor,\" much of which collapsed in the inferno.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>http://www2.oaklandnet.com/oakca1/groups/ceda/documents/report/oak064503.pdf\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "When Your Father Figure Leaves You Half an Iconic L.A. Carousel",
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"content": "\u003cp>In the heart of Griffith Park in Los Angeles, nestled in a carpet of green grass at the bottom of a slope, sits “a beautiful jewel.” At least, that’s how co-owner Julio Gosdinski thinks of it.\u003c/p>\n\u003cp>Gosdinski has worked at the \u003ca href=\"http://www.laparks.org/griffithpark/griffith-park-merry-go-round\" target=\"_blank\" rel=\"noopener noreferrer\">Griffith Park Carousel\u003c/a> since he was in high school. But he never dreamed he’d eventually become one of its owners.\u003c/p>\n\u003cp>“We're one of the fastest merry-go-rounds,” he tells me proudly. “We go 14 miles an hour.”\u003c/p>\n\u003cp>Most carousels rotate at less than half that speed.\u003c/p>\n\u003cp>“It’s more of a thrill ride than anything,” he adds. Gosdinski is 45, but with his tiny frame, thick dark hair and luminous blue eyes, he doesn’t look much older than most of his customers.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The carousel was built by the Spillman Engineering Company, of North Tonawanda, New York, in 1926. It was brought to San Diego for the 1936 World’s Fair and from there to its permanent home in Griffith Park. Everything on it is authentic, from the belts and gears that drive it to the hand-painted panels that circle its crown -- lush images of tigers, elk, swans, mountains, lakes and other scenery.\u003c/p>\n\u003cfigure id=\"attachment_11514950\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11514950\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/06/RS25718_Carousel_05_Crown_2-qut-1-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25718_Carousel_05_Crown_2-qut-1-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25718_Carousel_05_Crown_2-qut-1-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25718_Carousel_05_Crown_2-qut-1-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25718_Carousel_05_Crown_2-qut-1.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25718_Carousel_05_Crown_2-qut-1-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25718_Carousel_05_Crown_2-qut-1-960x540.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25718_Carousel_05_Crown_2-qut-1-240x135.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25718_Carousel_05_Crown_2-qut-1-375x211.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25718_Carousel_05_Crown_2-qut-1-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The carousel’s mirrored, jeweled and hand-painted crown \u003ccite>(Photo by Anny Celsi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And of course, there are the horses.\u003c/p>\n\u003cp>“We have 66 horses, all jumpers,” Gosdinski says, meaning no stationary horses. “We have a few horses that were carved back in 1895, so they’re actually older than the merry-go-round. Those are the jewels of the carousel.”\u003c/p>\n\u003cp>All the horses have real horse tails and real horse shoes, with lifelike expressions -- some spirited, some docile and friendly. All of them seem to be saying, “Pick me!” And they each have their own personality, as Gosdinski will attest.\u003c/p>\n\u003cp>“My favorite horse, we call him Diablo,” he laughs. “Cause he can kick you when you're not paying attention!”\u003c/p>\n\u003cp>He goes on to explain: “Most of the horses have their hind legs tucked in. His has one leg sticking out, and if you don't pay attention, he kind of kicks you, right? Well last year, he took a chunk of my skin off and I was bleeding. I'm like, 'damn you, Diablo!'”\u003c/p>\n\u003cfigure id=\"attachment_11514955\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11514955\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/06/RS25713_Carousel_10_Tickets-qut-1-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25713_Carousel_10_Tickets-qut-1-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25713_Carousel_10_Tickets-qut-1-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25713_Carousel_10_Tickets-qut-1-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25713_Carousel_10_Tickets-qut-1.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25713_Carousel_10_Tickets-qut-1-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25713_Carousel_10_Tickets-qut-1-960x540.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25713_Carousel_10_Tickets-qut-1-240x135.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25713_Carousel_10_Tickets-qut-1-375x211.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25713_Carousel_10_Tickets-qut-1-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The carousel’s original ticket booth \u003ccite>(Photo by Anny Celsi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gosdinski moved to Los Angeles from Peru when he was 12 years old. A few years later, he found his first job helping out at the carousel on weekends. And he found something else he’d been looking for in its owner, Warren Deasy.\u003c/p>\n\u003cp>“I grew up without my dad,” Gosdinski tells me as we sit on a bench near the carousel. “My mom was my dad and mom. I mean, my mom did such a great job. But you still need that father, that relationship. And I think I developed that with him.”\u003c/p>\n\u003cp>Over the years, Deasy and his partner, Rosemary West, became the young man’s second family.\u003c/p>\n\u003cp>“Warren was such a caring person,” he remembers. “I mean, there's no words that can describe how much he meant to a lot of us. He walked one of the girls down the aisle when she got married. Every Father's Day I would give him a card. I looked up to him, you know?”\u003c/p>\n\u003cp>When Deasy passed away in 2011, he left his employee an incredible gift: half of the carousel. To say Gosdinski was surprised is an understatement.\u003c/p>\n\u003cp>“He had mentioned it before, but I was young, and like 'oh, you're gonna live forever,' you know? But when it happened I was like, wow, really! Wow!\"\u003c/p>\n\u003cp>Now, Gosdinski and West are partners. She takes care of maintaining the horses and carousel and has beautifully restored the hand-painted scenes. Gosdinski handles the day-to-day tasks: selling tickets, operating the machinery and greeting the hundreds of children who visit each day. Many of them are regulars who have been coming back for years and return to ride even as adults. Gosdinski knows many of his customers by name, and they greet him like an old friend.\u003c/p>\n\u003cp>Each morning, before he opens up for the day, Gosdinski loads the paper rolls that play the music pumped out by the carousel’s Stinson 165 Military Band Organ. There are hundreds of rolls to choose from in boxes stacked on shelves from floor to ceiling.\u003c/p>\n\u003cfigure id=\"attachment_11514952\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/06/RS25716_Carousel_07_Music_Rolls-qut-1-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" class=\"size-medium wp-image-11514952\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25716_Carousel_07_Music_Rolls-qut-1-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25716_Carousel_07_Music_Rolls-qut-1-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25716_Carousel_07_Music_Rolls-qut-1-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25716_Carousel_07_Music_Rolls-qut-1.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25716_Carousel_07_Music_Rolls-qut-1-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25716_Carousel_07_Music_Rolls-qut-1-960x540.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25716_Carousel_07_Music_Rolls-qut-1-240x135.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25716_Carousel_07_Music_Rolls-qut-1-375x211.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25716_Carousel_07_Music_Rolls-qut-1-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Paper rolls play music on the carousel’s vintage organ. Gosdinski picsks from the dozens of options. \u003ccite>(Photo by Anny Celsi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11514951\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/06/RS25717_Carousel_06_Organ-qut-1-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" class=\"size-medium wp-image-11514951\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25717_Carousel_06_Organ-qut-1-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25717_Carousel_06_Organ-qut-1-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25717_Carousel_06_Organ-qut-1-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25717_Carousel_06_Organ-qut-1.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25717_Carousel_06_Organ-qut-1-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25717_Carousel_06_Organ-qut-1-960x540.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25717_Carousel_06_Organ-qut-1-240x135.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25717_Carousel_06_Organ-qut-1-375x211.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25717_Carousel_06_Organ-qut-1-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The vintage Stinson 165 Military Band organ. The figures move in time to the music.\u003c/figcaption>\u003c/figure>\n\u003cp>Gosdinski loads two paper rolls into either side of the organ in the back and switches it on. The jets start to whir, the rolls turn and the air is filled with the grand sound of the \u003ca href=\"https://www.youtube.com/watch?v=zyDKwIhdvYg\" target=\"_blank\" rel=\"noopener noreferrer\">\"Morning, Noon and Night in Vienna Overture.\"\u003c/a>\u003c/p>\n\u003cp>But it’s not all work and no play. After all, what’s the point of owning a carousel if you don’t ride it yourself once in a while?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\"Anything that happens out there in the real world, you come to the park, you open up the merry-go-round, eleven o’clock you turn on the organ — it just changes your attitude completely,” Gosdinski smiles. “It's like you're in a different world.”\u003c/p>\n\n",
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"excerpt": "Julio Gosdinski grew up an immigrant boy in L.A. without a Dad. His boss became a father figure -- and left him half the Griffith Park carousel.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the heart of Griffith Park in Los Angeles, nestled in a carpet of green grass at the bottom of a slope, sits “a beautiful jewel.” At least, that’s how co-owner Julio Gosdinski thinks of it.\u003c/p>\n\u003cp>Gosdinski has worked at the \u003ca href=\"http://www.laparks.org/griffithpark/griffith-park-merry-go-round\" target=\"_blank\" rel=\"noopener noreferrer\">Griffith Park Carousel\u003c/a> since he was in high school. But he never dreamed he’d eventually become one of its owners.\u003c/p>\n\u003cp>“We're one of the fastest merry-go-rounds,” he tells me proudly. “We go 14 miles an hour.”\u003c/p>\n\u003cp>Most carousels rotate at less than half that speed.\u003c/p>\n\u003cp>“It’s more of a thrill ride than anything,” he adds. Gosdinski is 45, but with his tiny frame, thick dark hair and luminous blue eyes, he doesn’t look much older than most of his customers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The carousel was built by the Spillman Engineering Company, of North Tonawanda, New York, in 1926. It was brought to San Diego for the 1936 World’s Fair and from there to its permanent home in Griffith Park. Everything on it is authentic, from the belts and gears that drive it to the hand-painted panels that circle its crown -- lush images of tigers, elk, swans, mountains, lakes and other scenery.\u003c/p>\n\u003cfigure id=\"attachment_11514950\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11514950\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/06/RS25718_Carousel_05_Crown_2-qut-1-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25718_Carousel_05_Crown_2-qut-1-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25718_Carousel_05_Crown_2-qut-1-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25718_Carousel_05_Crown_2-qut-1-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25718_Carousel_05_Crown_2-qut-1.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25718_Carousel_05_Crown_2-qut-1-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25718_Carousel_05_Crown_2-qut-1-960x540.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25718_Carousel_05_Crown_2-qut-1-240x135.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25718_Carousel_05_Crown_2-qut-1-375x211.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25718_Carousel_05_Crown_2-qut-1-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The carousel’s mirrored, jeweled and hand-painted crown \u003ccite>(Photo by Anny Celsi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And of course, there are the horses.\u003c/p>\n\u003cp>“We have 66 horses, all jumpers,” Gosdinski says, meaning no stationary horses. “We have a few horses that were carved back in 1895, so they’re actually older than the merry-go-round. Those are the jewels of the carousel.”\u003c/p>\n\u003cp>All the horses have real horse tails and real horse shoes, with lifelike expressions -- some spirited, some docile and friendly. All of them seem to be saying, “Pick me!” And they each have their own personality, as Gosdinski will attest.\u003c/p>\n\u003cp>“My favorite horse, we call him Diablo,” he laughs. “Cause he can kick you when you're not paying attention!”\u003c/p>\n\u003cp>He goes on to explain: “Most of the horses have their hind legs tucked in. His has one leg sticking out, and if you don't pay attention, he kind of kicks you, right? Well last year, he took a chunk of my skin off and I was bleeding. I'm like, 'damn you, Diablo!'”\u003c/p>\n\u003cfigure id=\"attachment_11514955\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11514955\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/06/RS25713_Carousel_10_Tickets-qut-1-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25713_Carousel_10_Tickets-qut-1-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25713_Carousel_10_Tickets-qut-1-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25713_Carousel_10_Tickets-qut-1-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25713_Carousel_10_Tickets-qut-1.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25713_Carousel_10_Tickets-qut-1-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25713_Carousel_10_Tickets-qut-1-960x540.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25713_Carousel_10_Tickets-qut-1-240x135.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25713_Carousel_10_Tickets-qut-1-375x211.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25713_Carousel_10_Tickets-qut-1-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The carousel’s original ticket booth \u003ccite>(Photo by Anny Celsi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gosdinski moved to Los Angeles from Peru when he was 12 years old. A few years later, he found his first job helping out at the carousel on weekends. And he found something else he’d been looking for in its owner, Warren Deasy.\u003c/p>\n\u003cp>“I grew up without my dad,” Gosdinski tells me as we sit on a bench near the carousel. “My mom was my dad and mom. I mean, my mom did such a great job. But you still need that father, that relationship. And I think I developed that with him.”\u003c/p>\n\u003cp>Over the years, Deasy and his partner, Rosemary West, became the young man’s second family.\u003c/p>\n\u003cp>“Warren was such a caring person,” he remembers. “I mean, there's no words that can describe how much he meant to a lot of us. He walked one of the girls down the aisle when she got married. Every Father's Day I would give him a card. I looked up to him, you know?”\u003c/p>\n\u003cp>When Deasy passed away in 2011, he left his employee an incredible gift: half of the carousel. To say Gosdinski was surprised is an understatement.\u003c/p>\n\u003cp>“He had mentioned it before, but I was young, and like 'oh, you're gonna live forever,' you know? But when it happened I was like, wow, really! Wow!\"\u003c/p>\n\u003cp>Now, Gosdinski and West are partners. She takes care of maintaining the horses and carousel and has beautifully restored the hand-painted scenes. Gosdinski handles the day-to-day tasks: selling tickets, operating the machinery and greeting the hundreds of children who visit each day. Many of them are regulars who have been coming back for years and return to ride even as adults. Gosdinski knows many of his customers by name, and they greet him like an old friend.\u003c/p>\n\u003cp>Each morning, before he opens up for the day, Gosdinski loads the paper rolls that play the music pumped out by the carousel’s Stinson 165 Military Band Organ. There are hundreds of rolls to choose from in boxes stacked on shelves from floor to ceiling.\u003c/p>\n\u003cfigure id=\"attachment_11514952\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/06/RS25716_Carousel_07_Music_Rolls-qut-1-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" class=\"size-medium wp-image-11514952\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25716_Carousel_07_Music_Rolls-qut-1-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25716_Carousel_07_Music_Rolls-qut-1-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25716_Carousel_07_Music_Rolls-qut-1-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25716_Carousel_07_Music_Rolls-qut-1.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25716_Carousel_07_Music_Rolls-qut-1-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25716_Carousel_07_Music_Rolls-qut-1-960x540.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25716_Carousel_07_Music_Rolls-qut-1-240x135.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25716_Carousel_07_Music_Rolls-qut-1-375x211.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25716_Carousel_07_Music_Rolls-qut-1-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Paper rolls play music on the carousel’s vintage organ. Gosdinski picsks from the dozens of options. \u003ccite>(Photo by Anny Celsi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11514951\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/06/RS25717_Carousel_06_Organ-qut-1-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" class=\"size-medium wp-image-11514951\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25717_Carousel_06_Organ-qut-1-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25717_Carousel_06_Organ-qut-1-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25717_Carousel_06_Organ-qut-1-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25717_Carousel_06_Organ-qut-1.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25717_Carousel_06_Organ-qut-1-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25717_Carousel_06_Organ-qut-1-960x540.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25717_Carousel_06_Organ-qut-1-240x135.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25717_Carousel_06_Organ-qut-1-375x211.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25717_Carousel_06_Organ-qut-1-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The vintage Stinson 165 Military Band organ. The figures move in time to the music.\u003c/figcaption>\u003c/figure>\n\u003cp>Gosdinski loads two paper rolls into either side of the organ in the back and switches it on. The jets start to whir, the rolls turn and the air is filled with the grand sound of the \u003ca href=\"https://www.youtube.com/watch?v=zyDKwIhdvYg\" target=\"_blank\" rel=\"noopener noreferrer\">\"Morning, Noon and Night in Vienna Overture.\"\u003c/a>\u003c/p>\n\u003cp>But it’s not all work and no play. After all, what’s the point of owning a carousel if you don’t ride it yourself once in a while?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\"Anything that happens out there in the real world, you come to the park, you open up the merry-go-round, eleven o’clock you turn on the organ — it just changes your attitude completely,” Gosdinski smiles. “It's like you're in a different world.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "The Monterey International Pop Festival Returns, 50 Years Later",
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"content": "\u003cp>It’s hard to imagine a time when no one really knew \u003ca href=\"https://montereyinternationalpopfestival.com/pages/the-jimi-hendrix-experience\">Jimi Hendrix\u003c/a>. But the 1967 \u003ca href=\"https://montereyinternationalpopfestival.com/\">Monterey International Pop Festival\u003c/a> was that time. When Hendrix took the stage that summer, he hadn’t made his mark on the American music scene.\u003c/p>\n\u003cp>That all changed when he finished his set with his song \"Wild Thing.\" That’s when Hendrix became a legend for lighting his guitar on fire.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_-7toYWFEyk\u003c/p>\n\u003cp>Janis Joplin was another big name who was virtually unknown until she made her appearance at the Monterey County Fairgrounds in Monterey. She blew the audience away with her band Big Brother & The Holding Company.\u003c/p>\n\u003cp>Many of the musicians went on to become superstars, if they weren’t already. The lineup for the three-day celebration of rock ‘n' roll included \u003ca href=\"https://www.facebook.com/The-Mamas-The-Papas-1447013488863117/\">The Mamas & the Papas\u003c/a>, \u003ca href=\"http://www.dead.net/\">Grateful Dead\u003c/a>, \u003ca href=\"http://www.thewho.com/\">The Who \u003c/a>and \u003ca href=\"https://www.otisredding.com/\">Otis Redding\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Monterey Pop also became a model for future festivals like Woodstock and Coachella. It was a one-time event -- until now. \u003c/p>\n\u003cp>The 50th anniversary will be celebrated with a return of the \u003ca href=\"https://montereypopfestival50.com/\">Monterey Pop\u003c/a> this weekend, June 16-18.\u003c/p>\n\u003cp>Penny Vierrege attended all three days the original festival in 1967. \u003c/p>\n\u003cp>“It had the cream of it all. L.A., England, San Francisco, and there was just so much love. So much incredible love,\" she says.\u003c/p>\n\u003cp>[contextly_sidebar id=\"tLkfKcz48hnAG160tLPZPBRYqLlbWdcx\"]\u003c/p>\n\u003cp>She remembers booths selling crystals, strangers handing out flowers and a man and his pregnant wife who set up a teepee in the middle of the fairgrounds.\u003c/p>\n\u003cp>“Mostly I was wandering around stoned, you know, appreciating everything,” says Vierrege.\u003c/p>\n\u003cp>Her late husband, Paul, was stage manager of the event. She says she generally stayed in the audience.\u003c/p>\n\u003cp>“Well I’m sitting there watching all of these chickies hanging from the set and around and stuff like that, all the followers. And I said to my husband, on Sunday afternoon, I’m going to be on that stage. Ravi is my man, and I’m going to be as close as possible,” she says.\u003c/p>\n\u003cp>Vierrege, now 88, lives in Big Sur. She pulls a record off her shelf. It’s \"Live: Ravi Shankar at the Monterey International Pop Festival.\" The album cover has faded with time, but there she is in the corner practically on stage.\u003c/p>\n\u003cfigure id=\"attachment_11513107\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/06/AlbumCover-800x600.jpg\" alt=\"Penny Vierrege on the back fold-out of Ravi Shankar's album: "Ravi Shankar at the Monterey Pop International Festival, Live."\" width=\"800\" height=\"600\" class=\"size-medium wp-image-11513107\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/06/AlbumCover-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/AlbumCover-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/AlbumCover-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/AlbumCover-1920x1440.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/AlbumCover-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/AlbumCover-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/AlbumCover-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/AlbumCover-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/AlbumCover-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Penny Vierrege on the back fold-out of Ravi Shankar's album: \"Ravi Shankar at the Monterey Pop International Festival, Live.\"\u003cbr> \u003ccite>(Krista Almanzan/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Also in the audience throughout the three-day festival were the performers themselves. \u003c/p>\n\u003cp>“There was no social media before that, so a lot of these performers had never spoken to or seen a performance by the other artists,” says Lou Adler, one of the co-producers of the original Monterey Pop.\u003c/p>\n\u003cp>The idea behind the event was to bring respect to rock 'n' roll as an art form. And it did that. Adler says after all these performers got together they were empowered.\u003c/p>\n\u003cp>“Up until that time, the record companies pretty much dictated how many albums you would do, what the cover would look like, how it would be marketed. That all changed after Monterey.\"\u003c/p>\n\u003cp>He says right away they knew it was such an iconic event that it could never be repeated.\u003c/p>\n\u003cp>That said there are connections between 1967 and this weekend’s Monterey International Pop Festival.\u003c/p>\n\u003cp>Eric Burdon and the Animals -- who also played at the original festival -- take the stage on Friday. \u003c/p>\n\u003cp>https://twitter.com/MIPFofficial/status/875775362717945856\u003c/p>\n\u003cp>Norah Jones will perform Saturday night; she’s Ravi Shankar’s daughter. And Phil Lesh from the Grateful Dead, which also played the original Monterey Pop, will close out the show Sunday night.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>There are unfamiliar names in the \u003ca href=\"https://montereypopfestival50.com/schedule/\">lineup\u003c/a> too. Perhaps, 50 years from now we’ll be amazed that they were once virtually unknown.\u003c/p>\n\n",
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"excerpt": "Many of the musicians at the ’67 festival went on to become superstars, like Jimi Hendrix and Janis Joplin. Now, it's happening again.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s hard to imagine a time when no one really knew \u003ca href=\"https://montereyinternationalpopfestival.com/pages/the-jimi-hendrix-experience\">Jimi Hendrix\u003c/a>. But the 1967 \u003ca href=\"https://montereyinternationalpopfestival.com/\">Monterey International Pop Festival\u003c/a> was that time. When Hendrix took the stage that summer, he hadn’t made his mark on the American music scene.\u003c/p>\n\u003cp>That all changed when he finished his set with his song \"Wild Thing.\" That’s when Hendrix became a legend for lighting his guitar on fire.\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/_-7toYWFEyk'\n title='//www.youtube.com/embed/_-7toYWFEyk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Janis Joplin was another big name who was virtually unknown until she made her appearance at the Monterey County Fairgrounds in Monterey. She blew the audience away with her band Big Brother & The Holding Company.\u003c/p>\n\u003cp>Many of the musicians went on to become superstars, if they weren’t already. The lineup for the three-day celebration of rock ‘n' roll included \u003ca href=\"https://www.facebook.com/The-Mamas-The-Papas-1447013488863117/\">The Mamas & the Papas\u003c/a>, \u003ca href=\"http://www.dead.net/\">Grateful Dead\u003c/a>, \u003ca href=\"http://www.thewho.com/\">The Who \u003c/a>and \u003ca href=\"https://www.otisredding.com/\">Otis Redding\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Monterey Pop also became a model for future festivals like Woodstock and Coachella. It was a one-time event -- until now. \u003c/p>\n\u003cp>The 50th anniversary will be celebrated with a return of the \u003ca href=\"https://montereypopfestival50.com/\">Monterey Pop\u003c/a> this weekend, June 16-18.\u003c/p>\n\u003cp>Penny Vierrege attended all three days the original festival in 1967. \u003c/p>\n\u003cp>“It had the cream of it all. L.A., England, San Francisco, and there was just so much love. So much incredible love,\" she says.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>She remembers booths selling crystals, strangers handing out flowers and a man and his pregnant wife who set up a teepee in the middle of the fairgrounds.\u003c/p>\n\u003cp>“Mostly I was wandering around stoned, you know, appreciating everything,” says Vierrege.\u003c/p>\n\u003cp>Her late husband, Paul, was stage manager of the event. She says she generally stayed in the audience.\u003c/p>\n\u003cp>“Well I’m sitting there watching all of these chickies hanging from the set and around and stuff like that, all the followers. And I said to my husband, on Sunday afternoon, I’m going to be on that stage. Ravi is my man, and I’m going to be as close as possible,” she says.\u003c/p>\n\u003cp>Vierrege, now 88, lives in Big Sur. She pulls a record off her shelf. It’s \"Live: Ravi Shankar at the Monterey International Pop Festival.\" The album cover has faded with time, but there she is in the corner practically on stage.\u003c/p>\n\u003cfigure id=\"attachment_11513107\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/06/AlbumCover-800x600.jpg\" alt=\"Penny Vierrege on the back fold-out of Ravi Shankar's album: "Ravi Shankar at the Monterey Pop International Festival, Live."\" width=\"800\" height=\"600\" class=\"size-medium wp-image-11513107\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/06/AlbumCover-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/AlbumCover-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/AlbumCover-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/AlbumCover-1920x1440.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/AlbumCover-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/AlbumCover-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/AlbumCover-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/AlbumCover-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/AlbumCover-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Penny Vierrege on the back fold-out of Ravi Shankar's album: \"Ravi Shankar at the Monterey Pop International Festival, Live.\"\u003cbr> \u003ccite>(Krista Almanzan/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Also in the audience throughout the three-day festival were the performers themselves. \u003c/p>\n\u003cp>“There was no social media before that, so a lot of these performers had never spoken to or seen a performance by the other artists,” says Lou Adler, one of the co-producers of the original Monterey Pop.\u003c/p>\n\u003cp>The idea behind the event was to bring respect to rock 'n' roll as an art form. And it did that. Adler says after all these performers got together they were empowered.\u003c/p>\n\u003cp>“Up until that time, the record companies pretty much dictated how many albums you would do, what the cover would look like, how it would be marketed. That all changed after Monterey.\"\u003c/p>\n\u003cp>He says right away they knew it was such an iconic event that it could never be repeated.\u003c/p>\n\u003cp>That said there are connections between 1967 and this weekend’s Monterey International Pop Festival.\u003c/p>\n\u003cp>Eric Burdon and the Animals -- who also played at the original festival -- take the stage on Friday. \u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Norah Jones will perform Saturday night; she’s Ravi Shankar’s daughter. And Phil Lesh from the Grateful Dead, which also played the original Monterey Pop, will close out the show Sunday night.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>There are unfamiliar names in the \u003ca href=\"https://montereypopfestival50.com/schedule/\">lineup\u003c/a> too. Perhaps, 50 years from now we’ll be amazed that they were once virtually unknown.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"order": 8
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},
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"source": "Commonwealth Club of California"
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"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"order": 9
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"hidden-brain": {
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"airtime": "SUN 7pm-8pm",
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"airtime": "SUN 7:30pm-8pm",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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},
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"id": "latino-usa",
"title": "Latino USA",
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"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
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},
"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "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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