Sculptor Richard Serra, the ‘Poet of Iron,’ Dies at 85
Alta, ‘Shameless Hussy’ and Founder of Nation's First Feminist Press, Dies at 81
Remembering Zoe Reidy Watts, an Artist Who Embodied ‘Radical Love’
Photographer David Johnson, Who Chronicled San Francisco’s Black Culture, Dies at 97
Actors, Musicians, Writers and Artists We Lost in 2023
Smash Mouth Frontman Steve Harwell Dies at 56
William Friedkin, Oscar-Winning Director of 'The Exorcist' and 'The French Connection,' Dies at 87
Tributes to Angus Cloud Pour in From Oakland
Tony Bennett, Masterful Stylist of American Song, Dies at 96
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He was 85.\u003c/p>\n\u003cp>Considered one of his generation’s most preeminent sculptors, the San Francisco native originally studied painting at Yale University but turned to sculpting in the 1960s, inspired by trips to Europe.\u003c/p>\n\u003cp>His death was confirmed Tuesday night by his lawyer, John Silberman, whose firm is based in New York. He said the cause of death was pneumonia.\u003c/p>\n\u003cp>Known by his colleagues as the “poet of iron,” Serra became world-renowned for his large-scale steel structures, such as monumental arcs, spirals and ellipses. He was closely identified with the minimalist movement of the 1970s.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>\u003ca href=\"https://ww2.kqed.org/spark/richard-serra/\">\u003c/a>\u003ca href=\"https://ww2.kqed.org/spark/richard-serra/\">Watch Richard Serra construct a huge sculpture in San Francisco’s Mission Bay\u003c/a> and at \u003ca href=\"https://www.youtube.com/watch?v=GnWljMmmWMw\">Sonoma County’s Oliver Ranch\u003c/a> in \u003ca href=\"https://ww2.kqed.org/spark/richard-serra/\">this KQED episode\u003c/a> of ‘Spark’.\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Serra’s work started to gain public attention in 1981, when he installed a 120-foot-long (36.5-meter-long) and 12-foot-high (3.6-meter-high) curving wall of raw steel that splits the Federal Plaza in New York City. The sculpture, called “Tilted Arc,” generated swift backlash from people who work there and a fierce demand that it should be removed. The sculpture was later taken down, but Serra’s popularity in the New York art scene had been cemented.\u003c/p>\n\u003cfigure id=\"attachment_13954852\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/serra.jpg\" alt=\"\" width=\"1440\" height=\"960\" class=\"size-full wp-image-13954852\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/serra.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/serra-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/serra-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/serra-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/serra-768x512.jpg 768w\" sizes=\"(max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">Famed American sculptor Richard Serra poses next to ‘Sequence’ during the press preview of “Richard Serra Sculpture: Forty Years” at the Museum of Modern Art, May 29, 2007, in New York. Serra, known for turning curving walls of rusting steel and other malleable materials into large-scale pieces of outdoor artwork that are now dotted across the world, died Tuesday, March 26, 2024, at his home in Long Island, N.Y. He was 85. \u003ccite>(AP Photo/Mary Altaffer, File)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Most of Serra’s large-scale works are welded in Cor-Ten steel, but he also worked with other nontraditional materials such as rubber, latex, neon — as well as molten lead, which Serra threw against a wall or floor to create his “Splash” series in his early career.\u003c/p>\n\u003cp>His works have been installed in landscapes and included in the collections of museums across the world, from The Museum of Modern Art in New York to the deserts of Qatar. From 2016 to 2018, his interactive, labyrinth-like sculpture \u003cem>Sequence\u003c/em> resided in a publicly accessible ground floor of San Francisco’s Museum of Modern Art. \u003c/p>\n\u003cp>In 2005, eight major works by Serra were installed permanently at the Guggenheim Museum in Spain. Carmen Jimenez, the exhibition organizer, said Serra was “beyond doubt the most important living sculptor.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Born to a Russian-Jewish mother and a Spanish father in San Francisco, Serra was the second of three sons in the family. He started drawing at a young age and was inspired by the time he spent at a shipyard where his father worked as a pipefitter. Before his turn to sculpting, Serra worked in steel foundries to help finance his education at the Berkeley and Santa Barbara campuses of the University of California. He then went on to Yale, where he graduated in 1964.\u003c/p>\n\n","blocks":[],"excerpt":"Born in San Francisco, Serra became world-renowned for his large-scale steel structures.","status":"publish","parent":0,"modified":1711563845,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":12,"wordCount":574},"headData":{"title":"Sculptor Richard Serra, the ‘Poet of Iron,’ Dies at 85 | KQED","description":"Born in San Francisco, Serra became world-renowned for his large-scale steel structures.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Sculptor Richard Serra, the ‘Poet of Iron,’ Dies at 85","datePublished":"2024-03-27T17:43:06.000Z","dateModified":"2024-03-27T18:24:05.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Susan Haigh and Trân Nguyễn, Associated Press","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13954850/sculptor-richard-serra-the-poet-of-iron-dies-at-85","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Famed American artist and sculptor Richard Serra, known for turning curving walls of rusting steel and other malleable materials into large-scale pieces of outdoor artwork that are now dotted across the world, died Tuesday at his home in Long Island, New York. He was 85.\u003c/p>\n\u003cp>Considered one of his generation’s most preeminent sculptors, the San Francisco native originally studied painting at Yale University but turned to sculpting in the 1960s, inspired by trips to Europe.\u003c/p>\n\u003cp>His death was confirmed Tuesday night by his lawyer, John Silberman, whose firm is based in New York. He said the cause of death was pneumonia.\u003c/p>\n\u003cp>Known by his colleagues as the “poet of iron,” Serra became world-renowned for his large-scale steel structures, such as monumental arcs, spirals and ellipses. He was closely identified with the minimalist movement of the 1970s.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>\u003ca href=\"https://ww2.kqed.org/spark/richard-serra/\">\u003c/a>\u003ca href=\"https://ww2.kqed.org/spark/richard-serra/\">Watch Richard Serra construct a huge sculpture in San Francisco’s Mission Bay\u003c/a> and at \u003ca href=\"https://www.youtube.com/watch?v=GnWljMmmWMw\">Sonoma County’s Oliver Ranch\u003c/a> in \u003ca href=\"https://ww2.kqed.org/spark/richard-serra/\">this KQED episode\u003c/a> of ‘Spark’.\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Serra’s work started to gain public attention in 1981, when he installed a 120-foot-long (36.5-meter-long) and 12-foot-high (3.6-meter-high) curving wall of raw steel that splits the Federal Plaza in New York City. The sculpture, called “Tilted Arc,” generated swift backlash from people who work there and a fierce demand that it should be removed. The sculpture was later taken down, but Serra’s popularity in the New York art scene had been cemented.\u003c/p>\n\u003cfigure id=\"attachment_13954852\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/serra.jpg\" alt=\"\" width=\"1440\" height=\"960\" class=\"size-full wp-image-13954852\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/serra.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/serra-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/serra-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/serra-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/serra-768x512.jpg 768w\" sizes=\"(max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">Famed American sculptor Richard Serra poses next to ‘Sequence’ during the press preview of “Richard Serra Sculpture: Forty Years” at the Museum of Modern Art, May 29, 2007, in New York. Serra, known for turning curving walls of rusting steel and other malleable materials into large-scale pieces of outdoor artwork that are now dotted across the world, died Tuesday, March 26, 2024, at his home in Long Island, N.Y. He was 85. \u003ccite>(AP Photo/Mary Altaffer, File)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Most of Serra’s large-scale works are welded in Cor-Ten steel, but he also worked with other nontraditional materials such as rubber, latex, neon — as well as molten lead, which Serra threw against a wall or floor to create his “Splash” series in his early career.\u003c/p>\n\u003cp>His works have been installed in landscapes and included in the collections of museums across the world, from The Museum of Modern Art in New York to the deserts of Qatar. From 2016 to 2018, his interactive, labyrinth-like sculpture \u003cem>Sequence\u003c/em> resided in a publicly accessible ground floor of San Francisco’s Museum of Modern Art. \u003c/p>\n\u003cp>In 2005, eight major works by Serra were installed permanently at the Guggenheim Museum in Spain. Carmen Jimenez, the exhibition organizer, said Serra was “beyond doubt the most important living sculptor.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Born to a Russian-Jewish mother and a Spanish father in San Francisco, Serra was the second of three sons in the family. He started drawing at a young age and was inspired by the time he spent at a shipyard where his father worked as a pipefitter. Before his turn to sculpting, Serra worked in steel foundries to help finance his education at the Berkeley and Santa Barbara campuses of the University of California. He then went on to Yale, where he graduated in 1964.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13954850/sculptor-richard-serra-the-poet-of-iron-dies-at-85","authors":["byline_arts_13954850"],"categories":["arts_1","arts_235","arts_70"],"tags":["arts_1091","arts_22041","arts_4894","arts_1381"],"featImg":"arts_13954853","label":"arts"},"arts_13954709":{"type":"posts","id":"arts_13954709","meta":{"index":"posts_1591205157","site":"arts","id":"13954709","score":null,"sort":[1711478721000]},"guestAuthors":[],"slug":"alta-shameless-hussy-press-dies-at-81","title":"Alta, ‘Shameless Hussy’ and Founder of Nation's First Feminist Press, Dies at 81","publishDate":1711478721,"format":"aside","headTitle":"Alta, ‘Shameless Hussy’ and Founder of Nation’s First Feminist Press, Dies at 81 | KQED","labelTerm":{"site":"arts"},"content":"\u003cfigure id=\"attachment_13954753\" class=\"wp-caption aligncenter\" style=\"max-width: 1533px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Paul-Steinbrink_1972_printing.jpg\" alt=\"A young woman with a short bob haircut stands in a collared shirt and pants at a large metal printing press in a cluttered room.\" width=\"1533\" height=\"1920\" class=\"size-full wp-image-13954753\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Paul-Steinbrink_1972_printing.jpg 1533w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Paul-Steinbrink_1972_printing-800x1002.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Paul-Steinbrink_1972_printing-1020x1277.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Paul-Steinbrink_1972_printing-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Paul-Steinbrink_1972_printing-768x962.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Paul-Steinbrink_1972_printing-1226x1536.jpg 1226w\" sizes=\"(max-width: 1533px) 100vw, 1533px\">\u003cfigcaption class=\"wp-caption-text\">Alta at her printing press, circa 1972. Founded in 1969, Shameless Hussy Press was first to publish the work of Ntozake Shange and others, and is recognized as the first feminist press in the United States. \u003ccite>(Paul Steinbrink)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Alta Gerrey loved being in the thick of the conversation.\u003c/p>\n\u003cp>The award-winning poet, gallerist and people magnet — who published under a single moniker, Alta — kicked down the door to the predominately male preserve of publishing in the early 1970s. With a keen eye for talent, she ushered some of the most consequential women writers of that turbulent era onto the literary scene.\u003c/p>\n\u003cp>She died March 10 at the age of 81, at home in Oakland, after a long struggle with cancer.\u003c/p>\n\u003cfigure id=\"attachment_13954752\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta-70s_unknown.jpg\" alt=\"\" width=\"1920\" height=\"1707\" class=\"size-full wp-image-13954752\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta-70s_unknown.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta-70s_unknown-800x711.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta-70s_unknown-1020x907.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta-70s_unknown-160x142.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta-70s_unknown-768x683.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta-70s_unknown-1536x1366.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Alta in the 1970s. Photographer unknown. \u003ccite>(Courtesy Kia Simon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like many women who joined the feminist movement’s second wave in the late 1960s, Alta had been active in the civil rights movement. After realizing that she and her peers couldn’t get their work published, she launched \u003ca href=\"https://library.ucsc.edu/reg-hist/alta\">the nation’s first feminist press\u003c/a> in 1969, Shameless Hussy Press.\u003c/p>\n\u003cp>The ribald name signaled both Alta’s irreverent sensibility and her openness to writers who were sidelined and ignored by mainstream publishing.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I had been reading Anaïs Nin’s diaries, and I knew that she and Henry Miller had made books on a letterpress,” she told Irene Reti in an interview for an essay about Shameless Hussy Press for the UC Santa Cruz University Library, which holds the \u003ca href=\"https://oac.cdlib.org/findaid/ark:/13030/tf396nb2dv/admin/\">Shameless Hussy archives\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13954751\" class=\"wp-caption aligncenter\" style=\"max-width: 1211px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta_shameless-hussy-cover.jpg\" alt=\"\" width=\"1211\" height=\"1920\" class=\"size-full wp-image-13954751\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta_shameless-hussy-cover.jpg 1211w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta_shameless-hussy-cover-800x1268.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta_shameless-hussy-cover-1020x1617.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta_shameless-hussy-cover-160x254.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta_shameless-hussy-cover-768x1218.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta_shameless-hussy-cover-969x1536.jpg 969w\" sizes=\"(max-width: 1211px) 100vw, 1211px\">\u003cfigcaption class=\"wp-caption-text\">Alta’s 1980 anthology, ‘The Shameless Hussy: Selected Stories, Essays and Poetry.’ \u003ccite>(Crossing Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shameless Hussy was the first to publish Ntozake Shange’s \u003cem>for colored girls who have considered suicide / when the rainbow is enuf\u003c/em>, which went on to become a Tony-winning Broadway play. It introduced Mitsuye Yamada, whose \u003cem>Camp Notes and Other Poems\u003c/em> were written during and after her experience in Minidoka, the internment camp in Hunt, Idaho. Shameless Hussy was also the first to publish work by Pat Parker, Susan Griffin, and Mary Mackey.\u003c/p>\n\u003cp>Mackey credits Alta with launching a career that now includes \u003cem>New York Times\u003c/em> best-selling novels and eight volumes of poetry. Even with Fred Cody serving as her agent, Mackey couldn’t find a publisher for her first novel, 1972’s \u003cem>Immersion\u003c/em>, a roman à clef about “a woman looking for her own personal and sexual liberation in the jungles of Costa Rica,” Mackey said. \u003c/p>\n\u003cp>“Alta looked at it and said, ‘I’m going to print it.’ She had the ability to look at a piece of work and not care who you knew, what class you were, or how you identified. She could see things in the work itself,” she said.\u003c/p>\n\u003cfigure id=\"attachment_13954743\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta_1988_Harold-Parrish_gesture.jpg\" alt=\"\" width=\"1920\" height=\"1276\" class=\"size-full wp-image-13954743\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta_1988_Harold-Parrish_gesture.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta_1988_Harold-Parrish_gesture-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta_1988_Harold-Parrish_gesture-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta_1988_Harold-Parrish_gesture-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta_1988_Harold-Parrish_gesture-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta_1988_Harold-Parrish_gesture-1536x1021.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Alta, holding court in 1988. \u003ccite>(Harold Parrish)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Susan Griffin was part of an Oakland women’s group with Alta and had faced multiple rejections from mainstream publishing houses when Shameless Hussy published her books \u003cem>The Sink: Six Short Stories\u003c/em> and \u003cem>dear sky\u003c/em>, a collection of poems. Part of the book deal involved working with Alta’s AB Dick 360 offset press, which she moved to San Lorenzo after receiving multiple death threats from people offended by work she had published.\u003c/p>\n\u003cp>“You would come out to San Lorenzo and help a couple of days in the printing process,” Griffin recalled. “She was a bit wacky, mostly in a great way, but sometimes not. Alta was just one of the most courageous people I knew. She was very very honest, unless she was on purpose not being honest. She would tell you about anything, say anything, or do anything she thought was right. That made her very effective regarding social change.”\u003c/p>\n\u003cp>By the mid 1970s, Alta had returned to Oakland, where she continued printing batches of groundbreaking poetry, essays and novels until 1989. The press’s biggest money maker was \u003cem>Calamity Jane’s Letters to her Daughter\u003c/em>, a collection of uncertain provenance that got increased attention in 2016 when actor Ethan Hawke listed it as one of the best books he’d recently read. (Alta quickly printed up a batch of new copies.)\u003c/p>\n\u003cfigure id=\"attachment_13954757\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/shange-jane.jpg\" alt=\"\" width=\"1920\" height=\"1492\" class=\"size-full wp-image-13954757\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/shange-jane.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/shange-jane-800x622.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/shange-jane-1020x793.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/shange-jane-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/shange-jane-768x597.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/shange-jane-1536x1194.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Shameless Hussy Press titles included ‘Calamity Jane’s Letters to Her Daughter’ and Ntozake Shange’s ‘for colored girls who have considered suicide / when the rainbow is enuf.’ \u003ccite>(Shameless Hussy Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Running her own press gave Alta tremendous freedom, but it wasn’t a one-woman show.\u003c/p>\n\u003cp>“Everybody was part of the operation,” said her daughter Kia Simon, an independent video editor who sometimes works for KQED. “In elementary school we were making 10 cents an hour to fold books. It was a family business. My stepdad was pumping gas at a service station when they met, and he moved in with us. He was very focused on distribution, and the press actually paid for itself for 10 years.”\u003c/p>\n\u003cfigure id=\"attachment_13954747\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Kia-Simon_2010_Oakland.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13954747\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Kia-Simon_2010_Oakland.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Kia-Simon_2010_Oakland-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Kia-Simon_2010_Oakland-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Kia-Simon_2010_Oakland-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Kia-Simon_2010_Oakland-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Kia-Simon_2010_Oakland-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Alta in Oakland, in 2010. \u003ccite>(Kia Simon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Born in 1942 in Reno, Nevada, Alta was 12 when her family moved to Berkeley so that her brother could attend the California School for the Blind. In the early 1960s, she dropped out of UC Berkeley to teach in the South. After the end of her first marriage to Danny Bosserman, she became caught up in the Bay Area’s literary ferment.\u003c/p>\n\u003cp>When her partnership with poet and noted Spanish-language translator John Oliver Simon ended in 1970, she founded a commune in Oakland for women seeking refuge from abusive relationships, which she wrote about enduring herself. Her second marriage to Daniel “Angel” Skarry in the early 1970s ended in divorce a decade later.\u003c/p>\n\u003cp>Alta’s 1980 book \u003ci>The Shameless Hussy: Selected Stories, Essays and Poetry\u003c/i> won a Before Columbus Foundation American Book Award. Other volumes include 1990’s \u003ci>Traveling Tales: Flings I’ve Flung in Foreign Parts\u003c/i> and 2015’s \u003ci>Another Moment: Living Well with a Dread Disease and Everything That Grows Can Also Shrink\u003c/i>.\u003c/p>\n\u003cfigure id=\"attachment_13954750\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Pam-Strayer_2024.jpg\" alt=\"\" width=\"1440\" height=\"1920\" class=\"size-full wp-image-13954750\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Pam-Strayer_2024.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Pam-Strayer_2024-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Pam-Strayer_2024-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Pam-Strayer_2024-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Pam-Strayer_2024-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Pam-Strayer_2024-1152x1536.jpg 1152w\" sizes=\"(max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">Alta in early 2024. \u003ccite>(Pam Strayer)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Always looking to stay in the mix culturally, she opened Alta Galleria in Berkeley’s Elmwood neighborhood in 2006, representing local artists and artists from China. She was forced to close the gallery due to the financial straits of the 2008 recession. \u003c/p>\n\u003cp>Misdiagnosed with multiple sclerosis, Alta spent many years studying healing and diet while contending with increasingly limited mobility. She was a regular presence in her Temescal neighborhood, hanging out for hours with other writers, academics and artists at Pizzaiolo, where she always had a copy of the \u003cem>Financial Times\u003c/em> and never seemed to pick up a check.\u003c/p>\n\u003cp>“Alta had a superpower for eating for free at restaurants,” Simon said. “There are a bunch of places where she wouldn’t get a bill, and Pizzaiolo was one of them.”\u003c/p>\n\u003cp>Alta is survived by her daughters Lorelei Bosserman of Oakland and Kia Simon of San Francisco, as well as her granddaughter Tesla Rose Moyer. A memorial will be held at noon on April 21 at Chapel of the Chimes in Oakland.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Shameless Hussy \u003c/strong>\u003c/p>\n\u003cp>\u003cem>i am one of the true hussies;\u003cbr>\ni have no shame;\u003cbr>\ni was a housewife, and\u003cbr>\nstretched from the housiness of it (hus)\u003cbr>\nand the wifiness of (wif/hus-wif) to\u003cbr>\na woman who cant bear wifedom (hussy) / i\u003cbr>\ngrew beyond the house, like alice after eating\u003cbr>\ntoo many cookies. exactly what i did; i ate\u003cbr>\ntoo many cookies; lovers, poetry, moving my\u003cbr>\nbody in a new way, an old way, the way women\u003cbr>\nlike me have always moved, largely; with great\u003cbr>\nmotions beyond our allotted sphere, with more\u003cbr>\nneed than fear, and more grace than shame.[1]\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>—By Alta\u003c/strong>\u003c/p>\n\n","blocks":[],"excerpt":"From her East Bay press, the poet published groundbreaking work by Ntozake Shange and others. ","status":"publish","parent":0,"modified":1712689062,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":26,"wordCount":1328},"headData":{"title":"Alta, ‘Shameless Hussy’ and Founder of Nation's First Feminist Press, Dies at 81 | KQED","description":"From her East Bay press, the poet published groundbreaking work by Ntozake Shange and others. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Alta, ‘Shameless Hussy’ and Founder of Nation's First Feminist Press, Dies at 81","datePublished":"2024-03-26T18:45:21.000Z","dateModified":"2024-04-09T18:57:42.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13954709/alta-shameless-hussy-press-dies-at-81","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13954753\" class=\"wp-caption aligncenter\" style=\"max-width: 1533px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Paul-Steinbrink_1972_printing.jpg\" alt=\"A young woman with a short bob haircut stands in a collared shirt and pants at a large metal printing press in a cluttered room.\" width=\"1533\" height=\"1920\" class=\"size-full wp-image-13954753\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Paul-Steinbrink_1972_printing.jpg 1533w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Paul-Steinbrink_1972_printing-800x1002.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Paul-Steinbrink_1972_printing-1020x1277.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Paul-Steinbrink_1972_printing-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Paul-Steinbrink_1972_printing-768x962.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Paul-Steinbrink_1972_printing-1226x1536.jpg 1226w\" sizes=\"(max-width: 1533px) 100vw, 1533px\">\u003cfigcaption class=\"wp-caption-text\">Alta at her printing press, circa 1972. Founded in 1969, Shameless Hussy Press was first to publish the work of Ntozake Shange and others, and is recognized as the first feminist press in the United States. \u003ccite>(Paul Steinbrink)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Alta Gerrey loved being in the thick of the conversation.\u003c/p>\n\u003cp>The award-winning poet, gallerist and people magnet — who published under a single moniker, Alta — kicked down the door to the predominately male preserve of publishing in the early 1970s. With a keen eye for talent, she ushered some of the most consequential women writers of that turbulent era onto the literary scene.\u003c/p>\n\u003cp>She died March 10 at the age of 81, at home in Oakland, after a long struggle with cancer.\u003c/p>\n\u003cfigure id=\"attachment_13954752\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta-70s_unknown.jpg\" alt=\"\" width=\"1920\" height=\"1707\" class=\"size-full wp-image-13954752\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta-70s_unknown.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta-70s_unknown-800x711.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta-70s_unknown-1020x907.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta-70s_unknown-160x142.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta-70s_unknown-768x683.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta-70s_unknown-1536x1366.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Alta in the 1970s. Photographer unknown. \u003ccite>(Courtesy Kia Simon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like many women who joined the feminist movement’s second wave in the late 1960s, Alta had been active in the civil rights movement. After realizing that she and her peers couldn’t get their work published, she launched \u003ca href=\"https://library.ucsc.edu/reg-hist/alta\">the nation’s first feminist press\u003c/a> in 1969, Shameless Hussy Press.\u003c/p>\n\u003cp>The ribald name signaled both Alta’s irreverent sensibility and her openness to writers who were sidelined and ignored by mainstream publishing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I had been reading Anaïs Nin’s diaries, and I knew that she and Henry Miller had made books on a letterpress,” she told Irene Reti in an interview for an essay about Shameless Hussy Press for the UC Santa Cruz University Library, which holds the \u003ca href=\"https://oac.cdlib.org/findaid/ark:/13030/tf396nb2dv/admin/\">Shameless Hussy archives\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13954751\" class=\"wp-caption aligncenter\" style=\"max-width: 1211px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta_shameless-hussy-cover.jpg\" alt=\"\" width=\"1211\" height=\"1920\" class=\"size-full wp-image-13954751\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta_shameless-hussy-cover.jpg 1211w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta_shameless-hussy-cover-800x1268.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta_shameless-hussy-cover-1020x1617.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta_shameless-hussy-cover-160x254.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta_shameless-hussy-cover-768x1218.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta_shameless-hussy-cover-969x1536.jpg 969w\" sizes=\"(max-width: 1211px) 100vw, 1211px\">\u003cfigcaption class=\"wp-caption-text\">Alta’s 1980 anthology, ‘The Shameless Hussy: Selected Stories, Essays and Poetry.’ \u003ccite>(Crossing Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shameless Hussy was the first to publish Ntozake Shange’s \u003cem>for colored girls who have considered suicide / when the rainbow is enuf\u003c/em>, which went on to become a Tony-winning Broadway play. It introduced Mitsuye Yamada, whose \u003cem>Camp Notes and Other Poems\u003c/em> were written during and after her experience in Minidoka, the internment camp in Hunt, Idaho. Shameless Hussy was also the first to publish work by Pat Parker, Susan Griffin, and Mary Mackey.\u003c/p>\n\u003cp>Mackey credits Alta with launching a career that now includes \u003cem>New York Times\u003c/em> best-selling novels and eight volumes of poetry. Even with Fred Cody serving as her agent, Mackey couldn’t find a publisher for her first novel, 1972’s \u003cem>Immersion\u003c/em>, a roman à clef about “a woman looking for her own personal and sexual liberation in the jungles of Costa Rica,” Mackey said. \u003c/p>\n\u003cp>“Alta looked at it and said, ‘I’m going to print it.’ She had the ability to look at a piece of work and not care who you knew, what class you were, or how you identified. She could see things in the work itself,” she said.\u003c/p>\n\u003cfigure id=\"attachment_13954743\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta_1988_Harold-Parrish_gesture.jpg\" alt=\"\" width=\"1920\" height=\"1276\" class=\"size-full wp-image-13954743\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta_1988_Harold-Parrish_gesture.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta_1988_Harold-Parrish_gesture-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta_1988_Harold-Parrish_gesture-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta_1988_Harold-Parrish_gesture-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta_1988_Harold-Parrish_gesture-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta_1988_Harold-Parrish_gesture-1536x1021.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Alta, holding court in 1988. \u003ccite>(Harold Parrish)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Susan Griffin was part of an Oakland women’s group with Alta and had faced multiple rejections from mainstream publishing houses when Shameless Hussy published her books \u003cem>The Sink: Six Short Stories\u003c/em> and \u003cem>dear sky\u003c/em>, a collection of poems. Part of the book deal involved working with Alta’s AB Dick 360 offset press, which she moved to San Lorenzo after receiving multiple death threats from people offended by work she had published.\u003c/p>\n\u003cp>“You would come out to San Lorenzo and help a couple of days in the printing process,” Griffin recalled. “She was a bit wacky, mostly in a great way, but sometimes not. Alta was just one of the most courageous people I knew. She was very very honest, unless she was on purpose not being honest. She would tell you about anything, say anything, or do anything she thought was right. That made her very effective regarding social change.”\u003c/p>\n\u003cp>By the mid 1970s, Alta had returned to Oakland, where she continued printing batches of groundbreaking poetry, essays and novels until 1989. The press’s biggest money maker was \u003cem>Calamity Jane’s Letters to her Daughter\u003c/em>, a collection of uncertain provenance that got increased attention in 2016 when actor Ethan Hawke listed it as one of the best books he’d recently read. (Alta quickly printed up a batch of new copies.)\u003c/p>\n\u003cfigure id=\"attachment_13954757\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/shange-jane.jpg\" alt=\"\" width=\"1920\" height=\"1492\" class=\"size-full wp-image-13954757\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/shange-jane.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/shange-jane-800x622.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/shange-jane-1020x793.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/shange-jane-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/shange-jane-768x597.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/shange-jane-1536x1194.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Shameless Hussy Press titles included ‘Calamity Jane’s Letters to Her Daughter’ and Ntozake Shange’s ‘for colored girls who have considered suicide / when the rainbow is enuf.’ \u003ccite>(Shameless Hussy Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Running her own press gave Alta tremendous freedom, but it wasn’t a one-woman show.\u003c/p>\n\u003cp>“Everybody was part of the operation,” said her daughter Kia Simon, an independent video editor who sometimes works for KQED. “In elementary school we were making 10 cents an hour to fold books. It was a family business. My stepdad was pumping gas at a service station when they met, and he moved in with us. He was very focused on distribution, and the press actually paid for itself for 10 years.”\u003c/p>\n\u003cfigure id=\"attachment_13954747\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Kia-Simon_2010_Oakland.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13954747\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Kia-Simon_2010_Oakland.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Kia-Simon_2010_Oakland-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Kia-Simon_2010_Oakland-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Kia-Simon_2010_Oakland-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Kia-Simon_2010_Oakland-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Kia-Simon_2010_Oakland-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Alta in Oakland, in 2010. \u003ccite>(Kia Simon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Born in 1942 in Reno, Nevada, Alta was 12 when her family moved to Berkeley so that her brother could attend the California School for the Blind. In the early 1960s, she dropped out of UC Berkeley to teach in the South. After the end of her first marriage to Danny Bosserman, she became caught up in the Bay Area’s literary ferment.\u003c/p>\n\u003cp>When her partnership with poet and noted Spanish-language translator John Oliver Simon ended in 1970, she founded a commune in Oakland for women seeking refuge from abusive relationships, which she wrote about enduring herself. Her second marriage to Daniel “Angel” Skarry in the early 1970s ended in divorce a decade later.\u003c/p>\n\u003cp>Alta’s 1980 book \u003ci>The Shameless Hussy: Selected Stories, Essays and Poetry\u003c/i> won a Before Columbus Foundation American Book Award. Other volumes include 1990’s \u003ci>Traveling Tales: Flings I’ve Flung in Foreign Parts\u003c/i> and 2015’s \u003ci>Another Moment: Living Well with a Dread Disease and Everything That Grows Can Also Shrink\u003c/i>.\u003c/p>\n\u003cfigure id=\"attachment_13954750\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Pam-Strayer_2024.jpg\" alt=\"\" width=\"1440\" height=\"1920\" class=\"size-full wp-image-13954750\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Pam-Strayer_2024.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Pam-Strayer_2024-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Pam-Strayer_2024-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Pam-Strayer_2024-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Pam-Strayer_2024-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Pam-Strayer_2024-1152x1536.jpg 1152w\" sizes=\"(max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">Alta in early 2024. \u003ccite>(Pam Strayer)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Always looking to stay in the mix culturally, she opened Alta Galleria in Berkeley’s Elmwood neighborhood in 2006, representing local artists and artists from China. She was forced to close the gallery due to the financial straits of the 2008 recession. \u003c/p>\n\u003cp>Misdiagnosed with multiple sclerosis, Alta spent many years studying healing and diet while contending with increasingly limited mobility. She was a regular presence in her Temescal neighborhood, hanging out for hours with other writers, academics and artists at Pizzaiolo, where she always had a copy of the \u003cem>Financial Times\u003c/em> and never seemed to pick up a check.\u003c/p>\n\u003cp>“Alta had a superpower for eating for free at restaurants,” Simon said. “There are a bunch of places where she wouldn’t get a bill, and Pizzaiolo was one of them.”\u003c/p>\n\u003cp>Alta is survived by her daughters Lorelei Bosserman of Oakland and Kia Simon of San Francisco, as well as her granddaughter Tesla Rose Moyer. A memorial will be held at noon on April 21 at Chapel of the Chimes in Oakland.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Shameless Hussy \u003c/strong>\u003c/p>\n\u003cp>\u003cem>i am one of the true hussies;\u003cbr>\ni have no shame;\u003cbr>\ni was a housewife, and\u003cbr>\nstretched from the housiness of it (hus)\u003cbr>\nand the wifiness of (wif/hus-wif) to\u003cbr>\na woman who cant bear wifedom (hussy) / i\u003cbr>\ngrew beyond the house, like alice after eating\u003cbr>\ntoo many cookies. exactly what i did; i ate\u003cbr>\ntoo many cookies; lovers, poetry, moving my\u003cbr>\nbody in a new way, an old way, the way women\u003cbr>\nlike me have always moved, largely; with great\u003cbr>\nmotions beyond our allotted sphere, with more\u003cbr>\nneed than fear, and more grace than shame.[1]\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>—By Alta\u003c/strong>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13954709/alta-shameless-hussy-press-dies-at-81","authors":["86"],"categories":["arts_1","arts_73","arts_235"],"tags":["arts_1270","arts_10342","arts_10278","arts_1143","arts_1091","arts_1496","arts_22041"],"featImg":"arts_13954754","label":"arts"},"arts_13954520":{"type":"posts","id":"arts_13954520","meta":{"index":"posts_1591205157","site":"arts","id":"13954520","score":null,"sort":[1711043746000]},"guestAuthors":[],"slug":"remembering-zoe-reidy-watts-oakland-artist-poet","title":"Remembering Zoe Reidy Watts, an Artist Who Embodied ‘Radical Love’","publishDate":1711043746,"format":"standard","headTitle":"Remembering Zoe Reidy Watts, an Artist Who Embodied ‘Radical Love’ | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>People close to Zoe Nika Reidy Watts remember her for her exuberant energy. At friends’ shows, she’d usually be in the front, cheering the loudest. In poetry workshops, she would volunteer to share first, making others feel comfortable with getting vulnerable, too. And in the ceramics studio, her warmth and enthusiasm left everyone in the room feeling at ease.\u003c/p>\n\u003cp>The young artist’s death is deeply felt in the many creative communities she was a part of in Oakland and San Francisco. On March 1, the 25-year-old was \u003ca href=\"https://www.mercurynews.com/2024/03/08/oakland-man-charged-with-beating-girlfriend-to-death/\">killed in an alleged domestic violence incident\u003c/a> in her boyfriend Victor Frieson III’s Oakland apartment. Frieson is currently being held without bail on murder charges in Santa Rita Jail in Dublin.\u003c/p>\n\u003cp>“Some people grieve alone. I can’t this time around because my friendship with Zoe was so marked and largely defined by our connection to community,” says musician and activist \u003ca href=\"https://www.instagram.com/jadaimani510\">Jada Imani\u003c/a>, who is \u003ca href=\"https://www.instagram.com/p/C4dqWXNxprl/?img_index=5\">organizing a memorial event\u003c/a> for Reidy Watts at Oakland’s Alan Blueford Center for Justice on March 31. A similar gathering was held recently at Clayroom SF, where Reidy Watts was an artist in residence, and another is planned for \u003ca href=\"https://www.instagram.com/p/C4wmHQsRlOU/?img_index=1\">March 21 at her alma mater\u003c/a>, San Francisco State University.\u003c/p>\n\u003cfigure id=\"attachment_13954539\" class=\"wp-caption aligncenter\" style=\"max-width: 1512px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954539\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_7629.jpeg\" alt=\"\" width=\"1512\" height=\"2016\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_7629.jpeg 1512w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_7629-800x1067.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_7629-1020x1360.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_7629-160x213.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_7629-768x1024.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_7629-1152x1536.jpeg 1152w\" sizes=\"(max-width: 1512px) 100vw, 1512px\">\u003cfigcaption class=\"wp-caption-text\">Zoe Reidy Watts in 2023. \u003ccite>(Eric Peterson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Imani describes her connection with Reidy Watts as “cosmic.” The two became close in high school. They shared the same birthday, and bonded over their mixed Black and white heritage and similar upbringing.\u003c/p>\n\u003cp>“So basically we were twins,” Imani says. “We started just doing life together — making our vision boards together, making art together, visiting jams and cyphers and open mics and gatherings together. And healing, really getting into the generational trauma and challenges, and our role on planet Earth and the kind of people we wanted to be, the magic we wanted to conjure.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Reidy Watts’ artistic talents and drive were evident early on. As a teen, she joined Youth Speaks’ SPOKES Youth Advisory Board, and began performing at poetry slams. Poet \u003ca href=\"https://www.instagram.com/jtlusong/\">Jean JT Teodoro\u003c/a> was the program coordinator at the time, and remembers her enthusiastic, vibrant presence.\u003c/p>\n\u003cp>“She persevered through a lot of struggle [at home],” Teodoro says, “and she [was] also a role model.”\u003c/p>\n\u003cfigure id=\"attachment_13954541\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954541\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_1891-scaled.jpeg\" alt=\"A young woman lays in the grass at Lake Merritt.\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_1891-scaled.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_1891-800x1067.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_1891-1020x1360.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_1891-160x213.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_1891-768x1024.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_1891-1152x1536.jpeg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_1891-1536x2048.jpeg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Zoe Reidy Watts. \u003ccite>(Sasha Tahergorabi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Teodoro never forgot Reidy Watts’ performance at the 2017 Youth Speaks Teen Poetry Slam, where her verses revealed a sharp analysis of class inequality that was well beyond her years. “She was talking about how people were being exploited [and] commodified, and how there are a wealthy few who are taking too much,” they add.\u003c/p>\n\u003cp>In those days, Reidy Watts had a \u003ca href=\"https://www.youtube.com/@crazygirlheartbreaka\">YouTube channel\u003c/a> where she’d upload videos of herself in her bedroom, reciting poems where she reflected on her personal growth and offered encouraging words for others. Over the years, her love of poetry expanded into rapping and hosting open mics.\u003c/p>\n\u003cp>https://youtu.be/vnPhi8HH-N8?si=REYfE2g82ZPTNeTF\u003c/p>\n\u003cp>“She was so unafraid to put her whole self into her art with no embarrassment, no shame,” says musician \u003ca href=\"https://www.instagram.com/1yciaa\">Lycia Yousfi\u003c/a>, another friend since high school. “You would look at it and be like, ‘I feel something from this.’”\u003c/p>\n\u003cp>Yousfi considered Reidy Watts to be an embodiment of what she calls “radical love.” She was “the first person who really pushed me to be positive and be happy despite the circumstances,” Yousfi says.\u003c/p>\n\u003cp>Photographer and interdisciplinary artist \u003ca href=\"https://www.instagram.com/gaia.te/\">Gaia\u003c/a> also had a spiritual connection with Reidy Watts. With another close friend, they formed a spiritual group called Bay Area Brujxs, where they came together to “learn about different types of Indigenous wisdom, altar building, poetry making, painting,” she says.\u003c/p>\n\u003cfigure id=\"attachment_13954547\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954547\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/48057411378_2f29dace91_o-1-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/48057411378_2f29dace91_o-1-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/48057411378_2f29dace91_o-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/48057411378_2f29dace91_o-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/48057411378_2f29dace91_o-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/48057411378_2f29dace91_o-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/48057411378_2f29dace91_o-1-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/48057411378_2f29dace91_o-1-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/48057411378_2f29dace91_o-1-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Zoe Reidy Watts (center) and friends model hoodies she designed. \u003ccite>(Gaia)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Her commitment to community was also evident in the way she supported her friends through challenging life circumstances, including abusive relationships and family problems. Her sisterhood, Gaia says, “healed me through one of the hardest things that I’ve ever had to experience.”\u003c/p>\n\u003cp>Gender-based violence was the subject of a body of screen printed work Reidy Watts created in 2019 for an Oakland exhibition called \u003ca href=\"https://rootsartistregistry.com/eve.html?fbclid=IwAR3xkV1m9xl9D9R2ArBZQslbBYIBYtQaxOfRrnxyxRnZ0zaGPJr8I1K-0kE\">\u003cem>EvE: Empowerment vs. Exploitation\u003c/em>\u003c/a>, presented by the arts nonprofit Tea Roots. She made pieces that addressed her Black foremothers’ trauma, and grappled with her mixed identity.\u003c/p>\n\u003cp>A piece called \u003ci>Ghost Ride the Wind\u003c/i> turned the focus to healing. In her artist statement, Reidy Watts wrote: “The image is one of safety. The mother is passing down the secrets of the wind to her children as they look up to their ancestors riding the wind in the sky. It is these moments of beauty … that we feel safe enough to heal from the trauma in our blood.”\u003c/p>\n\u003cp>In 2020, Reidy Watts worked as a screen printing instructor at Mission Cultural Center for Latino Arts. Two years later, she got a job at Clayroom SF as a technician, and became an \u003ca href=\"https://www.instagram.com/clayroomsf/p/CvtHAVlLpS7/?img_index=1\">artist in residence\u003c/a> in 2023. She spent her residency building out a world of amoeba-like ceramic organisms inspired by her love of nature. \u003ca href=\"https://www.instagram.com/cicada.ceramics/?hl=en\">Jonah Nuñez\u003c/a>, the studio manager at the time, says it became clear she was going through difficulties when she missed sessions, but she was determined to push through and complete her exhibition.\u003c/p>\n\u003cp>“I vividly remember her emotions after the show and how proud she was,” he says. “She kept saying that this is only the start. She immediately applied to other residencies. … It was really cool to see how empowered she felt.”\u003c/p>\n\u003cfigure id=\"attachment_13954544\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954544\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_6756-scaled.jpg\" alt=\"A group of friends laugh together. \" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_6756-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_6756-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_6756-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_6756-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_6756-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_6756-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_6756-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_6756-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Zoe Reidy Watts’ loved ones remember her magnetic personality. \u003ccite>(Gaia)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Reidy Watts’ untimely death has left her many communities devastated. It’s also forced conversations about how to address domestic violence within them. Reidy Watts had previously accused Frieson of abuse and sexual assault, according to police. He has a prior conviction for causing serious bodily injury during a battery, and is a registered sex offender.\u003c/p>\n\u003cp>Reidy Watts’ poetry mentor Teodoro and others say there needs to be a cultural shift of men holding other men accountable. “There’s so much in our culture that normalizes violence against women and violence in general,” they say.\u003c/p>\n\u003cp>“Men in their own circles need to tell their friends to stop doing what they’re doing,” says Yousfi. “Their friends, their brothers, their cousins. Because that’s how you get across to someone, when someone who looks and thinks like them is being like, ‘Yo, this is wrong.’”\u003c/p>\n\u003cp>In addition to holding the vigil at Alan Blueford Center on March 31, Jada Imani is rallying Reidy Watts’ friends and supporters to show up to Frieson’s plea hearing at 9 a.m. on April 10 at Oakland’s Wiley W. Manuel Courthouse, wearing T-shirts and buttons with her image.\u003c/p>\n\u003cp>Though highly critical of the criminal justice system and carceral punishment, Imani says it feels like the only choice here. “This world is unfortunately extremely unimaginative and built on violence,” she says. “And I hate to participate in that with this call for a life sentence. However, I feel I have no other choice.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>A celebration of life for Zoe Reidy Watts takes place at the Alan Blueford Center for Justice (2434 Telegraph Ave., Oakland) on March 31, 3–6 p.m. There will be an altar, story circle, dancing and more.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"The beloved poet, ceramicist and multihyphenate artist was killed March 1 in an alleged domestic violence incident. ","status":"publish","parent":0,"modified":1712689042,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":26,"wordCount":1282},"headData":{"title":"Remembering Zoe Reidy Watts, an Artist at the Start of Her Career | KQED","description":"The beloved poet, ceramicist and multihyphenate artist was killed March 1 in an alleged domestic violence incident. ","ogTitle":"Remembering Zoe Reidy Watts, an Artist Who Embodied ‘Radical Love’","ogDescription":"","ogImgId":"","twTitle":"Remembering Zoe Reidy Watts, an Artist Who Embodied ‘Radical Love’","twDescription":"","twImgId":"","socialTitle":"Remembering Zoe Reidy Watts, an Artist at the Start of Her Career %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Remembering Zoe Reidy Watts, an Artist Who Embodied ‘Radical Love’","datePublished":"2024-03-21T17:55:46.000Z","dateModified":"2024-04-09T18:57:22.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13954520/remembering-zoe-reidy-watts-oakland-artist-poet","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>People close to Zoe Nika Reidy Watts remember her for her exuberant energy. At friends’ shows, she’d usually be in the front, cheering the loudest. In poetry workshops, she would volunteer to share first, making others feel comfortable with getting vulnerable, too. And in the ceramics studio, her warmth and enthusiasm left everyone in the room feeling at ease.\u003c/p>\n\u003cp>The young artist’s death is deeply felt in the many creative communities she was a part of in Oakland and San Francisco. On March 1, the 25-year-old was \u003ca href=\"https://www.mercurynews.com/2024/03/08/oakland-man-charged-with-beating-girlfriend-to-death/\">killed in an alleged domestic violence incident\u003c/a> in her boyfriend Victor Frieson III’s Oakland apartment. Frieson is currently being held without bail on murder charges in Santa Rita Jail in Dublin.\u003c/p>\n\u003cp>“Some people grieve alone. I can’t this time around because my friendship with Zoe was so marked and largely defined by our connection to community,” says musician and activist \u003ca href=\"https://www.instagram.com/jadaimani510\">Jada Imani\u003c/a>, who is \u003ca href=\"https://www.instagram.com/p/C4dqWXNxprl/?img_index=5\">organizing a memorial event\u003c/a> for Reidy Watts at Oakland’s Alan Blueford Center for Justice on March 31. A similar gathering was held recently at Clayroom SF, where Reidy Watts was an artist in residence, and another is planned for \u003ca href=\"https://www.instagram.com/p/C4wmHQsRlOU/?img_index=1\">March 21 at her alma mater\u003c/a>, San Francisco State University.\u003c/p>\n\u003cfigure id=\"attachment_13954539\" class=\"wp-caption aligncenter\" style=\"max-width: 1512px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954539\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_7629.jpeg\" alt=\"\" width=\"1512\" height=\"2016\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_7629.jpeg 1512w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_7629-800x1067.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_7629-1020x1360.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_7629-160x213.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_7629-768x1024.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_7629-1152x1536.jpeg 1152w\" sizes=\"(max-width: 1512px) 100vw, 1512px\">\u003cfigcaption class=\"wp-caption-text\">Zoe Reidy Watts in 2023. \u003ccite>(Eric Peterson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Imani describes her connection with Reidy Watts as “cosmic.” The two became close in high school. They shared the same birthday, and bonded over their mixed Black and white heritage and similar upbringing.\u003c/p>\n\u003cp>“So basically we were twins,” Imani says. “We started just doing life together — making our vision boards together, making art together, visiting jams and cyphers and open mics and gatherings together. And healing, really getting into the generational trauma and challenges, and our role on planet Earth and the kind of people we wanted to be, the magic we wanted to conjure.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Reidy Watts’ artistic talents and drive were evident early on. As a teen, she joined Youth Speaks’ SPOKES Youth Advisory Board, and began performing at poetry slams. Poet \u003ca href=\"https://www.instagram.com/jtlusong/\">Jean JT Teodoro\u003c/a> was the program coordinator at the time, and remembers her enthusiastic, vibrant presence.\u003c/p>\n\u003cp>“She persevered through a lot of struggle [at home],” Teodoro says, “and she [was] also a role model.”\u003c/p>\n\u003cfigure id=\"attachment_13954541\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954541\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_1891-scaled.jpeg\" alt=\"A young woman lays in the grass at Lake Merritt.\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_1891-scaled.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_1891-800x1067.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_1891-1020x1360.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_1891-160x213.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_1891-768x1024.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_1891-1152x1536.jpeg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_1891-1536x2048.jpeg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Zoe Reidy Watts. \u003ccite>(Sasha Tahergorabi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Teodoro never forgot Reidy Watts’ performance at the 2017 Youth Speaks Teen Poetry Slam, where her verses revealed a sharp analysis of class inequality that was well beyond her years. “She was talking about how people were being exploited [and] commodified, and how there are a wealthy few who are taking too much,” they add.\u003c/p>\n\u003cp>In those days, Reidy Watts had a \u003ca href=\"https://www.youtube.com/@crazygirlheartbreaka\">YouTube channel\u003c/a> where she’d upload videos of herself in her bedroom, reciting poems where she reflected on her personal growth and offered encouraging words for others. Over the years, her love of poetry expanded into rapping and hosting open mics.\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/vnPhi8HH-N8'\n title='//www.youtube.com/embed/vnPhi8HH-N8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“She was so unafraid to put her whole self into her art with no embarrassment, no shame,” says musician \u003ca href=\"https://www.instagram.com/1yciaa\">Lycia Yousfi\u003c/a>, another friend since high school. “You would look at it and be like, ‘I feel something from this.’”\u003c/p>\n\u003cp>Yousfi considered Reidy Watts to be an embodiment of what she calls “radical love.” She was “the first person who really pushed me to be positive and be happy despite the circumstances,” Yousfi says.\u003c/p>\n\u003cp>Photographer and interdisciplinary artist \u003ca href=\"https://www.instagram.com/gaia.te/\">Gaia\u003c/a> also had a spiritual connection with Reidy Watts. With another close friend, they formed a spiritual group called Bay Area Brujxs, where they came together to “learn about different types of Indigenous wisdom, altar building, poetry making, painting,” she says.\u003c/p>\n\u003cfigure id=\"attachment_13954547\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954547\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/48057411378_2f29dace91_o-1-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/48057411378_2f29dace91_o-1-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/48057411378_2f29dace91_o-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/48057411378_2f29dace91_o-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/48057411378_2f29dace91_o-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/48057411378_2f29dace91_o-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/48057411378_2f29dace91_o-1-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/48057411378_2f29dace91_o-1-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/48057411378_2f29dace91_o-1-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Zoe Reidy Watts (center) and friends model hoodies she designed. \u003ccite>(Gaia)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Her commitment to community was also evident in the way she supported her friends through challenging life circumstances, including abusive relationships and family problems. Her sisterhood, Gaia says, “healed me through one of the hardest things that I’ve ever had to experience.”\u003c/p>\n\u003cp>Gender-based violence was the subject of a body of screen printed work Reidy Watts created in 2019 for an Oakland exhibition called \u003ca href=\"https://rootsartistregistry.com/eve.html?fbclid=IwAR3xkV1m9xl9D9R2ArBZQslbBYIBYtQaxOfRrnxyxRnZ0zaGPJr8I1K-0kE\">\u003cem>EvE: Empowerment vs. Exploitation\u003c/em>\u003c/a>, presented by the arts nonprofit Tea Roots. She made pieces that addressed her Black foremothers’ trauma, and grappled with her mixed identity.\u003c/p>\n\u003cp>A piece called \u003ci>Ghost Ride the Wind\u003c/i> turned the focus to healing. In her artist statement, Reidy Watts wrote: “The image is one of safety. The mother is passing down the secrets of the wind to her children as they look up to their ancestors riding the wind in the sky. It is these moments of beauty … that we feel safe enough to heal from the trauma in our blood.”\u003c/p>\n\u003cp>In 2020, Reidy Watts worked as a screen printing instructor at Mission Cultural Center for Latino Arts. Two years later, she got a job at Clayroom SF as a technician, and became an \u003ca href=\"https://www.instagram.com/clayroomsf/p/CvtHAVlLpS7/?img_index=1\">artist in residence\u003c/a> in 2023. She spent her residency building out a world of amoeba-like ceramic organisms inspired by her love of nature. \u003ca href=\"https://www.instagram.com/cicada.ceramics/?hl=en\">Jonah Nuñez\u003c/a>, the studio manager at the time, says it became clear she was going through difficulties when she missed sessions, but she was determined to push through and complete her exhibition.\u003c/p>\n\u003cp>“I vividly remember her emotions after the show and how proud she was,” he says. “She kept saying that this is only the start. She immediately applied to other residencies. … It was really cool to see how empowered she felt.”\u003c/p>\n\u003cfigure id=\"attachment_13954544\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954544\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_6756-scaled.jpg\" alt=\"A group of friends laugh together. \" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_6756-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_6756-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_6756-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_6756-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_6756-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_6756-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_6756-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_6756-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Zoe Reidy Watts’ loved ones remember her magnetic personality. \u003ccite>(Gaia)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Reidy Watts’ untimely death has left her many communities devastated. It’s also forced conversations about how to address domestic violence within them. Reidy Watts had previously accused Frieson of abuse and sexual assault, according to police. He has a prior conviction for causing serious bodily injury during a battery, and is a registered sex offender.\u003c/p>\n\u003cp>Reidy Watts’ poetry mentor Teodoro and others say there needs to be a cultural shift of men holding other men accountable. “There’s so much in our culture that normalizes violence against women and violence in general,” they say.\u003c/p>\n\u003cp>“Men in their own circles need to tell their friends to stop doing what they’re doing,” says Yousfi. “Their friends, their brothers, their cousins. Because that’s how you get across to someone, when someone who looks and thinks like them is being like, ‘Yo, this is wrong.’”\u003c/p>\n\u003cp>In addition to holding the vigil at Alan Blueford Center on March 31, Jada Imani is rallying Reidy Watts’ friends and supporters to show up to Frieson’s plea hearing at 9 a.m. on April 10 at Oakland’s Wiley W. Manuel Courthouse, wearing T-shirts and buttons with her image.\u003c/p>\n\u003cp>Though highly critical of the criminal justice system and carceral punishment, Imani says it feels like the only choice here. “This world is unfortunately extremely unimaginative and built on violence,” she says. “And I hate to participate in that with this call for a life sentence. However, I feel I have no other choice.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>A celebration of life for Zoe Reidy Watts takes place at the Alan Blueford Center for Justice (2434 Telegraph Ave., Oakland) on March 31, 3–6 p.m. There will be an altar, story circle, dancing and more.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13954520/remembering-zoe-reidy-watts-oakland-artist-poet","authors":["11387"],"categories":["arts_1","arts_1564"],"tags":["arts_10342","arts_1143","arts_1091","arts_1146"],"featImg":"arts_13954546","label":"arts"},"arts_13954236":{"type":"posts","id":"arts_13954236","meta":{"index":"posts_1591205157","site":"arts","id":"13954236","score":null,"sort":[1710782337000]},"guestAuthors":[],"slug":"photographer-david-johnson-obituary-san-francisco-black-culture","title":"Photographer David Johnson, Who Chronicled San Francisco’s Black Culture, Dies at 97","publishDate":1710782337,"format":"standard","headTitle":"Photographer David Johnson, Who Chronicled San Francisco’s Black Culture, Dies at 97 | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>David Johnson generally wasn’t interested in people posing for his camera.\u003c/p>\n\u003cp>As the photographer and civil rights activist put it in a \u003ca href=\"https://www.youtube.com/watch?v=u0Lcv7xyh-w\">2017 interview\u003c/a> at the University of California, Berkeley: “A big smiling photograph? That wasn’t my style.”\u003c/p>\n\u003cp>Johnson died at his home in Greenbrae, north of San Francisco, earlier this month. According to his stepdaughter, he was suffering from advanced dementia and had pneumonia. He was 97 years old.\u003c/p>\n\u003cp>[aside postID='arts_13950886']Johnson was the first Black student of the famous nature \u003ca href=\"https://www.npr.org/sections/pictureshow/2011/10/07/141149616/retracing-the-steps-of-ansel-adams\">photographer Ansel Adams\u003c/a> and became known as one of the foremost chroniclers of San Francisco’s Black urban culture.\u003c/p>\n\u003cp>In one of his most famous images, shot early in his career in 1946, Johnson depicts a street corner in San Francisco’s Fillmore District — once a hub for the city’s thriving Black community \u003ca href=\"https://www.kqed.org/news/11957757/why-san-franciscos-fillmore-district-is-no-longer-the-harlem-of-the-west\">until redevelopment later in the century\u003c/a> forced nearly all of them out.\u003c/p>\n\u003cfigure id=\"attachment_13954239\" class=\"wp-caption aligncenter\" style=\"max-width: 2016px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/fillmore_custom-53676662fb1086870b49a2b88da8ef2925baba3d-scaled.jpg\" alt=\"Black-and-white photograph of busy street corner with pedestrian, car and bus traffic\" width=\"2016\" height=\"2560\" class=\"size-full wp-image-13954239\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/fillmore_custom-53676662fb1086870b49a2b88da8ef2925baba3d-scaled.jpg 2016w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/fillmore_custom-53676662fb1086870b49a2b88da8ef2925baba3d-800x1016.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/fillmore_custom-53676662fb1086870b49a2b88da8ef2925baba3d-1020x1295.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/fillmore_custom-53676662fb1086870b49a2b88da8ef2925baba3d-160x203.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/fillmore_custom-53676662fb1086870b49a2b88da8ef2925baba3d-768x975.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/fillmore_custom-53676662fb1086870b49a2b88da8ef2925baba3d-1209x1536.jpg 1209w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/fillmore_custom-53676662fb1086870b49a2b88da8ef2925baba3d-1613x2048.jpg 1613w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/fillmore_custom-53676662fb1086870b49a2b88da8ef2925baba3d-1920x2438.jpg 1920w\" sizes=\"(max-width: 2016px) 100vw, 2016px\">\u003cfigcaption class=\"wp-caption-text\">‘Looking South on Fillmore, 1946,’ by David Johnson. \u003ccite>(The David Johnson Photograph Archive, The Bancroft Library, University of California, Berkeley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The image has energetic angles and stark contrasts of light and shadow. And it’s shot from above. In the UC Berkeley interview, Johnson said he clambered up four stories on a nearby construction scaffold to get it.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I focused my camera and took one photograph,” Johnson said. “I was kind of anxious to get this little job over with and go back down to the ground.”\u003c/p>\n\u003ch3>A tough childhood\u003c/h3>\n\u003cp>Johnson was born in 1926 in Jacksonville, Florida, to an impoverished single mother who handed her baby off to be raised by a cousin.\u003c/p>\n\u003cp>In a \u003ca href=\"https://www.kqed.org/forum/201307251030/photographer-david-johnson-capturing-san-franciscos-black-community-in-the-1940s-and-50s\">2013 interview\u003c/a> with KQED, Johnson said he got his first camera by selling magazine subscriptions door-to-door.\u003c/p>\n\u003cp>“I just started snapping pictures around the neighborhood. And I got kind of fascinated with that,” he said.\u003c/p>\n\u003cfigure id=\"attachment_13954237\" class=\"wp-caption aligncenter\" style=\"max-width: 1758px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/dsc_3200plus-copy_custom-2acb66c92b261924a955c36c95f0d174297ce25d-scaled.jpg\" alt=\"Portrait of older person sitting in front of framed photo of young person\" width=\"1758\" height=\"2560\" class=\"size-full wp-image-13954237\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/dsc_3200plus-copy_custom-2acb66c92b261924a955c36c95f0d174297ce25d-scaled.jpg 1758w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/dsc_3200plus-copy_custom-2acb66c92b261924a955c36c95f0d174297ce25d-800x1165.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/dsc_3200plus-copy_custom-2acb66c92b261924a955c36c95f0d174297ce25d-1020x1485.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/dsc_3200plus-copy_custom-2acb66c92b261924a955c36c95f0d174297ce25d-160x233.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/dsc_3200plus-copy_custom-2acb66c92b261924a955c36c95f0d174297ce25d-768x1118.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/dsc_3200plus-copy_custom-2acb66c92b261924a955c36c95f0d174297ce25d-1055x1536.jpg 1055w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/dsc_3200plus-copy_custom-2acb66c92b261924a955c36c95f0d174297ce25d-1407x2048.jpg 1407w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/dsc_3200plus-copy_custom-2acb66c92b261924a955c36c95f0d174297ce25d-1920x2796.jpg 1920w\" sizes=\"(max-width: 1758px) 100vw, 1758px\">\u003cfigcaption class=\"wp-caption-text\">David Johnson in 2023 with one of his photographs, ‘Clarence,’ at an award luncheon at UC Berkeley honoring the photographer. \u003ccite>(Peg Skorpinski)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Johnson was drafted into the U.S. Navy right out of high school. He was stationed in San Francisco, where he fell in love with the city, and was then sent to the Philippines for the remainder of World War II. After returning, he wanted to develop his photography skills in college.\u003c/p>\n\u003cp>It was 1946, and budding photographers were clamoring to get into the program that master lensman Adams had just launched at the California School of Fine Arts in San Francisco (later known as the San Francisco Art Institute). Its star-studded faculty included Minor White, Imogen Cunningham, Edward Weston and Dorothea Lange.\u003c/p>\n\u003ch3>San Francisco-bound\u003c/h3>\n\u003cp>Johnson wanted in. So he sent Adams a letter.\u003c/p>\n\u003cp>“I wrote to Ansel and said, ‘I’m interested in studying photography. I have the GI Bill. And I would like for you to evaluate my [application].’ Ansel wrote me back and said, ‘There are no vacancies in the class,’” he told KQED.\u003c/p>\n\u003cp>But a student dropped out, making room for Johnson.\u003c/p>\n\u003cp>He hopped on a segregated train that took him from Jacksonville to San Francisco. After living in Adams’ house for a while, he eventually found a low-rent room in the Fillmore District and started taking lots of photos.\u003c/p>\n\u003cfigure id=\"attachment_13954240\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/earthakitt-c999363a82294d4177dcc25e58e5746643ec5f4f-scaled.jpg\" alt=\"Signed black-and-white photograph of woman posing with children on a stage\" width=\"2560\" height=\"1920\" class=\"size-full wp-image-13954240\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/earthakitt-c999363a82294d4177dcc25e58e5746643ec5f4f-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/earthakitt-c999363a82294d4177dcc25e58e5746643ec5f4f-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/earthakitt-c999363a82294d4177dcc25e58e5746643ec5f4f-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/earthakitt-c999363a82294d4177dcc25e58e5746643ec5f4f-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/earthakitt-c999363a82294d4177dcc25e58e5746643ec5f4f-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/earthakitt-c999363a82294d4177dcc25e58e5746643ec5f4f-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/earthakitt-c999363a82294d4177dcc25e58e5746643ec5f4f-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/earthakitt-c999363a82294d4177dcc25e58e5746643ec5f4f-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">‘Eartha Kitt with Neighborhood Children, 1947,’ by David Johnson. \u003ccite>( The David Johnson Photograph Archive, The Bancroft Library, University of California, Berkeley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Many of these images appeared decades later in a \u003ca href=\"https://www.youtube.com/watch?v=a8h2meDtdm8&t=186s\">KQED documentary\u003c/a> about the Fillmore’s status — and eventual demise — as one of the country’s most vibrant Black neighborhoods.\u003c/p>\n\u003cp>[aside postID='news_11957757']“He would go to the clubs in the evenings, take incredible photographs of musicians,” said Christine Hult-Lewis, the pictorial curator of special collections at UC Berkeley’s Bancroft Library, which houses the \u003ca href=\"https://search.library.berkeley.edu/discovery/fulldisplay?context=L&vid=01UCS_BER:UCB&search_scope=DN_and_CI&tab=Default_UCLibrarySearch&docid=alma991036750439706532\">David Johnson archive\u003c/a>. “He had very easy relationships with people in the barbershops and the folks in the churches and folks on the streets.”\u003c/p>\n\u003cp>Johnson said his college instructors encouraged these pursuits.\u003c/p>\n\u003cp>“Growing up, most of the photographs I have seen of Black people were just not very complimentary,” he told KQED. “I said, ‘My photographs will have Black people photographed in a dignified manner.’”\u003c/p>\n\u003ch3>Documenting street life, famous figures and civil rights\u003c/h3>\n\u003cp>Hult-Lewis said that as a freelance press photographer, Johnson took candid photos of Black celebrities who came to town, such as Nat King Cole, Paul Robeson and Langston Hughes.\u003c/p>\n\u003cfigure id=\"attachment_13954241\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/natkingcole_custom-c89c2cf3da81bc3d63ec8908ad5869544ec480e9-scaled.jpg\" alt=\"Black-and-white photo of a man signing a book held by another person\" width=\"2560\" height=\"2197\" class=\"size-full wp-image-13954241\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/natkingcole_custom-c89c2cf3da81bc3d63ec8908ad5869544ec480e9-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/natkingcole_custom-c89c2cf3da81bc3d63ec8908ad5869544ec480e9-800x687.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/natkingcole_custom-c89c2cf3da81bc3d63ec8908ad5869544ec480e9-1020x876.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/natkingcole_custom-c89c2cf3da81bc3d63ec8908ad5869544ec480e9-160x137.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/natkingcole_custom-c89c2cf3da81bc3d63ec8908ad5869544ec480e9-768x659.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/natkingcole_custom-c89c2cf3da81bc3d63ec8908ad5869544ec480e9-1536x1318.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/natkingcole_custom-c89c2cf3da81bc3d63ec8908ad5869544ec480e9-2048x1758.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/natkingcole_custom-c89c2cf3da81bc3d63ec8908ad5869544ec480e9-1920x1648.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">‘Nat King Cole at Fairmont Hotel, 1949,’ by David Johnson. \u003ccite>(The David Johnson Photograph Archive, The Bancroft Library, University of California, Berkeley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And he used his camera to spark conversations about civil rights.\u003c/p>\n\u003cp>“There’s one really iconic photograph of a woman listening to a speech and she’s got kind of a dubious look on her face, but in her glasses are reflected the American flag,” Hult-Lewis said. “There’s another incredible photograph of a young African American boy sitting, holding an American flag in the embrace of a sculpture of Abraham Lincoln.”\u003c/p>\n\u003cp>Johnson also often participated in direct political action. He attended the 1963 March on Washington, and organized the first Black caucus at the University of California, San Francisco.\u003c/p>\n\u003cfigure id=\"attachment_13954242\" class=\"wp-caption aligncenter\" style=\"max-width: 1896px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/womanwithglasses_custom-605868833ecd9e4570ec10b33f4c4c6680e849a9-scaled.jpg\" alt=\"Black-and-white photo of American flag reflected in woman's glasses in a crowd\" width=\"1896\" height=\"2560\" class=\"size-full wp-image-13954242\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/womanwithglasses_custom-605868833ecd9e4570ec10b33f4c4c6680e849a9-scaled.jpg 1896w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/womanwithglasses_custom-605868833ecd9e4570ec10b33f4c4c6680e849a9-800x1080.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/womanwithglasses_custom-605868833ecd9e4570ec10b33f4c4c6680e849a9-1020x1377.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/womanwithglasses_custom-605868833ecd9e4570ec10b33f4c4c6680e849a9-160x216.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/womanwithglasses_custom-605868833ecd9e4570ec10b33f4c4c6680e849a9-768x1037.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/womanwithglasses_custom-605868833ecd9e4570ec10b33f4c4c6680e849a9-1137x1536.jpg 1137w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/womanwithglasses_custom-605868833ecd9e4570ec10b33f4c4c6680e849a9-1516x2048.jpg 1516w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/womanwithglasses_custom-605868833ecd9e4570ec10b33f4c4c6680e849a9-1920x2593.jpg 1920w\" sizes=\"(max-width: 1896px) 100vw, 1896px\">\u003cfigcaption class=\"wp-caption-text\">‘Reflections in Glasses, 1963,’ by David Johnson. \u003ccite>( The David Johnson Photograph Archive, The Bancroft Library, University of California, Berkeley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He was part of a group that successfully sued the San Francisco Unified School District to compel them to more fully desegregate the schools,” Hult-Lewis said.\u003c/p>\n\u003cp>Johnson never became a big name like his teacher Adams. By the 1980s he’d stopped taking photos altogether.\u003c/p>\n\u003cp>But interest in Johnson’s work has grown in recent years, as cities across the country grapple with the negative impacts that urban redevelopment can have. His work is in the collection of major institutions, including the \u003ca href=\"https://www.sfmoma.org/artist/David_S._Johnson/\">San Francisco Museum of Modern Art\u003c/a>, and was the subject of a \u003ca href=\"https://www.sfartscommission.org/experience-art/exhibitions/david-johnson-zone-1945-1965\">solo exhibition\u003c/a> at San Francisco City Hall in 2022.\u003c/p>\n\u003cp>“The photographs tell life, life as it was then, life that cannot be duplicated or recreated in today,” Johnson’s wife, Jacqueline Sue, told KQED in 2013. “It’s a marker of history.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Copyright 2024 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"Johnson’s candid photographs captured daily life and historic moments, including the 1963 March on Washington. ","status":"publish","parent":0,"modified":1710782439,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":31,"wordCount":1070},"headData":{"title":"David Johnson, Photographer of Black Culture, Dies at 97 | KQED","description":"Johnson’s candid photographs captured daily life and historic moments, including the 1963 March on Washington. ","ogTitle":"Photographer David Johnson, Who Chronicled San Francisco’s Black Culture, Dies at 97","ogDescription":"","ogImgId":"","twTitle":"Photographer David Johnson, Who Chronicled San Francisco’s Black Culture, Dies at 97","twDescription":"","twImgId":"","socialTitle":"David Johnson, Photographer of Black Culture, Dies at 97 %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Photographer David Johnson, Who Chronicled San Francisco’s Black Culture, Dies at 97","datePublished":"2024-03-18T17:18:57.000Z","dateModified":"2024-03-18T17:20:39.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"WpOldSlug":"photographer-david-johnson-who-chronicled-san-franciscos-black-culture-dies-at-97","nprByline":"Chloe Veltman","nprImageAgency":"Peg Skorpinski","nprStoryId":"1239005042","nprApiLink":"http://api.npr.org/query?id=1239005042&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2024/03/17/1239005042/photographer-david-johnson-san-francisco-black-culture-dead?ft=nprml&f=1239005042","nprRetrievedStory":"1","nprPubDate":"Sun, 17 Mar 2024 05:00:00 -0400","nprStoryDate":"Sun, 17 Mar 2024 05:00:44 -0400","nprLastModifiedDate":"Sun, 17 Mar 2024 05:00:44 -0400","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13954236/photographer-david-johnson-obituary-san-francisco-black-culture","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>David Johnson generally wasn’t interested in people posing for his camera.\u003c/p>\n\u003cp>As the photographer and civil rights activist put it in a \u003ca href=\"https://www.youtube.com/watch?v=u0Lcv7xyh-w\">2017 interview\u003c/a> at the University of California, Berkeley: “A big smiling photograph? That wasn’t my style.”\u003c/p>\n\u003cp>Johnson died at his home in Greenbrae, north of San Francisco, earlier this month. According to his stepdaughter, he was suffering from advanced dementia and had pneumonia. He was 97 years old.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13950886","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Johnson was the first Black student of the famous nature \u003ca href=\"https://www.npr.org/sections/pictureshow/2011/10/07/141149616/retracing-the-steps-of-ansel-adams\">photographer Ansel Adams\u003c/a> and became known as one of the foremost chroniclers of San Francisco’s Black urban culture.\u003c/p>\n\u003cp>In one of his most famous images, shot early in his career in 1946, Johnson depicts a street corner in San Francisco’s Fillmore District — once a hub for the city’s thriving Black community \u003ca href=\"https://www.kqed.org/news/11957757/why-san-franciscos-fillmore-district-is-no-longer-the-harlem-of-the-west\">until redevelopment later in the century\u003c/a> forced nearly all of them out.\u003c/p>\n\u003cfigure id=\"attachment_13954239\" class=\"wp-caption aligncenter\" style=\"max-width: 2016px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/fillmore_custom-53676662fb1086870b49a2b88da8ef2925baba3d-scaled.jpg\" alt=\"Black-and-white photograph of busy street corner with pedestrian, car and bus traffic\" width=\"2016\" height=\"2560\" class=\"size-full wp-image-13954239\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/fillmore_custom-53676662fb1086870b49a2b88da8ef2925baba3d-scaled.jpg 2016w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/fillmore_custom-53676662fb1086870b49a2b88da8ef2925baba3d-800x1016.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/fillmore_custom-53676662fb1086870b49a2b88da8ef2925baba3d-1020x1295.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/fillmore_custom-53676662fb1086870b49a2b88da8ef2925baba3d-160x203.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/fillmore_custom-53676662fb1086870b49a2b88da8ef2925baba3d-768x975.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/fillmore_custom-53676662fb1086870b49a2b88da8ef2925baba3d-1209x1536.jpg 1209w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/fillmore_custom-53676662fb1086870b49a2b88da8ef2925baba3d-1613x2048.jpg 1613w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/fillmore_custom-53676662fb1086870b49a2b88da8ef2925baba3d-1920x2438.jpg 1920w\" sizes=\"(max-width: 2016px) 100vw, 2016px\">\u003cfigcaption class=\"wp-caption-text\">‘Looking South on Fillmore, 1946,’ by David Johnson. \u003ccite>(The David Johnson Photograph Archive, The Bancroft Library, University of California, Berkeley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The image has energetic angles and stark contrasts of light and shadow. And it’s shot from above. In the UC Berkeley interview, Johnson said he clambered up four stories on a nearby construction scaffold to get it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I focused my camera and took one photograph,” Johnson said. “I was kind of anxious to get this little job over with and go back down to the ground.”\u003c/p>\n\u003ch3>A tough childhood\u003c/h3>\n\u003cp>Johnson was born in 1926 in Jacksonville, Florida, to an impoverished single mother who handed her baby off to be raised by a cousin.\u003c/p>\n\u003cp>In a \u003ca href=\"https://www.kqed.org/forum/201307251030/photographer-david-johnson-capturing-san-franciscos-black-community-in-the-1940s-and-50s\">2013 interview\u003c/a> with KQED, Johnson said he got his first camera by selling magazine subscriptions door-to-door.\u003c/p>\n\u003cp>“I just started snapping pictures around the neighborhood. And I got kind of fascinated with that,” he said.\u003c/p>\n\u003cfigure id=\"attachment_13954237\" class=\"wp-caption aligncenter\" style=\"max-width: 1758px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/dsc_3200plus-copy_custom-2acb66c92b261924a955c36c95f0d174297ce25d-scaled.jpg\" alt=\"Portrait of older person sitting in front of framed photo of young person\" width=\"1758\" height=\"2560\" class=\"size-full wp-image-13954237\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/dsc_3200plus-copy_custom-2acb66c92b261924a955c36c95f0d174297ce25d-scaled.jpg 1758w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/dsc_3200plus-copy_custom-2acb66c92b261924a955c36c95f0d174297ce25d-800x1165.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/dsc_3200plus-copy_custom-2acb66c92b261924a955c36c95f0d174297ce25d-1020x1485.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/dsc_3200plus-copy_custom-2acb66c92b261924a955c36c95f0d174297ce25d-160x233.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/dsc_3200plus-copy_custom-2acb66c92b261924a955c36c95f0d174297ce25d-768x1118.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/dsc_3200plus-copy_custom-2acb66c92b261924a955c36c95f0d174297ce25d-1055x1536.jpg 1055w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/dsc_3200plus-copy_custom-2acb66c92b261924a955c36c95f0d174297ce25d-1407x2048.jpg 1407w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/dsc_3200plus-copy_custom-2acb66c92b261924a955c36c95f0d174297ce25d-1920x2796.jpg 1920w\" sizes=\"(max-width: 1758px) 100vw, 1758px\">\u003cfigcaption class=\"wp-caption-text\">David Johnson in 2023 with one of his photographs, ‘Clarence,’ at an award luncheon at UC Berkeley honoring the photographer. \u003ccite>(Peg Skorpinski)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Johnson was drafted into the U.S. Navy right out of high school. He was stationed in San Francisco, where he fell in love with the city, and was then sent to the Philippines for the remainder of World War II. After returning, he wanted to develop his photography skills in college.\u003c/p>\n\u003cp>It was 1946, and budding photographers were clamoring to get into the program that master lensman Adams had just launched at the California School of Fine Arts in San Francisco (later known as the San Francisco Art Institute). Its star-studded faculty included Minor White, Imogen Cunningham, Edward Weston and Dorothea Lange.\u003c/p>\n\u003ch3>San Francisco-bound\u003c/h3>\n\u003cp>Johnson wanted in. So he sent Adams a letter.\u003c/p>\n\u003cp>“I wrote to Ansel and said, ‘I’m interested in studying photography. I have the GI Bill. And I would like for you to evaluate my [application].’ Ansel wrote me back and said, ‘There are no vacancies in the class,’” he told KQED.\u003c/p>\n\u003cp>But a student dropped out, making room for Johnson.\u003c/p>\n\u003cp>He hopped on a segregated train that took him from Jacksonville to San Francisco. After living in Adams’ house for a while, he eventually found a low-rent room in the Fillmore District and started taking lots of photos.\u003c/p>\n\u003cfigure id=\"attachment_13954240\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/earthakitt-c999363a82294d4177dcc25e58e5746643ec5f4f-scaled.jpg\" alt=\"Signed black-and-white photograph of woman posing with children on a stage\" width=\"2560\" height=\"1920\" class=\"size-full wp-image-13954240\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/earthakitt-c999363a82294d4177dcc25e58e5746643ec5f4f-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/earthakitt-c999363a82294d4177dcc25e58e5746643ec5f4f-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/earthakitt-c999363a82294d4177dcc25e58e5746643ec5f4f-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/earthakitt-c999363a82294d4177dcc25e58e5746643ec5f4f-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/earthakitt-c999363a82294d4177dcc25e58e5746643ec5f4f-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/earthakitt-c999363a82294d4177dcc25e58e5746643ec5f4f-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/earthakitt-c999363a82294d4177dcc25e58e5746643ec5f4f-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/earthakitt-c999363a82294d4177dcc25e58e5746643ec5f4f-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">‘Eartha Kitt with Neighborhood Children, 1947,’ by David Johnson. \u003ccite>( The David Johnson Photograph Archive, The Bancroft Library, University of California, Berkeley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Many of these images appeared decades later in a \u003ca href=\"https://www.youtube.com/watch?v=a8h2meDtdm8&t=186s\">KQED documentary\u003c/a> about the Fillmore’s status — and eventual demise — as one of the country’s most vibrant Black neighborhoods.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"news_11957757","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>“He would go to the clubs in the evenings, take incredible photographs of musicians,” said Christine Hult-Lewis, the pictorial curator of special collections at UC Berkeley’s Bancroft Library, which houses the \u003ca href=\"https://search.library.berkeley.edu/discovery/fulldisplay?context=L&vid=01UCS_BER:UCB&search_scope=DN_and_CI&tab=Default_UCLibrarySearch&docid=alma991036750439706532\">David Johnson archive\u003c/a>. “He had very easy relationships with people in the barbershops and the folks in the churches and folks on the streets.”\u003c/p>\n\u003cp>Johnson said his college instructors encouraged these pursuits.\u003c/p>\n\u003cp>“Growing up, most of the photographs I have seen of Black people were just not very complimentary,” he told KQED. “I said, ‘My photographs will have Black people photographed in a dignified manner.’”\u003c/p>\n\u003ch3>Documenting street life, famous figures and civil rights\u003c/h3>\n\u003cp>Hult-Lewis said that as a freelance press photographer, Johnson took candid photos of Black celebrities who came to town, such as Nat King Cole, Paul Robeson and Langston Hughes.\u003c/p>\n\u003cfigure id=\"attachment_13954241\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/natkingcole_custom-c89c2cf3da81bc3d63ec8908ad5869544ec480e9-scaled.jpg\" alt=\"Black-and-white photo of a man signing a book held by another person\" width=\"2560\" height=\"2197\" class=\"size-full wp-image-13954241\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/natkingcole_custom-c89c2cf3da81bc3d63ec8908ad5869544ec480e9-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/natkingcole_custom-c89c2cf3da81bc3d63ec8908ad5869544ec480e9-800x687.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/natkingcole_custom-c89c2cf3da81bc3d63ec8908ad5869544ec480e9-1020x876.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/natkingcole_custom-c89c2cf3da81bc3d63ec8908ad5869544ec480e9-160x137.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/natkingcole_custom-c89c2cf3da81bc3d63ec8908ad5869544ec480e9-768x659.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/natkingcole_custom-c89c2cf3da81bc3d63ec8908ad5869544ec480e9-1536x1318.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/natkingcole_custom-c89c2cf3da81bc3d63ec8908ad5869544ec480e9-2048x1758.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/natkingcole_custom-c89c2cf3da81bc3d63ec8908ad5869544ec480e9-1920x1648.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">‘Nat King Cole at Fairmont Hotel, 1949,’ by David Johnson. \u003ccite>(The David Johnson Photograph Archive, The Bancroft Library, University of California, Berkeley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And he used his camera to spark conversations about civil rights.\u003c/p>\n\u003cp>“There’s one really iconic photograph of a woman listening to a speech and she’s got kind of a dubious look on her face, but in her glasses are reflected the American flag,” Hult-Lewis said. “There’s another incredible photograph of a young African American boy sitting, holding an American flag in the embrace of a sculpture of Abraham Lincoln.”\u003c/p>\n\u003cp>Johnson also often participated in direct political action. He attended the 1963 March on Washington, and organized the first Black caucus at the University of California, San Francisco.\u003c/p>\n\u003cfigure id=\"attachment_13954242\" class=\"wp-caption aligncenter\" style=\"max-width: 1896px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/womanwithglasses_custom-605868833ecd9e4570ec10b33f4c4c6680e849a9-scaled.jpg\" alt=\"Black-and-white photo of American flag reflected in woman's glasses in a crowd\" width=\"1896\" height=\"2560\" class=\"size-full wp-image-13954242\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/womanwithglasses_custom-605868833ecd9e4570ec10b33f4c4c6680e849a9-scaled.jpg 1896w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/womanwithglasses_custom-605868833ecd9e4570ec10b33f4c4c6680e849a9-800x1080.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/womanwithglasses_custom-605868833ecd9e4570ec10b33f4c4c6680e849a9-1020x1377.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/womanwithglasses_custom-605868833ecd9e4570ec10b33f4c4c6680e849a9-160x216.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/womanwithglasses_custom-605868833ecd9e4570ec10b33f4c4c6680e849a9-768x1037.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/womanwithglasses_custom-605868833ecd9e4570ec10b33f4c4c6680e849a9-1137x1536.jpg 1137w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/womanwithglasses_custom-605868833ecd9e4570ec10b33f4c4c6680e849a9-1516x2048.jpg 1516w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/womanwithglasses_custom-605868833ecd9e4570ec10b33f4c4c6680e849a9-1920x2593.jpg 1920w\" sizes=\"(max-width: 1896px) 100vw, 1896px\">\u003cfigcaption class=\"wp-caption-text\">‘Reflections in Glasses, 1963,’ by David Johnson. \u003ccite>( The David Johnson Photograph Archive, The Bancroft Library, University of California, Berkeley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He was part of a group that successfully sued the San Francisco Unified School District to compel them to more fully desegregate the schools,” Hult-Lewis said.\u003c/p>\n\u003cp>Johnson never became a big name like his teacher Adams. By the 1980s he’d stopped taking photos altogether.\u003c/p>\n\u003cp>But interest in Johnson’s work has grown in recent years, as cities across the country grapple with the negative impacts that urban redevelopment can have. His work is in the collection of major institutions, including the \u003ca href=\"https://www.sfmoma.org/artist/David_S._Johnson/\">San Francisco Museum of Modern Art\u003c/a>, and was the subject of a \u003ca href=\"https://www.sfartscommission.org/experience-art/exhibitions/david-johnson-zone-1945-1965\">solo exhibition\u003c/a> at San Francisco City Hall in 2022.\u003c/p>\n\u003cp>“The photographs tell life, life as it was then, life that cannot be duplicated or recreated in today,” Johnson’s wife, Jacqueline Sue, told KQED in 2013. “It’s a marker of history.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Copyright 2024 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13954236/photographer-david-johnson-obituary-san-francisco-black-culture","authors":["byline_arts_13954236"],"categories":["arts_1","arts_835","arts_1564","arts_70"],"tags":["arts_1091","arts_822","arts_1146","arts_2996"],"featImg":"arts_13954238","label":"arts"},"arts_13939862":{"type":"posts","id":"arts_13939862","meta":{"index":"posts_1591205157","site":"arts","id":"13939862","score":null,"sort":[1703797921000]},"guestAuthors":[],"slug":"actors-musicians-writers-and-artists-we-lost-in-2023","title":"Actors, Musicians, Writers and Artists We Lost in 2023","publishDate":1703797921,"format":"standard","headTitle":"Actors, Musicians, Writers and Artists We Lost in 2023 | KQED","labelTerm":{"term":137,"site":"arts"},"content":"\u003cp>The worlds of art, music, literature, film and more lost some of their most notable giants and geniuses in 2023. Here are just a few of the actors, writers, producers, artists and musicians who died in the past year, listed chronologically below by the dates of their deaths.\u003c/p>\n\u003ch2>Free-spirited icon of American rock David Crosby\u003c/h2>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-1152157889_wide-92a9eebc3a40a6e614b4e4d0b2b65cd0ababf712-scaled.jpg\" alt='Black and white photo of man with mustache holding a card that says \"smile\" below his smiling mouth' width=\"2560\" height=\"1440\" class=\"aligncenter size-full wp-image-13939864\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-1152157889_wide-92a9eebc3a40a6e614b4e4d0b2b65cd0ababf712-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-1152157889_wide-92a9eebc3a40a6e614b4e4d0b2b65cd0ababf712-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-1152157889_wide-92a9eebc3a40a6e614b4e4d0b2b65cd0ababf712-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-1152157889_wide-92a9eebc3a40a6e614b4e4d0b2b65cd0ababf712-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-1152157889_wide-92a9eebc3a40a6e614b4e4d0b2b65cd0ababf712-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-1152157889_wide-92a9eebc3a40a6e614b4e4d0b2b65cd0ababf712-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-1152157889_wide-92a9eebc3a40a6e614b4e4d0b2b65cd0ababf712-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-1152157889_wide-92a9eebc3a40a6e614b4e4d0b2b65cd0ababf712-1920x1080.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003c/p>\n\u003cp>Crosby was a prominent figure of the 1970s Laurel Canyon scene who helped bring folk-rock mainstream with both \u003ca href=\"https://www.npr.org/artists/15786738/the-byrds\">The Byrds\u003c/a> and \u003ca href=\"https://www.npr.org/artists/104401754/crosby-stills-nash\">Crosby, Stills & Nash\u003c/a>. He developed a harmony-rich vocal approach and kaleidoscopic sound, which incorporated psychedelic rock, jazz and twangy folk. As a songwriter, Crosby’s canon included the stormy classic “Eight Miles High” and “Almost Cut My Hair” from the hit album \u003cem>Déjà Vu\u003c/em>. He died Jan. 18 at age 81. \u003ca href=\"https://www.npr.org/2023/01/19/750902962/david-crosby-obituary\">Read Annie Zaleski and Eric Westervelt’s remembrance\u003c/a>. \u003c/p>\n\u003ch2>Burt Bacharach, who composed an astonishing number of hits\u003c/h2>\n\u003cfigure id=\"attachment_13939865\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-74253109_wide-542b4d34e60f6187ca433fc1998e1b0e9d5edf8b-scaled.jpg\" alt=\"Black and white photo of a man in white button-down shirt and black tee\" width=\"2560\" height=\"1440\" class=\"size-full wp-image-13939865\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-74253109_wide-542b4d34e60f6187ca433fc1998e1b0e9d5edf8b-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-74253109_wide-542b4d34e60f6187ca433fc1998e1b0e9d5edf8b-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-74253109_wide-542b4d34e60f6187ca433fc1998e1b0e9d5edf8b-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-74253109_wide-542b4d34e60f6187ca433fc1998e1b0e9d5edf8b-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-74253109_wide-542b4d34e60f6187ca433fc1998e1b0e9d5edf8b-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-74253109_wide-542b4d34e60f6187ca433fc1998e1b0e9d5edf8b-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-74253109_wide-542b4d34e60f6187ca433fc1998e1b0e9d5edf8b-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-74253109_wide-542b4d34e60f6187ca433fc1998e1b0e9d5edf8b-1920x1080.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Burt Bacharach circa 1970. \u003ccite>(Michael Ochs Archives/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The visionary pop composer wrote music that sounded simple. But there was nothing simple about the songs now seared in the memories of generations of listeners. They include “I Say a Little Prayer,” “Walk on By,” “What the World Needs Now” and “Raindrops Keep Fallin’ on My Head.” He died on Feb. 8 at age 94. \u003ca href=\"https://www.npr.org/2023/02/09/561555285/burt-bacharach-obituary\">Read Elizabeth Blair’s remembrance\u003c/a>. \u003c/p>\n\u003ch2>Sage of the saxophone and visionary jazz composer Wayne Shorter\u003c/h2>\n\u003cfigure id=\"attachment_13939866\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-1229374563_wide-4ff2d47e1e4c4bb3569194c8f61ef74a5bb7e5e7-scaled.jpg\" alt=\"Black and white photo of man with short afro playing sax, eyes closed\" width=\"2560\" height=\"1440\" class=\"size-full wp-image-13939866\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-1229374563_wide-4ff2d47e1e4c4bb3569194c8f61ef74a5bb7e5e7-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-1229374563_wide-4ff2d47e1e4c4bb3569194c8f61ef74a5bb7e5e7-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-1229374563_wide-4ff2d47e1e4c4bb3569194c8f61ef74a5bb7e5e7-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-1229374563_wide-4ff2d47e1e4c4bb3569194c8f61ef74a5bb7e5e7-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-1229374563_wide-4ff2d47e1e4c4bb3569194c8f61ef74a5bb7e5e7-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-1229374563_wide-4ff2d47e1e4c4bb3569194c8f61ef74a5bb7e5e7-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-1229374563_wide-4ff2d47e1e4c4bb3569194c8f61ef74a5bb7e5e7-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-1229374563_wide-4ff2d47e1e4c4bb3569194c8f61ef74a5bb7e5e7-1920x1080.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Wayne Shorter performing July 18, 1986 in Nice, France. \u003ccite>(Christophe Simon/AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The 12-time Grammy-winning saxophonist and composer created some of the most singular sounds in contemporary jazz over more than half a century. From the hard bop of the late 1950s to genre-defying small-group jazz in the ’60s all the way through the birth of rock-influenced jazz in the ’70s, Shorter’s soprano and tenor saxophones offered sonic clarion calls for change and innovation. He died on March 2 at age 89. \u003ca href=\"https://www.npr.org/2023/03/02/768874324/wayne-shorter-sage-of-the-saxophone-dies-at-89\">Read Felix Contreras’ remembrance\u003c/a>. \u003c/p>\n\u003ch2>Ryuichi Sakamoto, trailblazing godfather of electronic pop\u003c/h2>\n\u003cfigure id=\"attachment_13939867\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-1231059070_wide-84a7d0956b09b0c69a515208f0f6ed66d819106a-scaled.jpg\" alt=\"Man with bleached hair and red tee leans against bridge railing, hand over mouth\" width=\"2560\" height=\"1440\" class=\"size-full wp-image-13939867\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-1231059070_wide-84a7d0956b09b0c69a515208f0f6ed66d819106a-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-1231059070_wide-84a7d0956b09b0c69a515208f0f6ed66d819106a-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-1231059070_wide-84a7d0956b09b0c69a515208f0f6ed66d819106a-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-1231059070_wide-84a7d0956b09b0c69a515208f0f6ed66d819106a-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-1231059070_wide-84a7d0956b09b0c69a515208f0f6ed66d819106a-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-1231059070_wide-84a7d0956b09b0c69a515208f0f6ed66d819106a-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-1231059070_wide-84a7d0956b09b0c69a515208f0f6ed66d819106a-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-1231059070_wide-84a7d0956b09b0c69a515208f0f6ed66d819106a-1920x1080.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Ryuichi Sakamoto on June 6, 1996 in Paris, France. \u003ccite>(Thomas Coex/AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Japanese composer was one of the first musicians to bring electronic production into popular songcraft though his band Yellow Magic Orchestra. As a solo artist, he collaborated with the likes of David Bowie and Iggy Pop. Sakamoto also scored such movies as Pedro Almodóvar’s \u003cem>High Heels \u003c/em>and Bernardo Bertolucci’s \u003cem>The Last Emperor, \u003c/em>which earned him an Oscar, a Golden Globe and a Grammy. He died March 28 at age 71. \u003ca href=\"https://www.npr.org/2023/04/02/959184720/ryuichi-sakamoto-a-godfather-of-electronic-pop-has-died\">Read Anastasia Tsioulcas’ remembrance\u003c/a>.\u003c/p>\n\u003ch2>Raghavan Iyer, an icon of accessible Indian cooking in the U.S.\u003c/h2>\n\u003cp>https://www.instagram.com/p/Co79Nm3uoKk/\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The chef and author did much to popularize Indian cooking in non-South Asian kitchens through an approachable series of books that encouraged straying from traditional preparations. He also created a line of frozen dinners sold at Target. Iyer’s final book, \u003cem>On the Curry Trail\u003c/em>, was published just a few months before his death. He died March 31 at age 61. \u003ca href=\"https://www.npr.org/2023/03/01/1160396265/iconic-indian-american-chef-reflects-on-his-life-and-the-healing-power-of-food\">Listen back to Iyer’s 2023 interview with Ari Shapiro\u003c/a>.\u003c/p>\n\u003ch2>Designer Mary Quant, who styled London’s Swinging ’60s\u003c/h2>\n\u003cfigure id=\"attachment_13939869\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-3378908_wide-41f59a1d638f1741b44e6c64411c4a23c819fd3e-scaled.jpg\" alt=\"Black and white photo of woman with precise bob haircut in mod-style dress\" width=\"2560\" height=\"1439\" class=\"size-full wp-image-13939869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-3378908_wide-41f59a1d638f1741b44e6c64411c4a23c819fd3e-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-3378908_wide-41f59a1d638f1741b44e6c64411c4a23c819fd3e-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-3378908_wide-41f59a1d638f1741b44e6c64411c4a23c819fd3e-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-3378908_wide-41f59a1d638f1741b44e6c64411c4a23c819fd3e-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-3378908_wide-41f59a1d638f1741b44e6c64411c4a23c819fd3e-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-3378908_wide-41f59a1d638f1741b44e6c64411c4a23c819fd3e-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-3378908_wide-41f59a1d638f1741b44e6c64411c4a23c819fd3e-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-3378908_wide-41f59a1d638f1741b44e6c64411c4a23c819fd3e-1920x1080.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Mary Quant getting her hair cut by Vidal Sassoon on Nov. 10, 1964 \u003ccite>(Ronald Dumont/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of the most influential designers of her era, Dame Mary Quant is credited with spreading the gospel of hot pants, miniskirts, colorful tights, waterproof mascara, baby wale corduroy, dresses with pockets, shiny PVC raincoats and Vidal Sassoon bobs. While only in her 20s, Quant opened a shop on Kings Road that evolved into a global fashion brand. She died April 13 at age 93. \u003ca href=\"https://www.npr.org/2023/04/13/1112008523/mary-quant-obituary\">Read Neda Ulaby’s remembrance\u003c/a>. \u003c/p>\n\u003ch2>Ahmad Jamal, who helped define American jazz for nearly a century\u003c/h2>\n\u003cfigure id=\"attachment_13939870\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-585569840_wide-d7e2b78823dae66a527e13d2e9f973f1378cf99b-scaled.jpg\" alt=\"Black man in sunglasses and white shirt smiles\" width=\"2560\" height=\"1440\" class=\"size-full wp-image-13939870\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-585569840_wide-d7e2b78823dae66a527e13d2e9f973f1378cf99b-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-585569840_wide-d7e2b78823dae66a527e13d2e9f973f1378cf99b-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-585569840_wide-d7e2b78823dae66a527e13d2e9f973f1378cf99b-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-585569840_wide-d7e2b78823dae66a527e13d2e9f973f1378cf99b-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-585569840_wide-d7e2b78823dae66a527e13d2e9f973f1378cf99b-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-585569840_wide-d7e2b78823dae66a527e13d2e9f973f1378cf99b-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-585569840_wide-d7e2b78823dae66a527e13d2e9f973f1378cf99b-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-585569840_wide-d7e2b78823dae66a527e13d2e9f973f1378cf99b-1920x1080.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Ahmad Jamal at the Marciac Jazz Festival on Aug. 3, 2016. \u003ccite>(Rémy Gabalda/AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Over eight decades of performance, jazz pianist Ahmad Jamal influenced everyone from Miles Davis to MacArthur Award-winning pianist Jason Moran. He recorded scores of records, including his 1963 crossover hit “Poinciana,” which stayed on the charts for 108 weeks. He died April 16 at age 92. \u003ca href=\"https://www.npr.org/2023/04/16/846207919/ahmad-jamal-obituary\">Read Martin Johnson’s remembrance\u003c/a>.\u003c/p>\n\u003ch2>Harry Belafonte: singer, actor, activist and an EGOT for the ages\u003c/h2>\n\u003cfigure id=\"attachment_13939871\" class=\"wp-caption aligncenter\" style=\"max-width: 1738px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-51530022_wide-fca5fc79466424d8dc6bcae074c9e7ec24a49de3.jpg\" alt=\"Man with arms outstretched and mouth open against colorful backdrop\" width=\"1738\" height=\"978\" class=\"size-full wp-image-13939871\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-51530022_wide-fca5fc79466424d8dc6bcae074c9e7ec24a49de3.jpg 1738w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-51530022_wide-fca5fc79466424d8dc6bcae074c9e7ec24a49de3-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-51530022_wide-fca5fc79466424d8dc6bcae074c9e7ec24a49de3-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-51530022_wide-fca5fc79466424d8dc6bcae074c9e7ec24a49de3-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-51530022_wide-fca5fc79466424d8dc6bcae074c9e7ec24a49de3-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-51530022_wide-fca5fc79466424d8dc6bcae074c9e7ec24a49de3-1536x864.jpg 1536w\" sizes=\"(max-width: 1738px) 100vw, 1738px\">\u003cfigcaption class=\"wp-caption-text\">Harry Belafonte photographed in November 1969. \u003ccite>(AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Easily one of the 20th century’s most charismatic performers, Belafonte won an Emmy, Grammy, Oscar and Tony award. In the 1950s, he set off a craze for calypso music with his chart-topping recording of “Day-O” (also known as “The Banana Boat Song”). Among other achievements, Belafonte helped organize the 1963 Freedom March on Washington. He died April 25 at age 96. \u003ca href=\"https://www.npr.org/2023/04/25/516446742/harry-belafonte-dead\">Read Elizabeth Blair’s remembrance\u003c/a>. \u003c/p>\n\u003ch2>Incomparable soul and rock powerhouse Tina Turner\u003c/h2>\n\u003cfigure id=\"attachment_13939872\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-566906851_wide-13dffabcbaa4d1845d540125dc5a99eb1560d8df-scaled.jpg\" alt=\"Black and white photo of woman singing into mic\" width=\"2560\" height=\"1439\" class=\"size-full wp-image-13939872\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-566906851_wide-13dffabcbaa4d1845d540125dc5a99eb1560d8df-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-566906851_wide-13dffabcbaa4d1845d540125dc5a99eb1560d8df-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-566906851_wide-13dffabcbaa4d1845d540125dc5a99eb1560d8df-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-566906851_wide-13dffabcbaa4d1845d540125dc5a99eb1560d8df-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-566906851_wide-13dffabcbaa4d1845d540125dc5a99eb1560d8df-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-566906851_wide-13dffabcbaa4d1845d540125dc5a99eb1560d8df-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-566906851_wide-13dffabcbaa4d1845d540125dc5a99eb1560d8df-2048x1151.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-566906851_wide-13dffabcbaa4d1845d540125dc5a99eb1560d8df-1920x1079.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Tina Turner in 1985. \u003ccite>(Brian Rasic/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>An eight-time Grammy winner, Turner was known for her octave-defying voice and mesmerizing stage moves. In a recording career that spanned six decades, she found fame both as a solo artist and in a duo with her first husband, Ike Turner. Her story of surviving his abuse became the basis of the 1993 biopic \u003cem>What’s Love Got to Do with It\u003c/em>. She died May 24 at age 83. \u003ca href=\"https://www.npr.org/2023/05/24/834507345/tina-turner-rock-and-roll-icon-dead-at-83\">Read Annie Zaleski’s remembrance\u003c/a>.\u003c/p>\n\u003ch2>NPR correspondent Wade Goodwyn, known for keen storytelling\u003c/h2>\n\u003cfigure id=\"attachment_13939873\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/npr_wade_goodwin_001_wide-308efbc96848ef15239b45598d164d2f01c90c0c-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1440\" class=\"size-full wp-image-13939873\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/npr_wade_goodwin_001_wide-308efbc96848ef15239b45598d164d2f01c90c0c-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/npr_wade_goodwin_001_wide-308efbc96848ef15239b45598d164d2f01c90c0c-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/npr_wade_goodwin_001_wide-308efbc96848ef15239b45598d164d2f01c90c0c-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/npr_wade_goodwin_001_wide-308efbc96848ef15239b45598d164d2f01c90c0c-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/npr_wade_goodwin_001_wide-308efbc96848ef15239b45598d164d2f01c90c0c-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/npr_wade_goodwin_001_wide-308efbc96848ef15239b45598d164d2f01c90c0c-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/npr_wade_goodwin_001_wide-308efbc96848ef15239b45598d164d2f01c90c0c-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/npr_wade_goodwin_001_wide-308efbc96848ef15239b45598d164d2f01c90c0c-1920x1080.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Wade Goodwyn at NPR headquarters in Washington, D.C. on Sept. 27, 2018. \u003ccite>(Allison Shelley/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Texas-based radio journalist reported on his home state for the better part of three decades. His top stories included coverage of the Oklahoma City bombing, school shootings,\u003ca href=\"https://www.npr.org/2017/08/30/547373259/rescue-operations-continue-in-houston-as-harvey-makes-landfall-in-louisiana\"> hurricanes\u003c/a>, the \u003ca href=\"https://www.npr.org/2015/02/11/385537402/american-sniper-trial-opens-in-texas\">American Sniper murder trial\u003c/a> and the \u003ca href=\"https://www.npr.org/2020/11/13/933924470/boy-scouts-of-america-sexual-abuse-victims-seek-justice-in-bankruptcy-court\">Boy Scouts sexual abuse scandal\u003c/a>. Known for his soothing bass baritone, Goodwyn was widely admired by his colleagues. He died June 8 at age 63. \u003ca href=\"https://www.npr.org/2023/06/08/1167837454/wade-goodwyn-npr-correspondent-dies\">Read Debbie Elliott’s remembrance\u003c/a>.\u003c/p>\n\u003ch2>‘Crouching Tiger, Hidden Dragon’ singer CoCo Lee\u003c/h2>\n\u003cfigure id=\"attachment_13939887\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1157532076.jpg\" alt=\"Woman in elaborate metal and black costume holds arms up, mic in one hand\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13939887\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1157532076.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1157532076-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1157532076-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1157532076-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1157532076-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1157532076-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Coco Lee performs during a June 21, 2019 concert at the Taipei Arena. \u003ccite>(Visual China Group via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She was the Mandarin voice of the title character in Disney’s animated movie \u003cem>Mulan\u003c/em> and a hitmaker in three languages. The Hong Kong-born singer was a huge star in Asia. Lee recorded 18 studio albums and became the first person of Chinese descent to perform at the Academy Awards with her rendition of “A Love Before Time” in 2001 from the movie \u003cem>Crouching Tiger, Hidden Dragon\u003c/em>. She died July 5 at age 48. \u003ca href=\"https://www.npr.org/2023/07/06/1186186904/coco-lee-singer-dies-crouching-tiger-hidden-dragon-mulan\">Read Chloe Veltman’s remembrance\u003c/a>.\u003c/p>\n\u003ch2>Tony Bennett, whose silky voice epitomized the American Songbook\u003c/h2>\n\u003cfigure id=\"attachment_13939874\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-1124271337_wide-75d0df94c4803121ffca4d235d227c1026ad6a4f-scaled.jpg\" alt=\"Black and white image of man signing autograph in dressing room\" width=\"2560\" height=\"1440\" class=\"size-full wp-image-13939874\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-1124271337_wide-75d0df94c4803121ffca4d235d227c1026ad6a4f-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-1124271337_wide-75d0df94c4803121ffca4d235d227c1026ad6a4f-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-1124271337_wide-75d0df94c4803121ffca4d235d227c1026ad6a4f-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-1124271337_wide-75d0df94c4803121ffca4d235d227c1026ad6a4f-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-1124271337_wide-75d0df94c4803121ffca4d235d227c1026ad6a4f-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-1124271337_wide-75d0df94c4803121ffca4d235d227c1026ad6a4f-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-1124271337_wide-75d0df94c4803121ffca4d235d227c1026ad6a4f-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-1124271337_wide-75d0df94c4803121ffca4d235d227c1026ad6a4f-1920x1080.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Tony Bennett in 1988 after a concert in Stockholm. \u003ccite>(Bernt Claesson/Pressens Bild/AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bennett began as a suave crooner in the 1950s and quickly established himself as one of radio’s most popular hit makers. He was a showman, with an intimate nightclub sensibility. Bennett used his celebrity on behalf of civil rights and later in life replenished his fandom through collaborations with musicians ranging from k.d. lang to Lady Gaga. He died July 21 at age 96. \u003ca href=\"https://www.npr.org/2023/07/21/260757258/tony-bennett-king-of-the-american-songbook-dead-at-96\">Read Walter Ray Watson’s remembrance here\u003c/a>. \u003c/p>\n\u003ch2>Irish singer Sinéad O’Connor, whose music was loved globally\u003c/h2>\n\u003cfigure id=\"attachment_13939875\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-1735311_custom-9358203d78965c5d7c58b64adb9f5b3bffe2d105-scaled.jpg\" alt=\"Woman with shaved hair in pink polo shirt sings with eyes closed\" width=\"2560\" height=\"1668\" class=\"size-full wp-image-13939875\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-1735311_custom-9358203d78965c5d7c58b64adb9f5b3bffe2d105-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-1735311_custom-9358203d78965c5d7c58b64adb9f5b3bffe2d105-800x521.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-1735311_custom-9358203d78965c5d7c58b64adb9f5b3bffe2d105-1020x665.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-1735311_custom-9358203d78965c5d7c58b64adb9f5b3bffe2d105-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-1735311_custom-9358203d78965c5d7c58b64adb9f5b3bffe2d105-768x500.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-1735311_custom-9358203d78965c5d7c58b64adb9f5b3bffe2d105-1536x1001.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-1735311_custom-9358203d78965c5d7c58b64adb9f5b3bffe2d105-2048x1334.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-1735311_custom-9358203d78965c5d7c58b64adb9f5b3bffe2d105-1920x1251.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Sinead O’Connor at a concert on Jan. 18, 2003 at The Point Theatre in Dublin, Ireland. \u003ccite>(Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sinéad O’Connor was known for her intense and beautiful voice, her political convictions, and the personal tumult that overtook her later years. Her album, \u003cem>I Do Not Want What I Haven’t Got\u003c/em>, went double platinum in 1990. At the height of her fame, she elicited howls of outrage for her prescient warnings against sexual abuse in the Catholic Church. She died July 26 at age 56. \u003ca href=\"https://www.npr.org/2023/07/26/529671631/irish-singer-sinead-oconnor-has-died-at-56\">Read Neda Ulaby and Anastasia Tsioulcas’ remembrance here\u003c/a>. \u003c/p>\n\u003ch2>Paul Reubens, the actor better known as Pee-wee Herman\u003c/h2>\n\u003cfigure id=\"attachment_13939876\" class=\"wp-caption aligncenter\" style=\"max-width: 1940px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/ap091207034728_wide-95aaa31a33d1d692ec9aac6ca45b82795fc27529.jpg\" alt=\"Man with crew cut hair in gray suit and red bow tie holds hands up and mouth open\" width=\"1940\" height=\"1091\" class=\"size-full wp-image-13939876\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/ap091207034728_wide-95aaa31a33d1d692ec9aac6ca45b82795fc27529.jpg 1940w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/ap091207034728_wide-95aaa31a33d1d692ec9aac6ca45b82795fc27529-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/ap091207034728_wide-95aaa31a33d1d692ec9aac6ca45b82795fc27529-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/ap091207034728_wide-95aaa31a33d1d692ec9aac6ca45b82795fc27529-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/ap091207034728_wide-95aaa31a33d1d692ec9aac6ca45b82795fc27529-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/ap091207034728_wide-95aaa31a33d1d692ec9aac6ca45b82795fc27529-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/ap091207034728_wide-95aaa31a33d1d692ec9aac6ca45b82795fc27529-1920x1080.jpg 1920w\" sizes=\"(max-width: 1940px) 100vw, 1940px\">\u003cfigcaption class=\"wp-caption-text\">Paul Reubens portraying Pee-wee Herman on Dec. 7, 2009 in Los Angeles. \u003ccite>(Danny Moloshok/AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Joyful, odd and subversive, Paul Reubens’ character rode his bicycle through 1980s pop culture in a red bow tie and tight gray suit, shouting, “I know you are but what am I?” First created in the sketch comedy group \u003cem>The Groundlings\u003c/em>, Pee-wee found a devoted fandom through TV shows and in movies. He died July 30 at age 70. \u003ca href=\"https://www.npr.org/2023/07/31/1191104833/pee-wee-herman-dead-paul-reubens\">Read Glen Weldon’s remembrance\u003c/a>. \u003c/p>\n\u003ch2>Writer and activist Roberto Rodríguez, who chronicled Chicano life\u003c/h2>\n\u003cfigure id=\"attachment_13939877\" class=\"wp-caption aligncenter\" style=\"max-width: 1140px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/rodriguez-roberto_cropped_wide-f03510ed80d99b2196edcf2f030afea7288bb3c1.jpg\" alt=\"Man in hat stands in front of tiled wall\" width=\"1140\" height=\"641\" class=\"size-full wp-image-13939877\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/rodriguez-roberto_cropped_wide-f03510ed80d99b2196edcf2f030afea7288bb3c1.jpg 1140w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/rodriguez-roberto_cropped_wide-f03510ed80d99b2196edcf2f030afea7288bb3c1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/rodriguez-roberto_cropped_wide-f03510ed80d99b2196edcf2f030afea7288bb3c1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/rodriguez-roberto_cropped_wide-f03510ed80d99b2196edcf2f030afea7288bb3c1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/rodriguez-roberto_cropped_wide-f03510ed80d99b2196edcf2f030afea7288bb3c1-768x432.jpg 768w\" sizes=\"(max-width: 1140px) 100vw, 1140px\">\u003cfigcaption class=\"wp-caption-text\">Roberto Rodríguez in an undated photo. \u003ccite>(Special Collections at the University of Arizona Libraries)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 1979, reporter Roberto Rodríguez witnessed police brutality in Los Angeles. While trying to document it, he was attacked by L.A. County Sheriff’s deputies, ending up hospitalized for days. That led him to write \u003cem>Justice: A Question of Race\u003c/em>. Over the years, he also wrote poems and articles, taught at the University of Arizona and became one of the most prominent Chicano writers. He died July 31 at age 69. \u003ca href=\"https://www.npr.org/2023/08/04/1192070333/prolific-writer-on-chicano-life-roberto-rodriguez-dies-at-69\">Hear A Martínez’s remembrance\u003c/a>.\u003c/p>\n\u003ch2>Trop rock king Jimmy Buffett, who lived life like one of his songs\u003c/h2>\n\u003cfigure id=\"attachment_13939878\" class=\"wp-caption aligncenter\" style=\"max-width: 2405px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-932640872_wide-e610f904e324a05d3c10ed4c24290e0c52cf7e84.jpg\" alt=\"Man in hawaiian shirt and flower lei holds guitar in one hand and points finger up, mouth open\" width=\"2405\" height=\"1352\" class=\"size-full wp-image-13939878\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-932640872_wide-e610f904e324a05d3c10ed4c24290e0c52cf7e84.jpg 2405w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-932640872_wide-e610f904e324a05d3c10ed4c24290e0c52cf7e84-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-932640872_wide-e610f904e324a05d3c10ed4c24290e0c52cf7e84-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-932640872_wide-e610f904e324a05d3c10ed4c24290e0c52cf7e84-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-932640872_wide-e610f904e324a05d3c10ed4c24290e0c52cf7e84-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-932640872_wide-e610f904e324a05d3c10ed4c24290e0c52cf7e84-1536x863.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-932640872_wide-e610f904e324a05d3c10ed4c24290e0c52cf7e84-2048x1151.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-932640872_wide-e610f904e324a05d3c10ed4c24290e0c52cf7e84-1920x1079.jpg 1920w\" sizes=\"(max-width: 2405px) 100vw, 2405px\">\u003cfigcaption class=\"wp-caption-text\">Jimmy Buffett takes a bow on March 15, 2018 at the opening night of ‘Escape to Margaritavilla’ a Broadway musical at the Marquis Theatre, New York City. \u003ccite>(Noam Galai/Getty Images for Escape To Margaritaville)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even though “Margaritaville” was his only top 10 hit, Jimmy Buffett sold out venues for decades. His fans, known as Parrotheads, developed their own subculture. Over the years, Buffett built that laid-back island brand into a sprawling business empire — restaurants, hotels, merchandise, even retirement communities. He died Sept. 1 at age 76. \u003ca href=\"https://www.npr.org/2023/09/02/1197440754/remembering-jimmy-buffett\">Hear Scott Detrow’s remembrance here\u003c/a>. \u003c/p>\n\u003ch2>Fernando Botero, one of Latin America’s most celebrated artists\u003c/h2>\n\u003cfigure id=\"attachment_13939879\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/2023-09-15t170041z_637788282_rc2493au5xh9_rtrmadp_3_people-botero_slide-71402ee291ed977f57aa9cee4d6e21fc58677bf3-scaled.jpg\" alt=\"Man in suit and sunglasses holds a door handle with images of paintings behind him\" width=\"2560\" height=\"1707\" class=\"size-full wp-image-13939879\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/2023-09-15t170041z_637788282_rc2493au5xh9_rtrmadp_3_people-botero_slide-71402ee291ed977f57aa9cee4d6e21fc58677bf3-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/2023-09-15t170041z_637788282_rc2493au5xh9_rtrmadp_3_people-botero_slide-71402ee291ed977f57aa9cee4d6e21fc58677bf3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/2023-09-15t170041z_637788282_rc2493au5xh9_rtrmadp_3_people-botero_slide-71402ee291ed977f57aa9cee4d6e21fc58677bf3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/2023-09-15t170041z_637788282_rc2493au5xh9_rtrmadp_3_people-botero_slide-71402ee291ed977f57aa9cee4d6e21fc58677bf3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/2023-09-15t170041z_637788282_rc2493au5xh9_rtrmadp_3_people-botero_slide-71402ee291ed977f57aa9cee4d6e21fc58677bf3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/2023-09-15t170041z_637788282_rc2493au5xh9_rtrmadp_3_people-botero_slide-71402ee291ed977f57aa9cee4d6e21fc58677bf3-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/2023-09-15t170041z_637788282_rc2493au5xh9_rtrmadp_3_people-botero_slide-71402ee291ed977f57aa9cee4d6e21fc58677bf3-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/2023-09-15t170041z_637788282_rc2493au5xh9_rtrmadp_3_people-botero_slide-71402ee291ed977f57aa9cee4d6e21fc58677bf3-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Fernando Botero in Medellín, Colombia on Jan. 30, 2015. \u003ccite>(Fredy Builes/Reuters)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Known for his whimsical, rotund figures that poked fun at the upper class of his native Colombia, Botero also explored political themes ranging from drug violence to abuses by U.S. military personal in Abu Ghraib. The artist’s work can be seen at many major museums around the world, including the \u003ca href=\"https://artsandculture.google.com/partner/museo-botero-bogota\">Museo Botero\u003c/a> in Bogotá. He died Sept. 15 at age 91. \u003ca href=\"https://www.npr.org/2023/09/15/1199762401/fernando-botero-colombian-artist-dies\">Read John Otis’ remembrance\u003c/a>.\u003c/p>\n\u003ch2>Khaled Khalifa, a titan of contemporary Arabic literature\u003c/h2>\n\u003cfigure id=\"attachment_13939880\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-1219619731_wide-8c6495e9b55dbb11de256aa7e9206f64e11f5e93-scaled.jpg\" alt=\"Man with white and gray beard in black shirt sits with one arm raised, talking\" width=\"2560\" height=\"1440\" class=\"size-full wp-image-13939880\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-1219619731_wide-8c6495e9b55dbb11de256aa7e9206f64e11f5e93-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-1219619731_wide-8c6495e9b55dbb11de256aa7e9206f64e11f5e93-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-1219619731_wide-8c6495e9b55dbb11de256aa7e9206f64e11f5e93-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-1219619731_wide-8c6495e9b55dbb11de256aa7e9206f64e11f5e93-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-1219619731_wide-8c6495e9b55dbb11de256aa7e9206f64e11f5e93-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-1219619731_wide-8c6495e9b55dbb11de256aa7e9206f64e11f5e93-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-1219619731_wide-8c6495e9b55dbb11de256aa7e9206f64e11f5e93-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-1219619731_wide-8c6495e9b55dbb11de256aa7e9206f64e11f5e93-1920x1080.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Khaled Khalifa in Damascus, Syria on June 2, 2020. \u003ccite>(Louai Beshara/AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A celebrated poet, screenwriter and novelist, Khalifa was known for his outspoken nature and proclivity to critique Syria’s government, resulting in his work sometimes being banned. His 2016 novel, \u003cem>Death Is Hard Work\u003c/em> lays bare the anguish of his country’s brutal civil war. He died Sept. 30 at age 59. \u003ca href=\"https://www.npr.org/2023/10/06/1204349572/syrian-author-khaled-khalifa-a-titan-of-contemporary-arabic-literature-dies-at-5\">Hear a remembrance\u003c/a>. \u003c/p>\n\u003ch2>Nobel Prize-winning poet Louise Glück\u003c/h2>\n\u003cfigure id=\"attachment_13939881\" class=\"wp-caption aligncenter\" style=\"max-width: 2381px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-459274466_wide-c52b9eb4a38a3c1b9f7d6f20db110c9a917c2609.jpg\" alt=\"Woman with short hair and glasses stands behind podium, speaking into mic\" width=\"2381\" height=\"1339\" class=\"size-full wp-image-13939881\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-459274466_wide-c52b9eb4a38a3c1b9f7d6f20db110c9a917c2609.jpg 2381w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-459274466_wide-c52b9eb4a38a3c1b9f7d6f20db110c9a917c2609-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-459274466_wide-c52b9eb4a38a3c1b9f7d6f20db110c9a917c2609-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-459274466_wide-c52b9eb4a38a3c1b9f7d6f20db110c9a917c2609-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-459274466_wide-c52b9eb4a38a3c1b9f7d6f20db110c9a917c2609-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-459274466_wide-c52b9eb4a38a3c1b9f7d6f20db110c9a917c2609-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-459274466_wide-c52b9eb4a38a3c1b9f7d6f20db110c9a917c2609-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-459274466_wide-c52b9eb4a38a3c1b9f7d6f20db110c9a917c2609-1920x1080.jpg 1920w\" sizes=\"(max-width: 2381px) 100vw, 2381px\">\u003cfigcaption class=\"wp-caption-text\">Louise Gluck at the National Book Awards on Nov. 19, 2014 in New York City. \u003ccite>(Robin Marchant/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Her spare, incisive verse won fistfuls of awards, including the Pulitzer Prize, the National Humanities Medal and the National Book Award. Her 2020 \u003ca href=\"https://www.nobelprize.org/prizes/literature/2020/summary/\">Nobel citation\u003c/a> praised “her unmistakable poetic voice that with austere beauty makes individual existence universal.” But Glück’s first book was rejected 28 times. She died Oct. 13 at age 80. \u003ca href=\"https://www.npr.org/2023/10/13/1205851483/louise-gluck-dead\">Read Chloe Veltman’s remembrance\u003c/a>.\u003c/p>\n\u003ch2>Richard Roundtree, ‘Shaft’ star and one of the coolest actors ever\u003c/h2>\n\u003cfigure id=\"attachment_13939888\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1423493039_2000.jpg\" alt=\"Man in hat and pink suit jacket leans on white couch\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13939888\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1423493039_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1423493039_2000-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1423493039_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1423493039_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1423493039_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1423493039_2000-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1423493039_2000-1920x1281.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Richard Roundtree at the Toronto International Film Festival on Sept. 13, 2022. \u003ccite>(Michael Loccisano/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Shaft\u003c/em> brought audiences one of the first Black action heroes, embodied by Roundtree in a sweeping leather coat and ineffable style. The 1971 low-budget movie became a smash hit and helped create an entire genre: Blaxploitation. The actor starred in a few \u003cem>Shaft\u003c/em> sequels and appeared in more than 150 movie and TV shows, ranging from \u003cem>Roots\u003c/em> to \u003cem>Desperate Housewives\u003c/em> to \u003cem>Being Mary Jane\u003c/em>. He died Oct. 24 at age 81. \u003ca href=\"https://www.npr.org/2023/10/25/1208391418/richard-roundtree-star-of-shaft-dies-at-81\">Read Neda Ulaby’s remembrance\u003c/a>. \u003c/p>\n\u003ch2>‘Friends’ star Matthew Perry, who became a spokesperson for recovery\u003c/h2>\n\u003cfigure id=\"attachment_13939882\" class=\"wp-caption aligncenter\" style=\"max-width: 1577px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-856914_wide-a05a3d721bfc81293204268a8caaa48d8626cb98.jpg\" alt=\"White man in black suit and tie, blue background\" width=\"1577\" height=\"887\" class=\"size-full wp-image-13939882\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-856914_wide-a05a3d721bfc81293204268a8caaa48d8626cb98.jpg 1577w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-856914_wide-a05a3d721bfc81293204268a8caaa48d8626cb98-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-856914_wide-a05a3d721bfc81293204268a8caaa48d8626cb98-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-856914_wide-a05a3d721bfc81293204268a8caaa48d8626cb98-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-856914_wide-a05a3d721bfc81293204268a8caaa48d8626cb98-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-856914_wide-a05a3d721bfc81293204268a8caaa48d8626cb98-1536x864.jpg 1536w\" sizes=\"(max-width: 1577px) 100vw, 1577px\">\u003cfigcaption class=\"wp-caption-text\">Matthew Perry in 1999. \u003ccite>(Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The actor achieved extraordinary celebrity as snarky Chandler Bing, an offbeat heartthrob over 10 seasons of one of the most successful TV sitcoms ever. Perry chronicled an epic struggle with addiction to drugs and alcohol in his 2022 \u003ca href=\"https://us.macmillan.com/books/9781250866448/friendsloversandthebigterriblething\">memoir\u003c/a>, estimating he’d spent half of his life in treatment. He died Oct. 28 at age 54. \u003ca href=\"https://www.npr.org/2023/10/28/1209291002/matthew-perry-dead-friends\">Read Emma Bowman’s remembrance\u003c/a>. \u003c/p>\n\u003ch2>Norman Lear, who made funny sitcoms about serious topics\u003c/h2>\n\u003cfigure id=\"attachment_13939883\" class=\"wp-caption aligncenter\" style=\"max-width: 1488px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/ap790329037-f1f7c15aae3b8906f7ec52137928633e2f24337b.jpg\" alt=\"Black and white photo of older man in white hat and suit\" width=\"1488\" height=\"1116\" class=\"size-full wp-image-13939883\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/ap790329037-f1f7c15aae3b8906f7ec52137928633e2f24337b.jpg 1488w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/ap790329037-f1f7c15aae3b8906f7ec52137928633e2f24337b-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/ap790329037-f1f7c15aae3b8906f7ec52137928633e2f24337b-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/ap790329037-f1f7c15aae3b8906f7ec52137928633e2f24337b-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/ap790329037-f1f7c15aae3b8906f7ec52137928633e2f24337b-768x576.jpg 768w\" sizes=\"(max-width: 1488px) 100vw, 1488px\">\u003cfigcaption class=\"wp-caption-text\">Norman Lear in his Los Angeles office in March 1979. \u003ccite>(AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the 1970s and ’80s, Norman Lear dominated network television with hugely popular hits that included \u003cem>All in the Family\u003c/em>, \u003cem>The Jeffersons\u003c/em>, \u003cem>Maude\u003c/em> and \u003cem>Mary Hartman, Mary Hartman\u003c/em>. His shows tackled racial prejudice, addiction, abortion and other social issues. Lear was also a liberal political activist whose causes included free speech and voter registration. He died Dec. 5 at age 101. \u003ca href=\"https://www.npr.org/2023/12/06/334890639/norman-lear-who-made-funny-sitcoms-about-serious-topics-dies-at-101\">Read Selena Simmons-Duffin’s remembrance\u003c/a>.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>Copyright 2023 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"Some giants of the arts world left us this year, including Harry Belafonte, Tina Turner and Sinéad O'Connor.","status":"publish","parent":0,"modified":1705002942,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":27,"wordCount":2203},"headData":{"title":"Actors, Musicians, Writers and Artists We Lost in 2023 | KQED","description":"Some giants of the arts world left us this year, including Harry Belafonte, Tina Turner and Sinéad O'Connor.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Actors, Musicians, Writers and Artists We Lost in 2023","datePublished":"2023-12-28T21:12:01.000Z","dateModified":"2024-01-11T19:55:42.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Neda Ulaby","nprStoryId":"1217683485","nprApiLink":"http://api.npr.org/query?id=1217683485&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2023/12/28/1217683485/died-in-2023?ft=nprml&f=1217683485","nprRetrievedStory":"1","nprPubDate":"Thu, 28 Dec 2023 05:00:00 -0500","nprStoryDate":"Thu, 28 Dec 2023 05:00:19 -0500","nprLastModifiedDate":"Thu, 28 Dec 2023 05:00:19 -0500","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13939862/actors-musicians-writers-and-artists-we-lost-in-2023","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The worlds of art, music, literature, film and more lost some of their most notable giants and geniuses in 2023. Here are just a few of the actors, writers, producers, artists and musicians who died in the past year, listed chronologically below by the dates of their deaths.\u003c/p>\n\u003ch2>Free-spirited icon of American rock David Crosby\u003c/h2>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-1152157889_wide-92a9eebc3a40a6e614b4e4d0b2b65cd0ababf712-scaled.jpg\" alt='Black and white photo of man with mustache holding a card that says \"smile\" below his smiling mouth' width=\"2560\" height=\"1440\" class=\"aligncenter size-full wp-image-13939864\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-1152157889_wide-92a9eebc3a40a6e614b4e4d0b2b65cd0ababf712-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-1152157889_wide-92a9eebc3a40a6e614b4e4d0b2b65cd0ababf712-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-1152157889_wide-92a9eebc3a40a6e614b4e4d0b2b65cd0ababf712-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-1152157889_wide-92a9eebc3a40a6e614b4e4d0b2b65cd0ababf712-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-1152157889_wide-92a9eebc3a40a6e614b4e4d0b2b65cd0ababf712-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-1152157889_wide-92a9eebc3a40a6e614b4e4d0b2b65cd0ababf712-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-1152157889_wide-92a9eebc3a40a6e614b4e4d0b2b65cd0ababf712-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-1152157889_wide-92a9eebc3a40a6e614b4e4d0b2b65cd0ababf712-1920x1080.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003c/p>\n\u003cp>Crosby was a prominent figure of the 1970s Laurel Canyon scene who helped bring folk-rock mainstream with both \u003ca href=\"https://www.npr.org/artists/15786738/the-byrds\">The Byrds\u003c/a> and \u003ca href=\"https://www.npr.org/artists/104401754/crosby-stills-nash\">Crosby, Stills & Nash\u003c/a>. He developed a harmony-rich vocal approach and kaleidoscopic sound, which incorporated psychedelic rock, jazz and twangy folk. As a songwriter, Crosby’s canon included the stormy classic “Eight Miles High” and “Almost Cut My Hair” from the hit album \u003cem>Déjà Vu\u003c/em>. He died Jan. 18 at age 81. \u003ca href=\"https://www.npr.org/2023/01/19/750902962/david-crosby-obituary\">Read Annie Zaleski and Eric Westervelt’s remembrance\u003c/a>. \u003c/p>\n\u003ch2>Burt Bacharach, who composed an astonishing number of hits\u003c/h2>\n\u003cfigure id=\"attachment_13939865\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-74253109_wide-542b4d34e60f6187ca433fc1998e1b0e9d5edf8b-scaled.jpg\" alt=\"Black and white photo of a man in white button-down shirt and black tee\" width=\"2560\" height=\"1440\" class=\"size-full wp-image-13939865\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-74253109_wide-542b4d34e60f6187ca433fc1998e1b0e9d5edf8b-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-74253109_wide-542b4d34e60f6187ca433fc1998e1b0e9d5edf8b-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-74253109_wide-542b4d34e60f6187ca433fc1998e1b0e9d5edf8b-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-74253109_wide-542b4d34e60f6187ca433fc1998e1b0e9d5edf8b-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-74253109_wide-542b4d34e60f6187ca433fc1998e1b0e9d5edf8b-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-74253109_wide-542b4d34e60f6187ca433fc1998e1b0e9d5edf8b-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-74253109_wide-542b4d34e60f6187ca433fc1998e1b0e9d5edf8b-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-74253109_wide-542b4d34e60f6187ca433fc1998e1b0e9d5edf8b-1920x1080.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Burt Bacharach circa 1970. \u003ccite>(Michael Ochs Archives/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The visionary pop composer wrote music that sounded simple. But there was nothing simple about the songs now seared in the memories of generations of listeners. They include “I Say a Little Prayer,” “Walk on By,” “What the World Needs Now” and “Raindrops Keep Fallin’ on My Head.” He died on Feb. 8 at age 94. \u003ca href=\"https://www.npr.org/2023/02/09/561555285/burt-bacharach-obituary\">Read Elizabeth Blair’s remembrance\u003c/a>. \u003c/p>\n\u003ch2>Sage of the saxophone and visionary jazz composer Wayne Shorter\u003c/h2>\n\u003cfigure id=\"attachment_13939866\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-1229374563_wide-4ff2d47e1e4c4bb3569194c8f61ef74a5bb7e5e7-scaled.jpg\" alt=\"Black and white photo of man with short afro playing sax, eyes closed\" width=\"2560\" height=\"1440\" class=\"size-full wp-image-13939866\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-1229374563_wide-4ff2d47e1e4c4bb3569194c8f61ef74a5bb7e5e7-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-1229374563_wide-4ff2d47e1e4c4bb3569194c8f61ef74a5bb7e5e7-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-1229374563_wide-4ff2d47e1e4c4bb3569194c8f61ef74a5bb7e5e7-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-1229374563_wide-4ff2d47e1e4c4bb3569194c8f61ef74a5bb7e5e7-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-1229374563_wide-4ff2d47e1e4c4bb3569194c8f61ef74a5bb7e5e7-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-1229374563_wide-4ff2d47e1e4c4bb3569194c8f61ef74a5bb7e5e7-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-1229374563_wide-4ff2d47e1e4c4bb3569194c8f61ef74a5bb7e5e7-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-1229374563_wide-4ff2d47e1e4c4bb3569194c8f61ef74a5bb7e5e7-1920x1080.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Wayne Shorter performing July 18, 1986 in Nice, France. \u003ccite>(Christophe Simon/AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The 12-time Grammy-winning saxophonist and composer created some of the most singular sounds in contemporary jazz over more than half a century. From the hard bop of the late 1950s to genre-defying small-group jazz in the ’60s all the way through the birth of rock-influenced jazz in the ’70s, Shorter’s soprano and tenor saxophones offered sonic clarion calls for change and innovation. He died on March 2 at age 89. \u003ca href=\"https://www.npr.org/2023/03/02/768874324/wayne-shorter-sage-of-the-saxophone-dies-at-89\">Read Felix Contreras’ remembrance\u003c/a>. \u003c/p>\n\u003ch2>Ryuichi Sakamoto, trailblazing godfather of electronic pop\u003c/h2>\n\u003cfigure id=\"attachment_13939867\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-1231059070_wide-84a7d0956b09b0c69a515208f0f6ed66d819106a-scaled.jpg\" alt=\"Man with bleached hair and red tee leans against bridge railing, hand over mouth\" width=\"2560\" height=\"1440\" class=\"size-full wp-image-13939867\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-1231059070_wide-84a7d0956b09b0c69a515208f0f6ed66d819106a-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-1231059070_wide-84a7d0956b09b0c69a515208f0f6ed66d819106a-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-1231059070_wide-84a7d0956b09b0c69a515208f0f6ed66d819106a-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-1231059070_wide-84a7d0956b09b0c69a515208f0f6ed66d819106a-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-1231059070_wide-84a7d0956b09b0c69a515208f0f6ed66d819106a-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-1231059070_wide-84a7d0956b09b0c69a515208f0f6ed66d819106a-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-1231059070_wide-84a7d0956b09b0c69a515208f0f6ed66d819106a-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-1231059070_wide-84a7d0956b09b0c69a515208f0f6ed66d819106a-1920x1080.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Ryuichi Sakamoto on June 6, 1996 in Paris, France. \u003ccite>(Thomas Coex/AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Japanese composer was one of the first musicians to bring electronic production into popular songcraft though his band Yellow Magic Orchestra. As a solo artist, he collaborated with the likes of David Bowie and Iggy Pop. Sakamoto also scored such movies as Pedro Almodóvar’s \u003cem>High Heels \u003c/em>and Bernardo Bertolucci’s \u003cem>The Last Emperor, \u003c/em>which earned him an Oscar, a Golden Globe and a Grammy. He died March 28 at age 71. \u003ca href=\"https://www.npr.org/2023/04/02/959184720/ryuichi-sakamoto-a-godfather-of-electronic-pop-has-died\">Read Anastasia Tsioulcas’ remembrance\u003c/a>.\u003c/p>\n\u003ch2>Raghavan Iyer, an icon of accessible Indian cooking in the U.S.\u003c/h2>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"instagramLink","attributes":{"named":{"instagramId":"Co79Nm3uoKk"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The chef and author did much to popularize Indian cooking in non-South Asian kitchens through an approachable series of books that encouraged straying from traditional preparations. He also created a line of frozen dinners sold at Target. Iyer’s final book, \u003cem>On the Curry Trail\u003c/em>, was published just a few months before his death. He died March 31 at age 61. \u003ca href=\"https://www.npr.org/2023/03/01/1160396265/iconic-indian-american-chef-reflects-on-his-life-and-the-healing-power-of-food\">Listen back to Iyer’s 2023 interview with Ari Shapiro\u003c/a>.\u003c/p>\n\u003ch2>Designer Mary Quant, who styled London’s Swinging ’60s\u003c/h2>\n\u003cfigure id=\"attachment_13939869\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-3378908_wide-41f59a1d638f1741b44e6c64411c4a23c819fd3e-scaled.jpg\" alt=\"Black and white photo of woman with precise bob haircut in mod-style dress\" width=\"2560\" height=\"1439\" class=\"size-full wp-image-13939869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-3378908_wide-41f59a1d638f1741b44e6c64411c4a23c819fd3e-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-3378908_wide-41f59a1d638f1741b44e6c64411c4a23c819fd3e-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-3378908_wide-41f59a1d638f1741b44e6c64411c4a23c819fd3e-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-3378908_wide-41f59a1d638f1741b44e6c64411c4a23c819fd3e-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-3378908_wide-41f59a1d638f1741b44e6c64411c4a23c819fd3e-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-3378908_wide-41f59a1d638f1741b44e6c64411c4a23c819fd3e-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-3378908_wide-41f59a1d638f1741b44e6c64411c4a23c819fd3e-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-3378908_wide-41f59a1d638f1741b44e6c64411c4a23c819fd3e-1920x1080.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Mary Quant getting her hair cut by Vidal Sassoon on Nov. 10, 1964 \u003ccite>(Ronald Dumont/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of the most influential designers of her era, Dame Mary Quant is credited with spreading the gospel of hot pants, miniskirts, colorful tights, waterproof mascara, baby wale corduroy, dresses with pockets, shiny PVC raincoats and Vidal Sassoon bobs. While only in her 20s, Quant opened a shop on Kings Road that evolved into a global fashion brand. She died April 13 at age 93. \u003ca href=\"https://www.npr.org/2023/04/13/1112008523/mary-quant-obituary\">Read Neda Ulaby’s remembrance\u003c/a>. \u003c/p>\n\u003ch2>Ahmad Jamal, who helped define American jazz for nearly a century\u003c/h2>\n\u003cfigure id=\"attachment_13939870\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-585569840_wide-d7e2b78823dae66a527e13d2e9f973f1378cf99b-scaled.jpg\" alt=\"Black man in sunglasses and white shirt smiles\" width=\"2560\" height=\"1440\" class=\"size-full wp-image-13939870\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-585569840_wide-d7e2b78823dae66a527e13d2e9f973f1378cf99b-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-585569840_wide-d7e2b78823dae66a527e13d2e9f973f1378cf99b-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-585569840_wide-d7e2b78823dae66a527e13d2e9f973f1378cf99b-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-585569840_wide-d7e2b78823dae66a527e13d2e9f973f1378cf99b-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-585569840_wide-d7e2b78823dae66a527e13d2e9f973f1378cf99b-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-585569840_wide-d7e2b78823dae66a527e13d2e9f973f1378cf99b-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-585569840_wide-d7e2b78823dae66a527e13d2e9f973f1378cf99b-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-585569840_wide-d7e2b78823dae66a527e13d2e9f973f1378cf99b-1920x1080.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Ahmad Jamal at the Marciac Jazz Festival on Aug. 3, 2016. \u003ccite>(Rémy Gabalda/AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Over eight decades of performance, jazz pianist Ahmad Jamal influenced everyone from Miles Davis to MacArthur Award-winning pianist Jason Moran. He recorded scores of records, including his 1963 crossover hit “Poinciana,” which stayed on the charts for 108 weeks. He died April 16 at age 92. \u003ca href=\"https://www.npr.org/2023/04/16/846207919/ahmad-jamal-obituary\">Read Martin Johnson’s remembrance\u003c/a>.\u003c/p>\n\u003ch2>Harry Belafonte: singer, actor, activist and an EGOT for the ages\u003c/h2>\n\u003cfigure id=\"attachment_13939871\" class=\"wp-caption aligncenter\" style=\"max-width: 1738px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-51530022_wide-fca5fc79466424d8dc6bcae074c9e7ec24a49de3.jpg\" alt=\"Man with arms outstretched and mouth open against colorful backdrop\" width=\"1738\" height=\"978\" class=\"size-full wp-image-13939871\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-51530022_wide-fca5fc79466424d8dc6bcae074c9e7ec24a49de3.jpg 1738w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-51530022_wide-fca5fc79466424d8dc6bcae074c9e7ec24a49de3-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-51530022_wide-fca5fc79466424d8dc6bcae074c9e7ec24a49de3-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-51530022_wide-fca5fc79466424d8dc6bcae074c9e7ec24a49de3-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-51530022_wide-fca5fc79466424d8dc6bcae074c9e7ec24a49de3-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-51530022_wide-fca5fc79466424d8dc6bcae074c9e7ec24a49de3-1536x864.jpg 1536w\" sizes=\"(max-width: 1738px) 100vw, 1738px\">\u003cfigcaption class=\"wp-caption-text\">Harry Belafonte photographed in November 1969. \u003ccite>(AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Easily one of the 20th century’s most charismatic performers, Belafonte won an Emmy, Grammy, Oscar and Tony award. In the 1950s, he set off a craze for calypso music with his chart-topping recording of “Day-O” (also known as “The Banana Boat Song”). Among other achievements, Belafonte helped organize the 1963 Freedom March on Washington. He died April 25 at age 96. \u003ca href=\"https://www.npr.org/2023/04/25/516446742/harry-belafonte-dead\">Read Elizabeth Blair’s remembrance\u003c/a>. \u003c/p>\n\u003ch2>Incomparable soul and rock powerhouse Tina Turner\u003c/h2>\n\u003cfigure id=\"attachment_13939872\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-566906851_wide-13dffabcbaa4d1845d540125dc5a99eb1560d8df-scaled.jpg\" alt=\"Black and white photo of woman singing into mic\" width=\"2560\" height=\"1439\" class=\"size-full wp-image-13939872\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-566906851_wide-13dffabcbaa4d1845d540125dc5a99eb1560d8df-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-566906851_wide-13dffabcbaa4d1845d540125dc5a99eb1560d8df-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-566906851_wide-13dffabcbaa4d1845d540125dc5a99eb1560d8df-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-566906851_wide-13dffabcbaa4d1845d540125dc5a99eb1560d8df-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-566906851_wide-13dffabcbaa4d1845d540125dc5a99eb1560d8df-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-566906851_wide-13dffabcbaa4d1845d540125dc5a99eb1560d8df-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-566906851_wide-13dffabcbaa4d1845d540125dc5a99eb1560d8df-2048x1151.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-566906851_wide-13dffabcbaa4d1845d540125dc5a99eb1560d8df-1920x1079.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Tina Turner in 1985. \u003ccite>(Brian Rasic/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>An eight-time Grammy winner, Turner was known for her octave-defying voice and mesmerizing stage moves. In a recording career that spanned six decades, she found fame both as a solo artist and in a duo with her first husband, Ike Turner. Her story of surviving his abuse became the basis of the 1993 biopic \u003cem>What’s Love Got to Do with It\u003c/em>. She died May 24 at age 83. \u003ca href=\"https://www.npr.org/2023/05/24/834507345/tina-turner-rock-and-roll-icon-dead-at-83\">Read Annie Zaleski’s remembrance\u003c/a>.\u003c/p>\n\u003ch2>NPR correspondent Wade Goodwyn, known for keen storytelling\u003c/h2>\n\u003cfigure id=\"attachment_13939873\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/npr_wade_goodwin_001_wide-308efbc96848ef15239b45598d164d2f01c90c0c-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1440\" class=\"size-full wp-image-13939873\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/npr_wade_goodwin_001_wide-308efbc96848ef15239b45598d164d2f01c90c0c-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/npr_wade_goodwin_001_wide-308efbc96848ef15239b45598d164d2f01c90c0c-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/npr_wade_goodwin_001_wide-308efbc96848ef15239b45598d164d2f01c90c0c-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/npr_wade_goodwin_001_wide-308efbc96848ef15239b45598d164d2f01c90c0c-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/npr_wade_goodwin_001_wide-308efbc96848ef15239b45598d164d2f01c90c0c-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/npr_wade_goodwin_001_wide-308efbc96848ef15239b45598d164d2f01c90c0c-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/npr_wade_goodwin_001_wide-308efbc96848ef15239b45598d164d2f01c90c0c-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/npr_wade_goodwin_001_wide-308efbc96848ef15239b45598d164d2f01c90c0c-1920x1080.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Wade Goodwyn at NPR headquarters in Washington, D.C. on Sept. 27, 2018. \u003ccite>(Allison Shelley/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Texas-based radio journalist reported on his home state for the better part of three decades. His top stories included coverage of the Oklahoma City bombing, school shootings,\u003ca href=\"https://www.npr.org/2017/08/30/547373259/rescue-operations-continue-in-houston-as-harvey-makes-landfall-in-louisiana\"> hurricanes\u003c/a>, the \u003ca href=\"https://www.npr.org/2015/02/11/385537402/american-sniper-trial-opens-in-texas\">American Sniper murder trial\u003c/a> and the \u003ca href=\"https://www.npr.org/2020/11/13/933924470/boy-scouts-of-america-sexual-abuse-victims-seek-justice-in-bankruptcy-court\">Boy Scouts sexual abuse scandal\u003c/a>. Known for his soothing bass baritone, Goodwyn was widely admired by his colleagues. He died June 8 at age 63. \u003ca href=\"https://www.npr.org/2023/06/08/1167837454/wade-goodwyn-npr-correspondent-dies\">Read Debbie Elliott’s remembrance\u003c/a>.\u003c/p>\n\u003ch2>‘Crouching Tiger, Hidden Dragon’ singer CoCo Lee\u003c/h2>\n\u003cfigure id=\"attachment_13939887\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1157532076.jpg\" alt=\"Woman in elaborate metal and black costume holds arms up, mic in one hand\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13939887\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1157532076.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1157532076-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1157532076-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1157532076-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1157532076-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1157532076-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Coco Lee performs during a June 21, 2019 concert at the Taipei Arena. \u003ccite>(Visual China Group via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She was the Mandarin voice of the title character in Disney’s animated movie \u003cem>Mulan\u003c/em> and a hitmaker in three languages. The Hong Kong-born singer was a huge star in Asia. Lee recorded 18 studio albums and became the first person of Chinese descent to perform at the Academy Awards with her rendition of “A Love Before Time” in 2001 from the movie \u003cem>Crouching Tiger, Hidden Dragon\u003c/em>. She died July 5 at age 48. \u003ca href=\"https://www.npr.org/2023/07/06/1186186904/coco-lee-singer-dies-crouching-tiger-hidden-dragon-mulan\">Read Chloe Veltman’s remembrance\u003c/a>.\u003c/p>\n\u003ch2>Tony Bennett, whose silky voice epitomized the American Songbook\u003c/h2>\n\u003cfigure id=\"attachment_13939874\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-1124271337_wide-75d0df94c4803121ffca4d235d227c1026ad6a4f-scaled.jpg\" alt=\"Black and white image of man signing autograph in dressing room\" width=\"2560\" height=\"1440\" class=\"size-full wp-image-13939874\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-1124271337_wide-75d0df94c4803121ffca4d235d227c1026ad6a4f-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-1124271337_wide-75d0df94c4803121ffca4d235d227c1026ad6a4f-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-1124271337_wide-75d0df94c4803121ffca4d235d227c1026ad6a4f-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-1124271337_wide-75d0df94c4803121ffca4d235d227c1026ad6a4f-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-1124271337_wide-75d0df94c4803121ffca4d235d227c1026ad6a4f-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-1124271337_wide-75d0df94c4803121ffca4d235d227c1026ad6a4f-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-1124271337_wide-75d0df94c4803121ffca4d235d227c1026ad6a4f-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-1124271337_wide-75d0df94c4803121ffca4d235d227c1026ad6a4f-1920x1080.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Tony Bennett in 1988 after a concert in Stockholm. \u003ccite>(Bernt Claesson/Pressens Bild/AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bennett began as a suave crooner in the 1950s and quickly established himself as one of radio’s most popular hit makers. He was a showman, with an intimate nightclub sensibility. Bennett used his celebrity on behalf of civil rights and later in life replenished his fandom through collaborations with musicians ranging from k.d. lang to Lady Gaga. He died July 21 at age 96. \u003ca href=\"https://www.npr.org/2023/07/21/260757258/tony-bennett-king-of-the-american-songbook-dead-at-96\">Read Walter Ray Watson’s remembrance here\u003c/a>. \u003c/p>\n\u003ch2>Irish singer Sinéad O’Connor, whose music was loved globally\u003c/h2>\n\u003cfigure id=\"attachment_13939875\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-1735311_custom-9358203d78965c5d7c58b64adb9f5b3bffe2d105-scaled.jpg\" alt=\"Woman with shaved hair in pink polo shirt sings with eyes closed\" width=\"2560\" height=\"1668\" class=\"size-full wp-image-13939875\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-1735311_custom-9358203d78965c5d7c58b64adb9f5b3bffe2d105-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-1735311_custom-9358203d78965c5d7c58b64adb9f5b3bffe2d105-800x521.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-1735311_custom-9358203d78965c5d7c58b64adb9f5b3bffe2d105-1020x665.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-1735311_custom-9358203d78965c5d7c58b64adb9f5b3bffe2d105-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-1735311_custom-9358203d78965c5d7c58b64adb9f5b3bffe2d105-768x500.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-1735311_custom-9358203d78965c5d7c58b64adb9f5b3bffe2d105-1536x1001.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-1735311_custom-9358203d78965c5d7c58b64adb9f5b3bffe2d105-2048x1334.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-1735311_custom-9358203d78965c5d7c58b64adb9f5b3bffe2d105-1920x1251.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Sinead O’Connor at a concert on Jan. 18, 2003 at The Point Theatre in Dublin, Ireland. \u003ccite>(Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sinéad O’Connor was known for her intense and beautiful voice, her political convictions, and the personal tumult that overtook her later years. Her album, \u003cem>I Do Not Want What I Haven’t Got\u003c/em>, went double platinum in 1990. At the height of her fame, she elicited howls of outrage for her prescient warnings against sexual abuse in the Catholic Church. She died July 26 at age 56. \u003ca href=\"https://www.npr.org/2023/07/26/529671631/irish-singer-sinead-oconnor-has-died-at-56\">Read Neda Ulaby and Anastasia Tsioulcas’ remembrance here\u003c/a>. \u003c/p>\n\u003ch2>Paul Reubens, the actor better known as Pee-wee Herman\u003c/h2>\n\u003cfigure id=\"attachment_13939876\" class=\"wp-caption aligncenter\" style=\"max-width: 1940px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/ap091207034728_wide-95aaa31a33d1d692ec9aac6ca45b82795fc27529.jpg\" alt=\"Man with crew cut hair in gray suit and red bow tie holds hands up and mouth open\" width=\"1940\" height=\"1091\" class=\"size-full wp-image-13939876\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/ap091207034728_wide-95aaa31a33d1d692ec9aac6ca45b82795fc27529.jpg 1940w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/ap091207034728_wide-95aaa31a33d1d692ec9aac6ca45b82795fc27529-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/ap091207034728_wide-95aaa31a33d1d692ec9aac6ca45b82795fc27529-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/ap091207034728_wide-95aaa31a33d1d692ec9aac6ca45b82795fc27529-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/ap091207034728_wide-95aaa31a33d1d692ec9aac6ca45b82795fc27529-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/ap091207034728_wide-95aaa31a33d1d692ec9aac6ca45b82795fc27529-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/ap091207034728_wide-95aaa31a33d1d692ec9aac6ca45b82795fc27529-1920x1080.jpg 1920w\" sizes=\"(max-width: 1940px) 100vw, 1940px\">\u003cfigcaption class=\"wp-caption-text\">Paul Reubens portraying Pee-wee Herman on Dec. 7, 2009 in Los Angeles. \u003ccite>(Danny Moloshok/AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Joyful, odd and subversive, Paul Reubens’ character rode his bicycle through 1980s pop culture in a red bow tie and tight gray suit, shouting, “I know you are but what am I?” First created in the sketch comedy group \u003cem>The Groundlings\u003c/em>, Pee-wee found a devoted fandom through TV shows and in movies. He died July 30 at age 70. \u003ca href=\"https://www.npr.org/2023/07/31/1191104833/pee-wee-herman-dead-paul-reubens\">Read Glen Weldon’s remembrance\u003c/a>. \u003c/p>\n\u003ch2>Writer and activist Roberto Rodríguez, who chronicled Chicano life\u003c/h2>\n\u003cfigure id=\"attachment_13939877\" class=\"wp-caption aligncenter\" style=\"max-width: 1140px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/rodriguez-roberto_cropped_wide-f03510ed80d99b2196edcf2f030afea7288bb3c1.jpg\" alt=\"Man in hat stands in front of tiled wall\" width=\"1140\" height=\"641\" class=\"size-full wp-image-13939877\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/rodriguez-roberto_cropped_wide-f03510ed80d99b2196edcf2f030afea7288bb3c1.jpg 1140w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/rodriguez-roberto_cropped_wide-f03510ed80d99b2196edcf2f030afea7288bb3c1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/rodriguez-roberto_cropped_wide-f03510ed80d99b2196edcf2f030afea7288bb3c1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/rodriguez-roberto_cropped_wide-f03510ed80d99b2196edcf2f030afea7288bb3c1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/rodriguez-roberto_cropped_wide-f03510ed80d99b2196edcf2f030afea7288bb3c1-768x432.jpg 768w\" sizes=\"(max-width: 1140px) 100vw, 1140px\">\u003cfigcaption class=\"wp-caption-text\">Roberto Rodríguez in an undated photo. \u003ccite>(Special Collections at the University of Arizona Libraries)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 1979, reporter Roberto Rodríguez witnessed police brutality in Los Angeles. While trying to document it, he was attacked by L.A. County Sheriff’s deputies, ending up hospitalized for days. That led him to write \u003cem>Justice: A Question of Race\u003c/em>. Over the years, he also wrote poems and articles, taught at the University of Arizona and became one of the most prominent Chicano writers. He died July 31 at age 69. \u003ca href=\"https://www.npr.org/2023/08/04/1192070333/prolific-writer-on-chicano-life-roberto-rodriguez-dies-at-69\">Hear A Martínez’s remembrance\u003c/a>.\u003c/p>\n\u003ch2>Trop rock king Jimmy Buffett, who lived life like one of his songs\u003c/h2>\n\u003cfigure id=\"attachment_13939878\" class=\"wp-caption aligncenter\" style=\"max-width: 2405px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-932640872_wide-e610f904e324a05d3c10ed4c24290e0c52cf7e84.jpg\" alt=\"Man in hawaiian shirt and flower lei holds guitar in one hand and points finger up, mouth open\" width=\"2405\" height=\"1352\" class=\"size-full wp-image-13939878\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-932640872_wide-e610f904e324a05d3c10ed4c24290e0c52cf7e84.jpg 2405w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-932640872_wide-e610f904e324a05d3c10ed4c24290e0c52cf7e84-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-932640872_wide-e610f904e324a05d3c10ed4c24290e0c52cf7e84-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-932640872_wide-e610f904e324a05d3c10ed4c24290e0c52cf7e84-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-932640872_wide-e610f904e324a05d3c10ed4c24290e0c52cf7e84-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-932640872_wide-e610f904e324a05d3c10ed4c24290e0c52cf7e84-1536x863.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-932640872_wide-e610f904e324a05d3c10ed4c24290e0c52cf7e84-2048x1151.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-932640872_wide-e610f904e324a05d3c10ed4c24290e0c52cf7e84-1920x1079.jpg 1920w\" sizes=\"(max-width: 2405px) 100vw, 2405px\">\u003cfigcaption class=\"wp-caption-text\">Jimmy Buffett takes a bow on March 15, 2018 at the opening night of ‘Escape to Margaritavilla’ a Broadway musical at the Marquis Theatre, New York City. \u003ccite>(Noam Galai/Getty Images for Escape To Margaritaville)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even though “Margaritaville” was his only top 10 hit, Jimmy Buffett sold out venues for decades. His fans, known as Parrotheads, developed their own subculture. Over the years, Buffett built that laid-back island brand into a sprawling business empire — restaurants, hotels, merchandise, even retirement communities. He died Sept. 1 at age 76. \u003ca href=\"https://www.npr.org/2023/09/02/1197440754/remembering-jimmy-buffett\">Hear Scott Detrow’s remembrance here\u003c/a>. \u003c/p>\n\u003ch2>Fernando Botero, one of Latin America’s most celebrated artists\u003c/h2>\n\u003cfigure id=\"attachment_13939879\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/2023-09-15t170041z_637788282_rc2493au5xh9_rtrmadp_3_people-botero_slide-71402ee291ed977f57aa9cee4d6e21fc58677bf3-scaled.jpg\" alt=\"Man in suit and sunglasses holds a door handle with images of paintings behind him\" width=\"2560\" height=\"1707\" class=\"size-full wp-image-13939879\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/2023-09-15t170041z_637788282_rc2493au5xh9_rtrmadp_3_people-botero_slide-71402ee291ed977f57aa9cee4d6e21fc58677bf3-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/2023-09-15t170041z_637788282_rc2493au5xh9_rtrmadp_3_people-botero_slide-71402ee291ed977f57aa9cee4d6e21fc58677bf3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/2023-09-15t170041z_637788282_rc2493au5xh9_rtrmadp_3_people-botero_slide-71402ee291ed977f57aa9cee4d6e21fc58677bf3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/2023-09-15t170041z_637788282_rc2493au5xh9_rtrmadp_3_people-botero_slide-71402ee291ed977f57aa9cee4d6e21fc58677bf3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/2023-09-15t170041z_637788282_rc2493au5xh9_rtrmadp_3_people-botero_slide-71402ee291ed977f57aa9cee4d6e21fc58677bf3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/2023-09-15t170041z_637788282_rc2493au5xh9_rtrmadp_3_people-botero_slide-71402ee291ed977f57aa9cee4d6e21fc58677bf3-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/2023-09-15t170041z_637788282_rc2493au5xh9_rtrmadp_3_people-botero_slide-71402ee291ed977f57aa9cee4d6e21fc58677bf3-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/2023-09-15t170041z_637788282_rc2493au5xh9_rtrmadp_3_people-botero_slide-71402ee291ed977f57aa9cee4d6e21fc58677bf3-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Fernando Botero in Medellín, Colombia on Jan. 30, 2015. \u003ccite>(Fredy Builes/Reuters)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Known for his whimsical, rotund figures that poked fun at the upper class of his native Colombia, Botero also explored political themes ranging from drug violence to abuses by U.S. military personal in Abu Ghraib. The artist’s work can be seen at many major museums around the world, including the \u003ca href=\"https://artsandculture.google.com/partner/museo-botero-bogota\">Museo Botero\u003c/a> in Bogotá. He died Sept. 15 at age 91. \u003ca href=\"https://www.npr.org/2023/09/15/1199762401/fernando-botero-colombian-artist-dies\">Read John Otis’ remembrance\u003c/a>.\u003c/p>\n\u003ch2>Khaled Khalifa, a titan of contemporary Arabic literature\u003c/h2>\n\u003cfigure id=\"attachment_13939880\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-1219619731_wide-8c6495e9b55dbb11de256aa7e9206f64e11f5e93-scaled.jpg\" alt=\"Man with white and gray beard in black shirt sits with one arm raised, talking\" width=\"2560\" height=\"1440\" class=\"size-full wp-image-13939880\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-1219619731_wide-8c6495e9b55dbb11de256aa7e9206f64e11f5e93-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-1219619731_wide-8c6495e9b55dbb11de256aa7e9206f64e11f5e93-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-1219619731_wide-8c6495e9b55dbb11de256aa7e9206f64e11f5e93-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-1219619731_wide-8c6495e9b55dbb11de256aa7e9206f64e11f5e93-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-1219619731_wide-8c6495e9b55dbb11de256aa7e9206f64e11f5e93-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-1219619731_wide-8c6495e9b55dbb11de256aa7e9206f64e11f5e93-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-1219619731_wide-8c6495e9b55dbb11de256aa7e9206f64e11f5e93-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-1219619731_wide-8c6495e9b55dbb11de256aa7e9206f64e11f5e93-1920x1080.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Khaled Khalifa in Damascus, Syria on June 2, 2020. \u003ccite>(Louai Beshara/AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A celebrated poet, screenwriter and novelist, Khalifa was known for his outspoken nature and proclivity to critique Syria’s government, resulting in his work sometimes being banned. His 2016 novel, \u003cem>Death Is Hard Work\u003c/em> lays bare the anguish of his country’s brutal civil war. He died Sept. 30 at age 59. \u003ca href=\"https://www.npr.org/2023/10/06/1204349572/syrian-author-khaled-khalifa-a-titan-of-contemporary-arabic-literature-dies-at-5\">Hear a remembrance\u003c/a>. \u003c/p>\n\u003ch2>Nobel Prize-winning poet Louise Glück\u003c/h2>\n\u003cfigure id=\"attachment_13939881\" class=\"wp-caption aligncenter\" style=\"max-width: 2381px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-459274466_wide-c52b9eb4a38a3c1b9f7d6f20db110c9a917c2609.jpg\" alt=\"Woman with short hair and glasses stands behind podium, speaking into mic\" width=\"2381\" height=\"1339\" class=\"size-full wp-image-13939881\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-459274466_wide-c52b9eb4a38a3c1b9f7d6f20db110c9a917c2609.jpg 2381w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-459274466_wide-c52b9eb4a38a3c1b9f7d6f20db110c9a917c2609-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-459274466_wide-c52b9eb4a38a3c1b9f7d6f20db110c9a917c2609-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-459274466_wide-c52b9eb4a38a3c1b9f7d6f20db110c9a917c2609-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-459274466_wide-c52b9eb4a38a3c1b9f7d6f20db110c9a917c2609-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-459274466_wide-c52b9eb4a38a3c1b9f7d6f20db110c9a917c2609-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-459274466_wide-c52b9eb4a38a3c1b9f7d6f20db110c9a917c2609-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-459274466_wide-c52b9eb4a38a3c1b9f7d6f20db110c9a917c2609-1920x1080.jpg 1920w\" sizes=\"(max-width: 2381px) 100vw, 2381px\">\u003cfigcaption class=\"wp-caption-text\">Louise Gluck at the National Book Awards on Nov. 19, 2014 in New York City. \u003ccite>(Robin Marchant/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Her spare, incisive verse won fistfuls of awards, including the Pulitzer Prize, the National Humanities Medal and the National Book Award. Her 2020 \u003ca href=\"https://www.nobelprize.org/prizes/literature/2020/summary/\">Nobel citation\u003c/a> praised “her unmistakable poetic voice that with austere beauty makes individual existence universal.” But Glück’s first book was rejected 28 times. She died Oct. 13 at age 80. \u003ca href=\"https://www.npr.org/2023/10/13/1205851483/louise-gluck-dead\">Read Chloe Veltman’s remembrance\u003c/a>.\u003c/p>\n\u003ch2>Richard Roundtree, ‘Shaft’ star and one of the coolest actors ever\u003c/h2>\n\u003cfigure id=\"attachment_13939888\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1423493039_2000.jpg\" alt=\"Man in hat and pink suit jacket leans on white couch\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13939888\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1423493039_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1423493039_2000-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1423493039_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1423493039_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1423493039_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1423493039_2000-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1423493039_2000-1920x1281.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Richard Roundtree at the Toronto International Film Festival on Sept. 13, 2022. \u003ccite>(Michael Loccisano/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Shaft\u003c/em> brought audiences one of the first Black action heroes, embodied by Roundtree in a sweeping leather coat and ineffable style. The 1971 low-budget movie became a smash hit and helped create an entire genre: Blaxploitation. The actor starred in a few \u003cem>Shaft\u003c/em> sequels and appeared in more than 150 movie and TV shows, ranging from \u003cem>Roots\u003c/em> to \u003cem>Desperate Housewives\u003c/em> to \u003cem>Being Mary Jane\u003c/em>. He died Oct. 24 at age 81. \u003ca href=\"https://www.npr.org/2023/10/25/1208391418/richard-roundtree-star-of-shaft-dies-at-81\">Read Neda Ulaby’s remembrance\u003c/a>. \u003c/p>\n\u003ch2>‘Friends’ star Matthew Perry, who became a spokesperson for recovery\u003c/h2>\n\u003cfigure id=\"attachment_13939882\" class=\"wp-caption aligncenter\" style=\"max-width: 1577px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-856914_wide-a05a3d721bfc81293204268a8caaa48d8626cb98.jpg\" alt=\"White man in black suit and tie, blue background\" width=\"1577\" height=\"887\" class=\"size-full wp-image-13939882\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-856914_wide-a05a3d721bfc81293204268a8caaa48d8626cb98.jpg 1577w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-856914_wide-a05a3d721bfc81293204268a8caaa48d8626cb98-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-856914_wide-a05a3d721bfc81293204268a8caaa48d8626cb98-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-856914_wide-a05a3d721bfc81293204268a8caaa48d8626cb98-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-856914_wide-a05a3d721bfc81293204268a8caaa48d8626cb98-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gettyimages-856914_wide-a05a3d721bfc81293204268a8caaa48d8626cb98-1536x864.jpg 1536w\" sizes=\"(max-width: 1577px) 100vw, 1577px\">\u003cfigcaption class=\"wp-caption-text\">Matthew Perry in 1999. \u003ccite>(Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The actor achieved extraordinary celebrity as snarky Chandler Bing, an offbeat heartthrob over 10 seasons of one of the most successful TV sitcoms ever. Perry chronicled an epic struggle with addiction to drugs and alcohol in his 2022 \u003ca href=\"https://us.macmillan.com/books/9781250866448/friendsloversandthebigterriblething\">memoir\u003c/a>, estimating he’d spent half of his life in treatment. He died Oct. 28 at age 54. \u003ca href=\"https://www.npr.org/2023/10/28/1209291002/matthew-perry-dead-friends\">Read Emma Bowman’s remembrance\u003c/a>. \u003c/p>\n\u003ch2>Norman Lear, who made funny sitcoms about serious topics\u003c/h2>\n\u003cfigure id=\"attachment_13939883\" class=\"wp-caption aligncenter\" style=\"max-width: 1488px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/ap790329037-f1f7c15aae3b8906f7ec52137928633e2f24337b.jpg\" alt=\"Black and white photo of older man in white hat and suit\" width=\"1488\" height=\"1116\" class=\"size-full wp-image-13939883\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/ap790329037-f1f7c15aae3b8906f7ec52137928633e2f24337b.jpg 1488w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/ap790329037-f1f7c15aae3b8906f7ec52137928633e2f24337b-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/ap790329037-f1f7c15aae3b8906f7ec52137928633e2f24337b-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/ap790329037-f1f7c15aae3b8906f7ec52137928633e2f24337b-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/ap790329037-f1f7c15aae3b8906f7ec52137928633e2f24337b-768x576.jpg 768w\" sizes=\"(max-width: 1488px) 100vw, 1488px\">\u003cfigcaption class=\"wp-caption-text\">Norman Lear in his Los Angeles office in March 1979. \u003ccite>(AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the 1970s and ’80s, Norman Lear dominated network television with hugely popular hits that included \u003cem>All in the Family\u003c/em>, \u003cem>The Jeffersons\u003c/em>, \u003cem>Maude\u003c/em> and \u003cem>Mary Hartman, Mary Hartman\u003c/em>. His shows tackled racial prejudice, addiction, abortion and other social issues. Lear was also a liberal political activist whose causes included free speech and voter registration. He died Dec. 5 at age 101. \u003ca href=\"https://www.npr.org/2023/12/06/334890639/norman-lear-who-made-funny-sitcoms-about-serious-topics-dies-at-101\">Read Selena Simmons-Duffin’s remembrance\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>Copyright 2023 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13939862/actors-musicians-writers-and-artists-we-lost-in-2023","authors":["byline_arts_13939862"],"categories":["arts_1"],"tags":["arts_19375","arts_1091"],"affiliates":["arts_137"],"featImg":"arts_13939892","label":"arts_137"},"arts_13934270":{"type":"posts","id":"arts_13934270","meta":{"index":"posts_1591205157","site":"arts","id":"13934270","score":null,"sort":[1693850150000]},"guestAuthors":[],"slug":"smash-mouth-steve-harwell-dead","title":"Smash Mouth Frontman Steve Harwell Dies at 56","publishDate":1693850150,"format":"standard","headTitle":"Smash Mouth Frontman Steve Harwell Dies at 56 | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Steve Harwell, the longtime frontman of the San Jose-based, Grammy-nominated pop rock band Smash Mouth has died. He was 56.\u003c/p>\n\u003cp>The band’s manager, Robert Hayes, said Harwell “passed peacefully and comfortably” Monday morning surrounded by family and friends at his home in Boise, Idaho. The cause of death was acute liver failure, Hayes said in a statement.\u003c/p>\n\u003cp>Smash Mouth was known for hits including the \u003cem>Shrek\u003c/em>-featured “All Star” and “Walkin’ on the Sun.” \u003c/p>\n\u003cp>“Steve Harwell was a true American Original. A larger-than-life character who shot up into the sky like a Roman candle,” Hayes said. “Steve should be remembered for his unwavering focus and impassioned determination to reach the heights of pop stardom.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=L_jWHffIx5E\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Born in California in 1967, Harwell performed in a rap group called F.O.S. (Freedom of Speech) before forming Smash Mouth in 1994. Early support of the band came from Bay Area radio station KOME, who began playing the song “Nervous in the Alley,” helping Smash Mouth gain attention.\u003c/p>\n\u003cp>The band released two platinum albums on Interscope Records, the ska-fueled 1997’s \u003cem>Fush Yu Mang\u003c/em> and 1999’s \u003cem>Astro Lounge\u003c/em>. The second album featured some of the band’s biggest hits, including the Grammy-nominated, platinum single “All Star,” which appeared in the movie \u003cem>Shrek\u003c/em> alongside their cover of the Monkees’ “I’m a Believer.”\u003c/p>\n\u003cp>Humor was a driving force behind Smash Mouth’s success, and at the forefront was Harwell’s playful alt-rock voice and persona. He made a cameo in 2001 comedy film “Rat Race,” and had a well-documented friendship with the Food Network chef and host Guy Fieri, once \u003ca href=\"https://www.youtube.com/watch?v=clyEcrwuXfk\">collaborating together on an egg-eating challenge for charity\u003c/a> in Dublin, California.\u003c/p>\n\u003cp>“His only tools were his irrepressible charm and charisma, his fearlessly reckless ambition, and his king-size cajones,” Hayes said. “Steve lived a 100% full-throttle life. Burning brightly across the universe before burning out.”\u003c/p>\n\u003cp>https://youtu.be/0mYBSayCsH0?si=JSFVRhRcTSMlLNEi\u003c/p>\n\u003cp>Harwell’s stage antics were unpredictable and well documented. In a 2014 appearance in Napa at the BottleRock music festival, he spent much of the set delivering obscenity-laden insults to fellow 1990s band Third Eye Blind.\u003c/p>\n\u003cp>Nothing, however, could stop the momentum of Smash Mouth’s biggest hit. While the \u003cem>Shrek\u003c/em> generation transitioned into adulthood, “All Star” would go on to become a widespread meme, being \u003ca href=\"https://www.youtube.com/watch?v=eT3BFzSD6YY\">remixed\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=rLz1gBKk-t8\">mangled\u003c/a> by clever internet users. \u003c/p>\n\u003cp>Harwell left Smash Mouth in 2021 and the band continued to tour with Zach Goode as the singer. The band released a statement at the time saying Harwell had been diagnosed with cardiomyopathy eight years earlier, and had suffered “nonstop serious medical setbacks including heart failure as well as acute Wernicke Encephalopathy.”\u003c/p>\n\u003cp>Hayes had released a statement on Sunday saying Harwell was in hospice care.\u003c/p>\n\u003cp>Harwell will be cremated in Boise and buried in San Jose, California, alongside his mother, Hayes said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>KQED’s Gabe Meline contributed reporting.\u003c/em> \u003c/p>\n\n","blocks":[],"excerpt":"The singer of the San Jose-based band with hits \"All Star\" and \"I'm a Believer\" had acute liver failure. ","status":"publish","parent":0,"modified":1705005071,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":16,"wordCount":537},"headData":{"title":"Smash Mouth Frontman Steve Harwell Dies at 56 | KQED","description":"The singer of the San Jose-based band with hits "All Star" and "I'm a Believer" had acute liver failure. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Smash Mouth Frontman Steve Harwell Dies at 56","datePublished":"2023-09-04T17:55:50.000Z","dateModified":"2024-01-11T20:31:11.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"WpOldSlug":"smash-mouth-frontman-steve-harwell-dies-at-56","nprByline":"Maria Sherman, Associated Press","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13934270/smash-mouth-steve-harwell-dead","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Steve Harwell, the longtime frontman of the San Jose-based, Grammy-nominated pop rock band Smash Mouth has died. He was 56.\u003c/p>\n\u003cp>The band’s manager, Robert Hayes, said Harwell “passed peacefully and comfortably” Monday morning surrounded by family and friends at his home in Boise, Idaho. The cause of death was acute liver failure, Hayes said in a statement.\u003c/p>\n\u003cp>Smash Mouth was known for hits including the \u003cem>Shrek\u003c/em>-featured “All Star” and “Walkin’ on the Sun.” \u003c/p>\n\u003cp>“Steve Harwell was a true American Original. A larger-than-life character who shot up into the sky like a Roman candle,” Hayes said. “Steve should be remembered for his unwavering focus and impassioned determination to reach the heights of pop stardom.”\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/L_jWHffIx5E'\n title='//www.youtube.com/embed/L_jWHffIx5E'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Born in California in 1967, Harwell performed in a rap group called F.O.S. (Freedom of Speech) before forming Smash Mouth in 1994. Early support of the band came from Bay Area radio station KOME, who began playing the song “Nervous in the Alley,” helping Smash Mouth gain attention.\u003c/p>\n\u003cp>The band released two platinum albums on Interscope Records, the ska-fueled 1997’s \u003cem>Fush Yu Mang\u003c/em> and 1999’s \u003cem>Astro Lounge\u003c/em>. The second album featured some of the band’s biggest hits, including the Grammy-nominated, platinum single “All Star,” which appeared in the movie \u003cem>Shrek\u003c/em> alongside their cover of the Monkees’ “I’m a Believer.”\u003c/p>\n\u003cp>Humor was a driving force behind Smash Mouth’s success, and at the forefront was Harwell’s playful alt-rock voice and persona. He made a cameo in 2001 comedy film “Rat Race,” and had a well-documented friendship with the Food Network chef and host Guy Fieri, once \u003ca href=\"https://www.youtube.com/watch?v=clyEcrwuXfk\">collaborating together on an egg-eating challenge for charity\u003c/a> in Dublin, California.\u003c/p>\n\u003cp>“His only tools were his irrepressible charm and charisma, his fearlessly reckless ambition, and his king-size cajones,” Hayes said. “Steve lived a 100% full-throttle life. Burning brightly across the universe before burning out.”\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/0mYBSayCsH0'\n title='//www.youtube.com/embed/0mYBSayCsH0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Harwell’s stage antics were unpredictable and well documented. In a 2014 appearance in Napa at the BottleRock music festival, he spent much of the set delivering obscenity-laden insults to fellow 1990s band Third Eye Blind.\u003c/p>\n\u003cp>Nothing, however, could stop the momentum of Smash Mouth’s biggest hit. While the \u003cem>Shrek\u003c/em> generation transitioned into adulthood, “All Star” would go on to become a widespread meme, being \u003ca href=\"https://www.youtube.com/watch?v=eT3BFzSD6YY\">remixed\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=rLz1gBKk-t8\">mangled\u003c/a> by clever internet users. \u003c/p>\n\u003cp>Harwell left Smash Mouth in 2021 and the band continued to tour with Zach Goode as the singer. The band released a statement at the time saying Harwell had been diagnosed with cardiomyopathy eight years earlier, and had suffered “nonstop serious medical setbacks including heart failure as well as acute Wernicke Encephalopathy.”\u003c/p>\n\u003cp>Hayes had released a statement on Sunday saying Harwell was in hospice care.\u003c/p>\n\u003cp>Harwell will be cremated in Boise and buried in San Jose, California, alongside his mother, Hayes said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>KQED’s Gabe Meline contributed reporting.\u003c/em> \u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13934270/smash-mouth-steve-harwell-dead","authors":["byline_arts_13934270"],"categories":["arts_1","arts_69","arts_235","arts_1564"],"tags":["arts_1091","arts_1084","arts_1552"],"featImg":"arts_13934272","label":"arts"},"arts_13932745":{"type":"posts","id":"arts_13932745","meta":{"index":"posts_1591205157","site":"arts","id":"13932745","score":null,"sort":[1691432195000]},"guestAuthors":[],"slug":"william-friedkin-oscar-winning-director-of-the-exorcist-and-the-french-connection-dies-at-87","title":"William Friedkin, Oscar-Winning Director of 'The Exorcist' and 'The French Connection,' Dies at 87","publishDate":1691432195,"format":"standard","headTitle":"William Friedkin, Oscar-Winning Director of ‘The Exorcist’ and ‘The French Connection,’ Dies at 87 | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>William Friedkin, the Oscar winning director who became a top filmmaker in his 30s with the gripping \u003cem>The French Connection\u003c/em> and the horrifying \u003cem>The Exorcist\u003c/em> has died. He was 87.\u003c/p>\n\u003cp>Friedkin, who won the best director Oscar for \u003cem>The French Connection\u003c/em>, died Monday in Los Angeles, a representative from his office told The Associated Press. His wife, former studio head Sherry Lansing also confirmed to The Hollywood Reporter.\u003c/p>\n\u003cp>The movie, based on a true story, deals with the efforts of maverick New York City police Detective James “Popeye” Doyle to track down Frenchman Fernando Rey, mastermind of a large drug pipeline funneling heroin into the United States. It contains one of the most thrilling chase scenes ever filmed.\u003c/p>\n\u003cp>The movie also won Academy Awards for best picture, screenplay and film editing and led critics to hail Friedkin, then just 32, as a leading member of a new generation of filmmakers.\u003c/p>\n\u003cp>He followed with an even bigger blockbuster, \u003cem>The Exorcist\u003c/em>, based on William Peter Blatty’s best-selling novel about a 12-year-old girl possessed by the devil.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The harrowing scenes of the girl’s possession and a splendid cast, including Linda Blair as the girl, Ellen Burstyn as her mother and Max Von Sydow and Jason Miller as the priests who try to exorcise the devil from her, helped make the film a box-office sensation. It was so scary for its era that many viewers fled the theater before it was over and some reported being unable to sleep for days afterward.\u003c/p>\n\u003cp>It received 10 Oscar nominations, including one for Friedkin as director, and won two, for Blatty’s script and for sound.\u003c/p>\n\u003cp>With that second success, Friedkin would go on to direct movies and TV shows well into the 21st century. But he would never again come close to matching the success of those early works.\u003c/p>\n\u003cp>Other film credits included \u003cem>To Live and Die in L.A.\u003c/em>, \u003cem>Cruising\u003c/em>, \u003cem>Rules of Engagement\u003c/em> and a TV remake of the classic play and Sidney Lumet movie \u003cem>12 Angry Men\u003c/em>. Friedkin also directed episodes for such TV shows as \u003cem>The Twilight Zone\u003c/em>, \u003cem>Rebel Highway\u003c/em> and \u003cem>CSI: Crime Scene Investigation\u003c/em>.\u003c/p>\n\u003cp>Born in Chicago on Aug. 29, 1939, he began working in local TV productions as a teenager. By age 16 he was directing live shows.\u003c/p>\n\u003cp>“My main influence was dramatic radio when I was a kid,” he said in a 2001 interview. “I remember listening to it in the dark, Everything was left to the imagination. It was just sound. I think of the sounds first and then the images.”\u003c/p>\n\u003cp>He moved from live shows to documentaries, making \u003cem>The People Versus Paul Crump\u003c/em> in 1962. It was the story of a prison inmate who rehabilitates himself on Death Row after being sentenced for the murder of a guard during a botched robbery at a Chicago food plant.\u003c/p>\n\u003cp>Producer David Wolper was so impressed with it that he brought Friedkin to Hollywood to direct network TV shows.\u003c/p>\n\u003cp>After working on such shows as \u003cem>The Bold Ones\u003c/em>, \u003cem>The Alfred Hitchcock Hour\u003c/em> and the documentary \u003cem>The Thin Blue Line\u003c/em>, Friedkin landed his first film, 1967’s \u003cem>Good Times\u003c/em>. It was a lighthearted musical romp headlined by the pop duo Sonny and Cher in what would be their only movie appearance together.\u003c/p>\n\u003cp>He followed that with \u003cem>The Night They Raided Minsky’s\u003c/em>, about backstage life at a burlesque theater, and \u003cem>The Birthday Party\u003c/em>, from a Harold Pinter play. He then gained critical attention with 1970’s \u003cem>The Boys in the Band\u003c/em>, a landmark film about gay men.\u003c/p>\n\u003cp>Friedkin had three brief marriages in the 1970s and ’80s, to French actress Jeanne Moreau; British actress Lesley-Anne Down, with whom he had a son; and longtime Los Angeles TV news anchor Kelly Lange.\u003c/p>\n\u003cp>In 1991 he married Paramount studio executive Sherry Lansing.\u003c/p>\n\u003cp>Friedkin has a new film on the way, \u003cem>The Caine Mutiny Court-Martial\u003c/em>, starring Kiefer Sutherland that’s set to premiere at the Venice Film Festival next month.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The late Associated Press Correspondent Bob Thomas was the primary writer of this obituary.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"The visionary director was among a wave of maverick young filmmakers in 1970s Hollywood.","status":"publish","parent":0,"modified":1705005180,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":21,"wordCount":694},"headData":{"title":"William Friedkin, Oscar-Winning Director of 'The Exorcist' and 'The French Connection,' Dies at 87 | KQED","description":"The visionary director was among a wave of maverick young filmmakers in 1970s Hollywood.","ogTitle":"William Friedkin, Oscar-Winning Director of 'The Exorcist' and 'The French Connection,' Dies at 87","ogDescription":"The visionary director was among a wave of maverick young filmmakers in 1970s Hollywood.","ogImgId":"arts_13932746","twTitle":"William Friedkin, Oscar-Winning Director of 'The Exorcist' and 'The French Connection,' Dies at 87","twDescription":"The visionary director was among a wave of maverick young filmmakers in 1970s Hollywood.","twImgId":"arts_13932746","schema":{"@context":"http://schema.org","@type":"Article","headline":"William Friedkin, Oscar-Winning Director of 'The Exorcist' and 'The French Connection,' Dies at 87","datePublished":"2023-08-07T18:16:35.000Z","dateModified":"2024-01-11T20:33:00.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Associated Press","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13932745/william-friedkin-oscar-winning-director-of-the-exorcist-and-the-french-connection-dies-at-87","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>William Friedkin, the Oscar winning director who became a top filmmaker in his 30s with the gripping \u003cem>The French Connection\u003c/em> and the horrifying \u003cem>The Exorcist\u003c/em> has died. He was 87.\u003c/p>\n\u003cp>Friedkin, who won the best director Oscar for \u003cem>The French Connection\u003c/em>, died Monday in Los Angeles, a representative from his office told The Associated Press. His wife, former studio head Sherry Lansing also confirmed to The Hollywood Reporter.\u003c/p>\n\u003cp>The movie, based on a true story, deals with the efforts of maverick New York City police Detective James “Popeye” Doyle to track down Frenchman Fernando Rey, mastermind of a large drug pipeline funneling heroin into the United States. It contains one of the most thrilling chase scenes ever filmed.\u003c/p>\n\u003cp>The movie also won Academy Awards for best picture, screenplay and film editing and led critics to hail Friedkin, then just 32, as a leading member of a new generation of filmmakers.\u003c/p>\n\u003cp>He followed with an even bigger blockbuster, \u003cem>The Exorcist\u003c/em>, based on William Peter Blatty’s best-selling novel about a 12-year-old girl possessed by the devil.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The harrowing scenes of the girl’s possession and a splendid cast, including Linda Blair as the girl, Ellen Burstyn as her mother and Max Von Sydow and Jason Miller as the priests who try to exorcise the devil from her, helped make the film a box-office sensation. It was so scary for its era that many viewers fled the theater before it was over and some reported being unable to sleep for days afterward.\u003c/p>\n\u003cp>It received 10 Oscar nominations, including one for Friedkin as director, and won two, for Blatty’s script and for sound.\u003c/p>\n\u003cp>With that second success, Friedkin would go on to direct movies and TV shows well into the 21st century. But he would never again come close to matching the success of those early works.\u003c/p>\n\u003cp>Other film credits included \u003cem>To Live and Die in L.A.\u003c/em>, \u003cem>Cruising\u003c/em>, \u003cem>Rules of Engagement\u003c/em> and a TV remake of the classic play and Sidney Lumet movie \u003cem>12 Angry Men\u003c/em>. Friedkin also directed episodes for such TV shows as \u003cem>The Twilight Zone\u003c/em>, \u003cem>Rebel Highway\u003c/em> and \u003cem>CSI: Crime Scene Investigation\u003c/em>.\u003c/p>\n\u003cp>Born in Chicago on Aug. 29, 1939, he began working in local TV productions as a teenager. By age 16 he was directing live shows.\u003c/p>\n\u003cp>“My main influence was dramatic radio when I was a kid,” he said in a 2001 interview. “I remember listening to it in the dark, Everything was left to the imagination. It was just sound. I think of the sounds first and then the images.”\u003c/p>\n\u003cp>He moved from live shows to documentaries, making \u003cem>The People Versus Paul Crump\u003c/em> in 1962. It was the story of a prison inmate who rehabilitates himself on Death Row after being sentenced for the murder of a guard during a botched robbery at a Chicago food plant.\u003c/p>\n\u003cp>Producer David Wolper was so impressed with it that he brought Friedkin to Hollywood to direct network TV shows.\u003c/p>\n\u003cp>After working on such shows as \u003cem>The Bold Ones\u003c/em>, \u003cem>The Alfred Hitchcock Hour\u003c/em> and the documentary \u003cem>The Thin Blue Line\u003c/em>, Friedkin landed his first film, 1967’s \u003cem>Good Times\u003c/em>. It was a lighthearted musical romp headlined by the pop duo Sonny and Cher in what would be their only movie appearance together.\u003c/p>\n\u003cp>He followed that with \u003cem>The Night They Raided Minsky’s\u003c/em>, about backstage life at a burlesque theater, and \u003cem>The Birthday Party\u003c/em>, from a Harold Pinter play. He then gained critical attention with 1970’s \u003cem>The Boys in the Band\u003c/em>, a landmark film about gay men.\u003c/p>\n\u003cp>Friedkin had three brief marriages in the 1970s and ’80s, to French actress Jeanne Moreau; British actress Lesley-Anne Down, with whom he had a son; and longtime Los Angeles TV news anchor Kelly Lange.\u003c/p>\n\u003cp>In 1991 he married Paramount studio executive Sherry Lansing.\u003c/p>\n\u003cp>Friedkin has a new film on the way, \u003cem>The Caine Mutiny Court-Martial\u003c/em>, starring Kiefer Sutherland that’s set to premiere at the Venice Film Festival next month.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The late Associated Press Correspondent Bob Thomas was the primary writer of this obituary.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13932745/william-friedkin-oscar-winning-director-of-the-exorcist-and-the-french-connection-dies-at-87","authors":["byline_arts_13932745"],"categories":["arts_1","arts_74","arts_235"],"tags":["arts_11374","arts_10278","arts_1091"],"featImg":"arts_13932746","label":"arts"},"arts_13932485":{"type":"posts","id":"arts_13932485","meta":{"index":"posts_1591205157","site":"arts","id":"13932485","score":null,"sort":[1690994964000]},"guestAuthors":[],"slug":"tributes-angus-cloud-euphoria-oakland-osa-kehlani-zendaya-kev-choice-jwalt","title":"Tributes to Angus Cloud Pour in From Oakland","publishDate":1690994964,"format":"standard","headTitle":"Tributes to Angus Cloud Pour in From Oakland | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>\u003ca href=\"https://www.kqed.org/arts/13932452/angus-cloud-breakout-star-of-euphoria-is-dead-at-25\">Angus Cloud’s death\u003c/a> in Oakland has sent shockwaves across the East Bay since his passing was announced on Monday. The actor, who grew up near Lake Merritt, turned 25 just three weeks before he died.\u003c/p>\n\u003cp>While no cause of death was given, a statement from Cloud’s family said that “Angus was open about his battle with mental health and we hope that his passing can be a reminder to others that they are not alone and should not fight this on their own in silence.”\u003c/p>\n\u003cp>[aside postid='arts_13932452']Cloud became a household name around the world in recent years thanks to his breakout role in the controversial TV show \u003cem>Euphoria\u003c/em>. But those who knew him in Oakland, pre-fame, say the news feels especially personal and painful.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/CvYsrpfN93k/?hl=en\">Kehlani paid tribute to Cloud on her Instagram\u003c/a> shortly after the news broke, writing: “sat for a long time. u fucked the whole world up, but you really fucked everybody at home up. it’s a deep one. not too many words when it’s this close to home. not many words when it’s a bigger conversation. i ain’t got much more to say except the real person was more complex & more solid than a tv character. that person deserve to be remembered in totality.”\u003c/p>\n\u003cp>Cloud’s effortless charisma made him an instant star as soon as \u003cem>Euphoria\u003c/em> hit TV screens in 2019. Given the near-impossible task of making a violent drug dealer a character to root for, Cloud went one step further and succeeded in making Fezco O’Neill the most lovable character in the whole show. Cloud brought an indescribable depth and well of emotion to the screen, despite delivering almost all of his lines in his naturally slow monotone. In Cloud’s masterful hands, a sly glance or a subtle shoulder hunch said more than any dialog could.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Cloud’s \u003cem>Euphoria\u003c/em> co-star and fellow Oaklander \u003ca href=\"https://www.instagram.com/p/Cvaft3SL4Zr/\">Zendaya dedicated an Instagram post to him\u003c/a> on Tuesday. “Words are not enough to describe the infinite beauty that is Angus,” she wrote. “I’m so grateful I got the chance to know him in this life, to call him a brother, to see his warm kind eyes and bright smile, or hear his infectious cackle of a laugh.” She went on: “I’d like to remember him that way. For all of the boundless light, love and joy he always managed to give us. I’ll cherish every moment.”\u003c/p>\n\u003cfigure id=\"attachment_13932507\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932507\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-1388131771-scaled-e1690925992319-800x595.jpg\" alt=\"A young mixed race woman wearing a black suit and purple shirt drapes one arm over the shoulder of a smiling, bearded white man who is wearing a tuxedo.\" width=\"800\" height=\"595\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1388131771-scaled-e1690925992319-800x595.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1388131771-scaled-e1690925992319-1020x758.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1388131771-scaled-e1690925992319-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1388131771-scaled-e1690925992319-768x571.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1388131771-scaled-e1690925992319-1536x1142.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1388131771-scaled-e1690925992319.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Zendaya and Angus Cloud at the 2022 ‘Vanity Fair’ Oscar Party. \u003ccite>(Matt Winkelmeyer/ VF22/ WireImage for Vanity Fair)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cloud’s standout performance on \u003cem>Euphoria\u003c/em> won him small roles in 2021’s \u003ca href=\"https://www.imdb.com/title/tt11165716/?ref_=nm_flmg_t_5_act\">\u003cem>North Hollywood\u003c/em>\u003c/a> and 2023’s \u003ca href=\"https://www.imdb.com/title/tt10092170/\">\u003cem>The Line\u003c/em>\u003c/a>. He has three more movies set for release in the coming months. These include \u003ca href=\"https://www.imdb.com/title/tt16424988/?ref_=nm_flmg_unrel_2_act\">\u003cem>Your Lucky Day\u003c/em>\u003c/a> (a thriller set in a convenience store), an as-yet-unnamed horror project for Universal, and\u003ca href=\"https://www.imdb.com/title/tt21942598/\"> \u003cem>Freaky Tales\u003c/em>\u003c/a>, which weaves together four separate stories unfolding in 1987 Oakland.\u003c/p>\n\u003cp>Justin “Jwalt” Walton, who attended \u003ca href=\"https://www.oakarts.org/\">Oakland School for the Arts\u003c/a> with Cloud, said it meant a great deal to his friend to work on a project set in Oakland.\u003c/p>\n\u003cp>“He was Oakland to the fullest and always made sure people knew where he was from,” Walton told KQED Arts via text. “He was proud to be from the town and supported everything and everyone coming from [here]. No matter where he went he always stayed true to himself and what he knew. He was a friend, a great spirit, and big brother to me.”\u003c/p>\n\u003cfigure id=\"attachment_13932545\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13932545 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.13.13-AM-800x498.png\" alt=\"A large scale black and white painting of a young man, on a brick wall. The word Angus is painted in white next to the portrait. On the floor near the mural is a collection of candles.\" width=\"800\" height=\"498\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.13.13-AM-800x498.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.13.13-AM-1020x635.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.13.13-AM-160x100.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.13.13-AM-768x478.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.13.13-AM-1536x956.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.13.13-AM.png 1568w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">After news of his death broke, artists quickly painted a mural honoring Cloud on the back wall of Markato Auto Detail, at the intersection of Park Blvd. and E. 19th St. in Oakland. Cloud’s portrait is accompanied by the phrases “Long live Angus” and “We love you.” Artists include Darin, M27, Silent, Kalonsta, Mag Dre, Grame and Baby Dee. \u003ccite>(Ryce Stoughtenborough)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cloud graduated from OSA in 2016, despite \u003ca href=\"https://variety.com/2022/tv/features/angus-cloud-broken-skull-euphoria-icon-1235336673/\">breaking his skull falling down a massive construction pit\u003c/a> in downtown Oakland at the age of 15, and suffering minor brain damage. Kev Choice, who taught at the school when Cloud was a student, \u003ca href=\"https://www.instagram.com/p/CvaZqiIvxCb/?igshid=MzRlODBiNWFlZA%3D%3D\">remembered him fondly in a post on Instagram\u003c/a>.\u003c/p>\n\u003cp>“Like many in my Oakland community, and around the world, my heart is heavy,” Choice wrote. “I remember vividly seeing him walking around the [OSA] campus and hanging with my students. He had an energy and presence that always stood out and was definitely loved amongst his peers and school community … He reflected the natural brilliance of a lot of our youth, his peers, community, and represented Oakland to the fullest in every way.”\u003c/p>\n\u003cp>During Cloud’s high school years, he also interned at \u003ca href=\"https://yr.media/\">Youth Radio\u003c/a>’s \u003ca href=\"https://adp.fm/\">All Day Play\u003c/a> radio station. Former station manager Ben Frost remembers Cloud as “a kind of quirky, artistic kid who really didn’t give a fuck about anyone’s take on him.” Frost, like most people in Cloud’s private life, refers to the actor by his birth name, Conor. (Angus was Cloud’s middle name.)\u003c/p>\n\u003cp>“He was just a very visually creative young kid … a skater and a graffiti kid,” Frost told KQED Arts. “[San Jose DJ \u003ca href=\"https://www.instagram.com/THE_CME/\">Cory “The C.M.E.” Randolph\u003c/a>] and his crew had this show on the station for a while called \u003cem>Oops Upside Your Head\u003c/em> and Conor did this one artwork for them that was so freaking good, I was blown away by it. I was trying to convince them to make T-shirts and stuff out of it.”\u003c/p>\n\u003cp>For Frost, watching Cloud become a respected actor and fashion VIP was surreal. “It was crazy to me to just know that this wavy kid who was somewhat of a wild young man was suddenly this international icon,” he said. “He was just a very kind, humble dude who was very sincerely into the art.”\u003c/p>\n\u003cfigure id=\"attachment_13932549\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932549\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Angus-Cloud-artwork-800x800.jpg\" alt=\"Four square graphics featuring graffiti-style lettering in bright colors. One says 'Sick Sad.' Another says 'All Day Players.' Another says 'Streets is Talking.'\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Angus-Cloud-artwork-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Angus-Cloud-artwork-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Angus-Cloud-artwork-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Angus-Cloud-artwork-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Angus-Cloud-artwork-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Angus-Cloud-artwork-2048x2048.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Angus-Cloud-artwork-1920x1920.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artwork made by a young Angus Cloud during his time interning at Youth Radio. “We’d go through all of the lessons about how everyone does normal graphic design,” Frost says. “He’d be like, ‘Yeah, I’m just going to hand draw it all with the mouse…’” \u003ccite>(Courtesy of Ben Frost)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of the places Cloud skated in his formative years was \u003ca href=\"https://blog.skateboard.com.au/skateparks/united-states-of-america/town-park-skatepark/\">Town Park Skatepark\u003c/a> in West Oakland. Town Park founder and artist K-Dub told KQED Arts that, even post-fame, Cloud had kept in touch with him and other friends from the park.\u003c/p>\n\u003cp>“It says something about that tight-knit community of skaters and young people trying to find themselves in this wacky world,” K-Dub said. “[Cloud] was part of a crew that would show up after school and help out when we were working on the ramps and everything. He and his friends would skate and film each other. They were a tight crew.”\u003c/p>\n\u003cp>K-Dub continued: “Hopefully, for our Oakland youth, they know that being creative and following your dreams as an outlet should always be a goal. And should have support. Sometimes you don’t know how much you’re supported … And things like this is when the town kind of puts its arms around you and says, ‘Hey, we recognize you and we appreciate you and love you’. Our Town Park kids are very proud of him.”\u003c/p>\n\u003cfigure id=\"attachment_13932546\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932546\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.20.44-AM-800x531.png\" alt=\"A priority mail address sticker decorated with two clouds - one with a happy face, one shedding a tear - stuck to a post in front of a graffiti'd wall. The clouds have the word ANGUS scrawled between them.\" width=\"800\" height=\"531\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.20.44-AM-800x531.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.20.44-AM-1020x677.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.20.44-AM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.20.44-AM-768x510.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.20.44-AM-1536x1020.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.20.44-AM.png 1614w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A homemade tribute to Cloud, stuck to a post near the new mural of him in Oakland. \u003ccite>(Ryce Stoughtenborough)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Oakland School for the Arts also expressed pride over Cloud’s achievements in \u003ca href=\"http://www.oakarts.org/announcements/?capostid=74109\">a tribute to the actor on their website\u003c/a> posted on Monday afternoon. The school called his death a “tremendous loss.” The statement also noted: “Angus is remembered as a multifaceted and talented artist in Instrumental Music, Digital Media and Production Design who had a huge presence at OSA … We are equally proud of Angus’ artistic accomplishments in his career since graduating.”\u003c/p>\n\u003cp>Cloud was big brother to twins Molly and Fiona, and son to Lisa Cloud and Conor Hickey. Hickey originally hailed from Ireland, and died there on May 18 after a brief illness. Cloud posted \u003ca href=\"https://www.instagram.com/p/CurfSsxsZQJ/?hl=en\">a photo of his father\u003c/a> to Instagram on July 14, captioned simply, “miss u breh.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>This story contains additional reporting by \u003ca href=\"https://www.kqed.org/author/achazaro\">Alan Chazaro\u003c/a> and \u003ca href=\"https://www.kqed.org/author/ogpenn\">Pendarvis Harshaw\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Zendaya, Kehlani, Kev Choice and friends remember the charismatic ‘Euphoria’ star who died just three weeks after turning 25.","status":"publish","parent":0,"modified":1705005199,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":22,"wordCount":1463},"headData":{"title":"Zendaya, Kehlani, Kev Choice and More Remember Angus Cloud | KQED","description":"Zendaya, Kehlani, Kev Choice and friends remember the charismatic ‘Euphoria’ star who died just three weeks after turning 25.","ogTitle":"Tributes to Angus Cloud Pour in From Friends and Colleagues From Oakland","ogDescription":"","ogImgId":"","twTitle":"Tributes to Angus Cloud Pour in From Friends and Colleagues From Oakland","twDescription":"","twImgId":"","socialTitle":"Zendaya, Kehlani, Kev Choice and More Remember Angus Cloud %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Tributes to Angus Cloud Pour in From Oakland","datePublished":"2023-08-02T16:49:24.000Z","dateModified":"2024-01-11T20:33:19.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"WpOldSlug":"tributes-to-angus-cloud-pour-in-from-friends-and-colleagues-in-oakland","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13932485/tributes-angus-cloud-euphoria-oakland-osa-kehlani-zendaya-kev-choice-jwalt","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.kqed.org/arts/13932452/angus-cloud-breakout-star-of-euphoria-is-dead-at-25\">Angus Cloud’s death\u003c/a> in Oakland has sent shockwaves across the East Bay since his passing was announced on Monday. The actor, who grew up near Lake Merritt, turned 25 just three weeks before he died.\u003c/p>\n\u003cp>While no cause of death was given, a statement from Cloud’s family said that “Angus was open about his battle with mental health and we hope that his passing can be a reminder to others that they are not alone and should not fight this on their own in silence.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13932452","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Cloud became a household name around the world in recent years thanks to his breakout role in the controversial TV show \u003cem>Euphoria\u003c/em>. But those who knew him in Oakland, pre-fame, say the news feels especially personal and painful.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/CvYsrpfN93k/?hl=en\">Kehlani paid tribute to Cloud on her Instagram\u003c/a> shortly after the news broke, writing: “sat for a long time. u fucked the whole world up, but you really fucked everybody at home up. it’s a deep one. not too many words when it’s this close to home. not many words when it’s a bigger conversation. i ain’t got much more to say except the real person was more complex & more solid than a tv character. that person deserve to be remembered in totality.”\u003c/p>\n\u003cp>Cloud’s effortless charisma made him an instant star as soon as \u003cem>Euphoria\u003c/em> hit TV screens in 2019. Given the near-impossible task of making a violent drug dealer a character to root for, Cloud went one step further and succeeded in making Fezco O’Neill the most lovable character in the whole show. Cloud brought an indescribable depth and well of emotion to the screen, despite delivering almost all of his lines in his naturally slow monotone. In Cloud’s masterful hands, a sly glance or a subtle shoulder hunch said more than any dialog could.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Cloud’s \u003cem>Euphoria\u003c/em> co-star and fellow Oaklander \u003ca href=\"https://www.instagram.com/p/Cvaft3SL4Zr/\">Zendaya dedicated an Instagram post to him\u003c/a> on Tuesday. “Words are not enough to describe the infinite beauty that is Angus,” she wrote. “I’m so grateful I got the chance to know him in this life, to call him a brother, to see his warm kind eyes and bright smile, or hear his infectious cackle of a laugh.” She went on: “I’d like to remember him that way. For all of the boundless light, love and joy he always managed to give us. I’ll cherish every moment.”\u003c/p>\n\u003cfigure id=\"attachment_13932507\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932507\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-1388131771-scaled-e1690925992319-800x595.jpg\" alt=\"A young mixed race woman wearing a black suit and purple shirt drapes one arm over the shoulder of a smiling, bearded white man who is wearing a tuxedo.\" width=\"800\" height=\"595\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1388131771-scaled-e1690925992319-800x595.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1388131771-scaled-e1690925992319-1020x758.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1388131771-scaled-e1690925992319-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1388131771-scaled-e1690925992319-768x571.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1388131771-scaled-e1690925992319-1536x1142.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1388131771-scaled-e1690925992319.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Zendaya and Angus Cloud at the 2022 ‘Vanity Fair’ Oscar Party. \u003ccite>(Matt Winkelmeyer/ VF22/ WireImage for Vanity Fair)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cloud’s standout performance on \u003cem>Euphoria\u003c/em> won him small roles in 2021’s \u003ca href=\"https://www.imdb.com/title/tt11165716/?ref_=nm_flmg_t_5_act\">\u003cem>North Hollywood\u003c/em>\u003c/a> and 2023’s \u003ca href=\"https://www.imdb.com/title/tt10092170/\">\u003cem>The Line\u003c/em>\u003c/a>. He has three more movies set for release in the coming months. These include \u003ca href=\"https://www.imdb.com/title/tt16424988/?ref_=nm_flmg_unrel_2_act\">\u003cem>Your Lucky Day\u003c/em>\u003c/a> (a thriller set in a convenience store), an as-yet-unnamed horror project for Universal, and\u003ca href=\"https://www.imdb.com/title/tt21942598/\"> \u003cem>Freaky Tales\u003c/em>\u003c/a>, which weaves together four separate stories unfolding in 1987 Oakland.\u003c/p>\n\u003cp>Justin “Jwalt” Walton, who attended \u003ca href=\"https://www.oakarts.org/\">Oakland School for the Arts\u003c/a> with Cloud, said it meant a great deal to his friend to work on a project set in Oakland.\u003c/p>\n\u003cp>“He was Oakland to the fullest and always made sure people knew where he was from,” Walton told KQED Arts via text. “He was proud to be from the town and supported everything and everyone coming from [here]. No matter where he went he always stayed true to himself and what he knew. He was a friend, a great spirit, and big brother to me.”\u003c/p>\n\u003cfigure id=\"attachment_13932545\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13932545 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.13.13-AM-800x498.png\" alt=\"A large scale black and white painting of a young man, on a brick wall. The word Angus is painted in white next to the portrait. On the floor near the mural is a collection of candles.\" width=\"800\" height=\"498\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.13.13-AM-800x498.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.13.13-AM-1020x635.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.13.13-AM-160x100.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.13.13-AM-768x478.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.13.13-AM-1536x956.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.13.13-AM.png 1568w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">After news of his death broke, artists quickly painted a mural honoring Cloud on the back wall of Markato Auto Detail, at the intersection of Park Blvd. and E. 19th St. in Oakland. Cloud’s portrait is accompanied by the phrases “Long live Angus” and “We love you.” Artists include Darin, M27, Silent, Kalonsta, Mag Dre, Grame and Baby Dee. \u003ccite>(Ryce Stoughtenborough)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cloud graduated from OSA in 2016, despite \u003ca href=\"https://variety.com/2022/tv/features/angus-cloud-broken-skull-euphoria-icon-1235336673/\">breaking his skull falling down a massive construction pit\u003c/a> in downtown Oakland at the age of 15, and suffering minor brain damage. Kev Choice, who taught at the school when Cloud was a student, \u003ca href=\"https://www.instagram.com/p/CvaZqiIvxCb/?igshid=MzRlODBiNWFlZA%3D%3D\">remembered him fondly in a post on Instagram\u003c/a>.\u003c/p>\n\u003cp>“Like many in my Oakland community, and around the world, my heart is heavy,” Choice wrote. “I remember vividly seeing him walking around the [OSA] campus and hanging with my students. He had an energy and presence that always stood out and was definitely loved amongst his peers and school community … He reflected the natural brilliance of a lot of our youth, his peers, community, and represented Oakland to the fullest in every way.”\u003c/p>\n\u003cp>During Cloud’s high school years, he also interned at \u003ca href=\"https://yr.media/\">Youth Radio\u003c/a>’s \u003ca href=\"https://adp.fm/\">All Day Play\u003c/a> radio station. Former station manager Ben Frost remembers Cloud as “a kind of quirky, artistic kid who really didn’t give a fuck about anyone’s take on him.” Frost, like most people in Cloud’s private life, refers to the actor by his birth name, Conor. (Angus was Cloud’s middle name.)\u003c/p>\n\u003cp>“He was just a very visually creative young kid … a skater and a graffiti kid,” Frost told KQED Arts. “[San Jose DJ \u003ca href=\"https://www.instagram.com/THE_CME/\">Cory “The C.M.E.” Randolph\u003c/a>] and his crew had this show on the station for a while called \u003cem>Oops Upside Your Head\u003c/em> and Conor did this one artwork for them that was so freaking good, I was blown away by it. I was trying to convince them to make T-shirts and stuff out of it.”\u003c/p>\n\u003cp>For Frost, watching Cloud become a respected actor and fashion VIP was surreal. “It was crazy to me to just know that this wavy kid who was somewhat of a wild young man was suddenly this international icon,” he said. “He was just a very kind, humble dude who was very sincerely into the art.”\u003c/p>\n\u003cfigure id=\"attachment_13932549\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932549\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Angus-Cloud-artwork-800x800.jpg\" alt=\"Four square graphics featuring graffiti-style lettering in bright colors. One says 'Sick Sad.' Another says 'All Day Players.' Another says 'Streets is Talking.'\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Angus-Cloud-artwork-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Angus-Cloud-artwork-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Angus-Cloud-artwork-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Angus-Cloud-artwork-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Angus-Cloud-artwork-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Angus-Cloud-artwork-2048x2048.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Angus-Cloud-artwork-1920x1920.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artwork made by a young Angus Cloud during his time interning at Youth Radio. “We’d go through all of the lessons about how everyone does normal graphic design,” Frost says. “He’d be like, ‘Yeah, I’m just going to hand draw it all with the mouse…’” \u003ccite>(Courtesy of Ben Frost)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of the places Cloud skated in his formative years was \u003ca href=\"https://blog.skateboard.com.au/skateparks/united-states-of-america/town-park-skatepark/\">Town Park Skatepark\u003c/a> in West Oakland. Town Park founder and artist K-Dub told KQED Arts that, even post-fame, Cloud had kept in touch with him and other friends from the park.\u003c/p>\n\u003cp>“It says something about that tight-knit community of skaters and young people trying to find themselves in this wacky world,” K-Dub said. “[Cloud] was part of a crew that would show up after school and help out when we were working on the ramps and everything. He and his friends would skate and film each other. They were a tight crew.”\u003c/p>\n\u003cp>K-Dub continued: “Hopefully, for our Oakland youth, they know that being creative and following your dreams as an outlet should always be a goal. And should have support. Sometimes you don’t know how much you’re supported … And things like this is when the town kind of puts its arms around you and says, ‘Hey, we recognize you and we appreciate you and love you’. Our Town Park kids are very proud of him.”\u003c/p>\n\u003cfigure id=\"attachment_13932546\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932546\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.20.44-AM-800x531.png\" alt=\"A priority mail address sticker decorated with two clouds - one with a happy face, one shedding a tear - stuck to a post in front of a graffiti'd wall. The clouds have the word ANGUS scrawled between them.\" width=\"800\" height=\"531\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.20.44-AM-800x531.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.20.44-AM-1020x677.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.20.44-AM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.20.44-AM-768x510.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.20.44-AM-1536x1020.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.20.44-AM.png 1614w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A homemade tribute to Cloud, stuck to a post near the new mural of him in Oakland. \u003ccite>(Ryce Stoughtenborough)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Oakland School for the Arts also expressed pride over Cloud’s achievements in \u003ca href=\"http://www.oakarts.org/announcements/?capostid=74109\">a tribute to the actor on their website\u003c/a> posted on Monday afternoon. The school called his death a “tremendous loss.” The statement also noted: “Angus is remembered as a multifaceted and talented artist in Instrumental Music, Digital Media and Production Design who had a huge presence at OSA … We are equally proud of Angus’ artistic accomplishments in his career since graduating.”\u003c/p>\n\u003cp>Cloud was big brother to twins Molly and Fiona, and son to Lisa Cloud and Conor Hickey. Hickey originally hailed from Ireland, and died there on May 18 after a brief illness. Cloud posted \u003ca href=\"https://www.instagram.com/p/CurfSsxsZQJ/?hl=en\">a photo of his father\u003c/a> to Instagram on July 14, captioned simply, “miss u breh.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>This story contains additional reporting by \u003ca href=\"https://www.kqed.org/author/achazaro\">Alan Chazaro\u003c/a> and \u003ca href=\"https://www.kqed.org/author/ogpenn\">Pendarvis Harshaw\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13932485/tributes-angus-cloud-euphoria-oakland-osa-kehlani-zendaya-kev-choice-jwalt","authors":["11242"],"categories":["arts_1","arts_11615","arts_235","arts_75","arts_1564","arts_990"],"tags":["arts_21297","arts_11323","arts_10342","arts_12226","arts_10278","arts_7525","arts_1829","arts_5371","arts_1143","arts_4693","arts_1091","arts_7137"],"featImg":"arts_13932515","label":"arts"},"arts_13931917":{"type":"posts","id":"arts_13931917","meta":{"index":"posts_1591205157","site":"arts","id":"13931917","score":null,"sort":[1689950330000]},"guestAuthors":[],"slug":"tony-bennett-dies-at-96","title":"Tony Bennett, Masterful Stylist of American Song, Dies at 96","publishDate":1689950330,"format":"standard","headTitle":"Tony Bennett, Masterful Stylist of American Song, Dies at 96 | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Tony Bennett, the eminent and timeless stylist whose devotion to classic American songs and knack for creating new standards such as “I Left My Heart In San Francisco” graced a decadeslong career that brought him admirers from Frank Sinatra to Lady Gaga, died Friday. He was 96, just two weeks short of his birthday.\u003c/p>\n\u003cp>Publicist Sylvia Weiner confirmed Bennett’s death to The Associated Press, saying he died in his hometown of New York. There was no specific cause, but Bennett had been diagnosed with Alzheimer’s disease in 2016.\u003c/p>\n\u003cp>The last of the great saloon singers of the mid-20th century, Bennett often said his lifelong ambition was to create “a hit catalog rather than hit records.” He released more than 70 albums, bringing him 19 competitive Grammys — all but two after he reached his 60s — and enjoyed deep and lasting affection from fans and fellow artists.\u003c/p>\n\u003cfigure id=\"attachment_13879120\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/GettyImages-106373428-e1587583661461.jpg\" alt=\"Tony Bennett performing in 2010.\" width=\"1920\" height=\"1217\" class=\"size-full wp-image-13879120\">\u003cfigcaption class=\"wp-caption-text\">Tony Bennett performing in 2010. \u003ccite>(BRENDAN SMIALOWSKI/AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bennett didn’t tell his own story when performing; he let the music speak instead — the Gershwins and Cole Porter, Irving Berlin and Jerome Kern. Unlike his friend and mentor Sinatra, he would interpret a song rather than embody it.\u003c/p>\n\u003cp>If his singing and public life lacked the high drama of Sinatra’s, Bennett appealed with an easy, courtly manner and an uncommonly rich and durable voice — “A tenor who sings like a baritone,” he called himself — that made him a master of caressing a ballad or brightening an up-tempo number.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I enjoy entertaining the audience, making them forget their problems,” he told The Associated Press in 2006. “I think people … are touched if they hear something that’s sincere and honest and maybe has a little sense of humor. … I just like to make people feel good when I perform.”\u003c/p>\n\u003cp>Bennett was praised often by his peers, but never more meaningfully than by what Sinatra said in a 1965 Life magazine interview: “For my money, Tony Bennett is the best singer in the business. He excites me when I watch him. He moves me. He’s the singer who gets across what the composer has in mind, and probably a little more.”\u003c/p>\n\u003cfigure id=\"attachment_11936142\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/08/Bennett-Statue-IMG_3350-e1471283958629-800x486.jpg\" alt=\"Sculptor Bruce Wolfe and his model, singer Tony Bennett in Wolfe's Piedmont studio\" width=\"800\" height=\"486\" class=\"size-medium wp-image-11936142\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Bennett-Statue-IMG_3350-e1471283958629-800x486.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Bennett-Statue-IMG_3350-e1471283958629-400x243.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Bennett-Statue-IMG_3350-e1471283958629-768x466.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Bennett-Statue-IMG_3350-e1471283958629-1180x717.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Bennett-Statue-IMG_3350-e1471283958629-1920x1166.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Bennett-Statue-IMG_3350-e1471283958629-960x583.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sculptor Bruce Wolfe and his model, singer Tony Bennett, in Wolfe’s Piedmont studio. Wolfe created a statue to honor Tony Bennett in San Francisco. \u003ccite>(Courtesy of Bruce Wolfe)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He not only survived the rise of rock music but endured so long and so well that he gained new fans and collaborators, some young enough to be his grandchildren. In 2014, at age 88, Bennett broke his own record as the oldest living performer with a No. 1 album on the Billboard 200 chart for “Cheek to Cheek,” his duets project with Lady Gaga. Three years earlier, he topped the charts with “Duets II,” featuring such contemporary stars as Gaga, Carrie Underwood and Amy Winehouse, in her last studio recording. His rapport with Winehouse was captured in the Oscar-nominated documentary “Amy,” which showed Bennett patiently encouraging the insecure young singer through a performance of “Body and Soul.”\u003c/p>\n\u003cp>His final album, the 2021 release “Love for Sale,” featured duets with Lady Gaga on the title track, “Night and Day” and other Porter songs.\u003c/p>\n\u003cp>For Bennett, one of the few performers to move easily between pop and jazz, such collaborations were part of his crusade to expose new audiences to what he called the Great American Songbook.\u003c/p>\n\u003cp>“No country has given the world such great music,” Bennett said in a 2015 interview with Downbeat Magazine. “Cole Porter, Irving Berlin, George Gershwin, Jerome Kern. Those songs will never die.”\u003c/p>\n\u003cp>[aside postID='arts_11928855']Ironically, his most famous contribution came through two unknowns, George Cory and Douglass Cross, who in the early ’60s provided Bennett with his signature song at a time his career was in a lull. They gave Bennett’s musical director, pianist Ralph Sharon, some sheet music that he stuck in a dresser drawer and forgot about until he was packing for a tour that included a stop in San Francisco.\u003c/p>\n\u003cp>“Ralph saw some sheet music in his shirt drawer … and on top of the pile was a song called ‘I Left My Heart In San Francisco.’ Ralph thought it would be good material for San Francisco,” Bennett said. “We were rehearsing and the bartender in the club in Little Rock, Arkansas, said, ‘If you record that song, I’m going to be the first to buy it.'”\u003c/p>\n\u003cp>Released in 1962 as the B-side of the single “Once Upon a Time,” the reflective ballad became a grassroots phenomenon staying on the charts for more than two years and earning Bennett his first two Grammys, including record of the year.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YSIF3KtwGUA\u003c/p>\n\u003cp>By his early 40s, he was seemingly out of fashion. But after turning 60, an age when even the most popular artists often settle for just pleasing their older fans, Bennett and his son and manager, Danny, found creative ways to market the singer to the MTV Generation. He made guest appearances on “Late Night with David Letterman” and became a celebrity guest artist on “The Simpsons.” He wore a black T-shirt and sunglasses as a presenter with the Red Hot Chili Peppers at the 1993 MTV Music Video Awards, and his own video of “Steppin’ Out With My Baby” from his Grammy-winning Fred Astaire tribute album ended up on MTV’s hip “Buzz Bin.”\u003c/p>\n\u003cp>That led to an offer in 1994 to do an episode of “MTV Unplugged” with special guests Elvis Costello and k.d. lang. The evening’s performance resulted in the album, “Tony Bennett: MTV Unplugged,” which won two Grammys, including album of the year.\u003c/p>\n\u003cp>Bennett would win Grammys for his tributes to female vocalists (“Here’s to the Ladies”), Billie Holiday (“Tony Bennett on Holiday”), and Duke Ellington (“Bennett Sings Ellington — Hot & Cool”). He also won Grammys for his collaborations with other singers: “Playin’ With My Friends — Bennett Sings the Blues,” and his Louis Armstrong tribute, “A Wonderful World” with lang, the first full album he had ever recorded with another singer. He celebrated his 80th birthday with “Duets: An American Classic,” featuring Barbra Streisand, Paul McCartney and Stevie Wonder among others.\u003c/p>\n\u003cp>“They’re all giants in the industry, and all of a sudden they’re saying to me ‘You’re the master,'” Bennett told the AP in 2006.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=VLjXbkSm8B4\u003c/p>\n\u003cp>Long associated with San Francisco, Bennett would note that his true home was Astoria, the working-class community in the New York City borough of Queens, where he grew up during the Great Depression. The singer chose his old neighborhood as the site for the “Fame”-style public high school, the Frank Sinatra School of the Arts, that he and his third wife, Susan Crow Benedetto, a former teacher, helped found in 2001.\u003c/p>\n\u003cp>The school is not far from the birthplace of the man who was once Anthony Dominick Benedetto. His father was an Italian immigrant who inspired his love of singing, but he died when Anthony was 10. Bennett credited his mother, Anna, with teaching him a valuable lesson as he watched her working at home, supporting her three children as a seamstress doing piecework after his father died.\u003c/p>\n\u003cp>“We were very impoverished,” Bennett said in a 2016 AP interview. “I saw her working and every once in a while she’d take a dress and throw it over her shoulder and she’d say, ‘Don’t have me work on a bad dress. I’ll only work on good dresses.'”\u003c/p>\n\u003cfigure id=\"attachment_13931920\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/TonyBennett.astoria-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" class=\"size-medium wp-image-13931920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/TonyBennett.astoria-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/TonyBennett.astoria-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/TonyBennett.astoria-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/TonyBennett.astoria.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The cover of Tony Bennett’s album ‘Astoria: Portrait of the Artist,’ picturing the singer as a young man in front of his childhood home. \u003ccite>(Columbia Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He studied commercial art in high school, but had to drop out to help support his family. The teenager got a job as a copy boy for the AP, performed as a singing waiter and competed in amateur shows. A combat infantryman during World War II, he served as a librarian for the Armed Forces Network after the war and sang with an army big band in occupied Germany. His earliest recording is a 1946 air check from Armed Forces Radio of the blues “St. James Infirmary.”\u003c/p>\n\u003cp>Bennett took advantage of the GI Bill to attend the American Theater Wing, which later became The Actors Studio. His acting lessons helped him develop his phrasing and learn how to tell a story. He learned the more intimate Bel Canto vocal technique which helped him sustain and extend the expressive range of his voice. And he took to heart the advice of his vocal coach, Miriam Spier.\u003c/p>\n\u003cp>“She said please don’t imitate other singers because you’ll just be one of the chorus whoever you imitate whether it’s Bing Crosby or Frank Sinatra and won’t develop an original sound,” Bennett recalled in the 2006 AP interview. “She said imitate musicians that you like, find out how they phrase. I was particularly influenced by the jazz musicians like (pianist) Art Tatum and (saxophonists) Lester Young and Stan Getz.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=I5f-e3Wajq4\u003c/p>\n\u003cp>In 1947, Bennett made his first recording, the Gershwins’ standard “Fascinatin’ Rhythm” for a small label under the stage name Joe Bari. The following year he gained notice when he finished behind Rosemary Clooney on the radio show “Arthur Godfrey’s Talent Scouts.” Bennett’s big break came in 1949 when singer Pearl Bailey invited him to join her revue at a Greenwich Village club. Bob Hope dropped by one night and was so impressed that he offered the young singer a spot opening his shows at the famed Paramount Theater, where teens had swooned for Sinatra. But the comedian didn’t care for his stage name and thought his real name was too long for the marquee.\u003c/p>\n\u003cp>“He thought for a moment, then he said, ‘We’ll call you Tony Bennett,'” the singer wrote in his autobiography, “The Good Life,” published in 1998.\u003c/p>\n\u003cp>In 1950, Mitch Miller, the head of Columbia Records’ pop singles division, signed Bennett and released the single, “The Boulevard of Broken Dreams,” a semi-hit. Bennett was on the verge of being dropped from the label in 1951 when he had his first No. 1 on the pop charts with “Because of You.” More hits followed, including “Rags to Riches,” “Blue Velvet,” and Hank Williams’ “Cold, Cold Heart,” the first country song to become an international pop hit.\u003c/p>\n\u003cp>Bennett found himself frequently clashing with Miller, who pushed him to sing Sinatra-style ballads and gimmicky novelty songs. But Bennett took advantage of the young LP album format, starting in 1955 with “Cloud 7,” featuring a small jazz combo led by guitarist Chuck Wayne. Bennett reached out to the jazz audience with such innovative albums as the 1957 “The Beat of My Heart,” an album of standards that paired him with such jazz percussion masters as Chico Hamilton, and Art Blakey. He also became the first white male singer to record with the Count Basie Orchestra, releasing two albums in 1958. Sinatra would later do the same.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Ll1cmbBrvlM\u003c/p>\n\u003cp>Bennett’s friendship with Black musicians and his disgust at the racial prejudice he encountered in the Army led him to become an active supporter of the Civil Rights Movement. He answered Harry Belafonte’s call to join Martin Luther King Jr.’s 1965 Selma-to-Montgomery voting rights march and perform for the protesters.\u003c/p>\n\u003cp>Bennett’s early career peaked in the 1960s as he topped the charts with “San Francisco” and became the first male pop solo performer to headline at Carnegie Hall, releasing a live album of the 1962 concert.\u003c/p>\n\u003cp>In 1966, he released “The Movie Song Album,” a personal favorite which featured Johnny Mandel’s Oscar-winning song “The Shadow of Your Smile” and “Maybe September,” the theme from the epic flop “The Oscar,” noteworthy because it marked Bennett’s first and only big-screen acting role.\u003c/p>\n\u003cp>But as rock continued to overtake traditional pop, he clashed with Columbia label head Clive Davis, who insisted that the singer do the 1970 album “Tony Sings the Great Hits of Today,” with such songs as “MacArthur Park” and “Little Green Apples.” Bennett left Columbia in 1972, and went on to form his own record label, Improv, which in 1975-76 produced two duet albums with the impressionistic pianist Bill Evans now considered jazz classics.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7LIW7q_cFeA\u003c/p>\n\u003cp>Despite artistic successes, Improv proved a financial disaster for Bennett, who also faced difficulties in his personal life. His marriage to artist Patricia Beech collapsed in 1971. He wed actress Sandra Grant the same year, but that marriage ended in 1984. With no recording deals, his debts brought him close to bankruptcy and the IRS was trying to seize his house in Los Angeles. After a near-fatal drug overdose in 1979, he turned to his son, Danny, who eventually signed on as his manager. Bennett kicked his drug habit and got his finances in order, moved back to New York and resumed doing more than 200 shows a year.\u003c/p>\n\u003cp>He is survived by his wife Susan, daughters Johanna and Antonia, sons Danny and Dae and nine grandchildren.\u003c/p>\n\u003cp>Bennett was named a Kennedy Center Honoree in 2005 and a National Endowment for the Arts Jazz Master in 2006. He also won two Emmy Awards — for “Tony Bennett Live By Request: A Valentine Special” (1996) and “Tony Bennett: An American Classic” (2007).\u003c/p>\n\u003cp>Besides singing, Bennett pursued his lifelong passion for painting by taking art lessons and bringing his sketchbook on the road. His paintings, signed with his family name Benedetto — including portraits of his musician friends and Central Park landscapes — were displayed in public and private collections, including the Smithsonian Museum of American Art.\u003c/p>\n\u003cp>“I love to paint as much as I love to sing,” Bennett told the AP in 2006. “It worked out to be such a blessing in my life because if I started getting burnt-out singing … I would go to my painting and that’s a big lift. … So I stay in this creative zone all the time.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>AP National Writer Hillel Italie contributed to this story.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"The matchless interpreter of jazz standards that Frank Sinatra called 'the best singer in the business' died in New York.","status":"publish","parent":0,"modified":1705005249,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":40,"wordCount":2565},"headData":{"title":"Tony Bennett, Masterful Stylist of American Song, Dies at 96 | KQED","description":"The matchless interpreter of jazz standards that Frank Sinatra called 'the best singer in the business' died in New York.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Tony Bennett, Masterful Stylist of American Song, Dies at 96","datePublished":"2023-07-21T14:38:50.000Z","dateModified":"2024-01-11T20:34:09.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Charles J. Gans","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13931917/tony-bennett-dies-at-96","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Tony Bennett, the eminent and timeless stylist whose devotion to classic American songs and knack for creating new standards such as “I Left My Heart In San Francisco” graced a decadeslong career that brought him admirers from Frank Sinatra to Lady Gaga, died Friday. He was 96, just two weeks short of his birthday.\u003c/p>\n\u003cp>Publicist Sylvia Weiner confirmed Bennett’s death to The Associated Press, saying he died in his hometown of New York. There was no specific cause, but Bennett had been diagnosed with Alzheimer’s disease in 2016.\u003c/p>\n\u003cp>The last of the great saloon singers of the mid-20th century, Bennett often said his lifelong ambition was to create “a hit catalog rather than hit records.” He released more than 70 albums, bringing him 19 competitive Grammys — all but two after he reached his 60s — and enjoyed deep and lasting affection from fans and fellow artists.\u003c/p>\n\u003cfigure id=\"attachment_13879120\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/GettyImages-106373428-e1587583661461.jpg\" alt=\"Tony Bennett performing in 2010.\" width=\"1920\" height=\"1217\" class=\"size-full wp-image-13879120\">\u003cfigcaption class=\"wp-caption-text\">Tony Bennett performing in 2010. \u003ccite>(BRENDAN SMIALOWSKI/AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bennett didn’t tell his own story when performing; he let the music speak instead — the Gershwins and Cole Porter, Irving Berlin and Jerome Kern. Unlike his friend and mentor Sinatra, he would interpret a song rather than embody it.\u003c/p>\n\u003cp>If his singing and public life lacked the high drama of Sinatra’s, Bennett appealed with an easy, courtly manner and an uncommonly rich and durable voice — “A tenor who sings like a baritone,” he called himself — that made him a master of caressing a ballad or brightening an up-tempo number.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I enjoy entertaining the audience, making them forget their problems,” he told The Associated Press in 2006. “I think people … are touched if they hear something that’s sincere and honest and maybe has a little sense of humor. … I just like to make people feel good when I perform.”\u003c/p>\n\u003cp>Bennett was praised often by his peers, but never more meaningfully than by what Sinatra said in a 1965 Life magazine interview: “For my money, Tony Bennett is the best singer in the business. He excites me when I watch him. He moves me. He’s the singer who gets across what the composer has in mind, and probably a little more.”\u003c/p>\n\u003cfigure id=\"attachment_11936142\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/08/Bennett-Statue-IMG_3350-e1471283958629-800x486.jpg\" alt=\"Sculptor Bruce Wolfe and his model, singer Tony Bennett in Wolfe's Piedmont studio\" width=\"800\" height=\"486\" class=\"size-medium wp-image-11936142\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Bennett-Statue-IMG_3350-e1471283958629-800x486.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Bennett-Statue-IMG_3350-e1471283958629-400x243.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Bennett-Statue-IMG_3350-e1471283958629-768x466.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Bennett-Statue-IMG_3350-e1471283958629-1180x717.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Bennett-Statue-IMG_3350-e1471283958629-1920x1166.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Bennett-Statue-IMG_3350-e1471283958629-960x583.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sculptor Bruce Wolfe and his model, singer Tony Bennett, in Wolfe’s Piedmont studio. Wolfe created a statue to honor Tony Bennett in San Francisco. \u003ccite>(Courtesy of Bruce Wolfe)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He not only survived the rise of rock music but endured so long and so well that he gained new fans and collaborators, some young enough to be his grandchildren. In 2014, at age 88, Bennett broke his own record as the oldest living performer with a No. 1 album on the Billboard 200 chart for “Cheek to Cheek,” his duets project with Lady Gaga. Three years earlier, he topped the charts with “Duets II,” featuring such contemporary stars as Gaga, Carrie Underwood and Amy Winehouse, in her last studio recording. His rapport with Winehouse was captured in the Oscar-nominated documentary “Amy,” which showed Bennett patiently encouraging the insecure young singer through a performance of “Body and Soul.”\u003c/p>\n\u003cp>His final album, the 2021 release “Love for Sale,” featured duets with Lady Gaga on the title track, “Night and Day” and other Porter songs.\u003c/p>\n\u003cp>For Bennett, one of the few performers to move easily between pop and jazz, such collaborations were part of his crusade to expose new audiences to what he called the Great American Songbook.\u003c/p>\n\u003cp>“No country has given the world such great music,” Bennett said in a 2015 interview with Downbeat Magazine. “Cole Porter, Irving Berlin, George Gershwin, Jerome Kern. Those songs will never die.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_11928855","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Ironically, his most famous contribution came through two unknowns, George Cory and Douglass Cross, who in the early ’60s provided Bennett with his signature song at a time his career was in a lull. They gave Bennett’s musical director, pianist Ralph Sharon, some sheet music that he stuck in a dresser drawer and forgot about until he was packing for a tour that included a stop in San Francisco.\u003c/p>\n\u003cp>“Ralph saw some sheet music in his shirt drawer … and on top of the pile was a song called ‘I Left My Heart In San Francisco.’ Ralph thought it would be good material for San Francisco,” Bennett said. “We were rehearsing and the bartender in the club in Little Rock, Arkansas, said, ‘If you record that song, I’m going to be the first to buy it.'”\u003c/p>\n\u003cp>Released in 1962 as the B-side of the single “Once Upon a Time,” the reflective ballad became a grassroots phenomenon staying on the charts for more than two years and earning Bennett his first two Grammys, including record of the year.\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/YSIF3KtwGUA'\n title='//www.youtube.com/embed/YSIF3KtwGUA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>By his early 40s, he was seemingly out of fashion. But after turning 60, an age when even the most popular artists often settle for just pleasing their older fans, Bennett and his son and manager, Danny, found creative ways to market the singer to the MTV Generation. He made guest appearances on “Late Night with David Letterman” and became a celebrity guest artist on “The Simpsons.” He wore a black T-shirt and sunglasses as a presenter with the Red Hot Chili Peppers at the 1993 MTV Music Video Awards, and his own video of “Steppin’ Out With My Baby” from his Grammy-winning Fred Astaire tribute album ended up on MTV’s hip “Buzz Bin.”\u003c/p>\n\u003cp>That led to an offer in 1994 to do an episode of “MTV Unplugged” with special guests Elvis Costello and k.d. lang. The evening’s performance resulted in the album, “Tony Bennett: MTV Unplugged,” which won two Grammys, including album of the year.\u003c/p>\n\u003cp>Bennett would win Grammys for his tributes to female vocalists (“Here’s to the Ladies”), Billie Holiday (“Tony Bennett on Holiday”), and Duke Ellington (“Bennett Sings Ellington — Hot & Cool”). He also won Grammys for his collaborations with other singers: “Playin’ With My Friends — Bennett Sings the Blues,” and his Louis Armstrong tribute, “A Wonderful World” with lang, the first full album he had ever recorded with another singer. He celebrated his 80th birthday with “Duets: An American Classic,” featuring Barbra Streisand, Paul McCartney and Stevie Wonder among others.\u003c/p>\n\u003cp>“They’re all giants in the industry, and all of a sudden they’re saying to me ‘You’re the master,'” Bennett told the AP in 2006.\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/VLjXbkSm8B4'\n title='//www.youtube.com/embed/VLjXbkSm8B4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Long associated with San Francisco, Bennett would note that his true home was Astoria, the working-class community in the New York City borough of Queens, where he grew up during the Great Depression. The singer chose his old neighborhood as the site for the “Fame”-style public high school, the Frank Sinatra School of the Arts, that he and his third wife, Susan Crow Benedetto, a former teacher, helped found in 2001.\u003c/p>\n\u003cp>The school is not far from the birthplace of the man who was once Anthony Dominick Benedetto. His father was an Italian immigrant who inspired his love of singing, but he died when Anthony was 10. Bennett credited his mother, Anna, with teaching him a valuable lesson as he watched her working at home, supporting her three children as a seamstress doing piecework after his father died.\u003c/p>\n\u003cp>“We were very impoverished,” Bennett said in a 2016 AP interview. “I saw her working and every once in a while she’d take a dress and throw it over her shoulder and she’d say, ‘Don’t have me work on a bad dress. I’ll only work on good dresses.'”\u003c/p>\n\u003cfigure id=\"attachment_13931920\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/TonyBennett.astoria-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" class=\"size-medium wp-image-13931920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/TonyBennett.astoria-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/TonyBennett.astoria-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/TonyBennett.astoria-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/TonyBennett.astoria.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The cover of Tony Bennett’s album ‘Astoria: Portrait of the Artist,’ picturing the singer as a young man in front of his childhood home. \u003ccite>(Columbia Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He studied commercial art in high school, but had to drop out to help support his family. The teenager got a job as a copy boy for the AP, performed as a singing waiter and competed in amateur shows. A combat infantryman during World War II, he served as a librarian for the Armed Forces Network after the war and sang with an army big band in occupied Germany. His earliest recording is a 1946 air check from Armed Forces Radio of the blues “St. James Infirmary.”\u003c/p>\n\u003cp>Bennett took advantage of the GI Bill to attend the American Theater Wing, which later became The Actors Studio. His acting lessons helped him develop his phrasing and learn how to tell a story. He learned the more intimate Bel Canto vocal technique which helped him sustain and extend the expressive range of his voice. And he took to heart the advice of his vocal coach, Miriam Spier.\u003c/p>\n\u003cp>“She said please don’t imitate other singers because you’ll just be one of the chorus whoever you imitate whether it’s Bing Crosby or Frank Sinatra and won’t develop an original sound,” Bennett recalled in the 2006 AP interview. “She said imitate musicians that you like, find out how they phrase. I was particularly influenced by the jazz musicians like (pianist) Art Tatum and (saxophonists) Lester Young and Stan Getz.”\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/I5f-e3Wajq4'\n title='//www.youtube.com/embed/I5f-e3Wajq4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In 1947, Bennett made his first recording, the Gershwins’ standard “Fascinatin’ Rhythm” for a small label under the stage name Joe Bari. The following year he gained notice when he finished behind Rosemary Clooney on the radio show “Arthur Godfrey’s Talent Scouts.” Bennett’s big break came in 1949 when singer Pearl Bailey invited him to join her revue at a Greenwich Village club. Bob Hope dropped by one night and was so impressed that he offered the young singer a spot opening his shows at the famed Paramount Theater, where teens had swooned for Sinatra. But the comedian didn’t care for his stage name and thought his real name was too long for the marquee.\u003c/p>\n\u003cp>“He thought for a moment, then he said, ‘We’ll call you Tony Bennett,'” the singer wrote in his autobiography, “The Good Life,” published in 1998.\u003c/p>\n\u003cp>In 1950, Mitch Miller, the head of Columbia Records’ pop singles division, signed Bennett and released the single, “The Boulevard of Broken Dreams,” a semi-hit. Bennett was on the verge of being dropped from the label in 1951 when he had his first No. 1 on the pop charts with “Because of You.” More hits followed, including “Rags to Riches,” “Blue Velvet,” and Hank Williams’ “Cold, Cold Heart,” the first country song to become an international pop hit.\u003c/p>\n\u003cp>Bennett found himself frequently clashing with Miller, who pushed him to sing Sinatra-style ballads and gimmicky novelty songs. But Bennett took advantage of the young LP album format, starting in 1955 with “Cloud 7,” featuring a small jazz combo led by guitarist Chuck Wayne. Bennett reached out to the jazz audience with such innovative albums as the 1957 “The Beat of My Heart,” an album of standards that paired him with such jazz percussion masters as Chico Hamilton, and Art Blakey. He also became the first white male singer to record with the Count Basie Orchestra, releasing two albums in 1958. Sinatra would later do the same.\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/Ll1cmbBrvlM'\n title='//www.youtube.com/embed/Ll1cmbBrvlM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Bennett’s friendship with Black musicians and his disgust at the racial prejudice he encountered in the Army led him to become an active supporter of the Civil Rights Movement. He answered Harry Belafonte’s call to join Martin Luther King Jr.’s 1965 Selma-to-Montgomery voting rights march and perform for the protesters.\u003c/p>\n\u003cp>Bennett’s early career peaked in the 1960s as he topped the charts with “San Francisco” and became the first male pop solo performer to headline at Carnegie Hall, releasing a live album of the 1962 concert.\u003c/p>\n\u003cp>In 1966, he released “The Movie Song Album,” a personal favorite which featured Johnny Mandel’s Oscar-winning song “The Shadow of Your Smile” and “Maybe September,” the theme from the epic flop “The Oscar,” noteworthy because it marked Bennett’s first and only big-screen acting role.\u003c/p>\n\u003cp>But as rock continued to overtake traditional pop, he clashed with Columbia label head Clive Davis, who insisted that the singer do the 1970 album “Tony Sings the Great Hits of Today,” with such songs as “MacArthur Park” and “Little Green Apples.” Bennett left Columbia in 1972, and went on to form his own record label, Improv, which in 1975-76 produced two duet albums with the impressionistic pianist Bill Evans now considered jazz classics.\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/7LIW7q_cFeA'\n title='//www.youtube.com/embed/7LIW7q_cFeA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Despite artistic successes, Improv proved a financial disaster for Bennett, who also faced difficulties in his personal life. His marriage to artist Patricia Beech collapsed in 1971. He wed actress Sandra Grant the same year, but that marriage ended in 1984. With no recording deals, his debts brought him close to bankruptcy and the IRS was trying to seize his house in Los Angeles. After a near-fatal drug overdose in 1979, he turned to his son, Danny, who eventually signed on as his manager. Bennett kicked his drug habit and got his finances in order, moved back to New York and resumed doing more than 200 shows a year.\u003c/p>\n\u003cp>He is survived by his wife Susan, daughters Johanna and Antonia, sons Danny and Dae and nine grandchildren.\u003c/p>\n\u003cp>Bennett was named a Kennedy Center Honoree in 2005 and a National Endowment for the Arts Jazz Master in 2006. He also won two Emmy Awards — for “Tony Bennett Live By Request: A Valentine Special” (1996) and “Tony Bennett: An American Classic” (2007).\u003c/p>\n\u003cp>Besides singing, Bennett pursued his lifelong passion for painting by taking art lessons and bringing his sketchbook on the road. His paintings, signed with his family name Benedetto — including portraits of his musician friends and Central Park landscapes — were displayed in public and private collections, including the Smithsonian Museum of American Art.\u003c/p>\n\u003cp>“I love to paint as much as I love to sing,” Bennett told the AP in 2006. “It worked out to be such a blessing in my life because if I started getting burnt-out singing … I would go to my painting and that’s a big lift. … So I stay in this creative zone all the time.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>AP National Writer Hillel Italie contributed to this story.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13931917/tony-bennett-dies-at-96","authors":["byline_arts_13931917"],"categories":["arts_1","arts_69","arts_235"],"tags":["arts_11374","arts_10278","arts_10422","arts_1420","arts_746","arts_1091"],"featImg":"arts_13892049","label":"arts"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. 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You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg","imageAlt":"KQED MindShift: How We Will Learn","officialWebsiteLink":"/mindshift/","meta":{"site":"news","source":"kqed","order":"2"},"link":"/podcasts/mindshift","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5","npr":"https://www.npr.org/podcasts/464615685/mind-shift-podcast","stitcher":"https://www.stitcher.com/podcast/kqed/stories-teachers-share","spotify":"https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"}},"morning-edition":{"id":"morning-edition","title":"Morning Edition","info":"\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. 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