Looking Back to When Hops, Not Wine, Ruled Sonoma County
Bruce Hornsby Brings New ‘Deep Sea Vents’ Tour to the Bay Area
In Santa Rosa, Sixth Street Playhouse Swings for the ‘Fences’ — and Scores
Leila Steinberg, Tupac Shakur’s First Manager: I 'Still Feel Him' Here
In the Imaginists' 'Someone Dies Again,' the Pain of Gun Violence is Ever-Present
The Newest Art Space in Santa Rosa is a Rolling Wall in a Suburban Garage
Bill Bowker, Sculptor of the Sonoma County Sound, Signs Off
7 Bay Area Horror Movies For Your Halloween Viewing Pleasure
Roll With Us: The Duo Behind NorCal's Wheelchair Motocross
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But for many years in the early- to mid-20th century, the region’s most popular crop was hops: those funny-looking pinecone-shaped buds used in making beer. \u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://museumsc.org/ontap/\">On Tap: Sonoma County Hops and the Beer Revolution\u003c/a>\u003c/em>, a new exhibition at the Museum of Sonoma County, chronicles the rise, fall and recent renaissance of hop growing in the county. It also documents the breweries, both fledgling and nationally known, that loom large in Sonoma County’s beermaking history. \u003c/p>\n\u003cfigure id=\"attachment_13956206\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6478.jpg\" alt=\"\" width=\"1920\" height=\"1920\" class=\"size-full wp-image-13956206\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6478.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6478-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6478-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6478-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6478-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6478-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">‘On Tap: Sonoma County Hops & The Beer Revolution’ at the Museum of Sonoma County includes stories of the migrants and Dust Bowl refugees who worked as hop pickers in the early 20th century. \u003ccite>(Museum of Sonoma County)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The exhibition includes scenes of early hop picking, done mainly by poor families, Chinese immigrants, Indigenous people and young students. It covers these underpaid workers’ 1935 hop strike, and the \u003ca href=\"https://www.pressdemocrat.com/article/news/gaye-lebaron-remembering-aclu-awards-namesake-jack-green/?artslide=1\">infamous tarring and feathering of two labor organizers\u003c/a> that resulted.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It was a farmworker strike, in fact, that inspired one local hop grower, Florian Dauenhauer, to invent a mechanized hop harvester. Dauenhauer’s company is still active in Santa Rosa, and his invention remains in use today as the industry standard. His original patents are on view in the exhibition, as well as a modern version of his hop harvester. \u003c/p>\n\u003cp>Also on view is a wide-ranging collection of bottles, cans and other artifacts from \u003ca href=\"https://gracebrosbrewing.com/\">Grace Brothers Brewing\u003c/a>, one of the rare breweries to survive Prohibition. Grace Brothers, which operated for decades in central Santa Rosa, distributed its beer all over the country and has \u003ca href=\"https://www.pressdemocrat.com/article/news/benefield-grace-bros-beer-makes-a-treasured-and-temporary-return/\">since attracted a cult following\u003c/a> among beer fans. \u003c/p>\n\u003cp>[aside postID='news_11969212']By the 1945 harvest, Sonoma County hit its peak hop production, which generated $2.6 million from 25,000 bales. But mildew, aphids and cold weather soon set in.\u003c/p>\n\u003cp>“It faded away so fast,” said the museum’s curator of history Eric Stanley. “Literally within a couple of years, it nosedived.” By 1961, Sonoma County’s hop production was so low that the Farm Bureau stopped including it in its annual reports.\u003c/p>\n\u003cfigure id=\"attachment_13956205\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6485.jpg\" alt=\"\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13956205\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6485.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6485-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6485-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6485-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6485-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6485-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">‘On Tap: Sonoma County Hops & The Beer Revolution’ shows the machinery, packaging and distribution of legendary breweries such as Santa Rosa’s Grace Brothers Brewing, as well as early microbreweries like New Albion Brewing Co. in Sonoma. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Later, in 1976, New Albion Brewery started making beer in the town of Sonoma, becoming what’s now recognized as the first modern microbrewery in the United States. The exhibition includes photos, boxes and other ephemera from New Albion, a spiritual godfather to the county’s explosion of craft beer, and outfits like Mendocino Brewing Co., Moonlight Brewing Co., Russian River Brewing Co. and Henhouse Brewing. \u003c/p>\n\u003cp>When you have that much brewing going on, you need hops. Enter the new breed of Sonoma County hop growers, small in scale but dedicated to quality and innovation. The exhibition’s large photos show their new operations scattered around the county, tended to with care and innovation.\u003c/p>\n\u003cp>And who knows? In Sonoma County, there may yet be a victorious future for the small but mighty hop.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘On Tap: Sonoma County Hops and the Beer Revolution’ is on view from April 20–Sept. 1, 2024, at the Museum of Sonoma County (425 Seventh St., Santa Rosa). \u003ca href=\"https://museumsc.org/ontap/\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"A new exhibit in Santa Rosa chronicles the rise, fall and recent renaissance of hop growing in the region.","status":"publish","parent":0,"modified":1713482463,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":15,"wordCount":636},"headData":{"title":"Looking Back to When Hops, Not Wine, Ruled Sonoma County | KQED","description":"A new exhibit in Santa Rosa chronicles the rise, fall and recent renaissance of hop growing in the region.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Looking Back to When Hops, Not Wine, Ruled Sonoma County","datePublished":"2024-04-18T23:21:03.000Z","dateModified":"2024-04-18T23:21:03.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"WpOldSlug":"museum-of-sonoma-county-on-tap-hops-beer-review","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13956202/museum-of-sonoma-county-on-tap-hops-beer-exhibition-review","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ask any random old-timer in Sonoma County about their summer job as a teenager, and it’s not likely to have been working as a lifeguard at Ridgeway Pool or driving the train at Howarth Park. \u003c/p>\n\u003cp>Many locals of a certain age will tell you they picked hops. \u003c/p>\n\u003cp>These days, wine grapes are Sonoma County’s dominant, near-monoculture crop. But for many years in the early- to mid-20th century, the region’s most popular crop was hops: those funny-looking pinecone-shaped buds used in making beer. \u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://museumsc.org/ontap/\">On Tap: Sonoma County Hops and the Beer Revolution\u003c/a>\u003c/em>, a new exhibition at the Museum of Sonoma County, chronicles the rise, fall and recent renaissance of hop growing in the county. It also documents the breweries, both fledgling and nationally known, that loom large in Sonoma County’s beermaking history. \u003c/p>\n\u003cfigure id=\"attachment_13956206\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6478.jpg\" alt=\"\" width=\"1920\" height=\"1920\" class=\"size-full wp-image-13956206\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6478.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6478-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6478-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6478-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6478-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6478-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">‘On Tap: Sonoma County Hops & The Beer Revolution’ at the Museum of Sonoma County includes stories of the migrants and Dust Bowl refugees who worked as hop pickers in the early 20th century. \u003ccite>(Museum of Sonoma County)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The exhibition includes scenes of early hop picking, done mainly by poor families, Chinese immigrants, Indigenous people and young students. It covers these underpaid workers’ 1935 hop strike, and the \u003ca href=\"https://www.pressdemocrat.com/article/news/gaye-lebaron-remembering-aclu-awards-namesake-jack-green/?artslide=1\">infamous tarring and feathering of two labor organizers\u003c/a> that resulted.\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>It was a farmworker strike, in fact, that inspired one local hop grower, Florian Dauenhauer, to invent a mechanized hop harvester. Dauenhauer’s company is still active in Santa Rosa, and his invention remains in use today as the industry standard. His original patents are on view in the exhibition, as well as a modern version of his hop harvester. \u003c/p>\n\u003cp>Also on view is a wide-ranging collection of bottles, cans and other artifacts from \u003ca href=\"https://gracebrosbrewing.com/\">Grace Brothers Brewing\u003c/a>, one of the rare breweries to survive Prohibition. Grace Brothers, which operated for decades in central Santa Rosa, distributed its beer all over the country and has \u003ca href=\"https://www.pressdemocrat.com/article/news/benefield-grace-bros-beer-makes-a-treasured-and-temporary-return/\">since attracted a cult following\u003c/a> among beer fans. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"news_11969212","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>By the 1945 harvest, Sonoma County hit its peak hop production, which generated $2.6 million from 25,000 bales. But mildew, aphids and cold weather soon set in.\u003c/p>\n\u003cp>“It faded away so fast,” said the museum’s curator of history Eric Stanley. “Literally within a couple of years, it nosedived.” By 1961, Sonoma County’s hop production was so low that the Farm Bureau stopped including it in its annual reports.\u003c/p>\n\u003cfigure id=\"attachment_13956205\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6485.jpg\" alt=\"\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13956205\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6485.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6485-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6485-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6485-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6485-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6485-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">‘On Tap: Sonoma County Hops & The Beer Revolution’ shows the machinery, packaging and distribution of legendary breweries such as Santa Rosa’s Grace Brothers Brewing, as well as early microbreweries like New Albion Brewing Co. in Sonoma. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Later, in 1976, New Albion Brewery started making beer in the town of Sonoma, becoming what’s now recognized as the first modern microbrewery in the United States. The exhibition includes photos, boxes and other ephemera from New Albion, a spiritual godfather to the county’s explosion of craft beer, and outfits like Mendocino Brewing Co., Moonlight Brewing Co., Russian River Brewing Co. and Henhouse Brewing. \u003c/p>\n\u003cp>When you have that much brewing going on, you need hops. Enter the new breed of Sonoma County hop growers, small in scale but dedicated to quality and innovation. The exhibition’s large photos show their new operations scattered around the county, tended to with care and innovation.\u003c/p>\n\u003cp>And who knows? In Sonoma County, there may yet be a victorious future for the small but mighty hop.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘On Tap: Sonoma County Hops and the Beer Revolution’ is on view from April 20–Sept. 1, 2024, at the Museum of Sonoma County (425 Seventh St., Santa Rosa). \u003ca href=\"https://museumsc.org/ontap/\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13956202/museum-of-sonoma-county-on-tap-hops-beer-exhibition-review","authors":["185"],"programs":["arts_140"],"categories":["arts_1","arts_7862"],"tags":["arts_15443","arts_10278","arts_2721","arts_3217","arts_585"],"featImg":"arts_13956207","label":"arts_140"},"arts_13955255":{"type":"posts","id":"arts_13955255","meta":{"index":"posts_1591205157","site":"arts","id":"13955255","score":null,"sort":[1712152813000]},"guestAuthors":[],"slug":"bruce-hornsby-bryhm-deep-sea-vents-tour","title":"Bruce Hornsby Brings New ‘Deep Sea Vents’ Tour to the Bay Area","publishDate":1712152813,"format":"standard","headTitle":"Bruce Hornsby Brings New ‘Deep Sea Vents’ Tour to the Bay Area | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Songwriter and musician \u003ca href=\"https://www.brucehornsby.com/\">Bruce Hornsby\u003c/a> has one of \u003ci>the\u003c/i> most recognizable piano intros in music. Those clear, cascading notes on “\u003ca href=\"https://www.youtube.com/watch?v=cOeKidp-iWo\">The Way It Is\u003c/a>,” off the 1986 album of the same name, became a launching pad for a storied career that has traversed genres and had him working with a wide range of collaborations.\u003c/p>\n\u003cp>Those collaborations include some Bay Area ties — like playing with The Grateful Dead in the early ’90s, putting his piano on iconic tracks like Bonnie Raitt’s “\u003ca href=\"https://www.youtube.com/watch?v=nW9Cu6GYqxo\">I Can’t Make You Love Me\u003c/a>,” and being sampled by Tupac for one of the rapper’s biggest songs, “\u003ca href=\"https://www.youtube.com/watch?v=eXvBjCO19QY\">Changes\u003c/a>.”\u003c/p>\n\u003cp>Hornsby’s latest project is a new water-themed album, \u003ca href=\"https://www.brucehornsby.com/deep-sea-vents\">\u003ci>Deep Sea Vents\u003c/i>\u003c/a>, in collaboration with the sextet \u003ca href=\"https://www.ymusicensemble.com/\">yMusic\u003c/a>. Performing together as BrhyM (pronounced “Brim”), they’re headed to San Francisco’s \u003ca href=\"https://www.ticketmaster.com/event/1C005F582CB36991\">Herbst Theatre on April 5\u003c/a> and Santa Rosa’s \u003ca href=\"https://lutherburbankcenter.org/event/bruce-hornsby24/\">Luther Burbank Center for the Arts on April 7\u003c/a>.\u003c/p>\n\u003cp>I talked with Hornsby over Zoom about his Bay Area music memories (which involved pranking the band Journey), the inspiration behind his new album and always exploring different sounds in his music, haters be damned.\u003c/p>\n\u003cp>\u003ci>Interview has been edited for length and clarity.\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>Ariana Proehl:\u003c/b> \u003cstrong>You’ve performed in the Bay Area a lot over the years. And some may not know that you recorded some of your first album \u003ci>The Way It Is\u003c/i> in Sausalito back in the ’80s. What stands out to you when you look back at that time, recording out here?\u003c/strong>\u003c/p>\n\u003cp>\u003cb>Bruce Hornsby:\u003c/b> The group Journey was working next to us, and so somehow we got it into our heads to start phone pranking Journey. So I did that and called in to speak to [Journey lead guitarist] Neal Schon. I was a young man trying to get an audition for the group, that I referred to as “The Journeys.” “Hi, I’m trying to get an audition with The Journeys, is this Neal Schons?” I was using the pseudonym Melvin “Mooney” Minkins after a guy I went to high school with. So this just went on and on. So much so that in the credits for Journey’s record \u003ci>Raised on Radio\u003c/i>, there’s a special thanks to Melvin Minkins, and that’s why. I was phone pranking their manager, Herbie Herbert. They found out about it, and then they liked it. They got such a kick out of it, they had me phone pranking other people, friends of theirs.\u003c/p>\n\u003cp>I used to phone prank [Jerry] Garcia for that matter, in the later years.\u003c/p>\n\u003cp>\u003cb>Speaking of Jerry Garcia and Bay Area memories, you toured with The Grateful Dead in the early ’90s, playing keyboards for over 100 shows. What are some of your favorite memories playing with them?\u003c/b>\u003c/p>\n\u003cp>Oh, there are so many. Touring through Europe. Just the origin — the first gigs I did with them, I basically came in off the street and started winging it with them with, no rehearsal, at Madison Square Garden. That was crazy. And I used to play in my older brother’s Grateful Dead cover band in Charlottesville, Virginia. The name of the band was Bobby Hi-Test and the Octane Kids. And my brother is Bobby Hornsby. So imagine all those people who used to hang around with us, going to these great alcohol and hippie frat parties at University of Virginia playing Dead covers. Imagine them 16 years later, coming to Madison Square Garden to watch me start playing with that band. It was just an incomparable experience. Truly transcendent.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=LTu5BmFFt00\u003c/p>\n\u003cp>\u003cb>Let’s talk about what brings you to the Bay Area this time around – your new album \u003ci>Deep Sea Vents\u003c/i>, with the ensemble yMusic. What sparked this album? \u003c/b>\u003c/p>\n\u003cp>In the fall of 2019, they called me up and asked me if I would do a little five-song tour with them. Then Rob [Moose of yMusic] asked if I’d be interested in writing a song with him that we could play as our encore every night. So I said, “Sure, send me a track.” They sent me this track and I wrote a song called “\u003ca href=\"https://www.youtube.com/watch?v=l--wZYW0Au0\">Deep Sea Vents\u003c/a>.” \u003cspan style=\"font-weight: 400\">We had a great time playing that at our five concerts. And after the last one we said, “hey, let’s keep doing this, let’s keep writing.” \u003c/span>Then a week later, the COVID shutdown occurred. In the fall, we reconvened on the phone. They would send me a track every two months or so. And we just kept on going. I was reading \u003ci>Moby Dick\u003c/i> at the time. And all of a sudden they sent me this track that sounded like the book. So I decided to channel Herman Melville and write this song “The Wild Whaling Life.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4vu5cF3YhFg\u003c/p>\n\u003cp>And they sent me another song — their working title was “Duck Hunt.” It starts off with these sort of quacking sounding clarinets and trumpet. I thought, “Well, okay, I’m going to write about the platypus.” Sort of taking my cue from John Lennon’s “\u003ca href=\"https://www.youtube.com/watch?v=Ws5klxbI87I\">I Am the Walrus\u003c/a>.” So I wrote the song “\u003ca href=\"https://youtu.be/IQIorHlOLC0?feature=shared\">Platypus Wow\u003c/a>” over their track. These three songs together signaled very clearly that this record really should have a running theme. And so I decided every song that I write from here on out will be ocean-related or aquatic-related.\u003c/p>\n\u003cp>\u003cb>You’re known for taking your music in all kinds of directions. I scanned some of the YouTube comments for your \u003ci>Deep Sea Vents\u003c/i> album tracks and one fan mentioned loving your music because you’re true to yourself and not a style. Does that resonate? \u003c/b>\u003c/p>\n\u003cp>Well, now you’re being very kind to read the nice comments because there are always naysayers — people who would like me to make the same record stylistically for my entire life. I’m a bit of a restless soul. I’m an old music school nerd and I love so many different types of music. And I’ve just ended up being reached out to by so many people from so many disparate areas of musical life. So consequently, I’ve made bluegrass records \u003ca href=\"https://music.youtube.com/playlist?list=OLAK5uy_kklijAlIjpugeonmOdV-MPNXh9aQXYn3Y\">with Ricky Skaggs\u003c/a>. I’ve made jazz records \u003ca href=\"https://www.youtube.com/watch?v=lnY2NOGdNfg\">with Jack DeJohnette and Christian McBride\u003c/a>, just on and on. And [\u003ci>Deep Sea Vents\u003c/i>] is just another version of all that. Another area to mine and to explore.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=hqXDZgxdhyQ\u003c/p>\n\u003cp>I’m always looking for new inspiration. Thirty-nine years into this crazy career, the page is pretty filled in and I don’t like to repeat myself. So I’m interested in the new. I’m interested in the modern. Mind you, I say that, but I also tend to always write a couple of songs that come from the folk world. And that folk world was being mined early on in my music — \u003ci>The Way It Is\u003c/i> record, \u003ci>Scenes from the Southside\u003c/i> record — and I’ve kept on doing that. So hopefully there’s always something for the old-time listener who really isn’t interested in much else than that. But yes, that’s been my life, and it’s been extremely fulfilling. But you were very kind to not cite some of the nasty ones because I always get them. I’ve been getting nasty letters from fans since my second record saying, “How dare you change?” And my reaction was, “Well, okay, but you haven’t seen anything yet.” And that’s been my life.\u003c/p>\n\u003cp>\u003cb>We’re seeing this kind of conversation on the biggest of stages right now, because we just had one of the world’s biggest artists, Beyoncé, making something that people aren’t used to hearing her make with \u003ci>Cowboy Carter\u003c/i>. It will be interesting to see how we continue to evolve as a society in terms of thinking about genre and \u003ci>not\u003c/i> thinking about genre. \u003c/b>\u003c/p>\n\u003cp>I feel that Beyoncé’s record is nodding to the country world, but it’s hardly trying to be that. It is her own thing. It is Beyoncé music that leans now and then into a bit of a country flavor with the instrumentation, say, on the “Texas Hold ’Em” song.\u003c/p>\n\u003cp>\u003cb>Right, and \u003ca href=\"https://www.instagram.com/p/C4s6Zr7rlwA/?igsh=OGJlbGx0ODBqemc5\">she even said\u003c/a>, “This ain’t a Country album. This is a ‘Beyoncé’ album.” And so I feel like with you – you have a trend as well of being able to say, you know, this isn’t a “this or that” album, this is a Bruce Hornsby album. And where I go, is where I go.\u003c/b>\u003c/p>\n\u003cp>Well, okay. So I guess we’re kindred spirits, Beyoncé and I [laughter]. I’ll take it, because, of course, she’s absolutely fantastic. And this record [\u003ci>Cowboy Carter\u003c/i>] is more of that same high bar, high level.\u003c/p>\n\u003cp>\u003cb>With all that said, back to the tour at hand: how are you approaching it? Are you staying focused on new music? What can audiences expect?\u003c/b>\u003c/p>\n\u003cp>We are playing three or four old, well-known songs from 1986 to 1992. And Rob Moose [of yMusic] wrote some gorgeous arrangements of these songs. So the concert every night will include that. We’re not just “inflicting modernity” all night. We are also playing those songs, but in a very beautiful and modern fashion.\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>\u003ci>Bruce Hornsby and yMusic perform as BryhM at the Herbst Theatre (401 Van Ness St., San Francisco) on April 5, and at the Luther Burbank Center for the Arts (50 Mark West Springs Rd., Santa Rosa) on April 7. \u003ca href=\"https://www.brucehornsby.com/tour\">Click here for ticket information\u003c/a>.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"The musician talks about pranking Journey, his collaboration with yMusic and being kindred spirits with Beyoncé.","status":"publish","parent":0,"modified":1712334677,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":26,"wordCount":1703},"headData":{"title":"Bruce Hornsby Brings New ‘Deep Sea Vents’ Tour to the Bay Area | KQED","description":"The musician talks about pranking Journey, his collaboration with yMusic and being kindred spirits with Beyoncé.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Bruce Hornsby Brings New ‘Deep Sea Vents’ Tour to the Bay Area","datePublished":"2024-04-03T14:00:13.000Z","dateModified":"2024-04-05T16:31:17.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"audioUrl":"https://traffic.omny.fm/d/clips/0af137ef-751e-4b19-a055-aaef00d2d578/ffca7e9f-6831-41c5-bcaf-aaef00f5a073/a673b774-33b6-4187-bdbb-b149010e0cb1/audio.mp3","sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13955255/bruce-hornsby-bryhm-deep-sea-vents-tour","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Songwriter and musician \u003ca href=\"https://www.brucehornsby.com/\">Bruce Hornsby\u003c/a> has one of \u003ci>the\u003c/i> most recognizable piano intros in music. Those clear, cascading notes on “\u003ca href=\"https://www.youtube.com/watch?v=cOeKidp-iWo\">The Way It Is\u003c/a>,” off the 1986 album of the same name, became a launching pad for a storied career that has traversed genres and had him working with a wide range of collaborations.\u003c/p>\n\u003cp>Those collaborations include some Bay Area ties — like playing with The Grateful Dead in the early ’90s, putting his piano on iconic tracks like Bonnie Raitt’s “\u003ca href=\"https://www.youtube.com/watch?v=nW9Cu6GYqxo\">I Can’t Make You Love Me\u003c/a>,” and being sampled by Tupac for one of the rapper’s biggest songs, “\u003ca href=\"https://www.youtube.com/watch?v=eXvBjCO19QY\">Changes\u003c/a>.”\u003c/p>\n\u003cp>Hornsby’s latest project is a new water-themed album, \u003ca href=\"https://www.brucehornsby.com/deep-sea-vents\">\u003ci>Deep Sea Vents\u003c/i>\u003c/a>, in collaboration with the sextet \u003ca href=\"https://www.ymusicensemble.com/\">yMusic\u003c/a>. Performing together as BrhyM (pronounced “Brim”), they’re headed to San Francisco’s \u003ca href=\"https://www.ticketmaster.com/event/1C005F582CB36991\">Herbst Theatre on April 5\u003c/a> and Santa Rosa’s \u003ca href=\"https://lutherburbankcenter.org/event/bruce-hornsby24/\">Luther Burbank Center for the Arts on April 7\u003c/a>.\u003c/p>\n\u003cp>I talked with Hornsby over Zoom about his Bay Area music memories (which involved pranking the band Journey), the inspiration behind his new album and always exploring different sounds in his music, haters be damned.\u003c/p>\n\u003cp>\u003ci>Interview has been edited for length and clarity.\u003c/i>\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>\u003cb>Ariana Proehl:\u003c/b> \u003cstrong>You’ve performed in the Bay Area a lot over the years. And some may not know that you recorded some of your first album \u003ci>The Way It Is\u003c/i> in Sausalito back in the ’80s. What stands out to you when you look back at that time, recording out here?\u003c/strong>\u003c/p>\n\u003cp>\u003cb>Bruce Hornsby:\u003c/b> The group Journey was working next to us, and so somehow we got it into our heads to start phone pranking Journey. So I did that and called in to speak to [Journey lead guitarist] Neal Schon. I was a young man trying to get an audition for the group, that I referred to as “The Journeys.” “Hi, I’m trying to get an audition with The Journeys, is this Neal Schons?” I was using the pseudonym Melvin “Mooney” Minkins after a guy I went to high school with. So this just went on and on. So much so that in the credits for Journey’s record \u003ci>Raised on Radio\u003c/i>, there’s a special thanks to Melvin Minkins, and that’s why. I was phone pranking their manager, Herbie Herbert. They found out about it, and then they liked it. They got such a kick out of it, they had me phone pranking other people, friends of theirs.\u003c/p>\n\u003cp>I used to phone prank [Jerry] Garcia for that matter, in the later years.\u003c/p>\n\u003cp>\u003cb>Speaking of Jerry Garcia and Bay Area memories, you toured with The Grateful Dead in the early ’90s, playing keyboards for over 100 shows. What are some of your favorite memories playing with them?\u003c/b>\u003c/p>\n\u003cp>Oh, there are so many. Touring through Europe. Just the origin — the first gigs I did with them, I basically came in off the street and started winging it with them with, no rehearsal, at Madison Square Garden. That was crazy. And I used to play in my older brother’s Grateful Dead cover band in Charlottesville, Virginia. The name of the band was Bobby Hi-Test and the Octane Kids. And my brother is Bobby Hornsby. So imagine all those people who used to hang around with us, going to these great alcohol and hippie frat parties at University of Virginia playing Dead covers. Imagine them 16 years later, coming to Madison Square Garden to watch me start playing with that band. It was just an incomparable experience. Truly transcendent.\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/LTu5BmFFt00'\n title='//www.youtube.com/embed/LTu5BmFFt00'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cb>Let’s talk about what brings you to the Bay Area this time around – your new album \u003ci>Deep Sea Vents\u003c/i>, with the ensemble yMusic. What sparked this album? \u003c/b>\u003c/p>\n\u003cp>In the fall of 2019, they called me up and asked me if I would do a little five-song tour with them. Then Rob [Moose of yMusic] asked if I’d be interested in writing a song with him that we could play as our encore every night. So I said, “Sure, send me a track.” They sent me this track and I wrote a song called “\u003ca href=\"https://www.youtube.com/watch?v=l--wZYW0Au0\">Deep Sea Vents\u003c/a>.” \u003cspan style=\"font-weight: 400\">We had a great time playing that at our five concerts. And after the last one we said, “hey, let’s keep doing this, let’s keep writing.” \u003c/span>Then a week later, the COVID shutdown occurred. In the fall, we reconvened on the phone. They would send me a track every two months or so. And we just kept on going. I was reading \u003ci>Moby Dick\u003c/i> at the time. And all of a sudden they sent me this track that sounded like the book. So I decided to channel Herman Melville and write this song “The Wild Whaling Life.”\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/4vu5cF3YhFg'\n title='//www.youtube.com/embed/4vu5cF3YhFg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>And they sent me another song — their working title was “Duck Hunt.” It starts off with these sort of quacking sounding clarinets and trumpet. I thought, “Well, okay, I’m going to write about the platypus.” Sort of taking my cue from John Lennon’s “\u003ca href=\"https://www.youtube.com/watch?v=Ws5klxbI87I\">I Am the Walrus\u003c/a>.” So I wrote the song “\u003ca href=\"https://youtu.be/IQIorHlOLC0?feature=shared\">Platypus Wow\u003c/a>” over their track. These three songs together signaled very clearly that this record really should have a running theme. And so I decided every song that I write from here on out will be ocean-related or aquatic-related.\u003c/p>\n\u003cp>\u003cb>You’re known for taking your music in all kinds of directions. I scanned some of the YouTube comments for your \u003ci>Deep Sea Vents\u003c/i> album tracks and one fan mentioned loving your music because you’re true to yourself and not a style. Does that resonate? \u003c/b>\u003c/p>\n\u003cp>Well, now you’re being very kind to read the nice comments because there are always naysayers — people who would like me to make the same record stylistically for my entire life. I’m a bit of a restless soul. I’m an old music school nerd and I love so many different types of music. And I’ve just ended up being reached out to by so many people from so many disparate areas of musical life. So consequently, I’ve made bluegrass records \u003ca href=\"https://music.youtube.com/playlist?list=OLAK5uy_kklijAlIjpugeonmOdV-MPNXh9aQXYn3Y\">with Ricky Skaggs\u003c/a>. I’ve made jazz records \u003ca href=\"https://www.youtube.com/watch?v=lnY2NOGdNfg\">with Jack DeJohnette and Christian McBride\u003c/a>, just on and on. And [\u003ci>Deep Sea Vents\u003c/i>] is just another version of all that. Another area to mine and to explore.\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/hqXDZgxdhyQ'\n title='//www.youtube.com/embed/hqXDZgxdhyQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>I’m always looking for new inspiration. Thirty-nine years into this crazy career, the page is pretty filled in and I don’t like to repeat myself. So I’m interested in the new. I’m interested in the modern. Mind you, I say that, but I also tend to always write a couple of songs that come from the folk world. And that folk world was being mined early on in my music — \u003ci>The Way It Is\u003c/i> record, \u003ci>Scenes from the Southside\u003c/i> record — and I’ve kept on doing that. So hopefully there’s always something for the old-time listener who really isn’t interested in much else than that. But yes, that’s been my life, and it’s been extremely fulfilling. But you were very kind to not cite some of the nasty ones because I always get them. I’ve been getting nasty letters from fans since my second record saying, “How dare you change?” And my reaction was, “Well, okay, but you haven’t seen anything yet.” And that’s been my life.\u003c/p>\n\u003cp>\u003cb>We’re seeing this kind of conversation on the biggest of stages right now, because we just had one of the world’s biggest artists, Beyoncé, making something that people aren’t used to hearing her make with \u003ci>Cowboy Carter\u003c/i>. It will be interesting to see how we continue to evolve as a society in terms of thinking about genre and \u003ci>not\u003c/i> thinking about genre. \u003c/b>\u003c/p>\n\u003cp>I feel that Beyoncé’s record is nodding to the country world, but it’s hardly trying to be that. It is her own thing. It is Beyoncé music that leans now and then into a bit of a country flavor with the instrumentation, say, on the “Texas Hold ’Em” song.\u003c/p>\n\u003cp>\u003cb>Right, and \u003ca href=\"https://www.instagram.com/p/C4s6Zr7rlwA/?igsh=OGJlbGx0ODBqemc5\">she even said\u003c/a>, “This ain’t a Country album. This is a ‘Beyoncé’ album.” And so I feel like with you – you have a trend as well of being able to say, you know, this isn’t a “this or that” album, this is a Bruce Hornsby album. And where I go, is where I go.\u003c/b>\u003c/p>\n\u003cp>Well, okay. So I guess we’re kindred spirits, Beyoncé and I [laughter]. I’ll take it, because, of course, she’s absolutely fantastic. And this record [\u003ci>Cowboy Carter\u003c/i>] is more of that same high bar, high level.\u003c/p>\n\u003cp>\u003cb>With all that said, back to the tour at hand: how are you approaching it? Are you staying focused on new music? What can audiences expect?\u003c/b>\u003c/p>\n\u003cp>We are playing three or four old, well-known songs from 1986 to 1992. And Rob Moose [of yMusic] wrote some gorgeous arrangements of these songs. So the concert every night will include that. We’re not just “inflicting modernity” all night. We are also playing those songs, but in a very beautiful and modern fashion.\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>\u003ci>Bruce Hornsby and yMusic perform as BryhM at the Herbst Theatre (401 Van Ness St., San Francisco) on April 5, and at the Luther Burbank Center for the Arts (50 Mark West Springs Rd., Santa Rosa) on April 7. \u003ca href=\"https://www.brucehornsby.com/tour\">Click here for ticket information\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13955255/bruce-hornsby-bryhm-deep-sea-vents-tour","authors":["11296"],"programs":["arts_140"],"categories":["arts_1","arts_69"],"tags":["arts_10278","arts_1988","arts_1146","arts_2721","arts_585"],"featImg":"arts_13955261","label":"arts_140"},"arts_13950943":{"type":"posts","id":"arts_13950943","meta":{"index":"posts_1591205157","site":"arts","id":"13950943","score":null,"sort":[1706145301000]},"guestAuthors":[],"slug":"santa-rosa-sixth-street-playhouse-fences-review","title":"In Santa Rosa, Sixth Street Playhouse Swings for the ‘Fences’ — and Scores","publishDate":1706145301,"format":"standard","headTitle":"In Santa Rosa, Sixth Street Playhouse Swings for the ‘Fences’ — and Scores | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Set in the 1950s, August Wilson’s play \u003cem>Fences\u003c/em> portrays a nation in transition. Jackie Robinson had crossed the color line in baseball, and integration began to take place in schools and workplaces. Set in Pittsburgh, \u003cem>Fences\u003c/em> — running through Feb. 4 at the Sixth Street Playhouse in Santa Rosa — tells a bit of every American city’s own history, too.\u003c/p>\n\u003cp>In 1951 in Santa Rosa, for example, the African American community finally found a center at the newly founded Community Baptist Church. At the end of the decade, children from the largely Black neighborhood of South Park were bussed to Montgomery High School, on the whiter, more affluent east side of the city.\u003c/p>\n\u003cp>This local history was on my mind as I watched a sold-out, mid-run performance of \u003cem>Fences\u003c/em> — a highlight of \u003ca href=\"https://www.pbs.org/wnet/americanmasters/august-wilson-the-ground-on-which-i-stand-scenes-and-synposes-of-august-wilsons-10-play-cycle/3701/\">Wilson’s Century Cycle\u003c/a> that was revived not just for a 2010 Broadway run but a 2016 film, both with Denzel Washington and Viola Davis in the lead roles. The story of a former Negro League baseball star now relegated to garbage pickup, and the subsequent resentment that he takes out on his family, is a Pulitzer-winning landmark of American theater.\u003c/p>\n\u003cfigure id=\"attachment_13950945\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Fences.6th.2.jpg\" alt=\"\" width=\"1024\" height=\"1050\" class=\"size-full wp-image-13950945\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Fences.6th.2.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Fences.6th.2-800x820.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Fences.6th.2-1020x1046.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Fences.6th.2-160x164.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Fences.6th.2-768x788.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Mark Anthony as Cory, Val Sinckler as Rose and Keene Hudson as Troy Maxson in Sixth Street Playhouse’s production of August Wilson’s ‘Fences.’ \u003ccite>(Eric Chazankin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In Sixth Street’s intimate black box Monroe Stage, the cast of this \u003cem>Fences\u003c/em> flies along as smooth as a low-and-inside slider. As motormouth Troy Maxson, Keene Hudson seems to have studied Denzel Washington’s performance, and captures both the bravado and bitterness so crucial to the script. As son Cory, Mark Anthony could hardly be better cast, first hopeful and then physically filled with rage when his father denies his dreams. \u003c/p>\n\u003cp>Two actors are especially effective. Jim Frankie Banks wholly inhabits the role of Gabriel, the simpleminded brother of Troy who lives with a mental disability from a WWII head wound. And Val Sinckler, as Rose, expertly plays the supportive wife and mother — the glue holding together her fractious family — and delivers just the right note of pathos toward the play’s end. When she cries to Troy that “I planted myself inside you and waited to bloom,” one feels every month and year of that long wait. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postID='arts_13933205']Jourdán Olivier-Verdé’s direction is taut, save for a pivotal scene in which Rose learns of Troy’s betrayal, which suffers from poor pacing. As Lyons, De’ Sean Moore is the nightclub-dwelling, money-borrowing musician son with a laconic cool, played perhaps a touch too laconically. But the rest kept me on the edge of my seat, buoyed by period-correct costume design by Aja Gianola-Norris; simple, effective set design from Aissa Simbulan; and interstitial blues songs curated by sound designer Ben Roots. \u003c/p>\n\u003cp>It’s a rarity to see an all-Black cast led by a Black director in Santa Rosa, a city where only 2% of the population is Black. And it’s refreshing to see Sixth Street deviate from their jukebox musicals, which typically pay the bills, with a searing production like this. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" 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>\n\u003cp>\u003cem>‘\u003ca href=\"http://6thstreetplayhouse.com/shows/2023-24/fences/\">Fences\u003c/a>’ runs through Sunday, Feb. 4, at Sixth Street Playhouse in Santa Rosa.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"A stellar cast brings August Wilson’s searing landmark of American theater to life.","status":"publish","parent":0,"modified":1706214851,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":11,"wordCount":570},"headData":{"title":"‘Fences’ Review: Sixth Street Playhouse Scores | KQED","description":"A stellar cast brings August Wilson’s searing landmark of American theater to life.","ogTitle":"In Santa Rosa, Sixth Street Playhouse Swings for the ‘Fences’ — and Scores","ogDescription":"","ogImgId":"","twTitle":"In Santa Rosa, Sixth Street Playhouse Swings for the ‘Fences’ — and Scores","twDescription":"","twImgId":"","socialTitle":"‘Fences’ Review: Sixth Street Playhouse Scores %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"In Santa Rosa, Sixth Street Playhouse Swings for the ‘Fences’ — and Scores","datePublished":"2024-01-25T01:15:01.000Z","dateModified":"2024-01-25T20:34:11.000Z","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/13950943/santa-rosa-sixth-street-playhouse-fences-review","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Set in the 1950s, August Wilson’s play \u003cem>Fences\u003c/em> portrays a nation in transition. Jackie Robinson had crossed the color line in baseball, and integration began to take place in schools and workplaces. Set in Pittsburgh, \u003cem>Fences\u003c/em> — running through Feb. 4 at the Sixth Street Playhouse in Santa Rosa — tells a bit of every American city’s own history, too.\u003c/p>\n\u003cp>In 1951 in Santa Rosa, for example, the African American community finally found a center at the newly founded Community Baptist Church. At the end of the decade, children from the largely Black neighborhood of South Park were bussed to Montgomery High School, on the whiter, more affluent east side of the city.\u003c/p>\n\u003cp>This local history was on my mind as I watched a sold-out, mid-run performance of \u003cem>Fences\u003c/em> — a highlight of \u003ca href=\"https://www.pbs.org/wnet/americanmasters/august-wilson-the-ground-on-which-i-stand-scenes-and-synposes-of-august-wilsons-10-play-cycle/3701/\">Wilson’s Century Cycle\u003c/a> that was revived not just for a 2010 Broadway run but a 2016 film, both with Denzel Washington and Viola Davis in the lead roles. The story of a former Negro League baseball star now relegated to garbage pickup, and the subsequent resentment that he takes out on his family, is a Pulitzer-winning landmark of American theater.\u003c/p>\n\u003cfigure id=\"attachment_13950945\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Fences.6th.2.jpg\" alt=\"\" width=\"1024\" height=\"1050\" class=\"size-full wp-image-13950945\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Fences.6th.2.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Fences.6th.2-800x820.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Fences.6th.2-1020x1046.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Fences.6th.2-160x164.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Fences.6th.2-768x788.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Mark Anthony as Cory, Val Sinckler as Rose and Keene Hudson as Troy Maxson in Sixth Street Playhouse’s production of August Wilson’s ‘Fences.’ \u003ccite>(Eric Chazankin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In Sixth Street’s intimate black box Monroe Stage, the cast of this \u003cem>Fences\u003c/em> flies along as smooth as a low-and-inside slider. As motormouth Troy Maxson, Keene Hudson seems to have studied Denzel Washington’s performance, and captures both the bravado and bitterness so crucial to the script. As son Cory, Mark Anthony could hardly be better cast, first hopeful and then physically filled with rage when his father denies his dreams. \u003c/p>\n\u003cp>Two actors are especially effective. Jim Frankie Banks wholly inhabits the role of Gabriel, the simpleminded brother of Troy who lives with a mental disability from a WWII head wound. And Val Sinckler, as Rose, expertly plays the supportive wife and mother — the glue holding together her fractious family — and delivers just the right note of pathos toward the play’s end. When she cries to Troy that “I planted myself inside you and waited to bloom,” one feels every month and year of that long wait. \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>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13933205","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Jourdán Olivier-Verdé’s direction is taut, save for a pivotal scene in which Rose learns of Troy’s betrayal, which suffers from poor pacing. As Lyons, De’ Sean Moore is the nightclub-dwelling, money-borrowing musician son with a laconic cool, played perhaps a touch too laconically. But the rest kept me on the edge of my seat, buoyed by period-correct costume design by Aja Gianola-Norris; simple, effective set design from Aissa Simbulan; and interstitial blues songs curated by sound designer Ben Roots. \u003c/p>\n\u003cp>It’s a rarity to see an all-Black cast led by a Black director in Santa Rosa, a city where only 2% of the population is Black. And it’s refreshing to see Sixth Street deviate from their jukebox musicals, which typically pay the bills, with a searing production like this. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" 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>\n\u003cp>\u003cem>‘\u003ca href=\"http://6thstreetplayhouse.com/shows/2023-24/fences/\">Fences\u003c/a>’ runs through Sunday, Feb. 4, at Sixth Street Playhouse in Santa Rosa.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13950943/santa-rosa-sixth-street-playhouse-fences-review","authors":["185"],"programs":["arts_140"],"categories":["arts_1","arts_967"],"tags":["arts_21892","arts_769","arts_2721","arts_585"],"featImg":"arts_13950946","label":"arts_140"},"arts_13934043":{"type":"posts","id":"arts_13934043","meta":{"index":"posts_1591205157","site":"arts","id":"13934043","score":null,"sort":[1693424966000]},"guestAuthors":[],"slug":"leila-steinberg-tupac-shakur-manager","title":"Leila Steinberg, Tupac Shakur’s First Manager: I 'Still Feel Him' Here","publishDate":1693424966,"format":"aside","headTitle":"Leila Steinberg, Tupac Shakur’s First Manager: I ‘Still Feel Him’ Here | KQED","labelTerm":{},"content":"\u003cfigure id=\"attachment_13934055\" class=\"wp-caption aligncenter\" style=\"max-width: 828px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934055\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Tupac.Steinberg.jpg\" alt=\"A shirtless black male with a cross necklace stands with a shorter white woman in jeans and striped top.\" width=\"828\" height=\"1030\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Tupac.Steinberg.jpg 828w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Tupac.Steinberg-800x995.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Tupac.Steinberg-160x199.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Tupac.Steinberg-768x955.jpg 768w\" sizes=\"(max-width: 828px) 100vw, 828px\">\u003cfigcaption class=\"wp-caption-text\">Tupac Shakur and Leila Steinberg. Steinberg met Shakur when he was 17, and was his manager from 1989 to 1993. \u003ccite>(Kathy Crawford)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Editor’s note: This story is part of \u003c/em>\u003ca href=\"https://www.kqed.org/bayareahiphop/\">That’s My Word\u003c/a>\u003cem>, KQED’s year-long exploration of \u003ca href=\"https://www.kqed.org/bayareahiphop/\">Bay Area hip-hop\u003c/a> history.\u003c/em>\u003c/p>\n\u003cp>[dropcap]I[/dropcap]n the late 1980s, Leila Steinberg was a concert promoter and arts educator living in Rohnert Park. Each week, she hosted writing circles for young poets, rappers and actors in her living room. She would give the participants a prompt, and then invite the best ones to perform their pieces during assemblies at schools across the Bay Area.\u003c/p>\n\u003cp>One evening in 1988, a senior at Tamalpais High School in Mill Valley showed up and challenged Steinberg’s approach, telling her the participants should have more input on the content of the assemblies. That \u003ca href=\"https://marinmagazine.com/people/tupac/\">brash 17-year-old\u003c/a> would have a profound impact on Steinberg’s life, and on the lives of so many others around the world.\u003c/p>\n\u003cp>“It was my group until Tupac came,” Steinberg recalled in a recent phone interview. “I was in my 20s, and it was just a passion project that I wanted to do. His joining really allowed me to rethink and reshape what it was to be in a leadership role.”\u003c/p>\n\u003cp>[aside postID='arts_13927810']Steinberg was part of a multicultural community of mentors and friends who helped mold Tupac Shakur, both as an artist and a man, during the years he lived in Northern California. After making his commercial recording debut with Oakland-based rap group \u003ca href=\"https://www.kqed.org/arts/13929900/shock-g-revolutionized-hip-hop-and-created-a-secret-trove-of-funky-art\">Digital Underground\u003c/a>, Shakur achieved enormous success as a solo rapper and actor before being murdered in 1996 at age 25.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In addition to promoting his first shows, Steinberg was Shakur’s first manager, as well as a substitute mother of sorts to him at a time when his own mother, Afeni, was struggling with drug addiction. He would eventually leave his Marin City home and crash on Steinberg’s couch, living with her and her family in Rohnert Park.\u003c/p>\n\u003cfigure id=\"attachment_13934059\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934059\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/StrictlyDope.jpg\" alt=\"A group of young black males pose in a late 1980s black and white photo\" width=\"640\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/StrictlyDope.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/StrictlyDope-160x160.jpg 160w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Tupac Shakur, top center, with the Santa Rosa-based group Strictly Dope, circa 1989. Ray Luv is seen at lower right. \u003ccite>(Strictly Dope)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For years, Steinberg wrestled with feelings of guilt over the “toxic” quality of some of the later music Shakur released, and the poor decisions he made that may have contributed to his untimely death.\u003c/p>\n\u003cp>“Tupac was a kid, and he needed a lot more guidance,” she said. “I was too young to understand what I know now. I wish that I could have had more influence, because I always stayed connected to him.”\u003c/p>\n\u003ch2>Finding her role in hip-hop\u003c/h2>\n\u003cp>Steinberg, 61, lived and worked in the Bay Area for about 15 years in the 1980s and ’90s. Today she lives in Los Angeles, where she grew up, though she returns periodically to visit her mother in Santa Rosa. “The Bay is one of the most revolutionary areas you can live in, in this entire country, whether it’s education, politics, religion,” she said.\u003c/p>\n\u003cp>In addition to managing Shakur from 1989 until 1993 (with guidance from Digital Underground’s manager, Atron Gregory), Steinberg managed \u003ca href=\"http://www.kqed.org/bayareahiphop/timeline#tupac-moves-to-santa-rosa-attends-the-poetry-circle-and-forms-strictly-dope\">Ray Luv\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13924167/mac-mall-illegal-business-my-opinion-excerpt\">Mac Mall\u003c/a>, and she remains close to both of them. She \u003ca href=\"https://www.npr.org/sections/microphonecheck/2015/03/09/391893500/leila-steinberg-with-earl-its-a-journey\">still manages artists\u003c/a>, including the rapper Earl Sweatshirt, through her company Steinberg Management International. It’s a career she fell into by accident. “I was horrible at math and business, so it’s weird that I ended up negotiating million-dollar contracts,” she said.\u003c/p>\n\u003cfigure id=\"attachment_13934054\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934054\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Steinberg.whiteboard-scaled.jpg\" alt=\"A woman in front of a whiteboard, with the backs of attendees in the foreground.\" width=\"2560\" height=\"1829\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Steinberg.whiteboard-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Steinberg.whiteboard-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Steinberg.whiteboard-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Steinberg.whiteboard-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Steinberg.whiteboard-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Steinberg.whiteboard-1536x1097.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Steinberg.whiteboard-2048x1463.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Steinberg.whiteboard-1920x1372.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Through her nonprofit, Aim4theHeart, Steinberg gives workshops for young people on emotional literacy. \u003ccite>(Louis King)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The daughter of a white, Jewish father who worked as a criminal defense lawyer and a Mexican-born mother with \u003ca href=\"https://www.myjewishlearning.com/article/who-are-sephardic-jews/\">Sephardic Jewish heritage\u003c/a> who was involved in different social movements, Steinberg first became aware of the power of music while sitting in the pews of a synagogue. “When Cantor Behar sang, I felt like that was the deepest connection to God,” she said, referring to Cantor Isaac Behar of L.A.’s \u003ca href=\"https://sephardictemple.org/history/\">Sephardic Temple Tifereth Israel\u003c/a>.\u003c/p>\n\u003cp>She attended a predominantly Black and Latino elementary school in L.A. until sixth grade, when her family moved to a “pretty WASP-y” community in Santa Monica, she said. She gravitated to the arts, singing in youth choirs and taking African dance classes at a cultural center. “I began to learn about African culture and the gift that came from Africa that I didn’t have in my family, in my community,” she said during a \u003ca href=\"https://www.youtube.com/live/EldWC_6B6Fk?feature=share\">2021 forum at UC Berkeley\u003c/a>.\u003c/p>\n\u003cp>[pullquote size='large' align='right' citation='Tupac Shakur, on Leila Steinberg']She understood a lot of things that I was doing that other people couldn’t understand. [/pullquote]Although she studied sports therapy at Sonoma State University and worked at a physical therapy office in Sebastopol, she always thought of herself as an artist. She toured with the band O.J. Ekemode and the Nigerian Allstars for a few years, the only non-Black singer-dancer in the Afrobeat group. On the group’s first U.S. tour, she realized she could have a greater impact in music by helping artists of color get more exposure, so she started organizing shows around the Bay Area and, with her DJ husband, promoting local hip-hop acts.\u003c/p>\n\u003cp>“I never planned on being in hip-hop or rap music,” she said at UC Berkeley. “I really understood the eruption of pain, and that this art form was a very important conversation.” However, she added, “I also struggled with what my role would be.”\u003c/p>\n\u003cp>In \u003cem>Dear Mama\u003c/em>, a 2023 FX docuseries (now streaming on Hulu) that interweaves Shakur’s story with his activist mother’s, Shakur talks about Steinberg’s influence on him.\u003c/p>\n\u003cp>“She was older, she was white, and she’s the one that I used to let look at my poetry,” he says in a clip from a 1995 deposition. “She understood a lot of things that I was doing that other people couldn’t understand. And she’s the one that stayed on me about working hard to do my music.”\u003c/p>\n\u003cfigure id=\"attachment_13924484\" class=\"wp-caption aligncenter\" style=\"max-width: 1240px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13924484\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/Tupac.MacMall..RayLuv.jpg\" alt=\"Three young men, two of them sitting on car hoods, on a city street\" width=\"1240\" height=\"1488\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Tupac.MacMall..RayLuv.jpg 1240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Tupac.MacMall..RayLuv-800x960.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Tupac.MacMall..RayLuv-1020x1224.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Tupac.MacMall..RayLuv-160x192.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Tupac.MacMall..RayLuv-768x922.jpg 768w\" sizes=\"(max-width: 1240px) 100vw, 1240px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Tupac Shakur, Mac Mall and Ray Luv on the set of Mac Mall’s music video for ‘Ghetto Theme,’ directed by Tupac. \u003ccite>(Courtesy Mac Mall / 'My Opinion')\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘She required us to be honest’\u003c/h2>\n\u003cp>Ray Luv met Steinberg when he was 15, and in an interview, he described her as an educator at heart. “She wants people to be aware of what’s going on, and to not just be blowing in the wind, but to have a voice and to use it,” he said.\u003c/p>\n\u003cp>Luv grew up in Santa Rosa, participated in Steinberg’s poetry circles in the late 1980s, and performed with Shakur as a member of the rap group Strictly Dope from 1988 to 1990. He recalled how Steinberg drove them back and forth between the North Bay and recording studios in the East Bay, even when she was several months pregnant.\u003c/p>\n\u003cp>“It had to put an incredible strain on her family,” he said of her commitment to him and his peers. “She was also feeding some of us and putting us up at different times when we didn’t have a place to stay. I’ve seen her acts of kindness.”\u003c/p>\n\u003cp>In return, he added, “She required us to be honest. She required us to give back to the community.”\u003c/p>\n\u003cfigure id=\"attachment_13934062\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934062\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/StarlightSound.Richmond.GabeMeline.web_-scaled.jpg\" alt=\"A vacant commercial corner building with a 1970s-style stone facade\" width=\"2560\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/StarlightSound.Richmond.GabeMeline.web_-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/StarlightSound.Richmond.GabeMeline.web_-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/StarlightSound.Richmond.GabeMeline.web_-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/StarlightSound.Richmond.GabeMeline.web_-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/StarlightSound.Richmond.GabeMeline.web_-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/StarlightSound.Richmond.GabeMeline.web_-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/StarlightSound.Richmond.GabeMeline.web_-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/StarlightSound.Richmond.GabeMeline.web_-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Starlight Sound in Richmond, the recording studio where Leila Steinberg first brought Tupac Shakur to meet Digital Underground, as seen today. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Steinberg approached the job of managing Shakur as if she were running a political campaign, drawing upon lessons she learned from an uncle who worked in politics in L.A. “I instinctively began to look at throwing parties and events and shows like a political campaign, and I understood music moves masses,” she said.\u003c/p>\n\u003cp>Yet Shakur did not see himself as a politician. Instead, as Steinberg says in \u003cem>Dear Mama\u003c/em>, “Tupac wanted to seduce the children of white America.”\u003c/p>\n\u003cp>What did she mean by that? “He really wanted to be like the Pied Piper, and he wanted to lure a generation of white children who grew up not understanding struggle or justice, or what’s happened to Black people in this country,” she said in the interview. “He felt through his lyrics and songs he could be a roadmap to empathy and change and transformation.”\u003c/p>\n\u003ch2>Ain’t a woman alive that could take my mama’s place\u003c/h2>\n\u003cp>The documentary \u003cem>Dear Mama\u003c/em> takes its title from one of Shakur’s best-known songs, a loving tribute to his mother included on his 1995 album \u003cem>Me Against the World\u003c/em>.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/pop/23762/you-cant-kill-the-revolution-davey-d-on-tupacs-mother-afeni-shakur\">Afeni Shakur\u003c/a> was one of the Panther 21, a group of Black Panthers arrested in New York City in 1969 and charged with conspiring to bomb department stores and police stations. She was pregnant with Shakur while in jail, and defended herself at trial, despite having no legal training. She and the other defendants were \u003ca href=\"https://www.nytimes.com/1971/05/14/archives/black-panther-party-members-freed-after-being-cleared-of-charges-13.html\">acquitted\u003c/a> in 1971, and she raised Shakur and his half-sister in poverty in Harlem, Baltimore and Marin City.\u003c/p>\n\u003cp>[aside postID='pop_23762']Although they came from very different worlds, Steinberg and Shakur bonded over their shared commitment to racial justice.\u003c/p>\n\u003cp>As the Jewish daughter of a dark-skinned Mexican immigrant, Steinberg said she was aware of antisemitism and racism from a young age. “I understood that Jews were not liked, but they could disappear in their Jewishness,” she said. When she got married, she considered changing her last name, “but I felt that I needed to be OK and not hide, because Black people couldn’t hide their skin.”\u003c/p>\n\u003cp>Another thing she had in common with Shakur, she said, was “mother issues.”\u003c/p>\n\u003cp>“We shared a pain of having mothers who came out of ’60s activism and were taken away from their children because of their choices at times,” she said. “The ’60s activism included drugs, sexual behavior and a lifestyle that is really not healthy for a family.” Steinberg’s mother, Corina Abouaf, was involved in the farmworkers’ and women’s movements. Today, mother and daughter are close, Steinberg said.\u003c/p>\n\u003cp>As for her relationship with Afeni, Shakur’s mother, who lived in Sausalito in her later years and died in 2016, Steinberg says it was complicated.\u003c/p>\n\u003cp>“I don’t think that I would have been as involved in pushing Pac’s career forward, and just being there for him, if she wasn’t in the place she was in,” she said. “But I know she loved me and my kids, and I have immense respect and love for her.”\u003c/p>\n\u003cfigure id=\"attachment_13929237\" class=\"wp-caption aligncenter\" style=\"max-width: 1716px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13929237\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Tupac.Square.jpg\" alt=\"\" width=\"1716\" height=\"1716\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Tupac.Square.jpg 1716w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Tupac.Square-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Tupac.Square-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Tupac.Square-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Tupac.Square-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Tupac.Square-1536x1536.jpg 1536w\" sizes=\"(max-width: 1716px) 100vw, 1716px\">\u003cfigcaption class=\"wp-caption-text\">Tupac Shakur pictured in Oakland in 1992. \u003ccite>(Gary Reyes / Oakland Tribune Staff Archives (MediaNews Group/Bay Area News via Getty Images))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘I still feel his partnership’\u003c/h2>\n\u003cp>Tupac Shakur’s time in the Bay Area was often turbulent. In October 1991, he was \u003ca href=\"https://www.kqed.org/arts/11696060/its-tupac-day-in-oakland-where-he-once-sued-the-police-for-10-million\">beaten by Oakland police officers\u003c/a> after they stopped him for jaywalking; he subsequently sued the police department and received a settlement. The following year, he was involved in \u003ca href=\"https://www.sfgate.com/news/article/PAGE-ONE-Marin-City-Haunted-By-Boy-s-Shooting-3021515.php\">a fight at the Marin City Festival\u003c/a>, during which a 6-year-old boy was killed by a bullet fired from a gun that was registered to Shakur. (He was never charged with a crime.)\u003c/p>\n\u003cp>“I don’t want people to think I condone all his behavior,” Steinberg said. “I fought with him all the time.”\u003c/p>\n\u003cp>[aside postID='arts_11696060']Steinberg doesn’t believe he sexually assaulted a female fan in a New York City hotel room, a crime he was \u003ca href=\"https://www.nytimes.com/1995/02/08/nyregion/rapper-faces-prison-term-for-sex-abuse.html\">convicted\u003c/a> of in 1995, and for which he served nine months in jail. His road manager was also convicted of assaulting the woman, and Steinberg said Shakur should have had better control over the members of his entourage.\u003c/p>\n\u003cp>She has said she \u003ca href=\"https://www.xxlmag.com/changes-2pacs-manager-leila-steinberg-excerpt-from-sept-2011-issue/\">fell in love with Shakur in a spiritual sense\u003c/a>, and the two of them talked about everything. After Shakur was shot in a drive-by shooting in Las Vegas in 1996, Steinberg said she was convinced he would pull through.\u003c/p>\n\u003cp>After he died several days later in a hospital, “I was in shock for a very long time,” she recalled. “I’ve been operating for so long from so much trauma, and I’m finally in a really healthy place.” (His murder has never been solved, but in 2002 the \u003cem>Los Angeles Times\u003c/em> identified a since-deceased gang member from Compton as the probable shooter.)\u003c/p>\n\u003cp>[pullquote size='large' align='right' citation='Leila Steinberg']I don’t want people to think I condone all his behavior. I fought with him all the time.[/pullquote]Steinberg saved many of the poems Shakur wrote between the ages of 17 and 19 and published them, with his prior permission, in the 1999 book \u003cem>\u003ca href=\"https://www.amazon.com/Rose-That-Grew-Concrete/dp/0671028456\">The Rose That Grew From Concrete\u003c/a>\u003c/em>. Her portion of the sales has helped to fund her “Mic Sessions” workshops, which she offers at school, universities and other venues through her nonprofit \u003ca href=\"https://www.aim4theheart.org/\">Aim4theHeart\u003c/a>, and which are designed to promote emotional literacy.\u003c/p>\n\u003cp>For three decades, she \u003ca href=\"https://youtu.be/esm5A-_cIAA\">worked with prisoners at San Quentin State Prison\u003c/a>, until the pandemic forced her to press pause. She is a self-described nomad who often travels with Earl Sweatshirt, explaining that the 29-year-old rapper has allowed her to redeem herself “after all the mistakes with Tupac.” She is the mother of four adult children, including a musician son known as \u003ca href=\"https://soundcloud.com/nykkuu\">Nyku\u003c/a>, and a grandmother. She is writing a memoir.\u003c/p>\n\u003cp>Even today, she said, Shakur is still very much a part of her life.\u003c/p>\n\u003cp>“I thought he would be alive doing the work with me,” she said. “I still feel his partnership in the work. I still feel him tapping me on the shoulder and saying, ‘You have a responsibility. Keep going.’”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-11687704\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/06/Turntable.Break_.jpg\" alt=\"\" width=\"800\" height=\"60\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-400x30.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-768x58.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://jweekly.com/2023/05/09/dear-mama-leila-steinberg-tupacs-first-manager-sees-new-docuseries-series-as-a-chance-to-heal/\">A version of this story first appeared in J. The Jewish News of Northern California\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Steinberg was a guiding force for Tupac during his teen years in Marin and Sonoma County, when his career was just getting started.","status":"publish","parent":0,"modified":1705005084,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":44,"wordCount":2433},"headData":{"title":"Leila Steinberg, Tupac Shakur’s First Manager: I 'Still Feel Him' Here | KQED","description":"Steinberg was a guiding force for Tupac during his teen years in Marin and Sonoma County, when his career was just getting started.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Leila Steinberg, Tupac Shakur’s First Manager: I 'Still Feel Him' Here","datePublished":"2023-08-30T19:49:26.000Z","dateModified":"2024-01-11T20:31:24.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"That's My Word","sourceUrl":"/bayareahiphop","sticky":false,"WpOldSlug":"leila-steinberg-tupac-shakurs-first-manager-i-still-feel-him-here","nprByline":"Andrew Esensten","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13934043/leila-steinberg-tupac-shakur-manager","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13934055\" class=\"wp-caption aligncenter\" style=\"max-width: 828px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934055\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Tupac.Steinberg.jpg\" alt=\"A shirtless black male with a cross necklace stands with a shorter white woman in jeans and striped top.\" width=\"828\" height=\"1030\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Tupac.Steinberg.jpg 828w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Tupac.Steinberg-800x995.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Tupac.Steinberg-160x199.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Tupac.Steinberg-768x955.jpg 768w\" sizes=\"(max-width: 828px) 100vw, 828px\">\u003cfigcaption class=\"wp-caption-text\">Tupac Shakur and Leila Steinberg. Steinberg met Shakur when he was 17, and was his manager from 1989 to 1993. \u003ccite>(Kathy Crawford)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Editor’s note: This story is part of \u003c/em>\u003ca href=\"https://www.kqed.org/bayareahiphop/\">That’s My Word\u003c/a>\u003cem>, KQED’s year-long exploration of \u003ca href=\"https://www.kqed.org/bayareahiphop/\">Bay Area hip-hop\u003c/a> history.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">I\u003c/span>\u003c/p>\u003cp>n the late 1980s, Leila Steinberg was a concert promoter and arts educator living in Rohnert Park. Each week, she hosted writing circles for young poets, rappers and actors in her living room. She would give the participants a prompt, and then invite the best ones to perform their pieces during assemblies at schools across the Bay Area.\u003c/p>\n\u003cp>One evening in 1988, a senior at Tamalpais High School in Mill Valley showed up and challenged Steinberg’s approach, telling her the participants should have more input on the content of the assemblies. That \u003ca href=\"https://marinmagazine.com/people/tupac/\">brash 17-year-old\u003c/a> would have a profound impact on Steinberg’s life, and on the lives of so many others around the world.\u003c/p>\n\u003cp>“It was my group until Tupac came,” Steinberg recalled in a recent phone interview. “I was in my 20s, and it was just a passion project that I wanted to do. His joining really allowed me to rethink and reshape what it was to be in a leadership role.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13927810","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Steinberg was part of a multicultural community of mentors and friends who helped mold Tupac Shakur, both as an artist and a man, during the years he lived in Northern California. After making his commercial recording debut with Oakland-based rap group \u003ca href=\"https://www.kqed.org/arts/13929900/shock-g-revolutionized-hip-hop-and-created-a-secret-trove-of-funky-art\">Digital Underground\u003c/a>, Shakur achieved enormous success as a solo rapper and actor before being murdered in 1996 at age 25.\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>In addition to promoting his first shows, Steinberg was Shakur’s first manager, as well as a substitute mother of sorts to him at a time when his own mother, Afeni, was struggling with drug addiction. He would eventually leave his Marin City home and crash on Steinberg’s couch, living with her and her family in Rohnert Park.\u003c/p>\n\u003cfigure id=\"attachment_13934059\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934059\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/StrictlyDope.jpg\" alt=\"A group of young black males pose in a late 1980s black and white photo\" width=\"640\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/StrictlyDope.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/StrictlyDope-160x160.jpg 160w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Tupac Shakur, top center, with the Santa Rosa-based group Strictly Dope, circa 1989. Ray Luv is seen at lower right. \u003ccite>(Strictly Dope)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For years, Steinberg wrestled with feelings of guilt over the “toxic” quality of some of the later music Shakur released, and the poor decisions he made that may have contributed to his untimely death.\u003c/p>\n\u003cp>“Tupac was a kid, and he needed a lot more guidance,” she said. “I was too young to understand what I know now. I wish that I could have had more influence, because I always stayed connected to him.”\u003c/p>\n\u003ch2>Finding her role in hip-hop\u003c/h2>\n\u003cp>Steinberg, 61, lived and worked in the Bay Area for about 15 years in the 1980s and ’90s. Today she lives in Los Angeles, where she grew up, though she returns periodically to visit her mother in Santa Rosa. “The Bay is one of the most revolutionary areas you can live in, in this entire country, whether it’s education, politics, religion,” she said.\u003c/p>\n\u003cp>In addition to managing Shakur from 1989 until 1993 (with guidance from Digital Underground’s manager, Atron Gregory), Steinberg managed \u003ca href=\"http://www.kqed.org/bayareahiphop/timeline#tupac-moves-to-santa-rosa-attends-the-poetry-circle-and-forms-strictly-dope\">Ray Luv\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13924167/mac-mall-illegal-business-my-opinion-excerpt\">Mac Mall\u003c/a>, and she remains close to both of them. She \u003ca href=\"https://www.npr.org/sections/microphonecheck/2015/03/09/391893500/leila-steinberg-with-earl-its-a-journey\">still manages artists\u003c/a>, including the rapper Earl Sweatshirt, through her company Steinberg Management International. It’s a career she fell into by accident. “I was horrible at math and business, so it’s weird that I ended up negotiating million-dollar contracts,” she said.\u003c/p>\n\u003cfigure id=\"attachment_13934054\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934054\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Steinberg.whiteboard-scaled.jpg\" alt=\"A woman in front of a whiteboard, with the backs of attendees in the foreground.\" width=\"2560\" height=\"1829\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Steinberg.whiteboard-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Steinberg.whiteboard-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Steinberg.whiteboard-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Steinberg.whiteboard-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Steinberg.whiteboard-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Steinberg.whiteboard-1536x1097.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Steinberg.whiteboard-2048x1463.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Steinberg.whiteboard-1920x1372.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Through her nonprofit, Aim4theHeart, Steinberg gives workshops for young people on emotional literacy. \u003ccite>(Louis King)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The daughter of a white, Jewish father who worked as a criminal defense lawyer and a Mexican-born mother with \u003ca href=\"https://www.myjewishlearning.com/article/who-are-sephardic-jews/\">Sephardic Jewish heritage\u003c/a> who was involved in different social movements, Steinberg first became aware of the power of music while sitting in the pews of a synagogue. “When Cantor Behar sang, I felt like that was the deepest connection to God,” she said, referring to Cantor Isaac Behar of L.A.’s \u003ca href=\"https://sephardictemple.org/history/\">Sephardic Temple Tifereth Israel\u003c/a>.\u003c/p>\n\u003cp>She attended a predominantly Black and Latino elementary school in L.A. until sixth grade, when her family moved to a “pretty WASP-y” community in Santa Monica, she said. She gravitated to the arts, singing in youth choirs and taking African dance classes at a cultural center. “I began to learn about African culture and the gift that came from Africa that I didn’t have in my family, in my community,” she said during a \u003ca href=\"https://www.youtube.com/live/EldWC_6B6Fk?feature=share\">2021 forum at UC Berkeley\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"She understood a lot of things that I was doing that other people couldn’t understand. ","name":"pullquote","attributes":{"named":{"size":"large","align":"right","citation":"Tupac Shakur, on Leila Steinberg","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Although she studied sports therapy at Sonoma State University and worked at a physical therapy office in Sebastopol, she always thought of herself as an artist. She toured with the band O.J. Ekemode and the Nigerian Allstars for a few years, the only non-Black singer-dancer in the Afrobeat group. On the group’s first U.S. tour, she realized she could have a greater impact in music by helping artists of color get more exposure, so she started organizing shows around the Bay Area and, with her DJ husband, promoting local hip-hop acts.\u003c/p>\n\u003cp>“I never planned on being in hip-hop or rap music,” she said at UC Berkeley. “I really understood the eruption of pain, and that this art form was a very important conversation.” However, she added, “I also struggled with what my role would be.”\u003c/p>\n\u003cp>In \u003cem>Dear Mama\u003c/em>, a 2023 FX docuseries (now streaming on Hulu) that interweaves Shakur’s story with his activist mother’s, Shakur talks about Steinberg’s influence on him.\u003c/p>\n\u003cp>“She was older, she was white, and she’s the one that I used to let look at my poetry,” he says in a clip from a 1995 deposition. “She understood a lot of things that I was doing that other people couldn’t understand. And she’s the one that stayed on me about working hard to do my music.”\u003c/p>\n\u003cfigure id=\"attachment_13924484\" class=\"wp-caption aligncenter\" style=\"max-width: 1240px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13924484\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/Tupac.MacMall..RayLuv.jpg\" alt=\"Three young men, two of them sitting on car hoods, on a city street\" width=\"1240\" height=\"1488\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Tupac.MacMall..RayLuv.jpg 1240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Tupac.MacMall..RayLuv-800x960.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Tupac.MacMall..RayLuv-1020x1224.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Tupac.MacMall..RayLuv-160x192.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Tupac.MacMall..RayLuv-768x922.jpg 768w\" sizes=\"(max-width: 1240px) 100vw, 1240px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Tupac Shakur, Mac Mall and Ray Luv on the set of Mac Mall’s music video for ‘Ghetto Theme,’ directed by Tupac. \u003ccite>(Courtesy Mac Mall / 'My Opinion')\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘She required us to be honest’\u003c/h2>\n\u003cp>Ray Luv met Steinberg when he was 15, and in an interview, he described her as an educator at heart. “She wants people to be aware of what’s going on, and to not just be blowing in the wind, but to have a voice and to use it,” he said.\u003c/p>\n\u003cp>Luv grew up in Santa Rosa, participated in Steinberg’s poetry circles in the late 1980s, and performed with Shakur as a member of the rap group Strictly Dope from 1988 to 1990. He recalled how Steinberg drove them back and forth between the North Bay and recording studios in the East Bay, even when she was several months pregnant.\u003c/p>\n\u003cp>“It had to put an incredible strain on her family,” he said of her commitment to him and his peers. “She was also feeding some of us and putting us up at different times when we didn’t have a place to stay. I’ve seen her acts of kindness.”\u003c/p>\n\u003cp>In return, he added, “She required us to be honest. She required us to give back to the community.”\u003c/p>\n\u003cfigure id=\"attachment_13934062\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934062\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/StarlightSound.Richmond.GabeMeline.web_-scaled.jpg\" alt=\"A vacant commercial corner building with a 1970s-style stone facade\" width=\"2560\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/StarlightSound.Richmond.GabeMeline.web_-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/StarlightSound.Richmond.GabeMeline.web_-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/StarlightSound.Richmond.GabeMeline.web_-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/StarlightSound.Richmond.GabeMeline.web_-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/StarlightSound.Richmond.GabeMeline.web_-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/StarlightSound.Richmond.GabeMeline.web_-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/StarlightSound.Richmond.GabeMeline.web_-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/StarlightSound.Richmond.GabeMeline.web_-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Starlight Sound in Richmond, the recording studio where Leila Steinberg first brought Tupac Shakur to meet Digital Underground, as seen today. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Steinberg approached the job of managing Shakur as if she were running a political campaign, drawing upon lessons she learned from an uncle who worked in politics in L.A. “I instinctively began to look at throwing parties and events and shows like a political campaign, and I understood music moves masses,” she said.\u003c/p>\n\u003cp>Yet Shakur did not see himself as a politician. Instead, as Steinberg says in \u003cem>Dear Mama\u003c/em>, “Tupac wanted to seduce the children of white America.”\u003c/p>\n\u003cp>What did she mean by that? “He really wanted to be like the Pied Piper, and he wanted to lure a generation of white children who grew up not understanding struggle or justice, or what’s happened to Black people in this country,” she said in the interview. “He felt through his lyrics and songs he could be a roadmap to empathy and change and transformation.”\u003c/p>\n\u003ch2>Ain’t a woman alive that could take my mama’s place\u003c/h2>\n\u003cp>The documentary \u003cem>Dear Mama\u003c/em> takes its title from one of Shakur’s best-known songs, a loving tribute to his mother included on his 1995 album \u003cem>Me Against the World\u003c/em>.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/pop/23762/you-cant-kill-the-revolution-davey-d-on-tupacs-mother-afeni-shakur\">Afeni Shakur\u003c/a> was one of the Panther 21, a group of Black Panthers arrested in New York City in 1969 and charged with conspiring to bomb department stores and police stations. She was pregnant with Shakur while in jail, and defended herself at trial, despite having no legal training. She and the other defendants were \u003ca href=\"https://www.nytimes.com/1971/05/14/archives/black-panther-party-members-freed-after-being-cleared-of-charges-13.html\">acquitted\u003c/a> in 1971, and she raised Shakur and his half-sister in poverty in Harlem, Baltimore and Marin City.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"pop_23762","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Although they came from very different worlds, Steinberg and Shakur bonded over their shared commitment to racial justice.\u003c/p>\n\u003cp>As the Jewish daughter of a dark-skinned Mexican immigrant, Steinberg said she was aware of antisemitism and racism from a young age. “I understood that Jews were not liked, but they could disappear in their Jewishness,” she said. When she got married, she considered changing her last name, “but I felt that I needed to be OK and not hide, because Black people couldn’t hide their skin.”\u003c/p>\n\u003cp>Another thing she had in common with Shakur, she said, was “mother issues.”\u003c/p>\n\u003cp>“We shared a pain of having mothers who came out of ’60s activism and were taken away from their children because of their choices at times,” she said. “The ’60s activism included drugs, sexual behavior and a lifestyle that is really not healthy for a family.” Steinberg’s mother, Corina Abouaf, was involved in the farmworkers’ and women’s movements. Today, mother and daughter are close, Steinberg said.\u003c/p>\n\u003cp>As for her relationship with Afeni, Shakur’s mother, who lived in Sausalito in her later years and died in 2016, Steinberg says it was complicated.\u003c/p>\n\u003cp>“I don’t think that I would have been as involved in pushing Pac’s career forward, and just being there for him, if she wasn’t in the place she was in,” she said. “But I know she loved me and my kids, and I have immense respect and love for her.”\u003c/p>\n\u003cfigure id=\"attachment_13929237\" class=\"wp-caption aligncenter\" style=\"max-width: 1716px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13929237\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Tupac.Square.jpg\" alt=\"\" width=\"1716\" height=\"1716\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Tupac.Square.jpg 1716w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Tupac.Square-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Tupac.Square-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Tupac.Square-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Tupac.Square-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Tupac.Square-1536x1536.jpg 1536w\" sizes=\"(max-width: 1716px) 100vw, 1716px\">\u003cfigcaption class=\"wp-caption-text\">Tupac Shakur pictured in Oakland in 1992. \u003ccite>(Gary Reyes / Oakland Tribune Staff Archives (MediaNews Group/Bay Area News via Getty Images))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘I still feel his partnership’\u003c/h2>\n\u003cp>Tupac Shakur’s time in the Bay Area was often turbulent. In October 1991, he was \u003ca href=\"https://www.kqed.org/arts/11696060/its-tupac-day-in-oakland-where-he-once-sued-the-police-for-10-million\">beaten by Oakland police officers\u003c/a> after they stopped him for jaywalking; he subsequently sued the police department and received a settlement. The following year, he was involved in \u003ca href=\"https://www.sfgate.com/news/article/PAGE-ONE-Marin-City-Haunted-By-Boy-s-Shooting-3021515.php\">a fight at the Marin City Festival\u003c/a>, during which a 6-year-old boy was killed by a bullet fired from a gun that was registered to Shakur. (He was never charged with a crime.)\u003c/p>\n\u003cp>“I don’t want people to think I condone all his behavior,” Steinberg said. “I fought with him all the time.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_11696060","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Steinberg doesn’t believe he sexually assaulted a female fan in a New York City hotel room, a crime he was \u003ca href=\"https://www.nytimes.com/1995/02/08/nyregion/rapper-faces-prison-term-for-sex-abuse.html\">convicted\u003c/a> of in 1995, and for which he served nine months in jail. His road manager was also convicted of assaulting the woman, and Steinberg said Shakur should have had better control over the members of his entourage.\u003c/p>\n\u003cp>She has said she \u003ca href=\"https://www.xxlmag.com/changes-2pacs-manager-leila-steinberg-excerpt-from-sept-2011-issue/\">fell in love with Shakur in a spiritual sense\u003c/a>, and the two of them talked about everything. After Shakur was shot in a drive-by shooting in Las Vegas in 1996, Steinberg said she was convinced he would pull through.\u003c/p>\n\u003cp>After he died several days later in a hospital, “I was in shock for a very long time,” she recalled. “I’ve been operating for so long from so much trauma, and I’m finally in a really healthy place.” (His murder has never been solved, but in 2002 the \u003cem>Los Angeles Times\u003c/em> identified a since-deceased gang member from Compton as the probable shooter.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"I don’t want people to think I condone all his behavior. I fought with him all the time.","name":"pullquote","attributes":{"named":{"size":"large","align":"right","citation":"Leila Steinberg","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Steinberg saved many of the poems Shakur wrote between the ages of 17 and 19 and published them, with his prior permission, in the 1999 book \u003cem>\u003ca href=\"https://www.amazon.com/Rose-That-Grew-Concrete/dp/0671028456\">The Rose That Grew From Concrete\u003c/a>\u003c/em>. Her portion of the sales has helped to fund her “Mic Sessions” workshops, which she offers at school, universities and other venues through her nonprofit \u003ca href=\"https://www.aim4theheart.org/\">Aim4theHeart\u003c/a>, and which are designed to promote emotional literacy.\u003c/p>\n\u003cp>For three decades, she \u003ca href=\"https://youtu.be/esm5A-_cIAA\">worked with prisoners at San Quentin State Prison\u003c/a>, until the pandemic forced her to press pause. She is a self-described nomad who often travels with Earl Sweatshirt, explaining that the 29-year-old rapper has allowed her to redeem herself “after all the mistakes with Tupac.” She is the mother of four adult children, including a musician son known as \u003ca href=\"https://soundcloud.com/nykkuu\">Nyku\u003c/a>, and a grandmother. She is writing a memoir.\u003c/p>\n\u003cp>Even today, she said, Shakur is still very much a part of her life.\u003c/p>\n\u003cp>“I thought he would be alive doing the work with me,” she said. “I still feel his partnership in the work. I still feel him tapping me on the shoulder and saying, ‘You have a responsibility. Keep going.’”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-11687704\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/06/Turntable.Break_.jpg\" alt=\"\" width=\"800\" height=\"60\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-400x30.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-768x58.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>\u003ca href=\"https://jweekly.com/2023/05/09/dear-mama-leila-steinberg-tupacs-first-manager-sees-new-docuseries-series-as-a-chance-to-heal/\">A version of this story first appeared in J. The Jewish News of Northern California\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13934043/leila-steinberg-tupac-shakur-manager","authors":["byline_arts_13934043"],"categories":["arts_1","arts_69"],"tags":["arts_14230","arts_10278","arts_831","arts_19565","arts_2721","arts_19347","arts_4269"],"featImg":"arts_13934056","label":"source_arts_13934043"},"arts_13914176":{"type":"posts","id":"arts_13914176","meta":{"index":"posts_1591205157","site":"arts","id":"13914176","score":null,"sort":[1654028598000]},"guestAuthors":[],"slug":"the-imaginists-someone-dies-again-review","title":"In the Imaginists' 'Someone Dies Again,' the Pain of Gun Violence is Ever-Present","publishDate":1654028598,"format":"standard","headTitle":"In the Imaginists’ ‘Someone Dies Again,’ the Pain of Gun Violence is Ever-Present | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>It was 2019 when I \u003ca href=\"https://www.theatrebayarea.org/news/435111/Keep-An-Eye-On-The-Imaginists-Find-Success-in-Embracing-the-Unknown.htm\">first covered the Imaginists’ artistic collaboration with Hungarian director Árpád Schilling\u003c/a>—a then-unwritten work examining American gun violence. \u003c/p>\n\u003cp>A lot has changed since that different, pre-COVID time. Yet as I write this review, \u003ca href=\"https://www.kqed.org/forum/2010101889325/country-grieves-for-victims-and-survivors-of-uvalde-texas-school-massacre\">in the wake of yet another mass shooting of schoolchildren\u003c/a>, the topic is as painfully timely as when the Imaginists first conceived the production. The theater company first invited Schilling to Santa Rosa in 2015, whereupon the internationally acclaimed director learned about the \u003ca href=\"https://www.kqed.org/news/116116/sonomy-county-sheriff-who-shot-andy-lopez-identified\">fatal shooting of 13-year-old Andy Lopez by a Sheriff’s deputy\u003c/a>—a devastating moment for Santa Rosa, where the Imaginists have created theater for 20 years.\u003c/p>\n\u003cfigure id=\"attachment_13914180\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13914180\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/SDA-the-Imaginists-A9_03158-800x533.jpg\" alt=\"To women sit on a couch facing each other, a man watches them from a table set on the other side of the stage\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SDA-the-Imaginists-A9_03158-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SDA-the-Imaginists-A9_03158-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SDA-the-Imaginists-A9_03158-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SDA-the-Imaginists-A9_03158-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SDA-the-Imaginists-A9_03158-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SDA-the-Imaginists-A9_03158-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SDA-the-Imaginists-A9_03158.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gena (Amy Pinto, left) and Maddy (Emma Atwood) struggle to understand each other’s points of view in the Imaginists’ ‘Someone Dies Again.’ \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Schilling and [his partner] Lilla Sárosdi were absolutely horrified that the police would actually use their guns against citizens,” Imaginists co-founder Amy Pinto told me in 2019. Known for co-creating generative work with a social justice component, Schilling understood that, as a European, his “outsider” approach to this quintessentially American topic would be artistically fertile and potentially revelatory.\u003c/p>\n\u003cp>The resultant production is \u003cem>Someone Dies Again\u003c/em>, which, after nearly two years of pandemic-related delays, premiered May 20 at Z Space in San Francisco, and opens a Santa Rosa run on Thursday, June 2.\u003c/p>\n\u003cp>\u003cem>Someone Dies Again\u003c/em> simmers with the effects of one real-life catastrophe after another—but after setbacks, public health crises and heartbreaks, it emerges from the wreckage filled with purpose. The production examines our fraught relationship to guns and gun ownership, along with structures of white supremacy and American exceptionalism. Infused with uncomfortable rawness, and juxtaposed against skillfully choreographed theatricality, \u003cem>Someone Dies Again\u003c/em> not only invites its audience in but bars the door behind them, underscoring societal complicity with what plays out onstage.\u003c/p>\n\u003cfigure id=\"attachment_13914178\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13914178\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/SDA-PHOTO-promo-B-_JSP5528-800x533.jpg\" alt=\"A man sits in a cluttered room with duct tape over his mouth\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SDA-PHOTO-promo-B-_JSP5528-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SDA-PHOTO-promo-B-_JSP5528-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SDA-PHOTO-promo-B-_JSP5528-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SDA-PHOTO-promo-B-_JSP5528-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SDA-PHOTO-promo-B-_JSP5528.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In the Imaginists’ ‘Someone Dies Again,’ Larry (David Roby) sits in his room, with his mouth taped shut, after an encounter with his brother. \u003ccite>(Tibidabo Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A gun is brought into immediate play during the first scene, when family patriarch Marty (G. Brent Lindsay) discovers it in his brother Larry’s (David Roby) possession. Larry’s been staying in the spare room ever since his trailer burned down in an electrical fire, keeping the handgun under his pillow as a good luck charm and sleeping aid. Its presence initiates an undercurrent of unease that permeates the rest of the piece. The implied threat of violence hangs over even such quotidian activities as a family birthday celebration and a trip to the grocery store.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This, Schilling seems to imply, is what it feels like every day in America. We go about our daily routines while somehow compartmentalizing the danger that casual access to guns poses to even the sleepiest of communities. The production leans heavily into these quiet moments, drawing them out like rubber bands that feel like they’ll snap but often don’t. Bodies curl into themselves, not in repose, but in tense stasis. Conversations circle around pain and grief without naming them out loud.\u003c/p>\n\u003cp>[aside postID='arts_10834881']The emotion that does reveal itself, early and often, is anger. Marty and Larry are angry at their deceased, vindictive father, who appears in Marty’s photography studio as a corporeal vision full of ham-fisted vitriol. Marty’s college-going daughter Maddie (Emma Attwood) is angry at his insistence on reopening old wounds, which are not his alone to bear. Marty’s wife Gena (Amy Pinto) seems hardly able to emote at all, but she, too, carries a reserve of rage that seeps out of her like toxic waste. As they roil in their discomfort, all of their palpable grief and rage obfuscates the charged reality of what’s gradually revealed: their son and brother Miles, who died six years ago, may have not been a victim at all, but an instigator.\u003c/p>\n\u003cp>This struggle between this family’s need to “know the truth” clashes with their need to be “right.” It’s a struggle that frequently manifests itself bodily. In one scene, Marty clambers onto a table and stretches outward, reaching for a memory of his son as superimposed on the body of a stranger. In another, the querulous apparition of his dead father (John Craven) crawls under the table and begins bucking it up and down like a petulant poltergeist. A lawyer (John Most) with his own agenda stands on a chair, asserting a quiet dominance. The neighborhood grocer (Yareny Fuentes) shuts down all but the most cursory of small talk, keeping her face pointedly averted, shielding herself from her customers’ desperate need for validation.\u003c/p>\n\u003cfigure id=\"attachment_13914179\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13914179\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/SDA-PHOTO-promo-E-_JSP5900-800x533.jpg\" alt=\"Two men, one shorter, white, with long hair, pushes the chest of the taller Black man\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SDA-PHOTO-promo-E-_JSP5900-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SDA-PHOTO-promo-E-_JSP5900-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SDA-PHOTO-promo-E-_JSP5900-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SDA-PHOTO-promo-E-_JSP5900-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SDA-PHOTO-promo-E-_JSP5900.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Marty (G. Brent Lindsay, left) pushes Ken (Stephen K. Patterson) away in the Imaginists’ ‘Someone Dies Again.’ \u003ccite>(Tibidabo Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Where the piece fumbles is in its 11th hour attempt to shoehorn cautionary commentary about social media and reality television into the already sprawling work. While it certainly fits into the characters’ positioning of themselves in the center of a narrative of which they are not the heroes, the turn feels underdeveloped—more distraction than direction. As Marty spirals out of control in a seething microcosm of what Maddy’s professor (Tessa Rissacher) might call “white supremacist delusion,” the fact that he can’t help simultaneously gloating over “likes” feels a little too on the nose.\u003c/p>\n\u003cp>The piece succeeds best by revealing the dichotomy of the “good guy with a gun/bad guy with a gun” as the banal mythology it is, leaving unanswered the inevitable question: where do we go from here?\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.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>\n\u003cp>\u003cem>‘Someone Dies Again’ runs June 2–11 at the Imaginists Theater, 461 Sebastopol Ave., Santa Rosa. \u003ca href=\"http://theimaginists.org\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"The collaboration with Hungarian director Árpád Schilling is, sadly, more timely than ever.","status":"publish","parent":0,"modified":1705006782,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":15,"wordCount":1004},"headData":{"title":"In the Imaginists' 'Someone Dies Again,' the Pain of Gun Violence is Ever-Present | KQED","description":"The collaboration with Hungarian director Árpád Schilling is, sadly, more timely than ever.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"In the Imaginists' 'Someone Dies Again,' the Pain of Gun Violence is Ever-Present","datePublished":"2022-05-31T20:23:18.000Z","dateModified":"2024-01-11T20:59:42.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","subhead":"Santa Rosa theatre-makers the Imaginists explore gun violence through a European director’s eyes","excludeFromSiteSearch":"Include","path":"/arts/13914176/the-imaginists-someone-dies-again-review","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>It was 2019 when I \u003ca href=\"https://www.theatrebayarea.org/news/435111/Keep-An-Eye-On-The-Imaginists-Find-Success-in-Embracing-the-Unknown.htm\">first covered the Imaginists’ artistic collaboration with Hungarian director Árpád Schilling\u003c/a>—a then-unwritten work examining American gun violence. \u003c/p>\n\u003cp>A lot has changed since that different, pre-COVID time. Yet as I write this review, \u003ca href=\"https://www.kqed.org/forum/2010101889325/country-grieves-for-victims-and-survivors-of-uvalde-texas-school-massacre\">in the wake of yet another mass shooting of schoolchildren\u003c/a>, the topic is as painfully timely as when the Imaginists first conceived the production. The theater company first invited Schilling to Santa Rosa in 2015, whereupon the internationally acclaimed director learned about the \u003ca href=\"https://www.kqed.org/news/116116/sonomy-county-sheriff-who-shot-andy-lopez-identified\">fatal shooting of 13-year-old Andy Lopez by a Sheriff’s deputy\u003c/a>—a devastating moment for Santa Rosa, where the Imaginists have created theater for 20 years.\u003c/p>\n\u003cfigure id=\"attachment_13914180\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13914180\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/SDA-the-Imaginists-A9_03158-800x533.jpg\" alt=\"To women sit on a couch facing each other, a man watches them from a table set on the other side of the stage\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SDA-the-Imaginists-A9_03158-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SDA-the-Imaginists-A9_03158-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SDA-the-Imaginists-A9_03158-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SDA-the-Imaginists-A9_03158-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SDA-the-Imaginists-A9_03158-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SDA-the-Imaginists-A9_03158-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SDA-the-Imaginists-A9_03158.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gena (Amy Pinto, left) and Maddy (Emma Atwood) struggle to understand each other’s points of view in the Imaginists’ ‘Someone Dies Again.’ \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Schilling and [his partner] Lilla Sárosdi were absolutely horrified that the police would actually use their guns against citizens,” Imaginists co-founder Amy Pinto told me in 2019. Known for co-creating generative work with a social justice component, Schilling understood that, as a European, his “outsider” approach to this quintessentially American topic would be artistically fertile and potentially revelatory.\u003c/p>\n\u003cp>The resultant production is \u003cem>Someone Dies Again\u003c/em>, which, after nearly two years of pandemic-related delays, premiered May 20 at Z Space in San Francisco, and opens a Santa Rosa run on Thursday, June 2.\u003c/p>\n\u003cp>\u003cem>Someone Dies Again\u003c/em> simmers with the effects of one real-life catastrophe after another—but after setbacks, public health crises and heartbreaks, it emerges from the wreckage filled with purpose. The production examines our fraught relationship to guns and gun ownership, along with structures of white supremacy and American exceptionalism. Infused with uncomfortable rawness, and juxtaposed against skillfully choreographed theatricality, \u003cem>Someone Dies Again\u003c/em> not only invites its audience in but bars the door behind them, underscoring societal complicity with what plays out onstage.\u003c/p>\n\u003cfigure id=\"attachment_13914178\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13914178\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/SDA-PHOTO-promo-B-_JSP5528-800x533.jpg\" alt=\"A man sits in a cluttered room with duct tape over his mouth\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SDA-PHOTO-promo-B-_JSP5528-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SDA-PHOTO-promo-B-_JSP5528-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SDA-PHOTO-promo-B-_JSP5528-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SDA-PHOTO-promo-B-_JSP5528-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SDA-PHOTO-promo-B-_JSP5528.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In the Imaginists’ ‘Someone Dies Again,’ Larry (David Roby) sits in his room, with his mouth taped shut, after an encounter with his brother. \u003ccite>(Tibidabo Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A gun is brought into immediate play during the first scene, when family patriarch Marty (G. Brent Lindsay) discovers it in his brother Larry’s (David Roby) possession. Larry’s been staying in the spare room ever since his trailer burned down in an electrical fire, keeping the handgun under his pillow as a good luck charm and sleeping aid. Its presence initiates an undercurrent of unease that permeates the rest of the piece. The implied threat of violence hangs over even such quotidian activities as a family birthday celebration and a trip to the grocery store.\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>This, Schilling seems to imply, is what it feels like every day in America. We go about our daily routines while somehow compartmentalizing the danger that casual access to guns poses to even the sleepiest of communities. The production leans heavily into these quiet moments, drawing them out like rubber bands that feel like they’ll snap but often don’t. Bodies curl into themselves, not in repose, but in tense stasis. Conversations circle around pain and grief without naming them out loud.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_10834881","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>The emotion that does reveal itself, early and often, is anger. Marty and Larry are angry at their deceased, vindictive father, who appears in Marty’s photography studio as a corporeal vision full of ham-fisted vitriol. Marty’s college-going daughter Maddie (Emma Attwood) is angry at his insistence on reopening old wounds, which are not his alone to bear. Marty’s wife Gena (Amy Pinto) seems hardly able to emote at all, but she, too, carries a reserve of rage that seeps out of her like toxic waste. As they roil in their discomfort, all of their palpable grief and rage obfuscates the charged reality of what’s gradually revealed: their son and brother Miles, who died six years ago, may have not been a victim at all, but an instigator.\u003c/p>\n\u003cp>This struggle between this family’s need to “know the truth” clashes with their need to be “right.” It’s a struggle that frequently manifests itself bodily. In one scene, Marty clambers onto a table and stretches outward, reaching for a memory of his son as superimposed on the body of a stranger. In another, the querulous apparition of his dead father (John Craven) crawls under the table and begins bucking it up and down like a petulant poltergeist. A lawyer (John Most) with his own agenda stands on a chair, asserting a quiet dominance. The neighborhood grocer (Yareny Fuentes) shuts down all but the most cursory of small talk, keeping her face pointedly averted, shielding herself from her customers’ desperate need for validation.\u003c/p>\n\u003cfigure id=\"attachment_13914179\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13914179\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/SDA-PHOTO-promo-E-_JSP5900-800x533.jpg\" alt=\"Two men, one shorter, white, with long hair, pushes the chest of the taller Black man\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SDA-PHOTO-promo-E-_JSP5900-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SDA-PHOTO-promo-E-_JSP5900-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SDA-PHOTO-promo-E-_JSP5900-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SDA-PHOTO-promo-E-_JSP5900-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SDA-PHOTO-promo-E-_JSP5900.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Marty (G. Brent Lindsay, left) pushes Ken (Stephen K. Patterson) away in the Imaginists’ ‘Someone Dies Again.’ \u003ccite>(Tibidabo Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Where the piece fumbles is in its 11th hour attempt to shoehorn cautionary commentary about social media and reality television into the already sprawling work. While it certainly fits into the characters’ positioning of themselves in the center of a narrative of which they are not the heroes, the turn feels underdeveloped—more distraction than direction. As Marty spirals out of control in a seething microcosm of what Maddy’s professor (Tessa Rissacher) might call “white supremacist delusion,” the fact that he can’t help simultaneously gloating over “likes” feels a little too on the nose.\u003c/p>\n\u003cp>The piece succeeds best by revealing the dichotomy of the “good guy with a gun/bad guy with a gun” as the banal mythology it is, leaving unanswered the inevitable question: where do we go from here?\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.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>\n\u003cp>\u003cem>‘Someone Dies Again’ runs June 2–11 at the Imaginists Theater, 461 Sebastopol Ave., Santa Rosa. \u003ca href=\"http://theimaginists.org\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13914176/the-imaginists-someone-dies-again-review","authors":["11497"],"categories":["arts_1","arts_967"],"tags":["arts_4459","arts_11296","arts_11014","arts_10278","arts_3080","arts_3081","arts_2721","arts_1072","arts_585","arts_1240"],"featImg":"arts_13914181","label":"arts"},"arts_13911068":{"type":"posts","id":"arts_13911068","meta":{"index":"posts_1591205157","site":"arts","id":"13911068","score":null,"sort":[1648167435000]},"guestAuthors":[],"slug":"labor-is-a-medium-santa-rosa-breanne-trammell-spacing-out-review","title":"The Newest Art Space in Santa Rosa is a Rolling Wall in a Suburban Garage","publishDate":1648167435,"format":"standard","headTitle":"The Newest Art Space in Santa Rosa is a Rolling Wall in a Suburban Garage | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>On a recent Saturday, I had the rare experience of overbooking my evening plans. It was the opening of \u003ca href=\"https://cloacaprojects.com/ambulatory/\" target=\"_blank\" rel=\"noopener noreferrer\">Kerri Conlon’s exhibition\u003c/a> at Cloaca Projects \u003ci>and\u003c/i> the opening of \u003ci>The Last Waltz\u003c/i>, a jam-packed group show at \u003ca href=\"https://www.instagram.com/delaplanesf/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Delaplane\u003c/a>. It was also each venue’s last show.\u003c/p>\n\u003cp>[aside postID='arts_13910857']To lose two artist-run spaces in one year, let alone one month, is a tough blow to the Bay Area art scene, especially when those venues championed emerging artists and ambitious projects, and created with every event a much-needed sense of critical mass. So it was with a mixture of relief and excitement that I drove up to Santa Rosa a week later to visit a suburban garage.\u003c/p>\n\u003cp>\u003ca href=\"http://www.laborisamedium.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Labor is a Medium\u003c/a>, run by Daniel Glendening out of the home he shares with his wife, Emily, is an exhibition space of six-by-six feet. It’s a freestanding wall on wheels, turned to face the neighborhood during open hours, that will host three artists over its first season of programming.\u003c/p>\n\u003cp>The project space, Daniel writes on LiaM’s website, comes from “a desire to create a space to connect in community… To do that, we offer up what we have: a little bit of space, a little bit of time, and food. The pizza is always free.”\u003c/p>\n\u003cp>On Feb. 19, LiaM opened its inaugural show: \u003ci>Spacing Out\u003c/i> by \u003ca href=\"https://breanne.info/\" target=\"_blank\" rel=\"noopener noreferrer\">Breanne Trammell\u003c/a>, who recently returned to her hometown of Fairfield from Fayetteville, Arkansas. Trammell’s work is a greatly enlarged and gridded-together image of the \u003ci>Daily Republic\u003c/i> newspaper, centered on an ad she ran in its Jan. 12 issue. “The void is an endless source of love,” the classified reads, under an image of two heart-shaped links.\u003c/p>\n\u003cfigure id=\"attachment_13911095\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13911095\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/SPACING-OUT-BIBLIO2_BT-scaled.jpeg\" alt=\"View of wood table with spread of papers, flowers in vase and floral paintings hanging behind\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/SPACING-OUT-BIBLIO2_BT-scaled.jpeg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/SPACING-OUT-BIBLIO2_BT-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/SPACING-OUT-BIBLIO2_BT-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/SPACING-OUT-BIBLIO2_BT-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/SPACING-OUT-BIBLIO2_BT-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/SPACING-OUT-BIBLIO2_BT-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/SPACING-OUT-BIBLIO2_BT-2048x1365.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/SPACING-OUT-BIBLIO2_BT-1920x1280.jpeg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">An installation view of ‘Spacing Out’ at Labor is a Medium, with takeaways and an artist-made zine. \u003ccite>(Photo by Perry Doane)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At first glance, the artwork of \u003ci>Spacing Out\u003c/i> is a combination of ink and marbled paper, but it is also so much more. It extends in both time and space—into those past issues of the Fairfield daily newspaper, but also into the Glendenings’ present garage. Behind the freestanding wall, a table bears takeaway postcards, stickers, a broadsheet with Daniel’s \u003ca href=\"https://drive.google.com/file/d/15-r4umCwAItjw5JkIVa2E1XlYE4iOfUL/view\" target=\"_blank\" rel=\"noopener noreferrer\">eloquent writing\u003c/a> about Trammell’s work and a black-and-white zine. (The original, taped-and-pasted-together copy of the zine is also on display.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But the table is also home to Daniel’s ongoing painting practice. On the other side of the garage, there’s Emily’s sewing station and a rack of her quilted jackets. If the labor of Trammell’s artwork is fully transparent, so too is the labor of turning one’s personal space into a semi-public gallery. The garage isn’t always a gallery, just as an artist isn’t always actively making their art.\u003c/p>\n\u003cp>The whole display makes clear: Being an artist is an active and passive process of absorbing information from the surrounding world. Trammell’s work, in particular, draws from an omnivorous set of interests, which include (according to her CV): bird watching and identification, “unskillfully playing the drums,” the Post Office, road trips, oddities, crossword puzzles, jokes and regional snacks.\u003c/p>\n\u003cfigure id=\"attachment_13911098\" class=\"wp-caption aligncenter\" style=\"max-width: 1446px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13911098\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/BT_LEAP-INTO-A-CLOSE-ENCOUNTER.jpeg\" alt=\"View of newspaper classified section with smiley face at center\" width=\"1446\" height=\"1808\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/BT_LEAP-INTO-A-CLOSE-ENCOUNTER.jpeg 1446w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/BT_LEAP-INTO-A-CLOSE-ENCOUNTER-800x1000.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/BT_LEAP-INTO-A-CLOSE-ENCOUNTER-1020x1275.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/BT_LEAP-INTO-A-CLOSE-ENCOUNTER-160x200.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/BT_LEAP-INTO-A-CLOSE-ENCOUNTER-768x960.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/BT_LEAP-INTO-A-CLOSE-ENCOUNTER-1228x1536.jpeg 1228w\" sizes=\"(max-width: 1446px) 100vw, 1446px\">\u003cfigcaption class=\"wp-caption-text\">A view of one of Breanne Trammell’s ads in the ‘Daily Republic.’ \u003ccite>(Courtesy the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The ads Trammell placed in the \u003ci>Daily Republic\u003c/i> are a charming balance of earnest pep talks and hippy dippy platitudes. Under a smiley face: “LEAP INTO A CLOSE ENCOUNTER (if you want it).” Another reads, “Infinite possibilities exist here, there, everywhere, nowhere, now!” And a personal favorite: “Seeking co-pilot for co(s)mic adventures.”\u003c/p>\n\u003cp>These unattributed snippets of text call to mind another enigmatic jokester of Northern California—Sacramento’s \u003ca href=\"https://www.artforum.com/print/201007/stephen-kaltenbach-26142\" target=\"_blank\" rel=\"noopener noreferrer\">Stephen Kaltenbach\u003c/a>, who beginning in 1969, placed 12 imperative ads in \u003ci>Artforum\u003c/i> that were almost invisible as artworks. They’re less mellow than Trammell’s, perhaps a sign of his expected audience (and their general emotional state) versus hers. Kaltenbach’s exhortations include “Start a rumor,” “Tell a lie,” “Smoke,” “Trip.”\u003c/p>\n\u003cp>[aside postID='arts_13909666']And while Kaltenbach’s ads were meant for the art world, existing alongside ads for gallery shows, Trammell’s lived among estate notices, apartment listings and—most often—ads for the classified section itself. They are, as Daniel describes, “a glitch or interruption in the expected information flow,” designed to spark curiosity or mild confusion and leave it at that.\u003c/p>\n\u003cp>At LiaM, the gentle ambiance of \u003ci>Spacing Out\u003c/i> is completed by a soundtrack of space-themed songs (the nine-hour playlist by artist Jesse Malmed is titled “\u003ca href=\"https://open.spotify.com/playlist/3tsn4CY1eXPkUdRmFQqFq1?si=ayQ2y37lQMmfZTKWRuw5vw&nd=1\" target=\"_blank\" rel=\"noopener noreferrer\">I have nowhere to go and I am going there\u003c/a>”). A TV mounted above the bar Daniel built for Emily during the height of the pandemic plays \u003ci>Earth Girls Are Easy\u003c/i>, a glorious 1988 sci-fi comedy starring Geena Davis and Jeff Goldblum.\u003c/p>\n\u003cp>For a little bit of time, in a little bit of space, the project of LiaM is a reminder that art can—and should—exist anywhere. It can meet people where they are and momentarily transport them into world that’s just a little more open and joyful than the status quo. Driving south, I thought, \u003cem>Yes please, more of this\u003c/em>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/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>\n\u003cp>\u003ci>‘Spacing Out’ is on view at Labor is a Medium through March 26, Saturdays 10am–6pm and by appointment. \u003ca href=\"http://www.laborisamedium.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>. Future shows in the summer and fall will feature artists \u003ca href=\"https://www.conniezheng.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Connie Zheng\u003c/a> and \u003ca href=\"https://www.jodiecavalier.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Jodie Cavalier\u003c/a>.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"The first show at Labor is a Medium emphasizes putting art in unexpected places.","status":"publish","parent":0,"modified":1705007049,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":17,"wordCount":967},"headData":{"title":"New Experimental Gallery in Santa Rosa: Labor is a Medium | KQED","description":"The first show at Labor is a Medium emphasizes putting art in unexpected places.","ogTitle":"The Newest Art Space in Santa Rosa is a Rolling Wall in a Suburban Garage","ogDescription":"","ogImgId":"","twTitle":"The Newest Art Space in Santa Rosa is a Rolling Wall in a Suburban Garage","twDescription":"","twImgId":"","socialTitle":"New Experimental Gallery in Santa Rosa: Labor is a Medium %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"The Newest Art Space in Santa Rosa is a Rolling Wall in a Suburban Garage","datePublished":"2022-03-25T00:17:15.000Z","dateModified":"2024-01-11T21:04:09.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"WpOldSlug":"labor-is-a-medium-santa-rosa-breanne-trammel-spacing-out-review","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","path":"/arts/13911068/labor-is-a-medium-santa-rosa-breanne-trammell-spacing-out-review","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>On a recent Saturday, I had the rare experience of overbooking my evening plans. It was the opening of \u003ca href=\"https://cloacaprojects.com/ambulatory/\" target=\"_blank\" rel=\"noopener noreferrer\">Kerri Conlon’s exhibition\u003c/a> at Cloaca Projects \u003ci>and\u003c/i> the opening of \u003ci>The Last Waltz\u003c/i>, a jam-packed group show at \u003ca href=\"https://www.instagram.com/delaplanesf/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Delaplane\u003c/a>. It was also each venue’s last show.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13910857","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>To lose two artist-run spaces in one year, let alone one month, is a tough blow to the Bay Area art scene, especially when those venues championed emerging artists and ambitious projects, and created with every event a much-needed sense of critical mass. So it was with a mixture of relief and excitement that I drove up to Santa Rosa a week later to visit a suburban garage.\u003c/p>\n\u003cp>\u003ca href=\"http://www.laborisamedium.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Labor is a Medium\u003c/a>, run by Daniel Glendening out of the home he shares with his wife, Emily, is an exhibition space of six-by-six feet. It’s a freestanding wall on wheels, turned to face the neighborhood during open hours, that will host three artists over its first season of programming.\u003c/p>\n\u003cp>The project space, Daniel writes on LiaM’s website, comes from “a desire to create a space to connect in community… To do that, we offer up what we have: a little bit of space, a little bit of time, and food. The pizza is always free.”\u003c/p>\n\u003cp>On Feb. 19, LiaM opened its inaugural show: \u003ci>Spacing Out\u003c/i> by \u003ca href=\"https://breanne.info/\" target=\"_blank\" rel=\"noopener noreferrer\">Breanne Trammell\u003c/a>, who recently returned to her hometown of Fairfield from Fayetteville, Arkansas. Trammell’s work is a greatly enlarged and gridded-together image of the \u003ci>Daily Republic\u003c/i> newspaper, centered on an ad she ran in its Jan. 12 issue. “The void is an endless source of love,” the classified reads, under an image of two heart-shaped links.\u003c/p>\n\u003cfigure id=\"attachment_13911095\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13911095\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/SPACING-OUT-BIBLIO2_BT-scaled.jpeg\" alt=\"View of wood table with spread of papers, flowers in vase and floral paintings hanging behind\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/SPACING-OUT-BIBLIO2_BT-scaled.jpeg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/SPACING-OUT-BIBLIO2_BT-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/SPACING-OUT-BIBLIO2_BT-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/SPACING-OUT-BIBLIO2_BT-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/SPACING-OUT-BIBLIO2_BT-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/SPACING-OUT-BIBLIO2_BT-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/SPACING-OUT-BIBLIO2_BT-2048x1365.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/SPACING-OUT-BIBLIO2_BT-1920x1280.jpeg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">An installation view of ‘Spacing Out’ at Labor is a Medium, with takeaways and an artist-made zine. \u003ccite>(Photo by Perry Doane)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At first glance, the artwork of \u003ci>Spacing Out\u003c/i> is a combination of ink and marbled paper, but it is also so much more. It extends in both time and space—into those past issues of the Fairfield daily newspaper, but also into the Glendenings’ present garage. Behind the freestanding wall, a table bears takeaway postcards, stickers, a broadsheet with Daniel’s \u003ca href=\"https://drive.google.com/file/d/15-r4umCwAItjw5JkIVa2E1XlYE4iOfUL/view\" target=\"_blank\" rel=\"noopener noreferrer\">eloquent writing\u003c/a> about Trammell’s work and a black-and-white zine. (The original, taped-and-pasted-together copy of the zine is also on display.)\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>But the table is also home to Daniel’s ongoing painting practice. On the other side of the garage, there’s Emily’s sewing station and a rack of her quilted jackets. If the labor of Trammell’s artwork is fully transparent, so too is the labor of turning one’s personal space into a semi-public gallery. The garage isn’t always a gallery, just as an artist isn’t always actively making their art.\u003c/p>\n\u003cp>The whole display makes clear: Being an artist is an active and passive process of absorbing information from the surrounding world. Trammell’s work, in particular, draws from an omnivorous set of interests, which include (according to her CV): bird watching and identification, “unskillfully playing the drums,” the Post Office, road trips, oddities, crossword puzzles, jokes and regional snacks.\u003c/p>\n\u003cfigure id=\"attachment_13911098\" class=\"wp-caption aligncenter\" style=\"max-width: 1446px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13911098\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/BT_LEAP-INTO-A-CLOSE-ENCOUNTER.jpeg\" alt=\"View of newspaper classified section with smiley face at center\" width=\"1446\" height=\"1808\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/BT_LEAP-INTO-A-CLOSE-ENCOUNTER.jpeg 1446w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/BT_LEAP-INTO-A-CLOSE-ENCOUNTER-800x1000.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/BT_LEAP-INTO-A-CLOSE-ENCOUNTER-1020x1275.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/BT_LEAP-INTO-A-CLOSE-ENCOUNTER-160x200.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/BT_LEAP-INTO-A-CLOSE-ENCOUNTER-768x960.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/BT_LEAP-INTO-A-CLOSE-ENCOUNTER-1228x1536.jpeg 1228w\" sizes=\"(max-width: 1446px) 100vw, 1446px\">\u003cfigcaption class=\"wp-caption-text\">A view of one of Breanne Trammell’s ads in the ‘Daily Republic.’ \u003ccite>(Courtesy the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The ads Trammell placed in the \u003ci>Daily Republic\u003c/i> are a charming balance of earnest pep talks and hippy dippy platitudes. Under a smiley face: “LEAP INTO A CLOSE ENCOUNTER (if you want it).” Another reads, “Infinite possibilities exist here, there, everywhere, nowhere, now!” And a personal favorite: “Seeking co-pilot for co(s)mic adventures.”\u003c/p>\n\u003cp>These unattributed snippets of text call to mind another enigmatic jokester of Northern California—Sacramento’s \u003ca href=\"https://www.artforum.com/print/201007/stephen-kaltenbach-26142\" target=\"_blank\" rel=\"noopener noreferrer\">Stephen Kaltenbach\u003c/a>, who beginning in 1969, placed 12 imperative ads in \u003ci>Artforum\u003c/i> that were almost invisible as artworks. They’re less mellow than Trammell’s, perhaps a sign of his expected audience (and their general emotional state) versus hers. Kaltenbach’s exhortations include “Start a rumor,” “Tell a lie,” “Smoke,” “Trip.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13909666","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>And while Kaltenbach’s ads were meant for the art world, existing alongside ads for gallery shows, Trammell’s lived among estate notices, apartment listings and—most often—ads for the classified section itself. They are, as Daniel describes, “a glitch or interruption in the expected information flow,” designed to spark curiosity or mild confusion and leave it at that.\u003c/p>\n\u003cp>At LiaM, the gentle ambiance of \u003ci>Spacing Out\u003c/i> is completed by a soundtrack of space-themed songs (the nine-hour playlist by artist Jesse Malmed is titled “\u003ca href=\"https://open.spotify.com/playlist/3tsn4CY1eXPkUdRmFQqFq1?si=ayQ2y37lQMmfZTKWRuw5vw&nd=1\" target=\"_blank\" rel=\"noopener noreferrer\">I have nowhere to go and I am going there\u003c/a>”). A TV mounted above the bar Daniel built for Emily during the height of the pandemic plays \u003ci>Earth Girls Are Easy\u003c/i>, a glorious 1988 sci-fi comedy starring Geena Davis and Jeff Goldblum.\u003c/p>\n\u003cp>For a little bit of time, in a little bit of space, the project of LiaM is a reminder that art can—and should—exist anywhere. It can meet people where they are and momentarily transport them into world that’s just a little more open and joyful than the status quo. Driving south, I thought, \u003cem>Yes please, more of this\u003c/em>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/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>\n\u003cp>\u003ci>‘Spacing Out’ is on view at Labor is a Medium through March 26, Saturdays 10am–6pm and by appointment. \u003ca href=\"http://www.laborisamedium.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>. Future shows in the summer and fall will feature artists \u003ca href=\"https://www.conniezheng.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Connie Zheng\u003c/a> and \u003ca href=\"https://www.jodiecavalier.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Jodie Cavalier\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13911068/labor-is-a-medium-santa-rosa-breanne-trammell-spacing-out-review","authors":["61"],"programs":["arts_140"],"categories":["arts_1"],"tags":["arts_769","arts_2721","arts_585"],"featImg":"arts_13911087","label":"arts_140"},"arts_13907004":{"type":"posts","id":"arts_13907004","meta":{"index":"posts_1591205157","site":"arts","id":"13907004","score":null,"sort":[1639009655000]},"guestAuthors":[],"slug":"bill-bowker-krsh-sonoma-county-retires","title":"Bill Bowker, Sculptor of the Sonoma County Sound, Signs Off","publishDate":1639009655,"format":"standard","headTitle":"Bill Bowker, Sculptor of the Sonoma County Sound, Signs Off | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>The studio phone doesn’t ring much anymore at The Krush. Here in the radio station’s small room, Bill Bowker tells me, it’s a quiet, solitary job, especially since texting took over calling as the preferred form of communication, and even more so since the pandemic. \u003c/p>\n\u003cp>But on Nov. 10, the studio phone lines suddenly lit up. Bowker, who has been a constant presence on the radio in Sonoma County since 1979, announced on the air that he was retiring from KRSH-FM and leaving the full-time airwaves after a 52-year-career. The calls came in for the rest of his afternoon shift. They continued for days afterward. Weeks afterward. They’re still coming in.\u003c/p>\n\u003cp>“So yeah, people tell me I’m gonna miss doing it,” Bill says to me on a recent visit to KRSH’s studio, with shelves of CDs behind him and a collection of signed photos on the wall nearby. “And I still feel conflicted about it. But it’s just time.”\u003c/p>\n\u003cfigure id=\"attachment_13907002\" class=\"wp-caption aligncenter\" style=\"max-width: 795px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/Bowker.Pinetop.jpg\" alt=\"Bowker and Pinetop, wearing a purple suit, share an embrace.\" width=\"795\" height=\"544\" class=\"size-full wp-image-13907002\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Bowker.Pinetop.jpg 795w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Bowker.Pinetop-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Bowker.Pinetop-768x526.jpg 768w\" sizes=\"(max-width: 795px) 100vw, 795px\">\u003cfigcaption class=\"wp-caption-text\">Bill Bowker and Pinetop Perkins at the Sonoma County Blues Festival, an annual fair tradition for 30 years. \u003ccite>(Courtesy Bill Bowker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When Bowker \u003ca href=\"https://www.krsh.com/event/bill-bowkers-last-broadcast/\" rel=\"noopener noreferrer\" target=\"_blank\">signs off for the last time on Dec. 15\u003c/a>, his 78th birthday, he’ll do so as the current longest-running full-time radio DJ in the county. During his remarkable 42-year run here, which started after a decade spent in Los Angeles, he’s not only become one of the most recognizable voices in Sonoma County—he’s also been the godfather and number-one champion of what one could justifiably call the Sonoma County sound.\u003c/p>\n\u003cp>Roots music, Americana, folk, blues, country rock: it practically floats in the air of Sonoma County, from winery events on the hill to street-level block parties. Touring singer-songwriters and blues musicians regularly bypass San Francisco and come straight to Santa Rosa, Sebastopol or Petaluma. And it’s been Bowker who’s interviewed them, and played, promoted, discussed, and given airtime to their music for over four decades. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Now, in the KRSH studio, as he back-announces a block of songs from Townes Van Zandt, Fred Eaglesmith and Emmylou Harris, telling an anecdote or offering some analysis about each artist, it strikes me that Sonoma County radio without Bill Bowker is going to be very strange. Here he is in a tiny room on the outskirts of town, doing his job alone, for thousands and yet nobody at the same time. His world might not change much. But ours will. \u003c/p>\n\u003cfigure id=\"attachment_13907003\" class=\"wp-caption aligncenter\" style=\"max-width: 1467px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/Bowker.KBBY_.1972.CRED_.RonWest.jpg\" alt=\"A young Bill Bowker sits in a radio booth, cigarette in hand.\" width=\"1467\" height=\"1171\" class=\"size-full wp-image-13907003\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Bowker.KBBY_.1972.CRED_.RonWest.jpg 1467w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Bowker.KBBY_.1972.CRED_.RonWest-800x639.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Bowker.KBBY_.1972.CRED_.RonWest-1020x814.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Bowker.KBBY_.1972.CRED_.RonWest-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Bowker.KBBY_.1972.CRED_.RonWest-768x613.jpg 768w\" sizes=\"(max-width: 1467px) 100vw, 1467px\">\u003cfigcaption class=\"wp-caption-text\">In his early days in Ventura, Bill Bowker regularly finished his 6pm-midnight shift at KUDU, then went next door to begin another shift at KBBY, playing freeform radio in the middle of the night. \u003ccite>(Ron West/Courtesy Bill Bowker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘That’s What Music Should Do’\u003c/h2>\n\u003cp>As a teenager in late-1950s New Jersey, Bowker tuned into a local station late one night, and heard a song that would change his life: “Evil,” by Howlin’ Wolf.\u003c/p>\n\u003cp>“It scared me,” Bowker says. “And I thought to myself, ‘That’s what music should do.’”\u003c/p>\n\u003cp>A love affair with the blues was born. Well before the British Invasion reintroduced America to its overlooked Black blues musicians, Bowker absorbed as much of their music he could find on the radio and in record stores, recognizing its dignity and importance and committing himself to promoting it. “I hear music that I like,” Bowker says, “and I immediately go, ‘If I could in any way help them, I would.”\u003c/p>\n\u003cp>He took a chance and wrote to one of his favorite radio personalities, Al “Jazzbo” Collins, and asked for advice on getting into radio. Collins wrote back, and said to start by getting his broadcasting license.\u003c/p>\n\u003cp>So, after being drafted and stationed in Germany in the mid-’60s, Bowker enrolled at an L.A. broadcasting school on the G.I. Bill. On Aug. 15, 1969, the same day that Woodstock kicked off in upstate New York and cemented a countercultural revolution, Bowker clocked in for his first-ever radio shift at KUDU, a country station in Ventura, playing old Bob Wills and Patsy Cline songs from 6pm to midnight.\u003c/p>\n\u003cfigure id=\"attachment_13907006\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/Bowker.Lavonna.jpg\" alt=\"A man and a woman embrace in a photo in a wooden frame next to a boombox.\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13907006\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Bowker.Lavonna.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Bowker.Lavonna-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Bowker.Lavonna-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Bowker.Lavonna-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Bowker.Lavonna-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Bowker.Lavonna-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A framed photo of Bill and Lavonna Bowker sits in Bill’s office at KRSH-FM. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After he took a second shift starting at midnight playing freeform radio (under the handle “Bill Phoxx”) for KBBY, the station next door, he met a young traffic announcer named Lavonna. She kept setting him up on dates with her friends. He had other plans.\u003c/p>\n\u003cp>“At one point he told me I was gonna marry him someday,” Lavonna tells me, “and I thought he was out of his mind.” The two eventually got married at the Santa Barbara Courthouse; they celebrate their 50th anniversary next June.\u003c/p>\n\u003cp>But the radio business is rocky. Bowker himself bounced around from station to station, and despite the Hollywood thrill of running into Frank Zappa or Farrah Fawcett around workplaces like KWST in Los Angeles, the young couple wanted to settle down somewhere. Raising their young daughter, and craving an escape from L.A.’s smog, they got a call about an opportunity in Santa Rosa: a small station run out of a shack on Farmers Lane called KVRE.\u003c/p>\n\u003cfigure id=\"attachment_13906993\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/IMG_3590.jpg\" alt=\"A miniature billboard with Bill Bowker's image sits on a bookshelf.\" width=\"1920\" height=\"1265\" class=\"size-full wp-image-13906993\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_3590.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_3590-800x527.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_3590-1020x672.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_3590-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_3590-768x506.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_3590-1536x1012.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A ‘Bill’ board advertising Bowker’s afternoon show on KVRE-FM. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With its eclectic playlists and even more eclectic DJs like Scott Kinzey, Bob Sala, Daisy, Dick Thyne and Scott Murray, KVRE was “where the rules were meant to be broken,” Bowker says. It was a perfect fit for his “\u003ca href=\"https://www.krsh.com/show/blues-with-bill-bowker/\" rel=\"noopener noreferrer\" target=\"_blank\">Blues With Bowker\u003c/a>” program, which shared air time with the Grateful Dead, David Lindley, Los Lobos and whatever B-side oddities its DJs happened to be obsessed with on any given week. Like KFOG to longtime San Franciscans, or KPIG south of the Bay, the station still holds a special place in locals’ hearts. \u003c/p>\n\u003cp>“We were lucky. All the people at KVRE, we had a vision, and we did it for years together,” Bowker says. “That doesn’t happen too often.”\u003c/p>\n\u003cfigure id=\"attachment_13906996\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/IMG_3561.jpg\" alt=\"A photo of SMith and Bowker on the walls at the KRSH studios.\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13906996\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_3561.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_3561-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_3561-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_3561-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_3561-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_3561-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Doug Smith and Bill Bowker met in the late 1980s and promoted live music in Sonoma County for 14 years together. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A Constellation of Live Music\u003c/h2>\n\u003cp>Another thing that doesn’t happen too often is meeting a musical soulmate. Bowker found his in Doug Smith, a lover of live music who first came across Bowker at the cable-station-slash-nightclub Studio KAFE, one of Bowker’s short-lived gigs after KVRE was sold in 1988. Together, they started Smith & Bowker Productions, booking and promoting shows all over the county for the next 14 years.\u003c/p>\n\u003cp>For a representative sampling of their reach, look no further than the trail left by Blasters guitarist and solo songwriter Dave Alvin (who says of Bowker that “the good people of Sonoma County couldn’t have asked for a better, more passionate or hipper guide through the worlds of blues and roots music”). With Smith & Bowker’s promotion, Alvin’s played at the El Rancho Tropicana hotel, the Cotati Cabaret, the Studio KAFE, Cafe This, the Powerhouse, the Inn of the Beginning, and—the only one still open—the Mystic Theatre.\u003c/p>\n\u003cp>Smith also assisted Bowker with the Sonoma County Blues Festival, which for 30 years at the Sonoma County Fair boasted headliners like Junior Kimbrough, R.L. Burnside, Pinetop Perkins, Joe Louis Walker, W.C. Clark and Shuggie Otis. Not to mention Bowker’s annual “Evolution of the Blues” concerts at Santa Rosa Junior College, the “Full Moon Blues” series at Mark West Vineyards in Forestville, and the “Almost Blues Cruise” aboard a large paddleboat, the Petaluma Queen. \u003c/p>\n\u003cp>Tragically, Smith died in a motorcycle crash in 2005. A photo of the two still hangs in the KRSH studio. “Doug was a wonderful human being,” Bowker says. “I haven’t talked about him in a while, hold on,” excusing himself, his voice choking up.\u003c/p>\n\u003cp>“He really cared about music,” Bowker adds. “We didn’t have the same taste, but we complemented each other well. And we became \u003cem>really\u003c/em> close friends.” \u003c/p>\n\u003cp>At these shows, Bowker often took the stage to introduce the acts, and honored his original teenage impulse to help those who made the music he loved. Lynn Newton, who worked the Sonoma County Blues Festival as well as later Bowker productions like Earlefest, is one who’s had a front-row seat to Bowker’s first-class treatment of musicians, both big and small.\u003c/p>\n\u003cp>“He’s such a champion of musicians who are starting out. It’s really something to watch—he fosters people so beautifully,” Newton says. “He makes people feel like, ‘Wow, I can really do this!’ It’s uncanny, his ability to do that.”\u003c/p>\n\u003cfigure id=\"attachment_13906994\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/IMG_3579.jpg\" alt=\"A file cabinet covered in stickers from musicians and radio stations.\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13906994\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_3579.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_3579-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_3579-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_3579-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_3579-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_3579-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The file cabinet in Bill Bowker’s office at KRSH-FM. A listener campaign to restore KVRE to the air resulted in a bumper-sticker blitz—as well as the short-lived station KRVE. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Everyone Can Relate to Him’\u003c/h2>\n\u003cp>After KVRE, Bowker hopped around—a short-lived AM resurrection of KVRE called KRVE, the work at Studio KAFE—until KRSH came calling in 1994. Several KVRE alumni joined him, and his casual but informed personality has been a staple at the station ever since. \u003c/p>\n\u003cp>As Doug Jayne, a DJ on KRCB in Rohnert Park, says, “The thing about Bill is, everybody loves him, and it’s not like he’s Mr. Slick, he’s just your average dude. He encouraged me, and told me, ‘You don’t have to go to radio broadcasting school and learn to talk like a professional announcer to be on the radio.’ He’s an everyman. Everyone can relate to him.”\u003c/p>\n\u003cp>Jayne opened the area’s longest-running record store, the Last Record Store, in 1983, after stumbling across KVRE’s broad, sophisticated programming. “I can honestly say that hearing Bill on KVRE in the early 1980s helped me decide to open a record store in Santa Rosa,” he says.\u003c/p>\n\u003cfigure id=\"attachment_13907000\" class=\"wp-caption aligncenter\" style=\"max-width: 1071px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/Bowker.Shaver.LaurieJoSchaeffer.jpg\" alt=\"Two men stand with arms around each other's shoulders.\" width=\"1071\" height=\"780\" class=\"size-full wp-image-13907000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Bowker.Shaver.LaurieJoSchaeffer.jpg 1071w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Bowker.Shaver.LaurieJoSchaeffer-800x583.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Bowker.Shaver.LaurieJoSchaeffer-1020x743.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Bowker.Shaver.LaurieJoSchaeffer-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Bowker.Shaver.LaurieJoSchaeffer-768x559.jpg 768w\" sizes=\"(max-width: 1071px) 100vw, 1071px\">\u003cfigcaption class=\"wp-caption-text\">Bill Bowker cracks a smile with with country icon Billy Joe Shaver. \u003ccite>(Courtesy Bill Bowker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Another longtime DJ on the local radio waves is Steve Jaxon, who started as a part-timer under Bowker at KVRE in 1982. “Bill’s a wonderful guy who has worked so hard over the years, perfecting not only his work, but so much that he’s given to the area on the radio,” Jaxon says. “He’s one of my favorite people on the planet.”\u003c/p>\n\u003cp>Andre DeChannes, program director at KRSH, often assisted Bowker with the station’s long-running backyard concerts—free outdoor shows in the grassy area behind the old-time railroad train cars where the station makes its headquarters. DeChannes says that in an industry that’s often competitive, Bowker gave him nothing but support after they met. \u003c/p>\n\u003cp>“We became fast friends, and he’s been my mentor all this time, and there was never this ‘You’re after my job’ kind of feeling that a lot of people in radio can have,” DeChannes says.\u003c/p>\n\u003cp>DeChannes has continued the KRSH tradition of allowing Bowker complete control over what he plays on his show. It’s also his job now to rehire for Bill’s position at The Krush, and he admits it will be hard.\u003c/p>\n\u003cp>“He’s just a great guy,” DeChannes says, “and I don’t know how we’re gonna fill his shoes.”\u003c/p>\n\u003cfigure id=\"attachment_13906995\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/IMG_3557.jpg\" alt=\"Wearinga brown shirt, Bill Bowker sits at a microphone with shelves of CDs and equipment in the background.\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13906995\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_3557.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_3557-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_3557-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_3557-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_3557-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_3557-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Bill Bowker broadcasts from the KRSH studios, Nov. 22, 2021. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Honesty and Perseverance\u003c/h2>\n\u003cp>In a corner of the Bowker home is Bill’s den, decorated with gold record awards from Howlin’ Wolf and B.B King, handwritten lyrics by Lucinda Williams, and dozens of photos of him with folk and blues luminaries, including close friends Charlie Musselwhite and Doyle Bramhall II. \u003c/p>\n\u003cp>It’s a testament to a career that might not be fully over just yet. \u003c/p>\n\u003cp>“It’s not like I’m going to leave music,” Bowker tells me, reclining in a chair at his house. He’s talking with local booking dynamo Shelia Groves, his co-conspirator on Earlefest, about promoting more live shows. And he’ll continue his streaming radio show on \u003ca href=\"https://www.xrds.fm/\" rel=\"noopener noreferrer\" target=\"_blank\">XRDS\u003c/a>, an internet radio station in Clarksdale, Mississippi, the site of Robert Johnson’s famous “crossroads” and the home of the delta blues. His friend Musselwhite recently moved to Clarksdale, and he has numerous connections to the city. “But family’s here,” he says, brushing aside suggestions that he would ever leave Sonoma County. \u003c/p>\n\u003cfigure id=\"attachment_13906997\" class=\"wp-caption aligncenter\" style=\"max-width: 1065px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/Bowker.Charlie.HomesickJames.jpg\" alt=\"A man in a suit and fedora shakes hands with Musselwhite, in shades and slicked-back hair.\" width=\"1065\" height=\"758\" class=\"size-full wp-image-13906997\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Bowker.Charlie.HomesickJames.jpg 1065w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Bowker.Charlie.HomesickJames-800x569.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Bowker.Charlie.HomesickJames-1020x726.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Bowker.Charlie.HomesickJames-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Bowker.Charlie.HomesickJames-768x547.jpg 768w\" sizes=\"(max-width: 1065px) 100vw, 1065px\">\u003cfigcaption class=\"wp-caption-text\">Homesick James, Bill Bowker and close friend Charlie Musselwhite share a moment in this undated photo. \u003ccite>(Courtesy Bill Bowker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Since his announcement, Bowker’s been more reflective on his drive-time radio show. He’ll reminisce about old friends like Kate Wolf, the late, esteemed folksinger who also had a show on KVRE, or Audrey Auld, whose music is still a staple on his show six years after her death from cancer. He’s allowed himself “heartbreak sets”—blocks of slow, sad songs, which his program directors have always discouraged playing. \u003c/p>\n\u003cp>“But why not? Maybe it’s just that kind of day, and you need it,” Bowker says, before giving a mini-mission statement about his five decades in music.\u003c/p>\n\u003cp>“I like great songwriters. I like that \u003cem>honesty\u003c/em>. And that’s what the blues is. It’s just honest music. When music is made expressly for the idea of hit radio, or to sell something, it doesn’t intrigue me. And I still feel that way, after all these years.”\u003c/p>\n\u003cp>It’s for that reason that Bowker’s dedication, passion and perseverance have affected so many. And while the comments online keep piling up, the tributes in local media pour in and the phone at the KRSH studio keeps ringing, Bowker feels grateful for it all.\u003c/p>\n\u003cp>“I’m amazed, the amount of people whose lives I’ve touched,” he says. “It does my heart good.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Bill Bowker broadcasts his final show on KRSH on Wednesday, Dec. 15, at Hopmonk Tavern in Sebastopol. The party runs 4-7pm, and is free and open to the public. \u003ca href=\"https://www.krsh.com/event/bill-bowkers-last-broadcast/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"After five decades on the air, the DJ that shaped a region’s music prepares to step down.","status":"publish","parent":0,"modified":1705007411,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":43,"wordCount":2530},"headData":{"title":"Bill Bowker, Sculptor of the Sonoma County Sound, Signs Off | KQED","description":"After five decades on the air, the DJ that shaped a region’s music prepares to step down.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Bill Bowker, Sculptor of the Sonoma County Sound, Signs Off","datePublished":"2021-12-09T00:27:35.000Z","dateModified":"2024-01-11T21:10:11.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"WpOldSlug":"bill-bowker-sculptor-of-the-sonoma-county-sound-signs-off","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","path":"/arts/13907004/bill-bowker-krsh-sonoma-county-retires","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The studio phone doesn’t ring much anymore at The Krush. Here in the radio station’s small room, Bill Bowker tells me, it’s a quiet, solitary job, especially since texting took over calling as the preferred form of communication, and even more so since the pandemic. \u003c/p>\n\u003cp>But on Nov. 10, the studio phone lines suddenly lit up. Bowker, who has been a constant presence on the radio in Sonoma County since 1979, announced on the air that he was retiring from KRSH-FM and leaving the full-time airwaves after a 52-year-career. The calls came in for the rest of his afternoon shift. They continued for days afterward. Weeks afterward. They’re still coming in.\u003c/p>\n\u003cp>“So yeah, people tell me I’m gonna miss doing it,” Bill says to me on a recent visit to KRSH’s studio, with shelves of CDs behind him and a collection of signed photos on the wall nearby. “And I still feel conflicted about it. But it’s just time.”\u003c/p>\n\u003cfigure id=\"attachment_13907002\" class=\"wp-caption aligncenter\" style=\"max-width: 795px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/Bowker.Pinetop.jpg\" alt=\"Bowker and Pinetop, wearing a purple suit, share an embrace.\" width=\"795\" height=\"544\" class=\"size-full wp-image-13907002\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Bowker.Pinetop.jpg 795w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Bowker.Pinetop-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Bowker.Pinetop-768x526.jpg 768w\" sizes=\"(max-width: 795px) 100vw, 795px\">\u003cfigcaption class=\"wp-caption-text\">Bill Bowker and Pinetop Perkins at the Sonoma County Blues Festival, an annual fair tradition for 30 years. \u003ccite>(Courtesy Bill Bowker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When Bowker \u003ca href=\"https://www.krsh.com/event/bill-bowkers-last-broadcast/\" rel=\"noopener noreferrer\" target=\"_blank\">signs off for the last time on Dec. 15\u003c/a>, his 78th birthday, he’ll do so as the current longest-running full-time radio DJ in the county. During his remarkable 42-year run here, which started after a decade spent in Los Angeles, he’s not only become one of the most recognizable voices in Sonoma County—he’s also been the godfather and number-one champion of what one could justifiably call the Sonoma County sound.\u003c/p>\n\u003cp>Roots music, Americana, folk, blues, country rock: it practically floats in the air of Sonoma County, from winery events on the hill to street-level block parties. Touring singer-songwriters and blues musicians regularly bypass San Francisco and come straight to Santa Rosa, Sebastopol or Petaluma. And it’s been Bowker who’s interviewed them, and played, promoted, discussed, and given airtime to their music for over four decades. \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>Now, in the KRSH studio, as he back-announces a block of songs from Townes Van Zandt, Fred Eaglesmith and Emmylou Harris, telling an anecdote or offering some analysis about each artist, it strikes me that Sonoma County radio without Bill Bowker is going to be very strange. Here he is in a tiny room on the outskirts of town, doing his job alone, for thousands and yet nobody at the same time. His world might not change much. But ours will. \u003c/p>\n\u003cfigure id=\"attachment_13907003\" class=\"wp-caption aligncenter\" style=\"max-width: 1467px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/Bowker.KBBY_.1972.CRED_.RonWest.jpg\" alt=\"A young Bill Bowker sits in a radio booth, cigarette in hand.\" width=\"1467\" height=\"1171\" class=\"size-full wp-image-13907003\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Bowker.KBBY_.1972.CRED_.RonWest.jpg 1467w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Bowker.KBBY_.1972.CRED_.RonWest-800x639.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Bowker.KBBY_.1972.CRED_.RonWest-1020x814.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Bowker.KBBY_.1972.CRED_.RonWest-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Bowker.KBBY_.1972.CRED_.RonWest-768x613.jpg 768w\" sizes=\"(max-width: 1467px) 100vw, 1467px\">\u003cfigcaption class=\"wp-caption-text\">In his early days in Ventura, Bill Bowker regularly finished his 6pm-midnight shift at KUDU, then went next door to begin another shift at KBBY, playing freeform radio in the middle of the night. \u003ccite>(Ron West/Courtesy Bill Bowker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘That’s What Music Should Do’\u003c/h2>\n\u003cp>As a teenager in late-1950s New Jersey, Bowker tuned into a local station late one night, and heard a song that would change his life: “Evil,” by Howlin’ Wolf.\u003c/p>\n\u003cp>“It scared me,” Bowker says. “And I thought to myself, ‘That’s what music should do.’”\u003c/p>\n\u003cp>A love affair with the blues was born. Well before the British Invasion reintroduced America to its overlooked Black blues musicians, Bowker absorbed as much of their music he could find on the radio and in record stores, recognizing its dignity and importance and committing himself to promoting it. “I hear music that I like,” Bowker says, “and I immediately go, ‘If I could in any way help them, I would.”\u003c/p>\n\u003cp>He took a chance and wrote to one of his favorite radio personalities, Al “Jazzbo” Collins, and asked for advice on getting into radio. Collins wrote back, and said to start by getting his broadcasting license.\u003c/p>\n\u003cp>So, after being drafted and stationed in Germany in the mid-’60s, Bowker enrolled at an L.A. broadcasting school on the G.I. Bill. On Aug. 15, 1969, the same day that Woodstock kicked off in upstate New York and cemented a countercultural revolution, Bowker clocked in for his first-ever radio shift at KUDU, a country station in Ventura, playing old Bob Wills and Patsy Cline songs from 6pm to midnight.\u003c/p>\n\u003cfigure id=\"attachment_13907006\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/Bowker.Lavonna.jpg\" alt=\"A man and a woman embrace in a photo in a wooden frame next to a boombox.\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13907006\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Bowker.Lavonna.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Bowker.Lavonna-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Bowker.Lavonna-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Bowker.Lavonna-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Bowker.Lavonna-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Bowker.Lavonna-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A framed photo of Bill and Lavonna Bowker sits in Bill’s office at KRSH-FM. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After he took a second shift starting at midnight playing freeform radio (under the handle “Bill Phoxx”) for KBBY, the station next door, he met a young traffic announcer named Lavonna. She kept setting him up on dates with her friends. He had other plans.\u003c/p>\n\u003cp>“At one point he told me I was gonna marry him someday,” Lavonna tells me, “and I thought he was out of his mind.” The two eventually got married at the Santa Barbara Courthouse; they celebrate their 50th anniversary next June.\u003c/p>\n\u003cp>But the radio business is rocky. Bowker himself bounced around from station to station, and despite the Hollywood thrill of running into Frank Zappa or Farrah Fawcett around workplaces like KWST in Los Angeles, the young couple wanted to settle down somewhere. Raising their young daughter, and craving an escape from L.A.’s smog, they got a call about an opportunity in Santa Rosa: a small station run out of a shack on Farmers Lane called KVRE.\u003c/p>\n\u003cfigure id=\"attachment_13906993\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/IMG_3590.jpg\" alt=\"A miniature billboard with Bill Bowker's image sits on a bookshelf.\" width=\"1920\" height=\"1265\" class=\"size-full wp-image-13906993\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_3590.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_3590-800x527.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_3590-1020x672.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_3590-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_3590-768x506.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_3590-1536x1012.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A ‘Bill’ board advertising Bowker’s afternoon show on KVRE-FM. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With its eclectic playlists and even more eclectic DJs like Scott Kinzey, Bob Sala, Daisy, Dick Thyne and Scott Murray, KVRE was “where the rules were meant to be broken,” Bowker says. It was a perfect fit for his “\u003ca href=\"https://www.krsh.com/show/blues-with-bill-bowker/\" rel=\"noopener noreferrer\" target=\"_blank\">Blues With Bowker\u003c/a>” program, which shared air time with the Grateful Dead, David Lindley, Los Lobos and whatever B-side oddities its DJs happened to be obsessed with on any given week. Like KFOG to longtime San Franciscans, or KPIG south of the Bay, the station still holds a special place in locals’ hearts. \u003c/p>\n\u003cp>“We were lucky. All the people at KVRE, we had a vision, and we did it for years together,” Bowker says. “That doesn’t happen too often.”\u003c/p>\n\u003cfigure id=\"attachment_13906996\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/IMG_3561.jpg\" alt=\"A photo of SMith and Bowker on the walls at the KRSH studios.\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13906996\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_3561.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_3561-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_3561-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_3561-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_3561-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_3561-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Doug Smith and Bill Bowker met in the late 1980s and promoted live music in Sonoma County for 14 years together. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A Constellation of Live Music\u003c/h2>\n\u003cp>Another thing that doesn’t happen too often is meeting a musical soulmate. Bowker found his in Doug Smith, a lover of live music who first came across Bowker at the cable-station-slash-nightclub Studio KAFE, one of Bowker’s short-lived gigs after KVRE was sold in 1988. Together, they started Smith & Bowker Productions, booking and promoting shows all over the county for the next 14 years.\u003c/p>\n\u003cp>For a representative sampling of their reach, look no further than the trail left by Blasters guitarist and solo songwriter Dave Alvin (who says of Bowker that “the good people of Sonoma County couldn’t have asked for a better, more passionate or hipper guide through the worlds of blues and roots music”). With Smith & Bowker’s promotion, Alvin’s played at the El Rancho Tropicana hotel, the Cotati Cabaret, the Studio KAFE, Cafe This, the Powerhouse, the Inn of the Beginning, and—the only one still open—the Mystic Theatre.\u003c/p>\n\u003cp>Smith also assisted Bowker with the Sonoma County Blues Festival, which for 30 years at the Sonoma County Fair boasted headliners like Junior Kimbrough, R.L. Burnside, Pinetop Perkins, Joe Louis Walker, W.C. Clark and Shuggie Otis. Not to mention Bowker’s annual “Evolution of the Blues” concerts at Santa Rosa Junior College, the “Full Moon Blues” series at Mark West Vineyards in Forestville, and the “Almost Blues Cruise” aboard a large paddleboat, the Petaluma Queen. \u003c/p>\n\u003cp>Tragically, Smith died in a motorcycle crash in 2005. A photo of the two still hangs in the KRSH studio. “Doug was a wonderful human being,” Bowker says. “I haven’t talked about him in a while, hold on,” excusing himself, his voice choking up.\u003c/p>\n\u003cp>“He really cared about music,” Bowker adds. “We didn’t have the same taste, but we complemented each other well. And we became \u003cem>really\u003c/em> close friends.” \u003c/p>\n\u003cp>At these shows, Bowker often took the stage to introduce the acts, and honored his original teenage impulse to help those who made the music he loved. Lynn Newton, who worked the Sonoma County Blues Festival as well as later Bowker productions like Earlefest, is one who’s had a front-row seat to Bowker’s first-class treatment of musicians, both big and small.\u003c/p>\n\u003cp>“He’s such a champion of musicians who are starting out. It’s really something to watch—he fosters people so beautifully,” Newton says. “He makes people feel like, ‘Wow, I can really do this!’ It’s uncanny, his ability to do that.”\u003c/p>\n\u003cfigure id=\"attachment_13906994\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/IMG_3579.jpg\" alt=\"A file cabinet covered in stickers from musicians and radio stations.\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13906994\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_3579.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_3579-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_3579-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_3579-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_3579-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_3579-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The file cabinet in Bill Bowker’s office at KRSH-FM. A listener campaign to restore KVRE to the air resulted in a bumper-sticker blitz—as well as the short-lived station KRVE. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Everyone Can Relate to Him’\u003c/h2>\n\u003cp>After KVRE, Bowker hopped around—a short-lived AM resurrection of KVRE called KRVE, the work at Studio KAFE—until KRSH came calling in 1994. Several KVRE alumni joined him, and his casual but informed personality has been a staple at the station ever since. \u003c/p>\n\u003cp>As Doug Jayne, a DJ on KRCB in Rohnert Park, says, “The thing about Bill is, everybody loves him, and it’s not like he’s Mr. Slick, he’s just your average dude. He encouraged me, and told me, ‘You don’t have to go to radio broadcasting school and learn to talk like a professional announcer to be on the radio.’ He’s an everyman. Everyone can relate to him.”\u003c/p>\n\u003cp>Jayne opened the area’s longest-running record store, the Last Record Store, in 1983, after stumbling across KVRE’s broad, sophisticated programming. “I can honestly say that hearing Bill on KVRE in the early 1980s helped me decide to open a record store in Santa Rosa,” he says.\u003c/p>\n\u003cfigure id=\"attachment_13907000\" class=\"wp-caption aligncenter\" style=\"max-width: 1071px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/Bowker.Shaver.LaurieJoSchaeffer.jpg\" alt=\"Two men stand with arms around each other's shoulders.\" width=\"1071\" height=\"780\" class=\"size-full wp-image-13907000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Bowker.Shaver.LaurieJoSchaeffer.jpg 1071w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Bowker.Shaver.LaurieJoSchaeffer-800x583.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Bowker.Shaver.LaurieJoSchaeffer-1020x743.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Bowker.Shaver.LaurieJoSchaeffer-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Bowker.Shaver.LaurieJoSchaeffer-768x559.jpg 768w\" sizes=\"(max-width: 1071px) 100vw, 1071px\">\u003cfigcaption class=\"wp-caption-text\">Bill Bowker cracks a smile with with country icon Billy Joe Shaver. \u003ccite>(Courtesy Bill Bowker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Another longtime DJ on the local radio waves is Steve Jaxon, who started as a part-timer under Bowker at KVRE in 1982. “Bill’s a wonderful guy who has worked so hard over the years, perfecting not only his work, but so much that he’s given to the area on the radio,” Jaxon says. “He’s one of my favorite people on the planet.”\u003c/p>\n\u003cp>Andre DeChannes, program director at KRSH, often assisted Bowker with the station’s long-running backyard concerts—free outdoor shows in the grassy area behind the old-time railroad train cars where the station makes its headquarters. DeChannes says that in an industry that’s often competitive, Bowker gave him nothing but support after they met. \u003c/p>\n\u003cp>“We became fast friends, and he’s been my mentor all this time, and there was never this ‘You’re after my job’ kind of feeling that a lot of people in radio can have,” DeChannes says.\u003c/p>\n\u003cp>DeChannes has continued the KRSH tradition of allowing Bowker complete control over what he plays on his show. It’s also his job now to rehire for Bill’s position at The Krush, and he admits it will be hard.\u003c/p>\n\u003cp>“He’s just a great guy,” DeChannes says, “and I don’t know how we’re gonna fill his shoes.”\u003c/p>\n\u003cfigure id=\"attachment_13906995\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/IMG_3557.jpg\" alt=\"Wearinga brown shirt, Bill Bowker sits at a microphone with shelves of CDs and equipment in the background.\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13906995\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_3557.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_3557-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_3557-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_3557-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_3557-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_3557-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Bill Bowker broadcasts from the KRSH studios, Nov. 22, 2021. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Honesty and Perseverance\u003c/h2>\n\u003cp>In a corner of the Bowker home is Bill’s den, decorated with gold record awards from Howlin’ Wolf and B.B King, handwritten lyrics by Lucinda Williams, and dozens of photos of him with folk and blues luminaries, including close friends Charlie Musselwhite and Doyle Bramhall II. \u003c/p>\n\u003cp>It’s a testament to a career that might not be fully over just yet. \u003c/p>\n\u003cp>“It’s not like I’m going to leave music,” Bowker tells me, reclining in a chair at his house. He’s talking with local booking dynamo Shelia Groves, his co-conspirator on Earlefest, about promoting more live shows. And he’ll continue his streaming radio show on \u003ca href=\"https://www.xrds.fm/\" rel=\"noopener noreferrer\" target=\"_blank\">XRDS\u003c/a>, an internet radio station in Clarksdale, Mississippi, the site of Robert Johnson’s famous “crossroads” and the home of the delta blues. His friend Musselwhite recently moved to Clarksdale, and he has numerous connections to the city. “But family’s here,” he says, brushing aside suggestions that he would ever leave Sonoma County. \u003c/p>\n\u003cfigure id=\"attachment_13906997\" class=\"wp-caption aligncenter\" style=\"max-width: 1065px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/Bowker.Charlie.HomesickJames.jpg\" alt=\"A man in a suit and fedora shakes hands with Musselwhite, in shades and slicked-back hair.\" width=\"1065\" height=\"758\" class=\"size-full wp-image-13906997\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Bowker.Charlie.HomesickJames.jpg 1065w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Bowker.Charlie.HomesickJames-800x569.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Bowker.Charlie.HomesickJames-1020x726.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Bowker.Charlie.HomesickJames-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Bowker.Charlie.HomesickJames-768x547.jpg 768w\" sizes=\"(max-width: 1065px) 100vw, 1065px\">\u003cfigcaption class=\"wp-caption-text\">Homesick James, Bill Bowker and close friend Charlie Musselwhite share a moment in this undated photo. \u003ccite>(Courtesy Bill Bowker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Since his announcement, Bowker’s been more reflective on his drive-time radio show. He’ll reminisce about old friends like Kate Wolf, the late, esteemed folksinger who also had a show on KVRE, or Audrey Auld, whose music is still a staple on his show six years after her death from cancer. He’s allowed himself “heartbreak sets”—blocks of slow, sad songs, which his program directors have always discouraged playing. \u003c/p>\n\u003cp>“But why not? Maybe it’s just that kind of day, and you need it,” Bowker says, before giving a mini-mission statement about his five decades in music.\u003c/p>\n\u003cp>“I like great songwriters. I like that \u003cem>honesty\u003c/em>. And that’s what the blues is. It’s just honest music. When music is made expressly for the idea of hit radio, or to sell something, it doesn’t intrigue me. And I still feel that way, after all these years.”\u003c/p>\n\u003cp>It’s for that reason that Bowker’s dedication, passion and perseverance have affected so many. And while the comments online keep piling up, the tributes in local media pour in and the phone at the KRSH studio keeps ringing, Bowker feels grateful for it all.\u003c/p>\n\u003cp>“I’m amazed, the amount of people whose lives I’ve touched,” he says. “It does my heart good.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\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>Bill Bowker broadcasts his final show on KRSH on Wednesday, Dec. 15, at Hopmonk Tavern in Sebastopol. The party runs 4-7pm, and is free and open to the public. \u003ca href=\"https://www.krsh.com/event/bill-bowkers-last-broadcast/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13907004/bill-bowker-krsh-sonoma-county-retires","authors":["185"],"categories":["arts_1","arts_69"],"tags":["arts_1808","arts_10278","arts_2721","arts_3217"],"featImg":"arts_13907001","label":"arts"},"arts_13904911":{"type":"posts","id":"arts_13904911","meta":{"index":"posts_1591205157","site":"arts","id":"13904911","score":null,"sort":[1635466236000]},"guestAuthors":[],"slug":"bay-area-horror-movies","title":"7 Bay Area Horror Movies For Your Halloween Viewing Pleasure","publishDate":1635466236,"format":"standard","headTitle":"7 Bay Area Horror Movies For Your Halloween Viewing Pleasure | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>If your idea of a perfect Halloween is turning off all the lights, tucking yourself under a blanket, and snuggling up next to a bag of fun-size candy for a horror movie marathon, you’re not alone. It’s a strategy that effectively removes the pressure of coming up with a costume idea and picking a party to attend. But it does present one pretty major quandary: what the hell to watch?\u003c/p>\n\u003cp>To aid you in this decision, we’ve come up with a list of classic horror movies—all filmed in the Bay Area, all available to stream or rent, and all liable to make your Halloween better.\u003c/p>\n\u003ch4>\u003cem>Cujo\u003c/em> (1983)\u003c/h4>\n\u003cp>https://www.youtube.com/watch?v=vFUD8b-BZCc\u003c/p>\n\u003cp>An entire generation of ’80s kids is still walking around with a lifelong phobia of St. Bernards because of the sheer terror wrought by \u003cem>Cujo. \u003c/em>It’s a simple but disarmingly realistic concept: a large dog gets rabies from a bat bite and descends into madness, ambushing humans as he goes. One mother and son get caught in his proverbial crosshairs, trapped in their broken-down car with no escape.\u003c/p>\n\u003cp>Filmed in locations around the North Bay (Petaluma, Santa Rosa, Glenn Ellen and Mendocino), the movie was given a different (less bleak) ending than Stephen King’s original text. Despite this—and the fact that in some “attack” scenes the dog is transparently trying to cuddle screaming actors—\u003cem>Cujo\u003c/em> remains one of the better Stephen King movie adaptations. Dee Wallace’s performance will stay with you long after the credits roll.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>‘Cujo’ is streaming now on Tubi.\u003c/em>\u003c/p>\n\u003ch4>\u003cstrong>\u003cem>It Came From Beneath the Sea\u003c/em> (1955)\u003c/strong>\u003c/h4>\n\u003cp>https://www.youtube.com/watch?v=oEm1c-sBRfY\u003c/p>\n\u003cp>If you’ve ever wanted to see a giant radioactive octopus throwing its tentacles around downtown San Francisco, this is the film for you. Having had its habitat in the Philippines destroyed by thermonuclear tests, and after authorities repeatedly attempt to electrocute it, the poor, unfeasibly massive octopus arrives in the city and promptly goes berserk. It wrecks buildings! It squishes men! It squeezes the Ferry Building’s clock tower to death! It even wraps itself around the Golden Gate Bridge like it wants to make babies with it. Yes, it’s completely preposterous, but if you can’t watch a giant furious octopus suction-cupping bystanders to death on Halloween, when can you?\u003c/p>\n\u003cp>\u003cem>‘It Came From Beneath the Sea’ is available to rent on YouTube or Amazon Prime.\u003c/em>\u003c/p>\n\u003ch4>\u003cstrong>\u003cem>Burnt Offerings\u003c/em> (1976)\u003c/strong>\u003c/h4>\n\u003cp>https://www.youtube.com/watch?v=Oo_6Fb5k2lo\u003c/p>\n\u003cp>In its earliest stages, it’s tempting to view \u003cem>Burnt Offerings\u003c/em> as just another bog-standard haunted house movie. Don’t be fooled. By the time the story has spiraled to its (absolutely bananas) climax, you’ll realize the filmmakers have lulled you into a false sense of security on purpose, only to pull the antique rug out from under you.\u003c/p>\n\u003cp>[aside postid='pop_106535']Filmed in Oakland’s Dunsmuir House (a location with \u003ca href=\"https://en.wikipedia.org/wiki/Dunsmuir_House\" target=\"_blank\" rel=\"noopener noreferrer\">a tragic real-life history\u003c/a>), the home here—like the one in Netflix’s \u003cem>Haunting of Hill House\u003c/em>—has a character and motivation all of its own. All of which is compounded by some spectacular over-acting by Oliver Reed, Karen Black and Bette Davis. The moral of the story? Don’t take on a summer rental if it comes with an old lady in the attic that you’re obliged to feed.\u003c/p>\n\u003cp>\u003cem>‘Burnt Offerings’ is available to rent through Amazon Prime.\u003c/em>\u003c/p>\n\u003ch4>\u003cem>Phantasm\u003c/em> (1979)\u003c/h4>\n\u003cp>https://www.youtube.com/watch?v=RIRVOepV9Ik\u003c/p>\n\u003cp>Reanimated corpses. Hell portals. Severed fingers that turn into insects. Flying silver spheres with spikes. Horny teens getting stabbed in cemeteries. Evil minions that may or may not have been inspired by \u003cem>Star Wars\u003c/em> Jawas. Absolutely nothing about \u003cem>Phantasm\u003c/em> makes any sense at all. (\u003cem>At all\u003c/em>!) But if you want to see Dunsmuir House again, while also feeling like you’ve taken strong hallucinogens, this is a good one to watch back-to-back with \u003cem>Burnt Offerings\u003c/em>.\u003c/p>\n\u003cp>\u003cem>‘Phantasm’ is streaming now on Peacock, Pluto TV and Tubi.\u003c/em>\u003c/p>\n\u003ch4>\u003cem>The Birds\u003c/em> (1963)\u003c/h4>\n\u003cp>https://www.youtube.com/watch?v=ydLJtKlVVZw\u003c/p>\n\u003cp>Let’s be real. If seagulls and their tiny evil faces decided tomorrow that humans needed to be eradicated, they could probably pull it off. Throw every other bird on Earth into the mix and, as one Bodega Bay bystander states at the start of this Alfred Hitchcock classic, “Why, if that happened, we wouldn’t have a chance.” (It’s worth also keeping in mind that \u003ca href=\"https://www.mercurynews.com/2015/12/07/this-hitchcock-movie-was-inspired-by-crab-toxin-frenzy-in-capitola/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Birds\u003c/em> was inspired by a real-life event\u003c/a> in which a Northern California town was attacked en masse by seabirds, in 1961.)\u003c/p>\n\u003cp>[aside postid='arts_13904118']Witnessing San Francisco’s Melanie Daniels (charmingly played by Tippi Hedren) slowly devolve from a self-assured, independent practical joker to a traumatized shell is genuinely perturbing here. And not a little harrowing now that we know about \u003ca href=\"https://variety.com/2017/film/news/tippi-hedren-alfred-hitchcock-the-birds-sexual-harassment-1202637959/\" target=\"_blank\" rel=\"noopener noreferrer\">Hitchcock’s appalling treatment of Hedren\u003c/a> in real life. But the lure of \u003cem>The Birds\u003c/em> remains (Bodega Bay continues to be a hotspot for Hitchcock tourists), as does the lore. Unsubstantiated rumors persist that the Bay Area’s crow population increased enormously after Hitchcock released the birds into the wild at the end of filming. Just pray they don’t turn on us one day…\u003c/p>\n\u003cp>\u003cem>‘The Birds’ is streaming now on Showtime.\u003c/em>\u003c/p>\n\u003ch4>\u003cem>The Fog\u003c/em> (1980)\u003c/h4>\n\u003cp>https://www.youtube.com/watch?v=fUyunS1hGyQ\u003c/p>\n\u003cp>\u003cem>The Fog\u003c/em> is the kind of unintentionally hilarious horror movie that is best watched in groups, with some sort of drinking game fashioned after it. Drink every time someone says “Mrs Kobritz”! Drink every time a dead body lands on Jamie Lee Curtis! Drink every time some idiot doesn’t notice there’s a rotting, hook-handed pirate ghost directly next to them? Primarily filmed in Point Reyes (with some Bodega Bay and L.A. thrown in), \u003cem>The Fog\u003c/em> is a movie that came really close to making some salient points about the sins of our forefathers, only to sacrifice it all for plumes of dry ice and a hearty amount of face-stabbing.\u003c/p>\n\u003cp>\u003cem>‘The Fog’ is streaming now on Tubi.\u003c/em>\u003c/p>\n\u003ch4>\u003cem>Invasion of the Body Snatchers\u003c/em> (1978)\u003c/h4>\n\u003cp>https://www.youtube.com/watch?v=vc_0dlmSq7I\u003c/p>\n\u003cp>Did the disturbing \u003ca href=\"https://www.imdb.com/title/tt0049366/?ref_=fn_al_tt_3\" target=\"_blank\" rel=\"noopener noreferrer\">1956 classic\u003c/a> \u003cem>need\u003c/em> a more high-tech do-over? Not really. But boy oh boy, did it get a good one. The casting for the 1978 remake was damn near perfect (hello, young Jeff Goldblum!), and paranoia and panic is so thoroughly seeped into every scene, you can’t help but feel completely immersed in the characters’ nightmare, as one-by-one they’re replaced with alien replicas.\u003c/p>\n\u003cp>\u003cem>Invasion\u003c/em> is also that rare San Francisco movie that includes Things That Locals Like, including Sutro Tower, Bimbo’s, the Broadway tunnel, and even (\u003cem>gasp!\u003c/em>) the Tenderloin. Plus! It contains the Donald Sutherland scene—\u003ca href=\"https://tenor.com/view/donald-sutherland-pod-people-podpeople-body-gif-10811761\" target=\"_blank\" rel=\"noopener noreferrer\">you already know the one\u003c/a>—that launched a thousand gifs. A true horror classic and a scary little love letter to San Francisco.\u003c/p>\n\u003cp>\u003cem>‘Invasion of the Body Snatchers’ is streaming now on YouTube. (The 1956 original is also free on Pluto TV, should you fancy a double feature.)\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Happy Halloween, horror fans!\u003c/p>\n\n","blocks":[],"excerpt":"Skipping the parties for a movie marathon? Watch these locally filmed scary classics, available to stream or rent.","status":"publish","parent":0,"modified":1705007547,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":23,"wordCount":1250},"headData":{"title":"7 Bay Area Horror Movies For Your Halloween Viewing Pleasure | KQED","description":"Skipping the parties for a movie marathon? Watch these locally filmed scary classics, available to stream or rent.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"7 Bay Area Horror Movies For Your Halloween Viewing Pleasure","datePublished":"2021-10-29T00:10:36.000Z","dateModified":"2024-01-11T21:12:27.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","path":"/arts/13904911/bay-area-horror-movies","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>If your idea of a perfect Halloween is turning off all the lights, tucking yourself under a blanket, and snuggling up next to a bag of fun-size candy for a horror movie marathon, you’re not alone. It’s a strategy that effectively removes the pressure of coming up with a costume idea and picking a party to attend. But it does present one pretty major quandary: what the hell to watch?\u003c/p>\n\u003cp>To aid you in this decision, we’ve come up with a list of classic horror movies—all filmed in the Bay Area, all available to stream or rent, and all liable to make your Halloween better.\u003c/p>\n\u003ch4>\u003cem>Cujo\u003c/em> (1983)\u003c/h4>\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/vFUD8b-BZCc'\n title='//www.youtube.com/embed/vFUD8b-BZCc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>An entire generation of ’80s kids is still walking around with a lifelong phobia of St. Bernards because of the sheer terror wrought by \u003cem>Cujo. \u003c/em>It’s a simple but disarmingly realistic concept: a large dog gets rabies from a bat bite and descends into madness, ambushing humans as he goes. One mother and son get caught in his proverbial crosshairs, trapped in their broken-down car with no escape.\u003c/p>\n\u003cp>Filmed in locations around the North Bay (Petaluma, Santa Rosa, Glenn Ellen and Mendocino), the movie was given a different (less bleak) ending than Stephen King’s original text. Despite this—and the fact that in some “attack” scenes the dog is transparently trying to cuddle screaming actors—\u003cem>Cujo\u003c/em> remains one of the better Stephen King movie adaptations. Dee Wallace’s performance will stay with you long after the credits roll.\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>\u003cem>‘Cujo’ is streaming now on Tubi.\u003c/em>\u003c/p>\n\u003ch4>\u003cstrong>\u003cem>It Came From Beneath the Sea\u003c/em> (1955)\u003c/strong>\u003c/h4>\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/oEm1c-sBRfY'\n title='//www.youtube.com/embed/oEm1c-sBRfY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>If you’ve ever wanted to see a giant radioactive octopus throwing its tentacles around downtown San Francisco, this is the film for you. Having had its habitat in the Philippines destroyed by thermonuclear tests, and after authorities repeatedly attempt to electrocute it, the poor, unfeasibly massive octopus arrives in the city and promptly goes berserk. It wrecks buildings! It squishes men! It squeezes the Ferry Building’s clock tower to death! It even wraps itself around the Golden Gate Bridge like it wants to make babies with it. Yes, it’s completely preposterous, but if you can’t watch a giant furious octopus suction-cupping bystanders to death on Halloween, when can you?\u003c/p>\n\u003cp>\u003cem>‘It Came From Beneath the Sea’ is available to rent on YouTube or Amazon Prime.\u003c/em>\u003c/p>\n\u003ch4>\u003cstrong>\u003cem>Burnt Offerings\u003c/em> (1976)\u003c/strong>\u003c/h4>\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/Oo_6Fb5k2lo'\n title='//www.youtube.com/embed/Oo_6Fb5k2lo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In its earliest stages, it’s tempting to view \u003cem>Burnt Offerings\u003c/em> as just another bog-standard haunted house movie. Don’t be fooled. By the time the story has spiraled to its (absolutely bananas) climax, you’ll realize the filmmakers have lulled you into a false sense of security on purpose, only to pull the antique rug out from under you.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"pop_106535","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Filmed in Oakland’s Dunsmuir House (a location with \u003ca href=\"https://en.wikipedia.org/wiki/Dunsmuir_House\" target=\"_blank\" rel=\"noopener noreferrer\">a tragic real-life history\u003c/a>), the home here—like the one in Netflix’s \u003cem>Haunting of Hill House\u003c/em>—has a character and motivation all of its own. All of which is compounded by some spectacular over-acting by Oliver Reed, Karen Black and Bette Davis. The moral of the story? Don’t take on a summer rental if it comes with an old lady in the attic that you’re obliged to feed.\u003c/p>\n\u003cp>\u003cem>‘Burnt Offerings’ is available to rent through Amazon Prime.\u003c/em>\u003c/p>\n\u003ch4>\u003cem>Phantasm\u003c/em> (1979)\u003c/h4>\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/RIRVOepV9Ik'\n title='//www.youtube.com/embed/RIRVOepV9Ik'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Reanimated corpses. Hell portals. Severed fingers that turn into insects. Flying silver spheres with spikes. Horny teens getting stabbed in cemeteries. Evil minions that may or may not have been inspired by \u003cem>Star Wars\u003c/em> Jawas. Absolutely nothing about \u003cem>Phantasm\u003c/em> makes any sense at all. (\u003cem>At all\u003c/em>!) But if you want to see Dunsmuir House again, while also feeling like you’ve taken strong hallucinogens, this is a good one to watch back-to-back with \u003cem>Burnt Offerings\u003c/em>.\u003c/p>\n\u003cp>\u003cem>‘Phantasm’ is streaming now on Peacock, Pluto TV and Tubi.\u003c/em>\u003c/p>\n\u003ch4>\u003cem>The Birds\u003c/em> (1963)\u003c/h4>\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/ydLJtKlVVZw'\n title='//www.youtube.com/embed/ydLJtKlVVZw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Let’s be real. If seagulls and their tiny evil faces decided tomorrow that humans needed to be eradicated, they could probably pull it off. Throw every other bird on Earth into the mix and, as one Bodega Bay bystander states at the start of this Alfred Hitchcock classic, “Why, if that happened, we wouldn’t have a chance.” (It’s worth also keeping in mind that \u003ca href=\"https://www.mercurynews.com/2015/12/07/this-hitchcock-movie-was-inspired-by-crab-toxin-frenzy-in-capitola/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Birds\u003c/em> was inspired by a real-life event\u003c/a> in which a Northern California town was attacked en masse by seabirds, in 1961.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13904118","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Witnessing San Francisco’s Melanie Daniels (charmingly played by Tippi Hedren) slowly devolve from a self-assured, independent practical joker to a traumatized shell is genuinely perturbing here. And not a little harrowing now that we know about \u003ca href=\"https://variety.com/2017/film/news/tippi-hedren-alfred-hitchcock-the-birds-sexual-harassment-1202637959/\" target=\"_blank\" rel=\"noopener noreferrer\">Hitchcock’s appalling treatment of Hedren\u003c/a> in real life. But the lure of \u003cem>The Birds\u003c/em> remains (Bodega Bay continues to be a hotspot for Hitchcock tourists), as does the lore. Unsubstantiated rumors persist that the Bay Area’s crow population increased enormously after Hitchcock released the birds into the wild at the end of filming. Just pray they don’t turn on us one day…\u003c/p>\n\u003cp>\u003cem>‘The Birds’ is streaming now on Showtime.\u003c/em>\u003c/p>\n\u003ch4>\u003cem>The Fog\u003c/em> (1980)\u003c/h4>\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/fUyunS1hGyQ'\n title='//www.youtube.com/embed/fUyunS1hGyQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>The Fog\u003c/em> is the kind of unintentionally hilarious horror movie that is best watched in groups, with some sort of drinking game fashioned after it. Drink every time someone says “Mrs Kobritz”! Drink every time a dead body lands on Jamie Lee Curtis! Drink every time some idiot doesn’t notice there’s a rotting, hook-handed pirate ghost directly next to them? Primarily filmed in Point Reyes (with some Bodega Bay and L.A. thrown in), \u003cem>The Fog\u003c/em> is a movie that came really close to making some salient points about the sins of our forefathers, only to sacrifice it all for plumes of dry ice and a hearty amount of face-stabbing.\u003c/p>\n\u003cp>\u003cem>‘The Fog’ is streaming now on Tubi.\u003c/em>\u003c/p>\n\u003ch4>\u003cem>Invasion of the Body Snatchers\u003c/em> (1978)\u003c/h4>\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/vc_0dlmSq7I'\n title='//www.youtube.com/embed/vc_0dlmSq7I'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Did the disturbing \u003ca href=\"https://www.imdb.com/title/tt0049366/?ref_=fn_al_tt_3\" target=\"_blank\" rel=\"noopener noreferrer\">1956 classic\u003c/a> \u003cem>need\u003c/em> a more high-tech do-over? Not really. But boy oh boy, did it get a good one. The casting for the 1978 remake was damn near perfect (hello, young Jeff Goldblum!), and paranoia and panic is so thoroughly seeped into every scene, you can’t help but feel completely immersed in the characters’ nightmare, as one-by-one they’re replaced with alien replicas.\u003c/p>\n\u003cp>\u003cem>Invasion\u003c/em> is also that rare San Francisco movie that includes Things That Locals Like, including Sutro Tower, Bimbo’s, the Broadway tunnel, and even (\u003cem>gasp!\u003c/em>) the Tenderloin. Plus! It contains the Donald Sutherland scene—\u003ca href=\"https://tenor.com/view/donald-sutherland-pod-people-podpeople-body-gif-10811761\" target=\"_blank\" rel=\"noopener noreferrer\">you already know the one\u003c/a>—that launched a thousand gifs. A true horror classic and a scary little love letter to San Francisco.\u003c/p>\n\u003cp>\u003cem>‘Invasion of the Body Snatchers’ is streaming now on YouTube. (The 1956 original is also free on Pluto TV, should you fancy a double feature.)\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>Happy Halloween, horror fans!\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13904911/bay-area-horror-movies","authors":["11242"],"categories":["arts_1","arts_74","arts_75"],"tags":["arts_3669","arts_928","arts_10278","arts_977","arts_1206","arts_1143","arts_3231","arts_1146","arts_2721","arts_585"],"featImg":"arts_13905395","label":"arts"},"arts_13899764":{"type":"posts","id":"arts_13899764","meta":{"index":"posts_1591205157","site":"arts","id":"13899764","score":null,"sort":[1625220052000]},"guestAuthors":[],"slug":"rightnowish-rollwithus-randygarnett","title":"Roll With Us: The Duo Behind NorCal's Wheelchair Motocross","publishDate":1625220052,"format":"standard","headTitle":"Roll With Us: The Duo Behind NorCal’s Wheelchair Motocross | KQED","labelTerm":{},"content":"\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC3525100469\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Santa Rosa’s \u003ca href=\"https://www.instagram.com/rizdeauxjones/\">Randy Harlan\u003c/a> and Bolinas’ \u003ca href=\"https://www.instagram.com/garnett_silverhall/\">Garnett Silver-Hall\u003c/a> are known for using wheelchairs the same way others use skateboards– grinding on rails and riding off ramps.\u003c/p>\n\u003cp>The duo are both adaptive athletes in the “chair skating” community, and founders of\u003ca href=\"https://www.instagram.com/norcalwcmx/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\"> Northern California’s Wheelchair Motocross– WCMX\u003c/a>.\u003c/p>\n\u003cp>After connecting through mutual friends, the two have skated at parks in Northern California and competed in Southern California. Now Randy and Garnett teach other folks how to become involved in adaptive sports.\u003c/p>\n\u003cp>This week we hear how it feels to drop into a bowl at the skatepark and the dangers of attempting a backflip in a wheelchair.\u003c/p>\n\u003cfigure id=\"attachment_13899775\" class=\"wp-caption alignnone\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13899775\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/randygarnett.jpg1_.jpg\" alt=\"Randy Harlan and Garnett Silver-Hall ride toward each other on different sides of the same ramp in a skatepark. \" width=\"750\" height=\"674\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/randygarnett.jpg1_.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/randygarnett.jpg1_-160x144.jpg 160w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">Randy Harlan and Garnett Silver-Hall ride toward each other on different sides of the same ramp in a skatepark. \u003ccite>(Dave Rollans)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with Randy Harlan and Garnett Silver-Hall.\u003c/strong>\u003c/p>\n\u003cp>Randy: Some skate parks these days are being built to be more inclusive, more accessible to all- all kinds of riding whether it’s skateboards or bikes or even wheelchairs. So that’s that’s pretty cool. But we tend to judge a park on how good it is for us, you know, what kind of obstacles we can ride on and how easily we can get around it.\u003c/p>\n\u003cp>Randy: One reason I like my home park here in Santa Rosa is there’s certain sections where you can drop into a bowl and just ride right out on your own and not have to have somebody stand at the top and throw you down a rope or something to climb out.\u003c/p>\n\u003cp>Randy: I just like to mostly just carve and kind of just go fast and hang on and that’s more my speed. Garnett’s the more brave of us two, I think, throwing the bigger tricks, like hand plants and stuff like that, fun stuff to watch.\u003c/p>\n\u003cp>\u003cem>Pen: After you two met playing basketball and eventually linking up at the skate park you two established a group, tell me about that.\u003c/em>\u003c/p>\n\u003cp>Garnett: So we formed NorCal WCMX. Basically our idea was to just get more children with disabilities, get them with their chairs at the skatepark. We both knew how much fun we were having, so we wanted to spread that to the community, anybody that wanted to be a part of it.\u003c/p>\n\u003cp>\u003cem>Pen: Randy, How’d you get into skating? Take me back to when it started for you.\u003c/em>\u003c/p>\n\u003cp>Randy: All my friends were skaters and bike riders growing up. A whole bunch of misfits over there. I fit in perfect… 16 years ago, when I first started riding we didn’t have actual skate chairs, I was just hanging out with my friends at the skatepark, like I said, and I was in my everyday chair and decided to just drop in on a bowl and see how it went and I actually made it. I didn’t eat it that first time, surprisingly. That’s what got me hooked. Just that feeling of just going fast.\u003c/p>\n\u003cp>\u003cem>Pen: Garnett how do you feel at the skatepark? Do you feel that sense of camaraderie?\u003c/em>\u003c/p>\n\u003cp>Garnett: Like Randy, I grew up with the skate park just a couple of blocks away from my house. I’m from Bolinas, California it’s a small little surf and skate town… I’d get on a skateboard and just sit on it and ride around too, when I was younger… Sled hockey was actually my first sport. Then I started getting the basketball through the same program. [I had] the best coaches in the world, Trooper Johnson was the one to introduce me to wheelchair basketball… Here we are like eight years later. I just received a scholarship on an offer to play basketball at the University of Arizona. That’s currently where I am. I’m playing D1 of a sport I love and you know, getting my education paid for the same time so it doesn’t get much better than that\u003c/p>\n\u003cp>\u003cem>Pen: Congrats.\u003c/em>\u003c/p>\n\u003cp>Garnett: it’s a dream come true\u003c/p>\n\u003cp>\u003cem>Pen: What position do you play?\u003c/em>\u003c/p>\n\u003cp>Garnett: Unlike stand up ball, we don’t have the same positions, per say, we have a different system that’s based on your disability. Less severe disabilities will be at the higher end, like a four or five and more more severe disabilities would be at the bottom like a one. So I’m like a 1.5 or 2 but my role is more a picker: setting up ball handlers and shooters for open shots, you know, getting them in a position where they can score.\u003c/p>\n\u003cp>\u003cem>Pen: That’s a great breakdown, I had never heard that before.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Pen: Are there any myths or stereotypes that you constantly have to dispel or bust?\u003c/em>\u003c/p>\n\u003cp>Randy: Experiencing life as a person with a disability, some people make assumptions about, one thing I can think of is, you know, I mean, younger, adult male and sometimes people assume I was a vet or something, you know, that had served in the military even though I was born with my disability.\u003c/p>\n\u003cp>Garnett: I think it’s getting a lot better as time goes on. But people just assuming that, you know, people with disabilities can’t do a lot of stuff in life. Disabilities can range from, however severe to you know, however severe. But, I think there’s a lot of things people with disabilities can do that they’re not credited for.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/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>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n","blocks":[],"excerpt":"Extreme wheelchair sports brought these two together, and now they're teaching others. ","status":"publish","parent":0,"modified":1705008108,"stats":{"hasAudio":true,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":27,"wordCount":1002},"headData":{"title":"Roll With Us: The Duo Behind NorCal's Wheelchair Motocross | KQED","description":"Extreme wheelchair sports brought these two together, and now they're teaching others. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Roll With Us: The Duo Behind NorCal's Wheelchair Motocross","datePublished":"2021-07-02T10:00:52.000Z","dateModified":"2024-01-11T21:21:48.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"Rightnowish","sourceUrl":"https://www.kqed.org/podcasts/rightnowish","audioUrl":"https://www.podtrac.com/pts/redirect.mp3/traffic.megaphone.fm/KQINC3525100469.mp3?updated=1625175049","sticky":false,"excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13899764/rightnowish-rollwithus-randygarnett","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC3525100469\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Santa Rosa’s \u003ca href=\"https://www.instagram.com/rizdeauxjones/\">Randy Harlan\u003c/a> and Bolinas’ \u003ca href=\"https://www.instagram.com/garnett_silverhall/\">Garnett Silver-Hall\u003c/a> are known for using wheelchairs the same way others use skateboards– grinding on rails and riding off ramps.\u003c/p>\n\u003cp>The duo are both adaptive athletes in the “chair skating” community, and founders of\u003ca href=\"https://www.instagram.com/norcalwcmx/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\"> Northern California’s Wheelchair Motocross– WCMX\u003c/a>.\u003c/p>\n\u003cp>After connecting through mutual friends, the two have skated at parks in Northern California and competed in Southern California. Now Randy and Garnett teach other folks how to become involved in adaptive sports.\u003c/p>\n\u003cp>This week we hear how it feels to drop into a bowl at the skatepark and the dangers of attempting a backflip in a wheelchair.\u003c/p>\n\u003cfigure id=\"attachment_13899775\" class=\"wp-caption alignnone\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13899775\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/randygarnett.jpg1_.jpg\" alt=\"Randy Harlan and Garnett Silver-Hall ride toward each other on different sides of the same ramp in a skatepark. \" width=\"750\" height=\"674\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/randygarnett.jpg1_.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/randygarnett.jpg1_-160x144.jpg 160w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">Randy Harlan and Garnett Silver-Hall ride toward each other on different sides of the same ramp in a skatepark. \u003ccite>(Dave Rollans)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with Randy Harlan and Garnett Silver-Hall.\u003c/strong>\u003c/p>\n\u003cp>Randy: Some skate parks these days are being built to be more inclusive, more accessible to all- all kinds of riding whether it’s skateboards or bikes or even wheelchairs. So that’s that’s pretty cool. But we tend to judge a park on how good it is for us, you know, what kind of obstacles we can ride on and how easily we can get around it.\u003c/p>\n\u003cp>Randy: One reason I like my home park here in Santa Rosa is there’s certain sections where you can drop into a bowl and just ride right out on your own and not have to have somebody stand at the top and throw you down a rope or something to climb out.\u003c/p>\n\u003cp>Randy: I just like to mostly just carve and kind of just go fast and hang on and that’s more my speed. Garnett’s the more brave of us two, I think, throwing the bigger tricks, like hand plants and stuff like that, fun stuff to watch.\u003c/p>\n\u003cp>\u003cem>Pen: After you two met playing basketball and eventually linking up at the skate park you two established a group, tell me about that.\u003c/em>\u003c/p>\n\u003cp>Garnett: So we formed NorCal WCMX. Basically our idea was to just get more children with disabilities, get them with their chairs at the skatepark. We both knew how much fun we were having, so we wanted to spread that to the community, anybody that wanted to be a part of it.\u003c/p>\n\u003cp>\u003cem>Pen: Randy, How’d you get into skating? Take me back to when it started for you.\u003c/em>\u003c/p>\n\u003cp>Randy: All my friends were skaters and bike riders growing up. A whole bunch of misfits over there. I fit in perfect… 16 years ago, when I first started riding we didn’t have actual skate chairs, I was just hanging out with my friends at the skatepark, like I said, and I was in my everyday chair and decided to just drop in on a bowl and see how it went and I actually made it. I didn’t eat it that first time, surprisingly. That’s what got me hooked. Just that feeling of just going fast.\u003c/p>\n\u003cp>\u003cem>Pen: Garnett how do you feel at the skatepark? Do you feel that sense of camaraderie?\u003c/em>\u003c/p>\n\u003cp>Garnett: Like Randy, I grew up with the skate park just a couple of blocks away from my house. I’m from Bolinas, California it’s a small little surf and skate town… I’d get on a skateboard and just sit on it and ride around too, when I was younger… Sled hockey was actually my first sport. Then I started getting the basketball through the same program. [I had] the best coaches in the world, Trooper Johnson was the one to introduce me to wheelchair basketball… Here we are like eight years later. I just received a scholarship on an offer to play basketball at the University of Arizona. That’s currently where I am. I’m playing D1 of a sport I love and you know, getting my education paid for the same time so it doesn’t get much better than that\u003c/p>\n\u003cp>\u003cem>Pen: Congrats.\u003c/em>\u003c/p>\n\u003cp>Garnett: it’s a dream come true\u003c/p>\n\u003cp>\u003cem>Pen: What position do you play?\u003c/em>\u003c/p>\n\u003cp>Garnett: Unlike stand up ball, we don’t have the same positions, per say, we have a different system that’s based on your disability. Less severe disabilities will be at the higher end, like a four or five and more more severe disabilities would be at the bottom like a one. So I’m like a 1.5 or 2 but my role is more a picker: setting up ball handlers and shooters for open shots, you know, getting them in a position where they can score.\u003c/p>\n\u003cp>\u003cem>Pen: That’s a great breakdown, I had never heard that before.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Pen: Are there any myths or stereotypes that you constantly have to dispel or bust?\u003c/em>\u003c/p>\n\u003cp>Randy: Experiencing life as a person with a disability, some people make assumptions about, one thing I can think of is, you know, I mean, younger, adult male and sometimes people assume I was a vet or something, you know, that had served in the military even though I was born with my disability.\u003c/p>\n\u003cp>Garnett: I think it’s getting a lot better as time goes on. But people just assuming that, you know, people with disabilities can’t do a lot of stuff in life. Disabilities can range from, however severe to you know, however severe. But, I think there’s a lot of things people with disabilities can do that they’re not credited for.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/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>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \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>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13899764/rightnowish-rollwithus-randygarnett","authors":["11491","11528"],"programs":["arts_8720"],"categories":["arts_835","arts_21759"],"tags":["arts_1118","arts_6764","arts_14614","arts_2721"],"featImg":"arts_13899774","label":"source_arts_13899764"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. 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Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />","airtime":"SUN 9pm-10pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg","meta":{"site":"radio","source":"npr"},"link":"/radio/program/code-switch-life-kit","subscribe":{"apple":"https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy","spotify":"https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV","rss":"https://feeds.npr.org/510312/podcast.xml"}},"commonwealth-club":{"id":"commonwealth-club","title":"Commonwealth Club of California Podcast","info":"The Commonwealth Club of California is the nation's oldest and largest public affairs forum. 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